It’s worth noting that Project Hail Mary was a huge theatrical swing for Amazon/MGM, with them showing a commendable commitment to the big screen. It helped that Project Hail Mary was shot in 70mm IMAX, which I think gives people an extra enticement to check something out on the big screen (people love this format), making it an event. The CinemaScore rating is a very solid A, putting it in Sinners territory, which bodes well for a long box office run.

Pixar’s Hoppers has another solid showing in week three, with the $18 million weekend adding to its $120 million haul. It will certainly beat Elemental’s $140 million-plus total, although it seems unlikely to cross the $200 million mark, especially with the next Super Mario movie opening so soon. Bollywood epic Dhurandhar: The Revenge set a record for the biggest North American opening of a Bollywood movie, with it making an excellent $10 million-plus on fewer than 1,000 screens. Its per-screen average was the highest in the top ten besides Project Hail Mary.

That movie’s success proved to be bad news for Searchlight’s Ready or Not: Here I Come, with the sequel underwhelming with a $9.1 million opening. That’s in the same range as the first film, but the sequel was more expensive and likely won’t have the same kind of legs, although it should be a hit when it hits streaming. Reminders of Him had a surprisingly steep falloff for a Colleen Hoover adaptation, with the 56% decline (and $8 million gross) perhaps making it a victim of Project Hail Mary’s appeal to date-night crowds. It’s made $33 million so far, meaning even if it continues to drop off, it should turn a nice profit.

Scream 7 is now officially the highest-grossing movie in the franchise, with the $4.3 million weekend contributing to a great $114 million gross. Sony’s GOAT made another $3.5 million as it inches its way toward $100 million (it’s currently at $97 million). A24’s microbudget horror flick Undertone dropped off a massive 66% in week two, but considering it cost well under a million dollars, its $15 million total gross means it’s been very profitable for the studio. The rest of the top 10 was rounded out by specialty titles, with the indie animated flick The Pout-Pout Fish making $1.5 million, and the latest MET Opera offering, Tristan und Isolde, making $722k.

Next weekend doesn’t have any huge openings except the SXSW hit They Will Kill You, so expect Project Hail Mary to once again come in on top. What will the drop-off be? Take a guess in the comments.

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Another person who’s proven to be a box office force is Colleen Hoover, with the latest adaptation of her work, Reminders of Him, easily topping the box office with a solid $18.25 million. That’s a better result than the last adaptation, Regretting You, which opened with just over $13 million but legged out to $48 million domestically. Reminders of Him, which stars scream queen Maika Monroe in an against-type role, seems like it will do even better if it has legs.

A24 also had a solid weekend, with their low-budget Fantasia Film Festival acquisition, Undertone, grossing $9.3 million, which is actually on the high end for the studio. In recent years, the one-time champs of indie horror have lost a bit of ground to Neon, but this is a strong performance for them, especially if you consider Undertone only cost $500K.

Another horror flick, Scream 7, continued to fall off at the box office following a record-breaking opening. It made $8.3 million this weekend for a $106 million total. It will easily end its run as the highest-grossing Scream movie ever—not adjusted for inflation (the previous champ is Scream VI with $108 million).

WB’s The Bride, which proved to be a box office catastrophe last weekend, continued to hemorrhage cash, with it only making $2.1 million in week two for an $11.3 million total gross—not great for a movie that cost at least $90 million before marketing. It will likely lose hundreds of millions.

An old anime favorite, Hayao Miyazaki’s Kiki’s Delivery Service, got rereleased this weekend in a new 4K edition by GKIDS, making $1.668 million on only 249 screens. Emerald Fennell’s Wuthering Heights is starting to wrap up its run with $1.665 million and an $81 million gross. While that number is no doubt a disappointment to WB, as the heavily marketed film seemed primed to be a much bigger hit, the adaptation has performed strongly overseas, with it having made over $220 million worldwide. At the very least, it will break even, and by the time it hits streaming, it should start turning a profit.

Another 4K reissue, Teenage Mutant Ninja Turtles II: The Secret of the Ooze, celebrated its 35th anniversary, making $1.475 million. As someone who saw the original run in theaters, I’m feeling pretty old—I can only imagine how Vanilla Ice feels. Go Ninja Go!

Finally, Amazon/MGM’s Crime 101 made another $1.13 million, bringing its domestic gross to $35.5 million.

Next weekend sees the release of Project Hail Mary, which actually had a handful of 70mm screenings this weekend (the studio doesn’t seem to be reporting grosses). Will it be the hit Amazon/MGM is banking on? Let us know in the comments.

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One movie being torpedoed by word of mouth seems to be Scream 7, which fell an astounding 73% in week two. Even for an admittedly front-loaded horror film, that’s a steep decline, with the B-minus CinemaScore quite telling. Even if audiences rushed out to see it the first weekend, it’s clear they didn’t like what they saw, so word of mouth is sinking the movie like a stone. That said, it’s already made $93 million, so it will still turn a hefty profit for Paramount Pictures, although perhaps some creative shake-ups are in order to ensure the series’ longevity.

One movie that came out this weekend that’s proven to be an absolute disaster is Maggie Gyllenhaal’s The Bride. A feminist reimagining/updating of The Bride of Frankenstein, the $7.2 million gross is likely a worst-case scenario result for the movie, which WB pumped at least $90 million into, without prints and advertising. Deadline is reporting that foreign grosses are even more anemic, with the global total a middling $13.6 million, which is astounding as tracking earlier this week suggested the movie would make $40 million internationally. At this rate, it will be lucky to gross $40 million all in worldwide by the end of its run, but even that is wildly optimistic. Given the cost, it seems likely The Bride will go down in history as one of the biggest box office disasters of all time. Ouch.

Sony’s GOAT managed to make another $6.6 million, for an $83 million domestic total despite competition from Hoppers. Wuthering Heights, while not the box office triumph Warner Bros. was hoping for, is still looking like something of a belated success (especially compared to The Bride), with it adding another $3.7 million to its $78 million total. Whether or not it turns a profit is still a question mark, but with worldwide grosses included it should at least break even.

One movie that seems likely to lose a bundle is Amazon/MGM’s Crime 101, which cost a reported $90 million and — including this weekend’s $2 million gross — has only made $33 million so far. Hopefully the studio’s next movie, Project Hail Mary, will turn things around for them, as they are taking some big swings, and you hate to see that go unrewarded.

Sam Raimi’s Send Help is still chugging along, with another $1.6 million added to its $62.7 million gross. The Christian film I Can Only Imagine 2 seems to have missed the mark with its audience, with this weekend’s $1.5 million gross giving it a weak $16 million total, which is only a fraction of the $80 million-plus its predecessor grossed. Baz Luhrmann’s EPiC: Elvis in Concert continued to do solid business, grossing $1.5 million toward a $10.9 million domestic total. Finally, Demon Slayer: Infinity Castle was re-released this weekend and managed another $1.3 million toward its hefty $135 million gross.

Next weekend sees the release of another Colleen Hoover adaptation, Reminders of Him, the A24 horror flick Undertone, and early 70mm screenings of Project Hail Mary in limited release. What will top the box office? Let us know in the comments!

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Scream fans rejoice! Not only did Scream 7 open about $20 million more than we predicted earlier this week, but it also set a franchise record with a powerful $64.1 million opening. That beats the previous champ, Scream VI (weird how that one had a Roman numeral), by a wide margin, with it having opened to a then-potent $44.6 million. No wonder Paramount, a studio that’s been starved for consistent hits lately, is keen to keep this franchise going. I wouldn’t be surprised if, by mid-week, a Scream 8 is already greenlit, likely with Neve Campbell and writer-director Kevin Williamson returning.

Holdovers: GOAT Stays Strong While Wuthering Heights Slips

As for this week’s holdovers, GOAT showed real staying power in second place, making another $12 million — a decline of only 29%. Its domestic gross is at $73.9 million now, although it has major competition for family audiences next weekend with Pixar’s Hoppers.

Emerald Fennell’s Wuthering Heights keeps losing steam, declining another 50% to $6.9 million in third place, with a $72.3 million domestic gross. While that’s a very good number for a literary adaptation, it seems unlikely to cross the century mark domestically, which has to be a disappointment for distributor Warner Bros., who were banking on it becoming more of a phenomenon than it ended up being.

