Imagine a star lighting up the screen in two wildly different worlds—one a raw, heart-wrenching family drama that forces us to confront our darkest fears, and the other a high-octane action extravaganza packed with revenge and razor-sharp wit. Lucy Liu is pulling off this cinematic double act right now, and it's got audiences buzzing. But here's where it gets controversial: Can one actress truly redefine her legacy by blending indie depth with blockbuster flair, or is this just Hollywood's way of pigeonholing talent? Stick around, because the numbers and stories behind her latest projects might just challenge what you think about modern filmmaking.
Let's dive into the details. Vertical's intense drama Rosemead, marking Lucy Liu's inaugural solo lead role, kicked off with a sizzling $50.2k from its exclusive run at New York's AMC Lincoln Square—a standout per-theater debut that ranks among the year's best. Liu, who also served as a producer on the film, balanced this achievement with a thrilling return in Lionsgate's reissue of Quentin Tarantino's iconic Kill Bill: The Whole Bloody Affair, where she reprises her role as the alluring and lethal antagonist O-Ren Ishii. This combined edition of the original Volumes One and Two secured the sixth spot at the domestic box office, raking in $3.25 million across 1,198 screens. It's a testament to Tarantino's enduring appeal, but it also raises an intriguing question: How does a film like this hold up against today's fast-paced entertainment landscape?
Rosemead, directed by seasoned cinematographer Eric Lin in his feature film debut, made its mark at the Tribeca Festival. The entire core creative team comprises Asian American talents crafting a tale that's deeply rooted in a specific cultural experience yet speaks universally to themes that transcend race. Liu portrays a suburban mother battling a serious illness, who discovers her teenage son (played by Lawrence Shou) is plagued by uncontrollable violent urges. As her condition worsens, she grapples with the extreme lengths she'll go to shield him. Picture the subtle but intense dynamics of a Chinese American family under pressure—it's a story about love, desperation, and the breaking point of human resilience. For beginners just getting into indie cinema, think of it as a modern take on family dramas like American Beauty, but with a laser focus on cultural nuances and personal sacrifice that feels both intimate and explosive.
The film didn't stop at festivals; it scooped up the Best Narrative Feature award at the Bentonville Film Festival and the Prix du Public UBS audience prize at the Locarno Film Festival, where Liu also picked up a Career Achievement Award. Vertical reported sold-out screenings and eager walk-up crowds throughout the weekend, bolstered by Q&As featuring cast and crew, moderated by stars like Marcia Gay Harden and Julia Fox. Next up, it expands to AMC Century City in Los Angeles, complete with discussions led by Geena Davis and Awkwafina. In New York and Los Angeles, luminaries such as Demi Moore, Rosie Perez, Lulu Wang, and Barry Jenkins hosted screenings ahead of the launch. This kind of grassroots buzz is what makes indie films thrive, and it begs the question: Are celebrity endorsements a genuine boost for niche stories, or do they sometimes dilute the authenticity?
Liu shared her heartfelt reaction: “I’m so moved by the incredible support Rosemead has received from audiences. When Mynette Louie, Andrew Corkin, and I set out to make this film, our hope was to spark conversation and maybe even open a few hearts. To feel that connection with everyone this weekend means more than I can express.” Vertical’s President of Distribution, Steve Bunnell, echoed the enthusiasm: “We are proud to distribute this courageous and vitally important film exclusively in movie theatres and excited to bring it to Los Angeles next week and across the country in January.”
Producer Mynette Louie emphasized the bigger picture, noting that theatrical releases are essential for the survival of independently funded films. “We cannot rely on corporations to help us tell the wide range of our underrepresented stories that appeal universally. Our film started as a community-led effort, and we are thrilled to now welcome audiences of all stripes into that growing community.” This echoes a broader debate in the industry: Is theater exclusivity the lifeline for diverse voices, or should we embrace streaming to reach even wider audiences? And this is the part most people miss—how grassroots projects like this one prove that passion-driven films can compete in a blockbuster-dominated world.
