Eddington Box Office Bomb Is So Bad, They Already Kicked It to Streaming

The A24 release, which hit more than 2,100 screens, limped to a worldwide total of just $10,999,346 — $10,005,877 domestic and $993,469 international — against a rumored $25–30 million budget. With that kind of performance, the August 12 streaming debut is less a marketing strategy than a mercy release.

Theatrical performance:

• Domestic: $10,005,877
• International: $993,469
• Worldwide: $10,999,346

The CinemaScore — a "C+" — matches Aster's Midsommar and towers over Hereditary's infamous "D+," but the lukewarm reception wasn't enough to build legs. Coming off Beau Is Afraid, which reportedly lost A24 $35 million in 2023, the result raises real questions about whether the studio will bankroll another of Aster's sprawling, expensive passion projects.

A film divided against itself

Viewers have been quick to point out Eddington's tonal split. As one commenter put it,

"It seemed like two movies to me. The main part… was a slow build-up of tension… The film fractured into some kind of revenge carnage bloodbath for the conclusion."

Another agreed the transition was "too abrupt," arguing that a key meltdown scene "needed a lot more behind it… felt a little out of character."

Not everyone saw that shift as a flaw. For one of the viewers, the wild turn into chaos was the point:

"It's that very sort of bonkers Pynchonian shit that kept getting me back onboard… Give me more filmmaking with the I-don't-give-a-fuck-ness of flying in a champagne-sipping ANTIFA hit squad."

The back half of the movie blends over-the-top politics with bursts of violence, and it split audiences almost as much as its characters do. Some viewers thought it completely missed the mark as satire, while others saw it as a pitch-black comedy. People still argue about whether the big shootout and the parade of cartoonish activist cameos were meant to be funny or just unsettling.

Whatever the intent, Eddington's path was clear from the start: a short, low-key run in theaters, then straight to streaming. That shift might help it find more viewers, but the numbers speak for themselves — financially, this is Aster’s second big miss in a row, and a reminder that betting on highbrow auteur projects as box office hits is getting riskier.