Concert Films Deliver Solid Numbers

Unexpectedly, two concert films took fourth and fifth place, with Twenty-One Pilots: More Than We Ever Imagined making a strong $3.72 million, while Baz Luhrmann’s EPiC: Elvis Presley in Concert has turned out to be a solid hit for NEON, making $3.5 million this weekend for a $7.8 million total.

Big Budget Trouble for Crime 101

Amazon/MGM’s Crime 101 came in sixth, with only about $3.4 million for a $30 million domestic total. That’s a pretty weak gross for a movie that cost at least $90 million, with star Chris Hemsworth untested as a box office attraction outside of the MCU.

The faith-based I Can Only Imagine 2 also took a harder fall than expected in week two, dropping a huge 60% to $3.1 million for a $13 million domestic total. It’s only going to make a fraction of the $83 million its predecessor made. The faith-based business is a lot more crowded now than it was when the first movie came out, with Angel Studios having cornered the market in some ways.

The Hits, The Duds & The Fade-Outs

Sam Raimi’s Send Help continued to be the little blockbuster that could, making another $2.8 million for a solid $59.9 million domestic total.

At the same time, would-be superstar Glen Powell’s How to Make a Killing has proved to be a major dud, falling 49% to ninth place with $1.5 million (an embarrassing $905 per-screen average according to Comscore) for a $6.2 million domestic total.

Finally, Disney’s Zootopia 2 has started to wrap up its long run with $1.4 million, bringing it to a massive $425 million domestic total. According to Exhibitor Relations, 20th Century Studios’ Psycho Killer had one of the worst second weekends in history, losing 81% of its audience to gross only $300,000 for a $2.3 million total. Ouch.

Next Weekend: A Three-Way Showdown?

Next weekend should be a good one at the box office, with Pixar’s Hoppers, Scream 7 in week two, and WB’s The Bride(a Frankenstein reimagining) jockeying for first place. Who will win? Let us know in the comments!

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In any case, it was less front-loaded than Emerald Fennell’s divisive Wuthering Heights, which plunged 57% in week two. While not disastrous, with a $60 million gross and a finish in the $80–90 million range within reach, this is not the blockbuster many assumed it would be. The film only cost a modest $80 million (credit to Fennell — it looks like it cost much more), but WB spent at least that much marketing it, so it will have to make up the difference overseas to turn a profit. Worldwide, it’s made about $150 million, so with VOD and digital sales, it should at least break even for the studio, but I think many expected this movie to be a blockbuster. The reviews have been mixed, as has audience reaction, with it only earning a B CinemaScore rating.

Faith-Based Sequel Underperforms

However, great CinemaScore ratings likely don’t mean much in the end. Case in point: this week’s faith-based sequel, I Can Only Imagine 2. Despite an A+ CinemaScore rating (standard for Christian-skewing films), it only mustered an $8 million opening, which is less than half of what the first film made ($17.1 million). However, one must also remember that the market was very different back in 2018, as it was released in pre-COVID times when exhibition was much stronger. There also wasn’t as much competition for faith-based movies back then, but now, with companies like Angel Studios, there are a lot more of those kinds of movies being made.

Crime 101 and Send Help: Two Very Different Stories

Amazon/MGM’s Crime 101 also turned out to be pretty front-loaded, falling a steep 60% to fourth place with $5.7 million. Costing $90 million (how on earth did this cost more than Wuthering Heights?), Amazon is going to take a bath on this one, with the total domestic gross standing at $24.7 million. Too bad, as it’s a solid little thriller — kind of Michael Mann-lite, if you catch my drift.

Sam Raimi’s Send Help has proven to be the little blockbuster that could, earning another $4.7 million this weekend for a $55.5 million total. It comes from 20th Century Studios, whose horror release Psycho Killer opened so poorly this weekend (with $1.6 million) that it didn’t even make the top 10.

Glen Powell’s Tough Streak Continues

Meanwhile, Glen Powell had his second major flop in a row, with How to Make a Killing failing to — well — make a killing, opening in sixth place with a poor $3.5 million. The writing was on the wall for this one for a few weeks now, with A24 opting to release it on only about 1,600 screens.

Elvis, Angel Studios and the Holdovers

Baz Luhrmann’s Elvis obsession continues to pay off, with EPiC: Elvis Presley in Concert making a terrific $3.5 million on only 325 screens. Per ComScore, its per-screen average was $10K, which is more than twice what GOAT made in the top spot. It goes wide next weekend.

Angel Studios’ Kevin James movie, Solo Mix, continued to perform well, making $2.5 million for a decent $21.8 million total. Disney’s Zootopia 2 continued to print money with $2.3 million and a $423 million domestic total. Finally, James Cameron’s Avatar: Fire and Ash is only about $500K shy of a $400 million domestic total, having made $1.8 million this weekend.

Next Weekend: Scream 7 Looms

Next weekend sees the release of Scream 7, which should easily top the box office but, forebodingly, isn’t screening for critics. Uh-oh. Will it stink? Let us know in the comments.

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Now, a $34 million debut still sounds terrific for a period epic with a relatively reasonable $80 million production budget. However, reports suggest the marketing spend may have exceeded the production cost (some estimate it at $85 million). Add in two major stars — Margot Robbie and Jacob Elordi — and many expected a bigger splash.

While the film likely benefited from solid Valentine’s Day turnout, its B CinemaScore suggests mixed word-of-mouth. The big question now: will it have legs next weekend?

Sony’s GOAT Nips at the Heels

Sony’s animated feature GOAT opened strong with $26 million, and its four-day total is expected to come within a few million of Wuthering Heights. Many believe it could leapfrog the period romance by next weekend, especially with a relatively quiet frame ahead.

The film’s stylish animation — reminiscent of Spider-Verse and KPop Demon Hunters — appears to be resonating with younger audiences.

Crime 101 Delivers Solid Counterprogramming

Amazon/MGM’s Crime 101 debuted to a solid $15.1 million, landing on the higher end of expectations. The Don Winslow adaptation is benefiting from strong reviews (including ours), though it faces a long road toward recouping its reported $90 million budget.

That said, Amazon likely views the film as a long-term streaming asset rather than a pure theatrical play.

Send Help Holds Exceptionally Well

Sam Raimi’s Send Help posted one of the weekend’s most impressive holds. In its third frame, it grossed $8.9 million — just a 1% drop from last weekend — bringing its total to just shy of $50 million. That’s an excellent result for an R-rated thriller.

Meanwhile, Kevin James’ Solo Mio dipped only 9% to $6.4 million, pushing its total to $16.9 million. A strong hold for Angel Studios.

Family and Genre Titles Continue Steady Runs

Zootopia 2 added another $3.7 million, bringing its total to $419 million.

Avatar: Fire and Ash landed in eighth place with $3.3 million and is just shy of $400 million total — a milestone it should cross next weekend.

Iron Lung is beginning to wind down with $3.1 million, bringing its impressive total to $37.2 million.

Rounding out the top ten, Luc Besson’s Dracula held solidly, dropping only 32% to $3 million, with a $9 million total — making it one of Vertical Entertainment’s higher-grossing releases.

Specialty Releases: Mixed Results

Briarcliff’s release of Gore Verbinski’s Good Luck, Have Fun, Don’t Die (which we loved) earned a decent $3.6 million on 1,610 screens.

It outperformed Cold Storage, starring Liam Neeson and Joe Keery, which opened outside the top ten with $1.1 million.

Interestingly, Neon’s Nirvanna the Band the Show the Movie pulled in $1.2 million on just 365 screens — a strong per-screen average and a notable specialty success (perExhibitor Relations).

What did you see this weekend? Let us know in the comments!

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You can also chalk up another impressive opening for faith-based Angel Studios, with their Kevin James movie Solo Mio opening better than expected with $7.2 million. The studio has had mixed results with its less religious movies, but the Kevin James-led romance did well, posting the same $7.2 million figure (and earning a solid A-minus CinemaScore). The Markiplier-led Iron Lung had a steep drop in week two, pulling in a $6 million weekend for a 67% decline. However, with a $31 million total, don’t feel too bad for Markiplier, who’s more than proven he has an audience willing to support him theatrically, and the film will likely net him a nice chunk of change.

