More importantly, the mid-week box office also delivered an excellent answer from Monday to Thursday, making the cumulative box office of "Sin City" reach 136 million US dollars three weeks after its release.

Many media compared "City of Sin" with "The Crucifix of Jesus", but in fact, there is still a huge gap in box office performance between these two works. "City of Sin" was lagging behind "The Crucifix of Jesus" three weeks after its release. In other words, "City of Sin" has launched an impact on the threshold of 300 million, and there is no comparison between the two.

Despite this, the media still enjoys comparing the two together. In the final analysis, it is because of the commonalities between the two: special, controversy, bloody, r-level, spring time, box office miracles, and so on.

"City of Sin" accumulated a box office of 136 million in three weeks, leading the 130 million yuan achieved by "Borrowing a Knife" during the same period. Although "Borrowing a Knife" relies on its brave performance in the awards season and has exceeded a lot after it has broken through the shackles of 200 million, "City of Sin" does not have any advantages in this regard. On the contrary, the summer season is coming soon, and the movie will rush to take turns to bombard the box office, and the box office stamina is obviously not optimistic; but the outstanding performance so far still makes people express more expectations for the box office prospects of the movie - looking forward to this work becoming the eighth R-level movie in North American film history to exceed 200 million.

If the box office of "City of Sin" can exceed 200 million again, this means... As a director, Lance has achieved a feat of three consecutive works with a box office of over 200 million, which is definitely unprecedented, and may be a record of no future generations, just like Tom Cruise's five consecutive works with a box office of over 100 million. The key is not 100 million or 200 million, but in a row, which not only means stability, but also market recognition.

Steven Spielberg established his box office master status with "Great White Jaws", "Raiders of the Lost Ark" and "Alien et". James Cameron established his title as the king of commercial films with "Terminator 2", "Real Lies", and "Titanic". Now it seems that Lance will most likely use the three works of "After acquired", "Killing with a knife", and "City of Sin".

Objectively speaking, none of Lance's three works have amazing explosive power. "Alien et" achieved a box office of 359 million US dollars when it was released in 1982, while "Titanic" even achieved 600 million US dollars in film history. In comparison, Lance's works are really unprofitable. But if you consider that two of Lance's three works are R-level movies, and these three works create miracles in succession, and Lance has only filmed four works so that it can dispel all doubts.

However, the premise is that the box office of "City of Sin" can once again exceed 200 million.

This is obviously not an easy task, but even if "City of Sin" has not reached this level, it will not have any impact on Lance. It is just delaying his time to compete with those movie masters. In fact, as a new director, Lance has written so many miracles in just three years, comparable to myths. Currently, all four works have achieved profitability, two of which have exceeded 200 million and one exceeded 100 million. This performance is really terrifying.

What people are more looking forward to now is whether the box office of "City of Sin" can exceed 200 million, what level will the box office myth of Lance reach, and when will it last? This is how history is created.

Ryan once foresaw such a scene in a nightmare. The box office of the "Sahara Cavalry" failed, and the "City of Sin" ushered in a box office victory, but even in the nightmare, the situation was not so terrible. The accumulated box office in two weeks, the "Sahara Cavalry" was only 29 million, not even a fraction of the "City of Sin". The gap like a chasm cut off all possibilities. Not to mention counterattack, there was no qualification to compare side by side. No one would compare the box office of the "City of Sin" and the "City of Shara Cavalry", just as no one would place Chaos Pictures and Diorama Pictures at the same height.

Although Ryan knew that for Diorama, the achievements of "City of Sin" were no longer important.

In fact, this was already the case when the Oscars were held. Whether the "killing someone with a knife" won the award has nothing to do with Diorama Film; now, whether the box office of "City of Sin" has exceeded 200 million has nothing to do with Diorama Film. A long time ago, Diorama Film had entered the stage of fighting with itself, and the box office of the "Saharan Cavalry" was their life-saving straw.

But Ryan still felt deep despair. They failed, and it was a violent defeat; Lance won, and it was a hearty victory. The sharp contrast was like a sharp blade, penetrated Ryan's chest hard, but no drop of blood penetrated out. Even the pain had disappeared from the nerve endings, leaving only that brief suffocation, as if the whole world was blurred.

He thought that the final battle would be more intense, closer and longer, but the ending came so quickly that it caught people off guard and that the end was about to come before they were even ready.

The North American box office of the "Saharan Cavalry" was not able to improve after all, and was only survived by the huge publicity activities. In the fourth week of April, the third week of the movie saw a 36% drop in the weekend, and only achieved a record of more than 5 million. The accumulated box office reached 36 million. This was their last effort. It seemed that after three weeks of struggle, it was like all the energy in the body, and it was like a thousand miles of energy. No publicity activity could awaken the audience's desire to enter the cinema again.

In the first week of May, the "Saharan Cavalry" fell directly from the top ten in the North American weekend box office rankings. The end is coming.

In the end, the "Saharan Cavalry" was released in North America for 12 weeks, with accumulating a box office of 48 million US dollars, but it still failed to cross the critical line of 50 million. From any perspective, this is a failure, a tragic failure, with no room for quibbling, and no room for appeal.

What’s ridiculous is that the “Saharan Cavalry” eventually accumulated box office, even worse than the box office of the “Sin City” premiere weekend.

At the same time, the overseas box office was like dominoes, and their dying struggle not only failed to play any role, but also accelerated the progress of failure. In just three weeks, the box office of the "Saharan Cavalry" was completely declared dead.

...
Chapter completed!