Shifting gears to other fresh entries in the box office scene, GKids' Manga Jujutsu Kaisen: Execution burst onto screens with an impressive $10.15 million from 1,833 locations, claiming the fourth position domestically. This anime adaptation brings high-stakes supernatural battles to life, perfect for fans of action-packed storytelling.
Sony Pictures Classics' Merrily We Roll Along, directed by Maria Friedman, adapts the 2024 Broadway revival of Stephen Sondheim's 1981 musical. It opened to $1.24 million across 1,084 screens. The stage production garnered Tony Awards for Best Musical Revival and its leading actors, Jonathan Groff and Daniel Radcliffe, adding layers of prestige to this cinematic version.
Bleecker Street's British period spoof Fackham Hall notched $302k from 1,112 theaters. Directed by Jim O’Hanlon and starring Damian Lewis, it's pitched as a hilarious mashup of Downton Abbey and Airplane!, blending class satire with slapstick comedy.
IFC Films Entertainment Group's 100 Nights of Hero earned $250k on 828 screens, offering another slice of independent adventure.
For limited releases, Kristen Stewart's acclaimed directorial debut The Chronology of Water, distributed by The Forge, kicked off with a one-week run at New York's Village East and Los Angeles' Laemmle Royal, pulling in $18k. Adapted from Lidia Yuknavitch's bestselling memoir, the film explores themes of trauma and identity with Stewart's distinctive touch. It premiered at major festivals like Cannes, Deauville American Film Festival, AFI Film Festival, Hamptons International Film Festival, BFI London Film Festival, SCAD Savannah Film Festival, and Denver Film Festival, where actress Imogen Poots received the Excellence in Acting Award. It officially expands to select markets on January 9 and will grow throughout the month—an example of how intimate, character-driven stories can build momentum slowly but surely.
Mubi's La Grazia, the newest work from Italian filmmaker Paolo Sorrentino, debuted at New York's Angelika Film Center with $13.9k. Toni Servillo stars as a fictional Italian president navigating tough political choices and personal dilemmas. It will roll out to the top 15 North American markets over the coming weeks, showcasing Sorrentino's signature blend of satire and depth.
On the expansion front, Focus Features' Hamnet, directed by Chloé Zhao, pulled in an estimated $2.3 million over three days in its second week, ranking eighth on 744 screens with a cumulative total of $4.2 million. It's gearing up for a broader release in January. The drama has resonated strongly, boasting a 92% audience score on Rotten Tomatoes (and 86% from critics) while holding a top-ten spot. Recently, it snagged an AFI Motion Picture of the Year nod and 11 Critics' Choice Awards nominations, including Best Feature. Featuring Jessie Buckley, Paul Mescal, Emily Watson, and Joe Alwyn, it's a poignant exploration of loss and legacy that might just redefine historical fiction.
A24's Eternity, helmed by David Freyne, boasted the strongest hold in the top ten during its second week, thanks to positive buzz. It grossed $2.7 million on 2,386 screens, securing seventh place and a total of $9.58 million. This afterlife romantic comedy, starring Elizabeth Olsen, Miles Teller, Callum Turner, Da’Vine Joy Randolph, and John Early, mixes humor with heartfelt emotion in a way that keeps viewers coming back.
Among the holdovers, Searchlight's Rental Family—with Brendan Fraser in the lead—added $577k in its third week across 1,005 screens, reaching a cumulative $8.97 million.
Neon's The Secret Agent collected $109k on eight screens in week two, totaling $211k. Meanwhile, Neon's Sentimental Value endured into its fifth week on 344 screens, earning $328k for a cume of $2.94 million.
Sony Pictures Classics' Nuremberg, headlined by Russell Crowe and Rami Malek, grossed $356k on 341 screens in week five, amassing $13.2 million overall.
There you have it—a whirlwind of box office highs, indie triumphs, and thought-provoking stories. But let's stir the pot a bit: In an era dominated by streaming giants, is insisting on theatrical releases for films like Rosemead a bold stand for quality, or an outdated fight against inevitable change? Do you think themes of family violence and protection in such dramas reflect real societal issues, or sometimes sensationalize them for shock value? I'd love to hear your take in the comments—agree, disagree, or add your own spin!