Another unexpected entry into the top five is the K-pop concert movie Stray Kids: Dominate, which is being distributed domestically by Crosswalk, a division of Bleecker Street. It made an excellent $5.5 million stateside and led the global box office with a huge $19 million haul. The top five was rounded out by Vertical’s Dracula, directed by Luc Besson. Despite bad reviews, it’s still posting Vertical’s best opening ever and is well-poised for a successful streaming run.

Meanwhile, Disney’s Zootopia 2 cranked out another $4 million (there’s not much competition out there for family audiences), bringing its domestic total to $414 million. Avatar: Fire and Ash is slowly closing in on $400 million, making $3.5 million this weekend for a $391 million domestic total (and sitting just under $1.5 billion worldwide). Lionsgate’s The Strangers: Chapter 3 had a disastrous weekend, earning only $3.5 million while pulling in terrible reviews (including one from our own Tyler Nichols) and a deadly D CinemaScore. Ouch.

Another movie bombing badly is the Jason Statham-led Shelter, which made $2.4 million with a $890 per-screen average and a $9.9 million total, meaning that outside of Operation Fortune, it’s one of the star’s lowest-grossing vehicles. Part of this may be due to the fact that it comes from Black Bear, a nascent distributor that’s had trouble opening movies wide (their Sydney Sweeney-led Christy was a disaster, though she bounced back with the ultra-successful The Housemaid). They seem to be trying to compete in Lionsgate’s space when it comes to modestly budgeted action movies, but they don’t yet have the marketing apparatus that studio does.

Finally, the top ten was rounded out by Melania, which fell a massive 67% in week two to just $2.3 million, proving it was very front-loaded, with a $13.3 million domestic total.

While this weekend was quiet, expect plenty of fireworks next weekend with two new releases, GOAT and Withering Heights, both of which have a shot at cracking $30 million.

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Despite facing surprisingly stiff competition from the YouTube-personality-powered Iron Lung, Sam Raimi’s Send Help managed to top the box office this weekend, earning $20 million, which is more than we predicted earlier this week. The Rachel McAdams and Dylan O’Brien–fronted castaway thriller is Raimi’s first R-rated movie in twenty-six years, and with a $40 million budget, it’s well on its way to turning a nice profit for Disney, which released the film through its 20th Century Studios label.

The film should hold up nicely with Super Bowl weekend coming up, as studios aren’t really putting anything out. It should also play well as a date movie heading into Valentine’s Day.

Iron Lung Proves YouTubers Have Box Office Power

While it didn’t take the top spot, Markiplier’s Iron Lung is still a major win for the YouTuber, with the self-distributed feature grossing a huge $17.8 million. That’s a major disruption, as Markiplier operated entirely outside the studio system, releasing the film on his own and proving that YouTubers can have serious theatrical pull.

Expect studios to take notice, with it likely that some prominent online figures will soon find themselves cast in major studio properties. It’s a changing world.

Documentary Surprise: Melania

Speaking of which, another unexpected win happened this weekend with Melania, a documentary about First Lady Melania Trump. The Brett Ratner–directed film is playing very much like a faith-based release, earning an A CinemaScore and grossing $7 million, which is huge for a documentary.

That said, it still has a long way to go to justify its rumored $75 million price tag, which is unheard of for the genre. Clearly, distributor Amazon/MGM is banking on strong streaming performance when the film eventually debuts on Prime Video.

Holdovers and Underperformers

Disney’s Zootopia 2 cracked $400 million this weekend, adding another $5.8 million for a $408 million domestic totaland continuing an impressive ten-week run.

Sadly, Jason Statham’s Shelter fizzled with just $5.5 million. Released by new distribution shingle Black Bear, the film had much lower-key marketing than usual—too bad, as director Ric Roman Waugh is quite good (check out our extended interview with him HERE).

Avatar: Fire and Ash finally started slipping down the charts, earning $5.5 million for a $386 million total, though it should have no trouble crossing $400 million by Valentine’s Day.

The Chris Pratt–fronted Mercy dropped 56% to $4.7 million, bringing its domestic total to a disappointing $19 million. Like Melania, it’s another Amazon/MGM title expected to fare better on streaming.

Notable Final Numbers

Despite getting into hot water earlier this week for a Hollywood stunt, Sydney Sweeney had a strong weekend, with The Housemaid earning another $3.5 million for a massive $120 million total. Don’t be surprised if Lionsgate gives it another promotional push for Valentine’s Day.

Oscar contender Marty Supreme added $2.9 million for a $90 million total (is $100 million out of reach?). Meanwhile, 28 Years Later: The Bone Temple continued wrapping up its disastrous run, earning just $1.6 million ($784 per screen) for a grim $23.6 million total.

What’s Opening Next Weekend?

Next weekend is a quiet one, with The Strangers: Chapter 3 the only major release.

Do you think Send Help will hold onto the top spot? Let us know in the comments.

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Amazon/MGM’s Mercy, directed by Timur Bekmambetov, managed to overcome poor reviews (including a brutal one from our own Tyler Nichols) to open with $11.2 million. That’s not a particularly strong debut for a movie led by Chris Pratt, and it’s right in line with Mel Gibson’s Flight Risk, which opened slightly higher with $11.5 million almost exactly a year ago.

While Mercy did come in a bit higher than we predicted earlier this week, it almost certainly opened well below Amazon/MGM’s expectations. The film is the first in a slate of ambitious, mostly original releases the studio has planned for the year, including Crime 101 and Masters of the Universe.

Of course, bad reviews weren’t the only factor hurting Mercy’s box office performance—though a B-minus CinemaScore certainly didn’t help. Severe winter storms crippled major population hubs from Texas to New England, forcing many theaters to close and limiting attendance nationwide.

So how did Avatar: Fire and Ash fare? In its sixth weekend, James Cameron’s sequel slipped to second place with $7 million, bringing its domestic total to $378 million. The film should get a boost in a few weeks thanks to Valentine’s Day, which is traditionally strong at the box office, but it now seems likely to finish its domestic run in the $420 million range.

While Cameron has acknowledged that the film needs to make a massive amount of money to justify Avatar 4 and Avatar 5, it’s difficult to imagine Disney not giving him the greenlight. In a relatively quiet theatrical marketplace, these films clearly continue to resonate with audiences.

Zootopia 2 held onto third place with $5.7 million, passing the $400 million mark domestically. Worldwide, the animated sequel has now earned over $1.7 billion. Meanwhile, Lionsgate’s sleeper hit The Housemaid added another $4.2 million, pushing its domestic total to an impressive $115 million. Overseas, it has cleared $250 million, making it Lionsgate’s biggest hit in quite some time—no wonder a sequel is already in development.

Unfortunately, Nia DaCosta’s 28 Years Later: The Bone Temple completely collapsed in its second weekend, suffering a disastrous 71% drop and earning just $3.6 million. Its domestic total now stands at only $20.7 million, a deeply disappointing result. Unless the film rallies overseas, the long-anticipated third installment doesn’t appear likely to happen—at least not theatrically.

A24’s Marty Supreme, buoyed by its Oscar nominations, expanded into IMAX this weekend (along with several 70mm locations) and earned another $3.5 million, dropping just 36%. That brings its domestic total to $86 million. It narrowly edged out Cineverse’s Return to Silent Hill, which stumbled badly with a $2.6 million opening from 2,000 theaters, translating to a weak $1.6K per-screen average. Yikes.

Oscar nominations also boosted Hamnet, which saw its box office jump 48% from last weekend, earning $2 million for a $17 million domestic total. Fathom Events’ re-release of The Fellowship of the Ring added another $2 million this weekend, bringing its re-release total to $6.3 million and its lifetime domestic gross to $325 million. Rounding out the top ten was Primate, which earned $1.6 million for a $23 million total.

Next weekend brings the release of Sam Raimi’s Send Help. Will it be able to claim the top spot? Let us know in the comments!

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Most box-office pundits (including us) projected a modest $18–20 million opening over the MLK Day holiday. Instead, the film finished the four-day weekend with only $15 million, with the traditional three-day frame landing at an alarming $13 million.

