Jennifer Lopez's latest film Kiss of the Spider Woman has stumbled sharply at the U.K. box office, generating just £6,856 ($9,260) in its opening weekend despite a production budget estimated at £22 million ($30 million), underscoring growing volatility in theatrical performance for mid-budget musicals led by A-list talent.
The film, released across more than 140 cinemas, averaged roughly £49 ($66) per location, according to reported figures-an unusually weak turnout for a wide release anchored by a globally recognized performer. Industry observers noted that the opening equates to ticket sales comparable to "700 popcorn boxes," highlighting the scale of the underperformance relative to expectations.
The project, directed by Bill Condon and produced by Ben Affleck, Matt Damon, and Lopez herself, is a contemporary adaptation of the Tony-winning Broadway musical based on Manuel Puig's 1976 novel. The film also stars Tonatiuh and Diego Luna.
Despite its commercial struggles, the film initially drew positive attention during its premiere at the 2025 Sundance Film Festival, where critics praised its ambition and performances. Early industry speculation even pointed to potential awards recognition, though that momentum failed to translate into sustained audience turnout during its U.S. release last October.
Box office data from the U.S. run reflected early warning signs:
- Opening weekend: £660,000 ($891,000), below a £1.1 million target
- Total domestic gross: £1.48 million ($2 million)
- U.K. opening weekend: £6,856 ($9,260)
The disconnect between critical reception and commercial performance reflects broader challenges facing theatrical musicals, particularly those without established franchise backing or strong pre-release audience engagement.
Lopez has publicly framed the project as a personal milestone. Speaking about the film, she said: "I was waiting my whole life to be able to do a real big MGM Hollywood musical, and I finally got to do it. It was more than I hoped." The comment underscores the film's significance within her career trajectory, even as financial returns fall short.
The production also coincided with significant personal developments. During filming, Lopez navigated the breakdown of her marriage to Affleck, with the couple finalizing their divorce in January 2025. Reflecting on that period, she said, "It was a really tough time. Every moment on set, every moment I was doing this role, I was so happy," adding, "And then, it was like, back home it was not great. And it was just like, Oh, you know, how do I reconcile this?"
She later described the outcome of that period in more reflective terms, stating: "It was the best thing that ever happened to me," and adding, "Because it changed me ... It didn't change me, it helped me grow in a way that I needed to grow."
The latest setback follows a pattern of uneven box office results in Lopez's recent film slate, including Unstoppable, which posted a modest $4,200 opening weekend in the U.S. Her earlier career, by contrast, included commercially successful titles such as Selena, Hustlers, and Maid in Manhattan, which helped cement her crossover appeal between music and film.
Lopez has emphasized resilience in the face of fluctuating commercial outcomes. "The hard times are the lessons, and you have to understand that," she said. "You have to understand that. And once you do, everything just becomes a little bit lighter. And you can really, really fly... And I still feel like I want to fly higher. I want to see more. I want to do more things."
