Disney’s decision to choose only the theatrical model for the latest MCU film Shang-Chi and the Legend of the Ten Rings seems to have paid rich dividends at the box office. Headlined by Simu Liu, Shang-Chi is the first MCU film featuring an Asian superhero. As per Forbes, thus far the Destin Daniel Cretton directorial has crossed the $250 million mark at the global box office, which is hugely impressive for a pandemic release.
The film had earlier opened with a sum of $83.5 million in the domestic (North American) box office and almost $140 million at the worldwide box office. In India, the film’s total thus far, as per trade analyst Taran Adarsh, is Rs 19.56 crore.
“#ShangChiAndTheLegendOfTheTenRings maintained steady numbers in Weekend 2… Biz grew substantially on [second] Sat and Sun… [Week 2] Fri 1.10 cr, Sat 1.43 cr, Sun 1.75 cr. Total: ₹ 19.56 cr Nett BOC. #India biz. All versions… #ShangChi ₹ 23.28 cr Gross BOC,” tweeted Adarsh.
Cretton wrote the script with Dave Callaham and Andrew Lanham. Awkwafina, Meng’er Zhang, Fala Chen, Florian Munteanu, Benedict Wong, Michelle Yeoh, Ben Kingsley, and Tony Leung also star.
The film has the superhero coming face to face with his father Wenwu, who wants him to take his place in his terrorist organisation Ten Rings. Shang-Chi had also smashed Rob Zombie’s Halloween record for the Labor Day opening weekend. The 2007 film had collected $30.6 million over four days.
The movie’s box office performance has not been affected by newer contenders like James Wan’s Malignant, which opened to a paltry $5.57 million in North America.
The Indian Express’ Ektaa Malik gave it 2 stars out of 5. She wrote in her review, “Shang-Chi and the Legend of the Ten Rings was supposed to be the Asian Black Panther, and open the gates to Asian pride and denote a new form of storytelling, for its people and the region. The film could’ve been a real game changer, especially in 2021, in the aftermath of the Covid Pandemic, when hate crime against Asians is at an all-time high. Sadly, it only scratches the surface and adopts peripheral nods to acknowledge Asian culture and thought.”