For comparison, 28 Years Later opened to $30 million over three days. That’s a shocking drop.

Why Did Audiences Skip The Bone Temple?

The reason is fairly simple: many horror fans didn’t care for 28 Years Later, and that apathy carried over. Despite strong early buzz, audiences largely chose to sit this one out.

Even the fact that the film was handed off to a new director—Nia DaCosta—and boasts an impressive 94% Rotten Tomatoes score didn’t seem to move the needle. For many, this felt like a “wait for streaming” title.

Critics Loved It (And So Did Audiences Who Showed Up)

Ironically, those who did see The Bone Temple overwhelmingly loved it. The film earned an A-minus CinemaScore, an extremely rare grade for a horror release. The last genre title to pull that off was Weapons.

For context, I gave the film a 9/10, and one of our other critics, Tyler Nichols, only went because of that recommendation. He hated 28 Years Later and was convinced he’d hate this too—yet he ended up loving it so much that he wrote a full think piece, which we’ll be posting tomorrow.

Hopefully more moviegoers follow Tyler’s lead. Because if this box-office trajectory holds, it’s hard to see another theatrical sequel happening—unless Sony opts for a direct-to-streaming finale.

Avatar: Fire and Ash Holds Strong at #1

The Bone Temple’s loss proved to be Avatar: Fire and Ash’s gain. The third film in James Cameron’s saga earned $13.3 million, dropping just 38% from last weekend. Over the course of the four-day-weekend, it made $17.8 million.

Its domestic total now stands at $368 million, with $400 million well within reach.

Zootopia 2 and The Housemaid Keep Cleaning Up

Zootopia 2 added another $12 million, pushing its domestic total to $393 million. Worldwide, it has now earned $1.7 billion, making it the ninth highest-grossing film of all time globally.

Meanwhile, The Housemaid continued its stellar run with $10.2 million, a slim 7% drop from last week. Its domestic total has crossed $108 million, and with a sequel shooting this spring, it wouldn’t be shocking to see a follow-up rushed into theaters for the same Christmas corridor next year.

A24 Breaks Its Own Record

A24 now has its biggest domestic hit ever, as Marty Supreme has surpassed Everything Everywhere All at Once, with it likely to cross the $80 million mark domestically by tomorrow.

The film placed fifth this weekend with $6.6 million, and a $100 million finish is very much in play.

Horror Drops, Re-Releases Rise

Paramount’s Primate suffered a steep 55% second-week drop, earning $6 million for a $20.6 million domestic total.

Surprisingly, the re-release of The Lord of the Rings trilogy (extended editions) performed well. The Fellowship of the Ring cracked the top ten with $3.85 million, despite limited showtimes. Over the three-day weekend, The Two Towers initially rounded out the top 10 with $2.4 million, but with the holiday SpongeBob: The Search For SquarePants re-entered the top 10 with $3.1 million and a $67 million total.

The Rest of the Top 10

• Greenland 2: Migration dropped 51%, earning $4.1 million for a $14.8 million domestic total
• Anaconda added $4 million, bringing its run to $59 million

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Box Office Weekend Recap: Avatar: Fire and Ash Stays on Top

Just as we predicted earlier this week, Avatar: Fire and Ash had no problem holding on to the top spot at the box office for the fourth week in a row. It added another $21.3 million to its coffers this weekend, with its $342 million domestic total putting a $400 million finish firmly in sight — and possibly more if it continues to hold strong over MLK Weekend.

Primate and The Housemaid Battle for Second Place

Paramount’s creature feature Primate didn’t quite manage to become the breakout horror hit the studio was likely hoping for, but after a softer-than-expected Friday, the movie rallied on Saturday. It finished the weekend in second place with $11.3 million, which isn’t bad for a film that will likely scare up most of its long-term business on streaming when it hits Paramount+.

It was an extremely close race for second place, with The Housemaid pulling in $11.2 million — less than a $100K difference between the two films. Once final numbers are locked, it’s possible The Housemaid could actually edge into second place.

Regardless, this has been a major hit for Sydney Sweeney, with the film on track to pass the $100 million mark by next weekend. No surprise that a sequel is already underway. It’s proven to be a strong date movie for adults and should play well all the way through Thanksgiving.

Zootopia 2 and Greenland 2 Hold Steady

Zootopia 2 also held up impressively, earning $10.1 million this weekend for a stellar $378 million domestic total, with a finish well north of $400 million now a no-brainer.

Lionsgate’s Greenland 2: Migration earned $8.5 million, which isn’t terrible for a sequel to a movie that premiered on streaming. That said, the release was a bit strange, with the film not opening in Canada, which almost certainly took a bite out of its box office. With Canadian screens, it might have had a real shot at second place.

Awards Contender Marty Supreme Continues Strong Run

With the Golden Globes airing tonight, one of the season’s major contenders, Marty Supreme, continues to perform well — especially in urban markets, where many screenings are selling out. The film earned $7.6 million this weekend, pushing it past the $70 million mark.

A finish in the $90 million range is well within reach, and if Oscar nominations hit, it could even push past $100 million— a great result for A24, a studio currently at a crossroads.

Mid-Range Performers Round Out the Top Ten

Sony’s Anaconda earned $5.1 million, bringing its total to $54.2 million. While the meta-sequel has done fair business, it arguably should have performed better given its red-hot cast and high-concept premise, especially with The Housemaidand Marty Supreme siphoning off a chunk of its adult audience.

Paramount’s latest SpongeBob movie pulled in $3.8 million, bringing its total to $63 million, facing stiff competition from Zootopia 2 and Angel’s David, which earned $3.08 million this weekend for a $75 million total — making it Angel’s second-highest-grossing film ever (behind Sound of Freedom).

Rounding out the top ten, Focus Features’ Song Sung Blue earned $3 million for a $31.4 million total. While that’s disappointing for a movie starring Hugh Jackman and Kate Hudson, it’s still performed better than most prestige titles released this fall and early winter.

What’s Next at the Box Office?

Next weekend brings the release of 28 Weeks Later: The Bone Temple, arriving just in time for the MLK holiday frame.

Will it finally dethrone Avatar: Fire and Ash?
Let us know what you think in the comments.

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With the 2025 holiday season officially over (bummer, I know), we’re heading into what’s generally considered a dump month: January. Besides Martin Luther King Jr. Weekend, which has 28 Years Later: The Bone Temple opening, the month is more or less filled with lower-key action movies and genre titles. Some will make money, some won’t—but the good news for the holiday movies that came out over the last few weeks is that the playing field is pretty open for them to keep printing money.

Avatar: Fire and Ash Continues Its Dominance

Case in point: James Cameron’s Avatar: Fire and Ash. Despite the holidays grinding to a halt, the movie made a strong $40 million this weekend (about what we predicted), breaking the $300 million mark domestically and becoming the fourth consecutive James Cameron movie to gross a billion dollars worldwide.

While Greenland: Migration and Primate should do fine next weekend, it’s unlikely either of them will be able to keep Avatar: Fire and Ash from at least one more weekend on top. The film is likely to cross $400–450 million domestically, which—although short of the $688 million earned by Avatar: The Way of Water—is still a very strong result.

Zootopia 2 and The Housemaid Power Through January

Disney’s Zootopia 2 also proved to be a huge performer, with the holiday period allowing it to rocket back up the charts to second place. It earned $19 million this weekend and crossed $363 million domestically.

Another big success story is The Housemaid. While some thought Sydney Sweeney’s popularity had tapered off after being overexposed, that’s clearly not the case. The film has become the second-biggest hit of the holidays after Avatar, making $14.8 million this weekend—down only 3% from last week—for a strong $75.7 million domestic total. A finish in the $100 million-plus range seems likely.

Counterprogramming Successes and Mid-Tier Performers

Another movie that’s done very well over the holidays is A24’s Marty Supreme, which—thanks to the star power of Timothée Chalamet and director Josh Safdie—has become a counterprogramming hit. It grossed $12.5 million this weekend for a $56 million total.

It’s performing similarly to Robert Eggers’ Nosferatu, which was another solid counterprogramming hit last Christmas. (Eggers is hoping lightning strikes twice with Werwulf next Christmas.)

