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Kevin Spacey's latest film, Billionaire Boys Club, took in just €110 on its opening night

It’s a box office low for Spacey.

AFTER ALLEGATIONS OF sexual assault were levelled against Kevin Spacey in 2017, Vertical Entertainment released a statement in which they said they hoped the reports would not affect the audience’s enjoyment of Spacey’s yet-to-be released project, Billionaire Boys Club.

Kevin Spacey allegations Source: Matt Crossick

Stressing that the film was made more than two years before the allegations surfaced, Vertical Entertainment said:

We hope these distressing allegations pertaining to one person’s behaviour, that were not publicly known when the film was made almost two and a half years ago and from someone who has a small, supporting role in Billionaire Boys Club, does not tarnish the release of the film.

The statement sought to remind the public that the film was a collective effort, and should be treated as such.

In the end, we hope audiences make up their own minds as to the reprehensible allegations of one person’s past, but not at the expense of the entire cast and crew present on this film.

It seems, however, that the statement did little to maintain, or indeed, pique the interest of cinema-goers, who avoided it like the plague upon its opening weekend in the States.

According to The Hollywood Reporter, the movie, which was released in just eight theatres across the States, sold an average of two tickets per cinema on its first night.

PastedImage-28761 Source: YouTube

It has been established that the film netted just $126 on its opening night followed by $287 the next day.

The film which was directed by James Cox and stars Ansel Elgort, Emma Roberts and Suki Waterhouse was the talk of Twitter following the release of the stats.

And just to hammer home the point, Baby Driver, which saw Spacey take a starring role in 2017, took in $20 million on its opening weekend.

Yeah, exactly.

Billionaire Boys Club, which was shot in 2015, was initially released on video last month.

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About the author:

Niamh McClelland

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