Tracking suggests the Warner Bros. movie could open anywhere from $50 million to $60 million domestically, a subdued number considering it came on tracking three weeks ago to $70 million. In 2019, Joker debuted to a dazzling $96.2 million on its way to a record-shattering worldwide total of $1 billion.

The question now is whether the movie can clear $50 million to $55 million.

Phillips’ polarizing, R-rated sequel — which made its world premiere at the Venice Film Fest to miced-negative reviews— is a genre-busting, music-infused film that strays outside the comfort zone of the typical fanboy-fueled comic book pic.

More worrisome than Thursday’s night gross is terrible exit scores on PostTrak, with audiences giving it a half-star out of five, similar to the Thursday night score for Francis Ford Coppola’s Megalopolis, which bombed in spectacular fashion last weekend with $4 million. (Joker‘s PostTrak could ultimately change as the weekend goes on.)

Indeed, neither Phillips nor Phoenix was sure about making a sequel, and for a time contemplated putting on a Broadway show instead, before ultimately committing to the movie.

While 2019’s Joker earned comparisons to the earlier works of Scorsese, the sequel is far slower journey that focuses on the interior lives of its two leads.

Critics have praised the movie’s overall beauty, its performances and its crafts, but dinged it for its narrative, which is rather thin and is hampered by several flat and dull scenes.

Regardless of its box office performance, the movie is expected to be a major player in the Oscars race.

Overseas, Joker 2 opens everywhere this weekend, save for Japan and China, where it launches in the coming weeks. Warners is hoping for a foreign debut of $80 million to $85 million.

Joker: Foile à Deux reunites Phillips with Phoenix, who returns in the titular role after winning the Oscar for best actor for his portrayal of Arthur Fleck/Joker.

Joker and Harley are known for their toxic romantic relationship in the comics, with the title Folie à Deux referencing the medical term for an identical or similar mental disorder impacting two or more people. Much of the film consists of fantasy musical numbers starring the couple, who meet while Arthur is in Arkham Asylum, awaiting trial for his crimes from the first movie. But neither Warners nor Phillips is comfortable calling it a straight-up musical, given that only two of the characters sing, versus a traditional musical, which usually has scores of people participating in the numbers.

The studio’s marketing materials have steered clear of highlighting the film’s numerous musical sequences, just as they did when selling Wonka, an official musical. Warners isn’t alone; Paramount also didn’t market Mean Girls as a musical.

Phillips is well aware that the sequel is unorthodox, as it doesn’t fully follow through on the ending of Joker, which sees Arthur embrace his alter ego.

At the Los Angeles premiere Monday, Phillips thanked the studio “for taking such a bold swing,” adding, “it is not necessarily the sequel you might expect.”