Sydney Sweeney established herself as one of Hollywood‘s promising young talents through her TV roles, and 2024 marked a critical year for her transition into film with the unexpected success of Anyone But You. The romantic comedy, featuring Glen Powell, earned $220 million globally, heightening industry interest in Sweeney ahead of her upcoming projects like Madame Web and Immaculate. However, despite this breakthrough, her recent films have encountered disappointing box office performances, casting uncertainty on her appeal as a solo movie draw.
Both Madame Web and Immaculate had modest returns, with the former underperforming by Sony’s standards at $100 million worldwide but later gaining traction on Netflix, and the latter bringing in $35 million globally. Yet it was the success of Anyone But You that propelled several other projects slated for 2025. Following this momentum, Sweeney’s portrayal in Christy, a biopic about boxer Christy Martin, received critical praise though the film itself failed to capture wide audience interest, maintaining a streak of modest box office results.
Adding to this pattern, Sweeney’s involvement in films such as the Quentin Tarantino-styled Western Americana and Ron Howard’s real-life drama Eden also failed to meet financial expectations. Despite being a central figure in these movies, the disappointing earnings have not yet led to a reevaluation of her status within Hollywood. With another film on the horizon, Sweeney has an opportunity to redefine her box office prospects.
Analysis of Sydney Sweeney’s Recent Box Office Challenges
Recent speculation suggests that Sydney Sweeney’s presence might contribute to the underperformance of her recent films like Christy, Americana, and Eden. Nevertheless, it is overly simplistic and unfair to attribute these outcomes solely to her involvement. While studios were hopeful her name would translate into box office success, many of these releases suffered from minimal marketing efforts, reducing their visibility among potential audiences.
Americana opened with roughly $500,000, Eden managed $2.7 million worldwide after a $1 million debut, and Christy earned $1.3 million domestically. Unlike major studio blockbusters, these films received little promotional support, limiting their commercial impact. Both Americana and Eden were acquired by distributors Lionsgate and Vertical after their festival premieres, intending long-term returns rather than immediate box office hits.
Christy differed slightly, having Black Bear onboard as its distributor prior to festival exposure. Sweeney participated more actively in press engagements, highlighting the biopic’s real-life angle and her physical transformation for the role. However, the project seemed positioned more as an awards contender focusing on a potential Best Actress nomination for Sweeney in 2026 rather than a box office event.
Controversies surrounding Sweeney, such as reactions to her American Eagle advertisement and rumored political views, have also drawn public attention. Some argue these factors may have alienated segments of the potential audience, influencing box office results. Yet, this perspective ignores broader trends within independent cinema, where other prominent actors have seen their films struggle commercially.
For instance, Jennifer Lawrence and Robert Pattinson’s psychological drama Die, My Love failed to surpass $3 million at the box office despite their star power. Other high-profile actors like Julia Roberts, Andrew Garfield, Jenna Ortega, Margaret Qualley, Chris Evans, Dakota Johnson, Jennifer Lopez, Denzel Washington, Nicolas Cage, Dylan O’Brien, and Daniel Day-Lewis have likewise faced commercial setbacks for their indie projects. These patterns indicate that struggling independent films are common, extending well beyond Sydney Sweeney or the specific movies she starred in.
The strong individual performances in Americana, Eden, and Christy could have improved Sweeney’s standing, but the overall commercial results should not diminish her growing influence. The upcoming release will serve as a truer indicator of her capacity to attract audiences at the box office.
Upcoming Film ‘The Housemaid’: A Pivotal Moment for Sydney Sweeney
Unlike her previous movies, Sydney Sweeney’s next release, The Housemaid, represents a significant box office opportunity. Scheduled for release on December 19, this adaptation of Freida McFadden’s bestselling novel is intended to be a major theatrical success. Lionsgate is betting on Sweeney’s star power after collaborating with her on Americana, selecting Paul Feig—known for directing A Simple Favor—to lead the project alongside Amanda Seyfried and Brandon Skelnar in supporting roles.
With a budget alleged to be between $25 million and $40 million, The Housemaid is a psychological thriller designed to attract audiences seeking alternatives to large franchise blockbusters, such as James Cameron’s Avatar: The Way of Water. The studio appears to target younger and female viewers, aiming to leverage the book’s popularity on platforms like TikTok to generate buzz. The timing of the release suggests Lionsgate hopes the film will sustain strong box office performance throughout the holiday season, much like Anyone But You did earlier in the year.
The outcome of The Housemaid could significantly influence judgments about Sydney Sweeney’s viability as a leading box office attraction. If the film surpasses expectations, it will solidify her position as a rising star and overshadow the recent underperforming films. Conversely, if it fails to make an impact, doubts about the trajectory of her career will likely intensify. Consequently, this film stands as a critical test in determining the direction of Sweeney’s future in cinema.