Sony’s Anaconda meta-reboot has performed decently but had much of its audience stolen by The Housemaid. It finished in fifth place this weekend with $10 million, bringing its domestic total to $45 million.

Family Films, Prestige Titles, and Late-Run Holdovers

Family fare started to taper off this weekend, with the latest SpongeBob movie making $8.2 million for a $57 million domestic total. It was overplayed throughout the holidays by Angel Studios’ David, which made $8 million this weekend for a $70 million total. It’s now the studio’s second-highest-grossing movie after Sound of Freedom.

Sadly, the pretty decent Focus release Song Sung Blue hasn’t found much of an audience. Despite the combined star power of Kate Hudson and Hugh Jackman, it made $5.8 million this weekend for a $25 million haul, although it has still performed better than most prestige releases this year.

Wicked: For Good came in ninth place with $3.2 million and a $339 million domestic total, while Five Nights at Freddy’s 2 wrapped up its run with $2.7 million and a very strong $125 million total.

What Was the Best Holiday Release of 2025?

What do you think the best holiday release was this year? Let us know in the comments.

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This weekend it grossed $64 million, which is only a 28% week-to-week decline, for a hefty $217 million domestic tally. Internationally, it’s been a juggernaut, with the film bound to pass the $600 million mark worldwide by the end of the weekend. While it may not equal the success of the last two films, given the way the industry has crashed in recent years, it’s a stretch to think of Avatar: Fire and Ash as anything but a hit, with its performance likely justifying at least one more film in the franchise for Disney and 20th Century Studios. Just as we predicted, the franchise is still clearly a global cash cow.

Zootopia 2 and Prestige Counterprogramming Win Big

Second place at the weekend box office proved to be a surprise, with Disney’s Zootopia 2 actually making 35% more this weekend than last, earning $20 million and bringing its domestic total to a hefty $321 million. Overseas, it’s closing in on the $1.5 billion mark.

A24 also scored one of the only prestige movie hits of the year, with Marty Supreme nailing third place with $17.5 million. Thanks to its brisk box office on Christmas Day, it’s crossed the $28 million mark, performing similarly to Robert Eggers’ Nosferatu, another counterprogramming hit last year. Expect star Timothée Chalamet’s box-office cachet to skyrocket once studio heads realize his movies reliably turn a profit, regardless of genre—making him one of the few legit movie stars of his era.

Sydney Sweeney Scores Another Solid Hit

Another burgeoning movie star, Sydney Sweeney, is likely breathing a sigh of relief, with her film The Housemaid proving a solid hit for Lionsgate. It only lost 19% of its audience in week two, earning $15.4 million this weekend for a $46 million total.

With the holidays continuing all week, it has a good chance of equaling—or even surpassing—the $88 million her last big hit, Anyone But You, made over the same period. Given how overexposed she may have seemed, with her passion project Christy a major flop, The Housemaid proves that in the right movie, she’s still a major draw.

Anaconda Underperforms as Competition Heats Up

One movie that didn’t do the business many expected is Sony’s Anaconda reboot. The Jack Black and Paul Rudd-led film made $14.5 million in fifth place, for a $23.6 million total so far. Its thunder has arguably been stolen by Marty Supreme and The Housemaid, while teens who might have checked it out have instead been sidetracked by Avatar.

Angel Studios also has a solid hit with its faith-based animated movie David, which made $12.69 million this weekend for a domestic haul closing in on $50 million. It’s performed far better than Paramount’s The SpongeBob SquarePants Movie: The Search for SquarePants, which earned $11.2 million for a modest (for a major studio release) $38 million total.

Late-Season Releases Wrap Up Their Runs

Sadly, a pretty good holiday release—Craig Brewer’s Song Sung Blue, starring Hugh Jackman and Kate Hudson—is underperforming, having made just $7.6 million this weekend for a $12 million domestic total so far. The silver lining is that, besides Marty Supreme and One Battle After Another, it’s performed better than nearly every other prestige release this fall.

Wicked: For Good, which drops on digital this Tuesday, is beginning to wrap up its run with $5.6 million this weekend, pushing it toward a $331 million gross. Meanwhile, Five Nights at Freddy’s 2 (now on VOD) added another $4.4 millionfor a $118 million total. It should fall just shy of the $137 million the original made two years ago, easily paving the way for a third film.

What have you watched over the holiday period? Let us know in the comments!

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Is James Cameron’s golden streak finally over? That’s the question likely on the minds of many studio executives this weekend, with Avatar: Fire and Ash, the third film in his saga, opening to a surprisingly modest $88 million domestically — less than the $100 million we predicted and a full $46 million lower than The Way of Water earned on the same weekend three years ago.

Given the franchise’s massive budgets, Cameron himself has recently acknowledged that Avatar 4 and Avatar 5 may not move forward if the box office doesn’t justify the expense. An $88 million domestic opening makes it clear that Fire and Ash will earn only a fraction of the $684 million domestic total achieved by the previous film.

Can Avatar: Fire and Ash Rebound Over the Holidays?

That said, the holiday corridor is approaching, and Cameron’s films have historically overperformed during this period. Neither Titanic nor the first Avatar opened in game-changing fashion, but both became legendary long-legged hits. The same could still be true for Fire and Ash.

Overseas, the film is performing far better, posting a $345 million global opening, the second-largest worldwide debut of the year (behind Zootopia 2).

Angel Studios Scores Its Biggest Opening Ever

Angel Studios’ David, an animated musical retelling of the David and Goliath story, proved to be a grassroots hit. The film opened to $22 million, the biggest debut in the studio’s history, surpassing Sound of Freedom, which previously held the record with $19 million.

The Housemaid Could Become a Holiday Sleeper

Lionsgate’s star-driven The Housemaid opened softer than expected with $19 million (the studio was tracking in the teens, but given the star power and the fact that it’s based on a bestseller, it could have had a bigger opening), but the comparison point may be Sydney Sweeney’s Anyone But You, which debuted with a disastrous $6 million on the same weekend two years ago before legging out to an $88 million domestic total. The Housemaid could follow a similar holiday sleeper trajectory and potentially make a bundle.

Family Films Battle for Position

Paramount’s The SpongeBob SquarePants Movie: Search for SquarePants appeared to lose some ground, likely due to David overperforming, and earned $16 million for the weekend.

It narrowly edged out Zootopia 2, which added $14.5 million, bringing its domestic total to $282 million.

Holdovers Continue to Perform

Five Nights at Freddy’s 2 crossed the $100 million domestic mark, earning $7.25 million this weekend for an impressive $108 million total.

Wicked: For Good is beginning to lose screens but still pulled in $4.3 million, bringing its domestic total to $320 million— well below the first film, but still a strong result.

The Bollywood megahit Dhurandhar added $2.4 million, reaching $12 million domestically, while Hamnet rounded out the top ten with $850,000, pushing its total to $8.7 million.

A24’s Marty Supreme Steals the Spotlight

The biggest story of the weekend may be the film in ninth place: A24’s Marty Supreme.

The Timothée Chalamet-led film (which we loved) grossed a massive $875,000 on just six screens, selling out nearly around the clock. Its $145.8K per-screen average is the highest in A24’s history and one of the top ten live-action per-screen averages ever.

The numbers strongly suggest Marty Supreme will be a major hit when it expands nationwide on Christmas Day, though it remains to be seen whether audiences outside its core LA and New York hubs will embrace it as enthusiastically.

What’s Next at the Holiday Box Office?

With Christmas just around the corner, the box office landscape is poised to shift dramatically. Whether Avatar: Fire and Ash finds its legs, and which films emerge as true holiday breakouts, will soon become clear.

We’ll be back later this week with more holiday box office reporting.

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Five Nights at Freddy’s 2 Suffers a Steep Second-Weekend Drop

Five Nights at Freddy’s 2 dropped 70% in week two, which is actually better than the 76% drop the original suffered—although let’s not forget that movie had a day-and-date digital release on Peacock. While this franchise has no real staying power, these front-loaded movies are still big moneymakers, with the sequel now just shy of $100 million domestically, sitting at $95 million.

