Following the premiere of 'Rain Man', the industry data was compiled, and the verdict was undeniable. While the thunderous standing ovation at the Mann Village Theatre might have been dismissed by some as the bias of a star-studded Hollywood crowd, the subsequent reaction from both critics and the general public proved that the initial enthusiasm was no fluke.
The film received a wave of critical acclaim, with 90% of critics filing positive reports, confirming that the story's emotional resonance translated far beyond the premiere's red carpet. The reviews frequently highlighted the unique chemistry between the two leads, noting that the film's success relied on a delicate balance of two very different acting styles.
Janet Maslin from The New York Times wrote:
"In Rain Man, director Barry Levinson has crafted a road movie of rare sensitivity. While many in the audience will rightfully be dazzled by Dustin Hoffman's performance—a technical marvel of tics, rigid routines, and a hauntingly distant gaze—it is Alex Hayes who serves as the film's emotional anchor. Hayes plays Charlie Babbitt with a fierce, straight-ahead honesty. He is the audience's eyes; it is through his frustration, his gradual softening, and his ultimate devotion that we truly come to understand Raymond. Without Hayes's grounded presence, the sentiment of the film simply wouldn't have reached its target."
From the Chicago Sun-Times, Roger Ebert gave a glowing review:
"I loved this movie. Barry Levinson proves he is a master of the human moment. Dustin Hoffman is mesmerizing, but the surprise here is the depth provided by Alex Hayes. He takes a character who begins as an unlikable, fast-talking opportunist and slowly breaks him down until only a brother's love remains. It is a four-star masterclass in acting from both leads."
In a more skeptical review, Kenneth Turan of the Los Angeles Times took a more measured approach, noting that while the performances were stellar, the film's structure felt familiar. He argued that even though Barry Levinson's direction is unhurried and Alex Hayes and Dustin Hoffman are excellent, the narrative relies heavily on a sentimental framework that feels calculated to tug at the heartstrings.
Conversely, a harsh critique came from The New Yorker's Pauline Kael, who dismissed the project as high-gloss manipulation. She wrote that Dustin Hoffman's Raymond felt more like a collection of rehearsed tics than a character, and while Alex Hayes does his best to anchor the proceedings, the script's determination to force a tear-jerking reaction ultimately lost its grip on reality, resulting in a messy melodrama.
Despite the critical outliers, the general public embraced the film with unbridled enthusiasm. CinemaScore, which polls opening-night audiences, reported a rare and coveted A+ grade, proving that the premiere's energy was mirrored in theaters across the country. Word of mouth was spreading like wildfire.
This fervor translated into an astounding $21.5 million opening weekend, despite being released in only 1,820 theaters. This was a notably conservative rollout compared to Alex's previous blockbusters; both The Princess Bride and Top Gun had enjoyed massive saturation releases in over 2,000 theaters across the country.
The strategy was deliberate. As a heavy character drama, Paramount executives and exhibitors were initially cautious. In the 1980s, the "theater count" for a drama was typically kept lower to ensure that every screening remained packed, creating an aura of exclusivity and "prestige" that wouldn't be possible if the film were spread too thin. High-octane action films were designed to be "event" movies that captured everyone at once, but Rain Man was intended to be a film that earned its screen space through quality rather than pure marketing muscle.
Inside the Paramount offices, the studio's top brass gathered to review the staggering figures. Frank Mancuso, Sr. (Chairman and CEO of Paramount Pictures), Sid Ganis (President of the Motion Picture Group), and Stanley R. Jaffe (Leading Producer and Studio Consultant) sat in stunned silence as they stared at the first weekend report.
"Twenty-one point five million," Mancuso whispered, looking over his spectacles at the other two. "In eighteen hundred theaters. I'm looking at the page, and I still don't believe it. This is a drama about two brothers on a road trip. Though we thought it was good and would be a success, we didn't expect this. After all, it is a character-driven drama—not sci-fi action, action drama, or even a comedy action film. We gave it a smaller theater footprint because we didn't want to overextend, and yet people are literally lining up around the block."
Sid Ganis leaned back in his chair, offering the board a nonchalant shrug. "Ultimately, it's a synergy between the material and the man," he noted. "We clearly underestimated his marketability; the data proves that audiences will follow him into a drama just as readily as they do for action, fantasy, or comedy. Given Alex's track record, the public is simply invested in his trajectory. He gets them through the doors, but the quality of the content is what keeps them in their seats."
"It's the CinemaScore that's the real story here," Jaffe added, pointing to the A+ on the report. "The audience clearly loves it. Usually, big action movies are frontloaded and drop off fast, but drama films have much better legs because they rely on word-of-mouth. If this holds steady, we have a genuine blockbuster on our hands."
Frank Mancuso leaned forward, his eyes sharp. "What are the top openings of 1988 so far?"
Sid Ganis checked his notes. "The record holder is another Alex Hayes picture, The Princess Bride, with $27.8 million. Below that is Crocodile Dundee II with $24.4 million, but remember, that was a four-day memorial holiday weekend in May. Now we have Rain Man at $21.5 million."
"We need to strike while the iron is hot," Mancuso said firmly. "The demand is clearly there. Let's expand the theater count for next weekend. I want this everywhere."
Stanley Jaffe, as COO, gave a sharp nod. "Consider it done. We'll start moving the prints immediately."
The strategy was executed flawlessly, and over the following month, Rain Man defied the usual gravity of the box office with a run that left the industry in awe. Following its massive debut, the film maintained an incredible pace during its first set of weekdays, grossing $14.1 million from Monday to Thursday.
As the second weekend arrived, Paramount leaned into the momentum by expanding the release to 2,135 theaters. Driven by an explosion of word-of-mouth, the gross actually rose by 3.7% to $22.3 million—a nearly unheard-of feat for a major release. The film continued its dominance over the next four days, pulling in another $13.5 million. By its third weekend, the picture held remarkably well, grossing $16.5 million (representing a slim 26% drop from its expansion peak), followed by a steady weekday addition of $7.3 million.
In its fourth weekend, the film proved it was a true cultural juggernaut. It grossed $13.0 million, representing a 21% drop and securing the box office crown for the fourth straight week. In doing so, it notably defeated the high-profile opening of the Bill Murray comedy Scrooged, which debuted at $12.9 million. In the final stretch leading up to December 1st, the film added another $5.9 million over the remaining four days.
By December 1, 1988, the total domestic collection for Rain Man had reached a staggering $114.1 million.
While the domestic market was reeling from the film's success, the international response was equally overwhelming. In just those same four weeks, the film grossed $86.2 million internationally.
The total global box office for Rain Man had reached a staggering $200.3 million.
With its current momentum, analysts consider it a foregone conclusion that the film will cross $200 million domestically and $400 million globally by the end of its run.
If these trajectories hold, Rain Man is shaping up to be one of the highest-grossing films in the history of cinema.
As the industry began to process the historic numbers for Rain Man, Alex's previous hit, The Princess Bride, was finally nearing the end of its dream run. By the time it entered December, the film had officially crossed the $300 million mark. With a massive $176 million domestic total and $131 million from international territories, it grossed $307 million globally. It is expected to end its theatrical run after the December holidays.
Meanwhile, MGM announced a strategic move: the studio will release Sex, Lies, and Videotape in limited theaters on December 30, officially securing the indie film's eligibility for the upcoming Academy Awards.
While the industry was in an uproar over The Princess Bride crossing the $300 million milestone and the massive box office dominance of Rain Man, Alex Hayes remained remarkably detached from the noise. He spent the month of December buried in the production of Ghost, determined to wrap principal photography before the end of the year.