NEW YORK − In a movie match-up almost as unlikely as “Barbie” and “Oppenheimer,” Martin Scorsese took on Taylor Swift in cinemas this weekend. And while the box office belonged for a second time to “Taylor Swift: The Eras Tour,” Scorsese’s “Killers of the Flower Moon” got off to a strong start in Apple Studios’ first major theatrical gambit.

After a record-breaking opening weekend of $92.8 million, “Taylor Swift: The Eras Tour” took in an estimated $31 million from 3,855 locations, according to AMC Theaters. In an unconventional deal, the theater chain is distributing Swift’s concert film, and playing it only Thursdays through Sundays.

Most Swifties rushed to see the film on opening weekend, when a large percent of sales were pre-sold. Sales dropped a steep 67% in its second weekend, potentially signifying that “The Eras Tour” was predominantly an opening-weekend phenomenon.

But “The Eras Tour” has still proved to be a movie event unlike any other. Within days, it became the highest-grossing concert film ever in North America, not accounting for inflation. It’s quickly accumulated $129.8 million domestically.

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More was riding on “Killers of the Flower Moon,” a historical crime drama about a string of murders against the Osage Nation in the early 1920s. The film, which cost at least $200 million to make, is the largest production yet from Apple Studios. The streaming service released Scorsese’s adaptation of David Grann’s best-selling book in 3,628 theaters, with plans to stream it on a not-yet-announced date on Apple TV+.

“Killers of the Flower Moon” debuted with $23 million, marking the third best opening for the 80-year-old director following “Shutter Island” ($41 million in 2010) and “The Departed” ($26.9 million in 2006). Though Scorsese’s latest opus, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, will have a hard road to reaching profitability, it’s a successful launch for a 206-minute-long adult-skewing drama – a type of movie that, outside “Oppenheimer,” has struggled mightily at the box office in recent years.

“Killer of the Flower Moon” also marks the best wide-release debut for a film from a streaming company. With rave reviews, an A- CinemaScore from audiences and the backing of a robust Oscar campaign, the movie should continue to play well over the long haul.

Earlier this year, Apple said it plans to spend $1 billion a year making movies that will have theatrical releases before reaching the streaming service. Apple is also behind Ridley Scott’s upcoming “Napoleon,” starring Joaquin Phoenix, which will be in theaters Nov. 22, and Matthew Vaughn’s “Argylle,” expected Feb. 2.

“If ‘flexibility’ is the new mantra of the theatrical movie business, then this is a significant success − it establishes a viable option for the companies,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research, of the “Killers of the Flower Moon” launch.

As dissimilar as “Taylor Swift: The Eras Tour” and “Killers of the Flower Moon” are, they’re alike in their extended run times. A double feature of the weekend’s top two movies would take 6 hours and 14 minutes, not counting ads and trailers.

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“Killers of the Flower Moon” also reeled in more young moviegoers than might have been expected: 44% of ticket buyers were under the age of 30.

“The Exorcist: Believer,” the horror sequel directed by David Gordon Green, came in a distant third with $6.7 million in its third weekend. The film has grossed $54.2 million domestically.

“PAW Patrol: The Mighty Movie” came in at No. 4 with $4.3 million in its fourth weekend. The fifth spot went to the re-release of Tim Burton’s “The Nightmare Before Christmas,” which collected $4.1 million 30 years after it first landed in theaters.

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