Sydney Sweeney’s latest film, ‘Americana,’ has made headlines for all the wrong reasons after a disappointing debut at the U.S. box office.

Directed by Tony Tost in his feature debut, ‘Americana’ is a Western-styled crime thriller starring Sweeney alongside Paul Walter Hauser, Halsey, Eric Dane, and Zahn McClarnon. The film first premiered at South by Southwest in 2023 but only reached theaters on August 15, 2025, following a two-year delay.

Lionsgate released the project through its specialty label, Lionsgate Premiere, with hopes of positioning it as a mid-tier genre film that could find audiences both in theaters and on demand.

Those hopes were dashed opening weekend. Playing in roughly 1100 U.S. theaters, the film grossed just $500,000, landing at 16th place on the domestic charts with a per-theater average of around $460.

Though Lionsgate has downplayed the numbers—arguing the film was always meant to be part of a “multi-platform strategy” including premium video-on-demand—the debut underscores a rocky start for a movie led by one of Hollywood’s hottest rising stars.

The Daily Beast slammed the film’s sluggish pacing and tonal confusion, calling it a derivative neo-noir that failed to leave an impact.

The New York Post criticized its attempt at a Coen Brothers-style mash-up, saying it lacked finesse and storytelling strength.

The San Francisco Chronicle* was more forgiving, praising Sweeney’s nuanced performance but admitting the direction and inconsistent tone undercut the film.

Adding to the turbulence was an unrelated controversy surrounding Sweeney’s American Eagle ad campaign. The campaign’s wordplay on “genes” and “jeans” sparked criticism for echoing eugenics undertones, drawing mockery from celebrities like Doja Cat and Lizzo. The timing of the backlash—just as *Americana* was hitting theaters—may have compounded the film’s already fragile rollout.

While the film’s theatrical numbers are bleak, Lionsgate is banking on ‘Americana’ recouping costs through VOD and streaming. Industry insiders note that the movie was never positioned as a blockbuster but rather as a modestly budgeted release intended to find life beyond theaters.

Still, for Sydney Sweeney—fresh off a string of high-profile projects—the weak box-office return highlights the challenges of balancing indie-styled projects with her growing mainstream stardom.

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