Another rather front-loaded holiday release is Wicked: For Good, which made $8.55 million for a $312 million total. While it’s hard to call a movie with a gross like that disappointing, it looks like it will end its run about $100 million short of its predecessor.

International and Specialty Titles Perform Strongly

Bollywood hit Dhurandhar actually had a huge week-to-week increase, with a $3.4 million weekend and a $7.8 million domestic haul—excellent numbers for an Indian film. Lionsgate’s Now You See Me: Now You Don’t is starting to wrap up its domestic run with $2.38 million this weekend and a total just shy of $60 million. Overseas, it’s been a much bigger hit, having crossed the $200 million mark last week, with a $300 million worldwide total not out of the question.

Anime, Awards Contenders, and Major Flops

Last weekend’s anime hit, JUJUTSU KAISEN: Execution, dropped a massive 79% to sixth place with $2.1 million and a $14.5 million domestic total. Not bad—but it’s definitely no Demon Slayer: Infinity Castle.

James L. Brooks’ comeback movie, Ella McCay, proved to be his biggest flop, making only $2.1 million despite a cast that includes Woody Harrelson and Jamie Lee Curtis. The reviews for this one are humiliatingly bad (I hated it).

Ron Howard’s How the Grinch Stole Christmas worked its way back into the top 10 thanks to a 25th anniversary re-release, making $1.85 million and adding to a lifetime gross of $264 million (unadjusted for inflation). A24’s Eternity made $1.77 million for a total just under $13 million, while Hamnett continued to deflate at the box office, earning $1.5 million for a $7 million total.

Re-Releases and Box Office Disappointments

Notably, The Shining’s 45th anniversary release landed just outside the top 10, with around $1.45 million on only 400 screens. It’s worth noting that it’s only playing twice a day, in the evening, in most theaters.

CineVerse’s Silent Night, Deadly Night tanked with only about $1.1 million (according to Deadline), proving that hopes to relaunch this admittedly weak Christmas slasher franchise haven’t worked out.

Next Weekend Box Office Preview

Next weekend sees the release of two big Christmas titles: Avatar: Fire and Ash and the Sydney Sweeney-led The Housemaid. Both are tracking for strong openings, so we’ll be back later this week with our predictions.

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Comparing FNAF 2 to the Original Hit

While a $63 million opening is still a far cry from the $80 million debut of the first film two years ago—especially impressive given that the original opened day-and-date on Peacock—this remains a huge win for the studio. At this point, a third film feels like a matter of when, not if.

Thanksgiving Holdovers Take Steep Drops

Elsewhere on the chart, the two Thanksgiving holdovers tumbled harder than expected. Zootopia 2, despite an A CinemaScore, fell 57% in its second weekend for a $43 million haul. That’s a steep drop for an animated film. Its domestic total now stands at $220 million and it should finish in the $300 million range. Very good numbers, but still well short of the $460 million Moana 2 earned last year. Another sequel struggling to maintain momentum is Wicked: For Good, which collapsed 74% to $16.75 million for a $296 million domestic total. It will finish far below the $474 million that the previous film earned, though it remains a huge moneymaker for Universal.

Anime Thrives as Other Releases Fade

Anime continued its winning streak at the box office. Jujutsu Kaisen: Execution—a film that even confused our resident anime expert Steve Seigh—earned an excellent $10.1 million. Now You See Me: Now You Don’t dipped another 49% to $3.5 million for a $55.3 million domestic total. Overseas, however, it’s been a blockbuster, crossing the $200 million mark this weekend.

Kill Bill: The Whole Bloody Affair Packs Cinemas

Quentin Tarantino’s Kill Bill: The Whole Bloody Affair earned a strong $3.2 million in just over 1,100 cinemas, despite only screening twice a day. Many markets reported sellouts, especially the 70mm and 35mm presentations. I caught a DCP matinee in Montreal yesterday—and even that was sold out. A24’s Eternity continues to perform modestly, taking in another $2.76 million for a domestic total just under $10 million. Chloe Zhao’s Oscar contender Hamnet is also underperforming in limited release. It earned $2.3 million on 744 screens, and seems destined to become another adult-driven box office disappointment—even if it scores awards attention. Bollywood action title Dhurandhar, which already has a sequel planned for March 2026, impressed with nearly $2 million on only 390 screens. Predator: Badlands rounded out the top ten with $1.87 million and an $88 million domestic total. Solid, if unspectacular—meaning its sequel prospects are still uncertain.

Looking Ahead to Next Weekend

Next week brings the release of James L. Brooks’s Ella McCay (which is getting rough early buzz), the Silent Night, Deadly Night remake, and not much else. Will Five Nights at Freddy’s 2 hold onto the top spot? Let us know in the comments!

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Overseas, Zootopia 2 is an absolute phenomenon—especially in China, where it shattered records. The international weekend haul reached $556 million, giving it the biggest global opening of the year, with over $400 million earned internationally alone.

Wicked: For Good Falls 57% in Week Two

One surprising development is that Wicked: For Good, despite its A CinemaScore, didn’t hold as strongly as some expected. It brought in $62 million, compared to the first film’s $81 million in the same frame. Even so, its $270 million domestic total is excellent, and it remains on track to surpass the $400 million mark.

Even if the story was intended as a two-parter, there’s no chance franchise-hungry Universal lets this sit. Expect a spinoff or follow-up of some kind sooner rather than later.

Now You See Me: Now You Don’t Holds Steady in Week Three

Lionsgate’s Now You See Me: Now You Don’t delivered a solid week-three hold, dropping only 22% to gross $7 millionfor a $49 million domestic total. While not blockbuster numbers domestically, the film is a major overseas hit, with $187 million globally so far. It will likely finish around the $250 million range (and possibly even $300 million). With results like that, a sequel is almost guaranteed.

Predator: Badlands Posts Mixed Results

Another would-be franchise, Predator: Badlands, continued its mixed performance, earning $4.8 million for an $85 million domestic total. It’s likely to top out near $95 million domestically, with around $200 million internationally.

Given this and Alien: Romulus both performing decently (though neither was a breakout hit), it’s reasonable to expect  Alien vs. Predator to be the next project 20th Century Studios greenlights—unless they pivot to the Ripley sequel reportedly being written by Walter Hill.

The Running Man Continues to Struggle

The Running Man continued its poor box office run with $3.7 million, bringing its total to a troubling $34.2 million. Glen Powell is undoubtedly hoping his upcoming thriller How to Make a Killing pulls him out of this cold streak before the momentum of his rising stardom fizzles.

A24’s Eternity, starring Elizabeth Olsen, performed moderately well with $3.1 million on 1,300 screens for a $2.3K per-screen average. Like many adult-skewing films, it will likely find a larger audience on VOD.

Where Is Wake Up Dead Man?

One movie missing from the standard box office charts is Wake Up Dead Man: A Knives Out Mystery, as Netflix does not report grosses. Industry chatter places it at around $2.5 million on 600 screens—much lower than Glass Onion, which made $13 million on a similar footprint. Most viewers are clearly waiting for the streaming release in a few weeks.

Rental Family and Hamnet Perform Modestly

Brendan Fraser’s Rental Family continued its so-so run, earning $2.1 million for a $7.3 million total—actually one of the stronger awards-season performers.

Hamnet had a strong specialty debut with $880K on only 119 screens. However, its $7.3K per-screen average, while respectable, suggests its commercial prospects may remain modest unless Oscar buzz intensifies.

Sisu: Road to Revenge Crashes Hard

Sisu: Road to Revenge completely collapsed, falling 66% to ninth place with $810K, and a brutal $365 per-screen average. A Sisu 3 seems extremely unlikely at this point.

Nuremberg Holds Steady

Finally, Nuremberg continued to perform well, earning $750K on 540 screens for a $12.5 million domestic total—making it one of the higher-grossing awards titles of the year.

Next Weekend: Five Nights at Freddy’s 2

Next weekend sees the release of Blumhouse’s Five Nights at Freddy’s 2. Will it be a hit like The Black Phone 2 or a flop like M3GAN 2.0? Let us know in the comments. 

