Jenna Ortega’s New Sci-Fi Movie Officially Removed From 1,000 Theaters in Debut Weekend

He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal of introducing audiences to a whole new world of cinema. 

The domestic box office is delivering unexpectedly robust results this week, with DC’s Clayface poised to top the charts despite stiff competition from A24’s breakout sensation, You Can See Everything. The three-hour documentary film’s overperformance, not to mention the solid start that Laika’s Wildwood is eying, has caused collateral damage. A would-be awards contender was slated to debut nationwide this week, but poor reviews and spiraling tracking led Sony to opt for a platform release for the title instead. However, the movie in question is doomed if opening-day figures are anything to go by.

This is a rough turn of events for the film’s two stars — Jenna Ortega and Amy Adams — who are in desperate need of a box-office hit. Adams, a six-time Oscar nominee, hasn’t delivered a blockbuster as a lead in a decade. Her last big hit was the sci-fi darling Arrival, after which she appeared in Nocturnal Animals, Dear Evan Hansen, and Vice. She also starred in the streaming movies Disenchanted, The Hillbilly Elegy, and The Woman in the Window. Ortega, on the other hand, is coming off the box-office underperformers Death of a Unicorn and Hurry Up Tomorrow.

Your answers point to the world your instincts were built for. This is the universe your temperament, your survival instincts, and your particular brand of stubbornness were made for.

You took the red pill a long time ago — probably before anyone offered it to you. You’re a systems thinker who can’t help but notice the seams in things.

• You’re drawn to understanding how the system works before figuring out how to break it.
• You’d find the Resistance, or it would find you — your instinct for spotting constructed realities is the machines’ worst nightmare.
• You function best when you have access to information and the freedom to act on it.
• The Matrix built an airtight prison. You’d be the one probing the walls for the door.

The wasteland doesn’t reward the clever or the well-connected — it rewards those who are hard to kill and harder to break. That’s you.

• You don’t need comfort, community, or a cause larger than the next horizon.
• You need a vehicle, a clear threat, and enough fuel to outrun it — and you’re good at all three.
• You are unsentimental enough to survive that world, and decent enough — just barely — to be something more than another raider.
• In the wasteland, that distinction is everything.

You’d survive here because you know how to exist in moral grey areas without losing yourself completely.

• You read people accurately, keep your circle small, and ask the questions others prefer not to answer.
• In a city where humanity is a legal designation rather than a feeling, you hold onto something that keeps you functional.
• You’re not a hero. But you’re not lost, either.
• In Blade Runner’s world, that distinction is everything.

Arrakis is the most hostile environment in the known universe — and you are precisely the kind of person it rewards.

• Patience, discipline, and political awareness are your core strengths — and on Arrakis, they’re survival tools.
• You understand that the long game matters more than any single victory.
• Others come to Dune and are consumed by it. You’d learn its logic and earn its respect.
• In time, you wouldn’t just survive Arrakis — you’d begin to reshape it.

The galaxy far, far away is vast, loud, and in a constant state of violent political upheaval — and you wouldn’t have it any other way.

• You find meaning in being part of something larger than yourself — a cause, a crew, a rebellion.
• You’d gravitate toward the Rebellion, or the fringes, or whatever pocket of the galaxy still believes the Empire’s grip can be broken.
• You fight — not because you have to, but because standing aside isn’t something you’re capable of.
• In Star Wars, that willingness is what makes all the difference.

Here’s How Much the Sci-Fi Movie Is Projected to Gross

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

• Image via. Sony Pictures Distributing

Their new film is the dystopian sci-fi drama Klara and the Sun. Directed by the Oscar winner Taika Waititi, who needs a win himself, the film is sitting at a 24% score on Rotten Tomatoes. The aggregator website’s consensus reads, “Flattening the nuanced ideas of its acclaimed source material with a tonally broad approach, Klara and the Sun aims to be endearing and inspiring but winds up being cloying and twee.” The movie is based on a book by Kazuo Ishiguro, whose other sci-fi novel was adapted into the widely acclaimed film Never Let Me Go. Klara and the Sun was originally supposed to open in nearly 2,000 theaters, but is now playing in roughly 850 locations nationwide. The movie is poised to earn less than $1 million this weekend, against a budget reported to be as high as $40 million. Stay tuned to Collider for more updates.

Klara and the Sun