Sunday, July 5, 2026

UPDATE Bieber Panic as Fans Ignore New Documentary: Box Office Free Fall

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UPDATE SUNDAY 12NOON: Open Road didn’t turn in numbers for the weekend after all. But estimates are that “Believe” came in around $4.3 million for its first weekend. The spin is that the film only cost $5 mil and had little promotional budget because they felt it didn’t need it. But it’s a disaster of disinterest from the Bieber fans. They simply didn’t go.

EARLIER:

If I were Scooter Braun, now I’d be concerned. Ticket sales for Justin Bieber’s “Believe” dropped 19% from Wednesday to Thursday, and 22% more from Thursday to Friday. The teenybopper’s big new documentary is a shiny new flop. This isn’t just because it’s only in 1,037 theaters. In those theaters, it’s a flop. The film has taken in $3 million, most of it on the first two days. By Friday it was down to $780,000. It may not clear the $5 million mark for Wednesday-Sunday. If that’s the case, the Bieber insiders may have to look at how their pet project is faring in a post-teen world. Can a pop star poop out this fast? Yes. Good news, though: “Believe” has beaten by “Mandela” so far, which is playing in fewer theaters. No doubt Mr. Bieber feels that Nelson Mandela (if he’s heard of him) would have been a ‘belieber’ just like Anne Frank.

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Roger Friedman
Roger Friedman
Roger Friedman is the founder and editor-in-chief of Showbiz411. He wrote the FOX411 column on FoxNews.com from 1999 to 2009, where he covered Michael Jackson, and previously wrote the "Intelligencer" column at New York magazine in the mid-1990s, where he covered the O.J. Simpson trial. He also edited Fame magazine. His bylines have appeared in The New York Times, The Washington Post, the New York Daily News, the New York Post, Vogue, Details, and the Miami Herald. He is a voting member of the Critics Choice Awards (Film and Television branches), and his movie reviews are tracked by Rotten Tomatoes. With D.A. Pennebaker and Chris Hegedus, he co-produced the 2002 documentary "Only the Strong Survive," which screened at Directors' Fortnight at the Cannes Film Festival.

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