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While critical response has been cool compared to the first film, audiences love Wicked: For Good, with it landing a much-desired A CinemaScore rating—proving repeat business on this one will likely be strong, and it should continue to rack up huge grosses throughout the Christmas season. In fact, last year when the first one hit VOD on New Year’s Day, Wicked was still in the top five at the box office, where it stuck around for many weeks after.

While that’s no doubt good news for exhibitors, it can’t be denied that October and early November have been disastrous. Last year’s surprise sleeper, Now You See Me: Now You Don’t, fell off a steep 57% to $9.12 million although, like the other films in the series, it’s proven to be a juggernaut overseas, making another $32.6 million this weekend, even opening ahead of Wicked: For Good in some markets. It’s made $146.2 million overseas, with a final tally in the $300 million range possible. Disney’s Predator: Badlands, which has had a decent—if unspectacular—run, pulled ahead of the disastrous Running Man remake to take third place with $6.25 million for a $76.28 million domestic total. It will end its run somewhere around the $90 million mark—which will make it the highest-grossing Predator movie (although, adjusted for inflation, the original and even Alien vs. Predator kill it).

Meanwhile, Edgar Wright’s The Running Man is proving to be one of the year’s biggest box office disasters, falling an abysmal 65% in week two to $5.8 million and a horrific $27 million domestic total. This one is clearly not striking a chord with audiences (was it the ending?), leaving us to wonder—are some movies too iconic to remake? Brendan Fraser’s indie Rental Family did modest business in fifth place with $3.3 million, the latest adult-skewed awards contender to open soft. Sisu: Road to Revenge wasn’t far behind with $2.6 million, which isn’t too far off from the $3.2 million the original made. Perhaps its target male audience will check it out this Thanksgiving while their wives, girlfriends, and daughters are seeing Wicked: For Good for the second time.

The Colleen Hoover adaptation Regretting You started to wrap up its run with $1.52 million and a solid $47 million domestic total. Nuremberg, whose $1.234 million weekend and $11 million domestic haul are nothing to brag about, is actually performing a lot better than most adult-skewed awards contenders. The Black Phone 2 wrapped up its run with a $1 million weekend and a $76 million total, making it Blumhouse’s biggest success in a long time. Finally, Sarah’s Oil made $771K, pushing its total over $1 million.

Next weekend is Thanksgiving, so it should be a good one for exhibitors, with Wicked: For Good and Zootopia 2 both primed to do big business. What will you be checking out? Let us know in the comments.

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In fact, it was soundly beaten, both in North America and abroad, by Lionsgate’s Now You See Me, Now You Don’t. The third installment in the caper series led by Jesse Eisenberg and Woody Harrelson opened way above expectations in North America with a solid $21.3 million. While that’s not as strong as Now You See Me 2 opened nine years ago (with $22.3 million — not adjusted for inflation), the international box office cume is outstanding, pulling in a huge $54.2 million, including $19.2 million in China. This series has always had a strong global footprint, and with numbers like these, it’s clear Lionsgate will make a nice profit on a movie many thought they were foolish to greenlight. Clearly, there’s still a big appetite for this series (and it helped that the movie was actually pretty fun).

However, last weekend’s big opener, Predator: Badlands, crash-landed back down to earth, falling a hefty 68% this weekend, with only $13 million. It doesn’t have the legs many hoped for, leaving the franchise’s future on the big screen somewhat in limbo — with it unlikely to make much above $85–90 million domestically (although with foreign grosses it should still turn a profit).

The Colleen Hoover adaptation Regretting You continued to pull in the date crowd, making another $4 million, a decline of only 40%, for a $44 million total. The Black Phone 2 narrowly edged out the Russell Crowe–led Nuremberg for fifth place. The Black Phone 2 made $2.65 million for a domestic total of $74.6 million (more than enough to guarantee a third film). Nuremberg made $2.6 million, only a 33% decline from last week, and has made $8.6 million so far. While that sounds low, it’s actually one of the better-performing awards titles of the season. The Osgood Perkins horror flick Keepertanked with only $2.5 million, marking a rare flop for Neon and the director, whose previous Longlegs and The Monkeywere both successful. Sarah’s Oil made $2.3 million for an $8.6 million total, while Bugonia and Chainsaw Man actually tied for ninth place with $1.6 million apiece.

All in all, it was another bad weekend at the domestic box office, but luckily audiences will likely follow the yellow brick road back to theaters to see Wicked: For Good, which opens this week — and not a moment too soon.

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It’s definite proof for Disney that the franchise can still sustain a big-screen, theatrical release—especially after its predecessor, Prey, premiered exclusively on Hulu. Whether the PG-13 rating brought in a younger audience remains to be seen, though the rating system will be put to the test next weekend when Paramount’s The Running Man, which carries an R rating, hits theatres.

Otherwise, the box office proved to be slow this weekend. Regretting You was a distant second-place finisher with $7.125 million—a drop of only 9% from last week, which is rare in a third weekend. It seems Colleen Hoover fans are continuing to discover this one, as it closes in on a $40 million domestic total. The Black Phone 2—which coincidentally shares a star with Regretting You, Mason Thames—earned $5.3 million for a strong $70 million haul. The Amazon/MGM biographical drama Sarah’s Oil did well in a lower-key release, making $4.45 million and outperforming all other indie openers this weekend. Nuremberg didn’t do badly either with $4.14 million, though streaming will likely be where this courtroom drama finds its audience.

Chainsaw Man: The Movie continued to perform well as it wraps up its run with $3.8 million and a $38 million domestic total. Yorgos Lanthimos’s Bugonia sputtered out a bit this weekend, earning only $3.5 million for an underwhelming $12 million total. It seems unlikely to make more than $20 million all in.

Two star-driven indie movies had disastrous openings this weekend. Die My Love, starring Jennifer Lawrence and Robert Pattinson, made an atrocious $2.8 million (Mubi paid $24 million for it—though it may find an audience on streaming). Its CinemaScore was an abysmal D+. Still, that’s better than Sydney Sweeney’s Christy, which opened disastrously outside the top ten with just $1.3 million and a $649 per-screen average. Ouch. Springsteen: Deliver Me From Nowherewrapped up its underwhelming run with $2.2 million and a $20 million domestic total, as it lost over 1,000 theatres. Rounding out the top ten was Tron: Ares, which made $1.8 million for a $71 million domestic haul.

Next weekend sees the release of three fairly big movies — The Running Man, Now You See Me: Now You Don’t, and Osgood Perkins’ Keeper. Which one are you seeing? Let us know in the comments!

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Interestingly, both movies feature rising star Mason Thames, who’s had a great year between these two movies and the smash How to Train Your Dragon remake. Regretting You has had a softer performance at the box office than the last Colleen Hoover adaptation, It Ends With Us, but it also didn’t have the same kind of star power (or controversy), meaning this will no doubt be a profitable movie for Paramount, with its gross sitting at $27.5 million. The Black Phone 2 is Blumhouse’s best performer in a while, with it having grossed $61 million — paving the way for an inevitable Black Phone 3 (and maybe 4, 5, etc.).

Last week’s anime box office topper, Chainsaw Man: The Movie, had a huge second-week decline of 67%, making $6 million for a $30.7 million total. Bugonia, by Yorgos Lanthimos, was another adult-skewing awards movie that had trouble attracting an audience, although its $4.8 million weekend is actually his largest expansion opening ever. Back to the Future, which got a 40th-anniversary IMAX reissue this weekend, made $4.7 million, bringing its all-time box office total to $221 million — although adjusted for inflation, it would be over $600 million nowadays.

Springsteen: Deliver Me From Nowhere died in its second weekend, falling a big 57% in week 2, with only $3.8 million and a grand total just over $16 million. Ouch — this one has to hurt for Searchlight, although it will no doubt find a bigger audience once it hits Hulu. To note, K-Pop Demon Hunters is probably on the list somewhere around this spot, with Deadline estimating it made about $3.4 million this weekend — but Netflix doesn’t report box office numbers, so there’s no surefire way of knowing.

