The glowing reaction from the premiere audience proved prophetic. 10 Things I Hate About You opened to a wave of positive buzz from both moviegoers and critics. Audiences embraced the film wholeheartedly, awarding it a stellar 91% positive rating in exit polls and an 'A' CinemaScore, indicating strong satisfaction and word-of-mouth potential.
Critics, too, were largely won over by director John Hughes's fresh take on Shakespearean comedy blended with his signature insight into the teenage experience. A strong 87% of reviews were positive, a significantly warmer critical reception than Alex's previous film, Fast Times, had initially received. Praise was widespread for the sharp script, the energetic direction, and the talented cast. Alex Hayes earned accolades for bringing charm, intensity, and unexpected vulnerability to Patrick Verona, while Helen Hunt was widely lauded for her fierce, intelligent, and complex portrayal of Kat Stratford. The excellent supporting cast, including Diane Lane as Bianca and John Cusack as Cameron, was also frequently cited for adding humor and depth.
Leading critics weighed in with generally favorable notices:
Roger Ebert of the Chicago Sun-Times, appreciative of Hughes's empathy for teenagers, was effusive, calling the film "a witty, warm, and surprisingly deep romantic comedy." He praised the clever integration of Shakespeare, the vibrant lead performances by Hayes and Hunt, and Hughes's knack for finding "genuine heart beneath the high school hijinks." Gene Siskel of the Chicago Tribune echoed Ebert's enthusiasm, particularly highlighting the "crackling chemistry between Hayes and Hunt" and John Hughes's "unerring ear for how teenagers really talk and feel," deeming it one of the best teen films in recent memory. Janet Maslin in The New York Times found much to admire here. She praised the "engaging performances, particularly from the charismatic leads," and noted the "refreshing cleverness" of the script, though perhaps finding some plot points "predictably resolved." Overall, however, her review acknowledged the film's considerable charm and appeal.
This positive critical consensus, combined with audience enthusiasm, translated into a solid opening at the box office.
The positive reviews and strong audience scores immediately translated into blockbuster numbers when 10 Things I Hate About You opened wide on Friday, November 5th, 1982. The results exceeded even Paramount's most optimistic projections.
On Saturday morning, Paramount executives Barry Diller and Michael Eisner gathered in Diller's office, reviewing the overnight reports. The numbers were exceptionally strong: the film had grossed $4.42 million on its opening Friday alone.
"Well, Barry," Eisner said with a broad smile, looking at the figures, "it seems we have another winner. That's over two-thirds of the budget back on the first day."
Diller nodded, equally pleased. The $6 million production cost looked incredibly secure. "The reviews, the audience scores... everything's hitting perfectly. And Alex Hayes delivers yet again. He's phenomenal."
"Which means," Eisner added, "we need to ensure we continue our cooperation with him. Lock down that next project."
Diller allowed himself a satisfied chuckle. "Absolutely. CAA knows our interest is serious." He leaned back slightly. "Makes you appreciate the opportunities that arise. Imagine Universal letting him slip away after Fast Times because they wouldn't meet Alex's terms for the next picture. A costly mistake for them, wouldn't you say?" Eisner simply grinned. Securing Alex Hayes was proving to be a very smart investment for Paramount.
Their optimism was further validated as the weekend unfolded. Saturday saw grosses climb even higher to $5.11 million, driven by fantastic audience buzz. Sunday remained incredibly strong at $4.83 million.
The total opening weekend box office landed at a massive $14.36 million. Any lingering doubts about the film's potential vanished; 10 Things I Hate About You was an undeniable blockbuster right out of the gate.
The total opening weekend box office landed at a massive $14.36 million. Any lingering doubts about the film's potential vanished; 10 Things I Hate About You was an undeniable blockbuster right out of the gate.
In the landscape of 1982, this figure wasn't just strong; it was historic, placing it among one of the largest opening weekends recorded up to that time. Normally, a high school movie, even a well-received one, wouldn't command such numbers. But this opening wasn't just about the film itself. It was the culmination of several factors: the immense goodwill Alex Hayes had built among audiences with his string of four previous hits, the recent, intense publicity surrounding his real-life heroism during the Chicago robbery incident which kept him firmly in the public eye, and the film arriving at precisely the right cultural moment. It felt like the perfect alignment of right time, right conditions, and right actors clicking seamlessly to create an extraordinary result.
Part of its broad appeal, beyond the star power and witty script, was its tone. While dealing with teenage romance and angst, it wasn't vulgar or reliant on the kind of cheap thrills common in many teen exploitation movies flooding the market. It had heart and intelligence, making it a film even whole families could enjoy together, broadening its potential audience significantly.
The film's powerful start continued into the first week. The next four days (Monday through Thursday) generated an additional $9.37 million – still demonstrating remarkable staying power usually reserved for the biggest event films, even if slightly less than initially reported.
This brought the total gross for the first full week of release (7 days) to an enormous $23.73 million ($14.36M weekend + $9.37M weekdays). Having earned back its $6 million budget nearly four times over in just one week, 10 Things I Hate About You instantly cemented its place as a major hit for Paramount and added another significant success to Alex Hayes's rapidly growing, hit-filled filmography.
The momentum from the massive opening carried 10 Things I Hate About You into its second week with remarkable strength. Industry watchers were keen to see how well it would hold after such a large debut, often a sign of front-loading.
The results were impressive. The second weekend saw the film gross another $10.15 million. This represented a drop of only about 29.3% from its opening frame – an exceptionally strong hold for any film, let alone one that opened so large. It was clear evidence that positive word-of-mouth was incredibly potent and audiences genuinely loved the movie, ensuring its appeal went far beyond just opening weekend curiosity.
The strong performance continued through the weekdays. The following four days (Monday through Thursday) added $7.89 million to the film's coffers.
Adding the second week's total earnings to the first week's gross ($23.73M), the cumulative total for 10 Things I Hate About You after just two weeks of release soared to an astounding $41.77 million. It had already blown past the $40 million mark, further solidifying its status as a major blockbuster for Paramount.
The phenomenal success of 10 Things I Hate About You continued unabated into its third week. Audience enthusiasm showed little sign of cooling, translating into another week of stellar box office performance.
The third weekend saw the film gross $8.21 million. This represented an incredibly small drop of only around 19.1% from the previous weekend – a hold typically reserved for holiday weekends or films with exceptionally strong legs. It was clear that 10 Things had tapped into the cultural zeitgeist, drawing repeat viewings and attracting new audiences through powerful word-of-mouth. The film added another $6.75 million over the following four weekdays.
With a total Week 3 gross of $14.96 million ($8.21M + $6.75M), the cumulative domestic total after three weeks soared to $56.73 million. Having blown past the $50 million milestone, the film was now firmly established as one of the biggest hits of 1982.
At the same time, Alex Hayes's previous hit, Fast Times at Ridgemont High, was finally completing its successful theatrical run. Boosted significantly by the mid-run publicity surrounding Alex, the film ultimately achieved a final domestic gross of $63.45 million. It also fared better than initially expected in foreign markets, adding $20.62 million internationally. This brought the total worldwide gross for Fast Times at Ridgemont High to $84.07 million – a massive success story for Universal Pictures and a testament to the film's enduring appeal, significantly amplified by its star's unexpected real-world headlines.