Despite mixed reviews, It Ends With Us secures a strong box office debut, while Borderlands struggles to find its footing.

The much-anticipated film adaptation of Colleen Hoover‘s best-selling novel *It Ends With Us* has made an impressive mark at the box office, despite receiving mixed reviews from critics. The film, starring Blake Lively and Justin Baldoni, opened on August 9 and quickly garnered a substantial $50 million across 3,611 theatres during its opening weekend. This achievement is particularly notable given the movie’s relatively modest production budget of $25 million, co-financed by Sony Pictures and Baldoni’s Wayfarer Studios.

Directed by Justin Baldoni, who also plays a leading role, *It Ends With Us* delves into the emotionally charged story of Lily Bloom (played by Lively), a florist who finds herself trapped in a tumultuous and abusive relationship with neurosurgeon Ryle Kincaid (portrayed by Baldoni). The narrative explores the impact of domestic abuse, a central theme in the film, as Lily reconnects with her first love, Atlas Corrigan (played by Brandon Sklenar), who becomes her emotional support as she navigates her struggles.

While the film’s release was met with mixed reactions, leading to a modest rating on Rotten Tomatoes, it nevertheless struck a chord with audiences, propelling it to second place at the box office. It trailed behind the blockbuster *Deadpool & Wolverine*, which held onto the top spot for another week. The success of *It Ends With Us* can be attributed to its compelling story, star-studded cast, and strong fanbase of Hoover’s novel, which helped drive viewers to theatres despite the film’s critical reception.

In contrast, the video game adaptation *Borderlands*, starring Cate Blanchett, opened to disappointing numbers. Despite its high-profile cast and the popularity of the source material, *Borderlands* managed to earn only $8.8 million from 3,125 cinemas, landing in fourth place at the box office. The film, which follows outlaw Lilith (Blanchett) as she returns to her home planet Pandora to team up with a group of misfits in search of the missing daughter of the universe’s most powerful man, struggled to resonate with audiences.

Critics had mixed opinions about *Borderlands*. Digital Spy praised the film for its visual fidelity to the video game, its engaging soundtrack, and its comedic cast. However, they also noted that the movie lacked the necessary humor, zaniness, and intensity to fully capture the spirit of the game, ultimately describing it as “somehow bland.”

The contrasting performances of these two films highlight the unpredictable nature of box office success and the varying factors that can influence a movie’s reception. While *It Ends With Us* benefited from its emotional depth and dedicated fanbase, *Borderlands* struggled to overcome the challenges of translating a beloved video game into a compelling cinematic experience.

Analysis:

Political: The success of *It Ends With Us* at the box office comes at a time when issues of domestic violence and gender-based abuse are increasingly in the political spotlight. The film’s focus on these themes may resonate with audiences who are more attuned to social justice issues, particularly in light of recent movements advocating for survivors of abuse. The political impact of the film could extend to discussions about how media representations influence public awareness and policy-making around domestic violence. Additionally, the financial success of the film may encourage more studios to take on projects that deal with socially relevant and sensitive topics, potentially leading to a greater representation of these issues in mainstream media.

Social:  On a societal level, *It Ends With Us* taps into the ongoing conversation about the portrayal of domestic abuse in media. The film’s narrative, which centres on the complex emotions and difficult decisions faced by survivors of abuse, may provoke discussions about the portrayal of such issues in entertainment. While some may view the film as an important step in bringing these topics to a broader audience, others may critique its approach or question the impact of dramatizing real-life traumas for entertainment. The film’s reception, particularly among viewers who have experienced similar situations, will likely shape its legacy and the broader conversation around how such stories are told.

Racial: The casting and narrative of *It Ends With Us* and *Borderlands* also offer opportunities to examine representation in media. While *It Ends With Us* focuses on a predominantly white cast, its themes are universal, touching on experiences that transcend racial lines. However, the absence of a more diverse cast may limit its resonance with a broader audience, particularly those from marginalized communities who may see their own stories reflected less often in mainstream media. In contrast, *Borderlands*, with its diverse ensemble cast, attempts to reflect a more inclusive range of characters, though its narrative shortcomings may overshadow these efforts.

Gender: Gender dynamics are at the heart of *It Ends With Us*, making the film a significant contribution to the conversation around gender-based violence and the depiction of women’s experiences in media. The film’s exploration of Lily’s journey from victim to survivor aligns with broader societal efforts to amplify women’s voices and address issues of power and control in relationships. However, the film’s mixed reviews suggest that the execution of these themes may not have fully satisfied all audiences or critics, raising questions about how effectively media can tackle such sensitive subjects.

Economica: The box office performance of *It Ends With Us* and *Borderlands* offers insights into the economic dynamics of the film industry. The success of *It Ends With Us* demonstrates the potential for mid-budget films to achieve significant returns when backed by a strong narrative and a dedicated fanbase. This could encourage studios to invest in similar projects that might not have the blockbuster appeal but resonate deeply with targeted audiences. Conversely, the underperformance of *Borderlands* highlights the risks associated with high-budget adaptations, particularly those that rely on existing intellectual properties. The economic implications for the studios involved may lead to a reevaluation of how such projects are developed and marketed, with a greater emphasis on ensuring that the adaptation captures the essence of the source material.

Overall, the contrasting outcomes of *It Ends With Us* and *Borderlands* illustrate the complex interplay between narrative content, audience expectations, and box office performance in today’s film industry. While one film finds success through emotional depth and relatability, the other struggles to translate a beloved gaming experience into a compelling cinematic narrative