Meanwhile, Tron: Ares continued its weak box office run, with $2.8 million and a $67 million domestic total. Given the rumored $200 million budget, this one is going to bleed red ink. The indie-animated movie Stitch Head had a modest $2.1 million opening, which isn’t bad for a movie with next to no buzz. Sadly, Aziz Ansari’s Good Fortune continued comedy’s troubling run at the box office, wrapping up its run with only $1.4 million and a terrible $14.6 million domestic total, despite Keanu Reeves in a starring role.

Finally, the top ten was rounded out by P.T. Anderson’s One Battle After Another, which made $1.15 million for a $67.7 million total as it moves from a wide release into the arthouses and more specialized runs (such as the Vista in L.A., where it’s showing in VistaVision). Next weekend sees the release of Predator: Badlands, which folks are banking on throwing some extra muscle into the box office.

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Of them all, the Springsteen movie seemed to have the most commercial potential, as the biopic genre is usually consistent, and the film also stars The Bear breakout Jeremy Allen White. Alas, non-Springsteen devotees didn’t show up, with the movie opening in a distant fourth place this weekend with only $9.1 million. Some believe the World Series may have had something to do with the lower-than-expected attendance, but I dunno — it seems like older audiences are likely just waiting for this one to show up on streaming, with it bound for a Hulu release sometime around the holidays.

Instead, this weekend’s box office champ was Crunchyroll’s latest anime release, Chainsaw Man: The Movie, which made $17.25 million. While not on par with what Demon Slayer: Infinity Castle opened with last month, this is far beyond most box office predictions (ours included), making it clear that anime remains a strong force on the big screen. It managed to trounce the latest Colleen Hoover adaptation, Regretting You, which was unexpectedly edged out by The Black Phone 2, showing a stronger-than-expected hold in week two. The Black Phone 2 made $13 million to Regretting You’s $12.85 million. Ironically, both movies star rising talent Mason Thames.

Meanwhile, Tron: Ares continued to sink like a stone, losing another 56% this weekend for a fifth-place $4.9 million finish and a total box office haul in the $63 million range — not good for a movie that cost over $200 million. Aziz Ansari’s Good Fortune didn’t find its wings this weekend despite Keanu Reeves co-starring as an angel, dropping around 50% for a $3.1 million weekend.

Chris Stuckmann’s poorly reviewed horror flick Shelby Oaks didn’t prove to be much of a breakout for Neon, earning $2.35 million in a semi-wide release (according to Comscore, its per-screen average was $1,289, which is relatively poor). Given the low budget, it will still likely turn a modest profit for the studio. Perhaps the only awards hopeful finding an audience, One Battle After Another, was in eighth place with $2.33 million for a $65.4 million total. Roofman (which I loved) began to wrap up its run with a $2 million weekend and a disappointing $19.36 million total (it deserved a lot more), while a re-release of Laika’s ParaNorman squeaked into the top 10 with $991.9K.

Next weekend is Halloween, and theaters will be thankful that Netflix is re-releasing K-Pop: Demon Hunters, which will likely take the top spot easily. Yorgos Lanthimos’ Bugonia, which made over $690k on only forty screens this weekend, is the only wide release, alongside the 40th anniversary re-release of Back to the Future. What will you be seeing? Let us know in the comments.

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Thankfully, The Black Phone 2 has opened slightly above most box office predictions (including our own) with Comscore revealing it made $26.5 million. That’s higher than the $23.6 million the original made in the summer of 2022, proving that resurrecting The Grabber was a smart move. While it’s unlikely to have the same kind of legs as the original (which grossed over $90 million domestically), this is a welcome return to form for Blumhouse — one that will likely continue once Five Nights at Freddy’s 2 opens this Christmas.

Meanwhile, Disney’s broken Tron franchise still can’t catch a break, with Tron: Ares falling a disastrous 66% to second place with $11.1 million, for a $54.5 million domestic total. It’s unlikely to top $70–75 million domestically. Lionsgate also had another major bomb with Aziz Ansari’s Good Fortune, which laid an egg at only $6.2 million despite the combined star power of Keanu Reeves and Seth Rogen. This continues a troubling trend: broad comedies just aren’t catching on like they used to.

WB’s One Battle After Another continued to pull in a decent-sized audience, adding $4 million to its $61 million total. While not a blockbuster, people are showing up, and it should play well into awards season.

One Oscar contender that did bomb is Channing Tatum’s Roofman (which we loved), co-starring Kirsten Dunst. Despite its star power, it only made $3.7 million for a $15.5 million domestic total. Star-driven awards fare is dying at the box office this fall, with The Smashing Machine being one of the year’s biggest disasters — pulled from over 2,000 theaters this weekend after earning just $11 million domestically. Further down the chart, the Julia Roberts-led After the Hunt also fared poorly, making only $1.5 million. It seems audiences are waiting to catch these films on streaming — if at all — as none have managed to tap into the zeitgeist in any meaningful way.

Angel Studios has also struggled to generate faith-based hits, with their latest, Truth & Treason, debuting to just $2.7 million in sixth place. Family fare hasn’t helped theaters much either, with Gabby’s Dollhouse earning $1.65 million for a $29 million domestic total.

Thank God for horror. The Conjuring: Last Rites remains the season’s only true, unqualified hit, pulling in another $1.5 million for a series-best $175 million total. The only other bona fide success of the season is the anime Demon Slayer: Infinity Castle, now the highest-grossing anime of all time in North America, rounding out the top 10 with $1.3 million and a $131 million domestic total.

Will Crunchyroll’s next release, Chainsaw Man, continue their streak? We’ll find out next weekend — which also sees the release of the much-anticipated Springsteen: Deliver Me From Nowhere. Here’s hoping The Boss can help break the current streak of adult dramas flopping. The world needs Springsteen to save the box office!

What did you see this weekend? Let us know in the comments.

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Indeed, this has always been a franchise that never quite managed to live up to the studio’s expectations. However, despite the modest opening, there’s still a chance that Tron: Ares will at least break even for the studio, as long as the international box office is strong. It will likely also be a streaming hit once it reaches Disney+. But as far as big-screen Tron movies go, I imagine that if we return to The Grid, it will be via a streaming series rather than a feature film.

What went wrong? A big part of the equation might be the fact that star Jared Leto has a rather mixed history at the box office, with his recent Morbius being a pretty big flop. Always a controversial figure, he seems to polarize audiences, so it’s not like you had a ton of people turning up this weekend to see him in action. That said, I thought he was pretty decent in the movie.

This weekend’s runner-up title, Roofman, was a rather distant second, making only $8 million domestically. The good news for Paramount is that the budget was a fairly low $19 million, and audiences seem to like the movie, with it earning a solid B+ CinemaScore. Hopefully, it will have the kind of legs P.T. Anderson’s One Battle After Another is having, with ComScore reporting it only fell 39% this weekend, earning $4.6 million for a not-bad $54 million domestic total (although WB will still likely lose a nice chunk of change on it — but if it sweeps the Oscars, it won’t really matter).

Gabby’s Dollhouse was in fourth place with $3.35 million and a $26 million total. The faith-based Soul on Fire rounded out the top five with $3 million, which is low for Sony’s Affirm label. The Conjuring: Last Rites continued to pull in audiences, making $2.9 million for a huge $172 million domestic total (it’s by far the highest-grossing film in the franchise). Demon Slayer: Infinity Castle added another $2.25 million to its $128 million total.

Sadly, The Rock’s Smashing Machine suffered a horrible decline in week two. It fell a whopping 69% to $1.79 million and a $9.8 million total. Given the budget and pedigree, it’s likely going down as one of the year’s biggest box office disasters (no wonder The Rock is jumping into another Jumanji sequel). The Strangers: Chapter 2 started to wrap up its underwhelming run with $1.55 million and a poor $13 million total. Meanwhile, IFC/Shudder’s Good Boy continued to pull in modest business, making $1.3 million for a $4.6 million total.

What did you see this weekend? Let us know in the comments!

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Indeed, it wasn’t even close. While the $33 million is only a fraction of the $93 million Taylor Swift: The Eras Tour Movie made in its opening weekend, this is an altogether different kind of beast. That was a concert film, while this is more of a behind-the-scenes kind of deal. Also, fans seem mixed on The Life of a Showgirl as an album, but even still, this is a big number propped up by an army of Swifties who no doubt flooded cinemas all weekend.

So, where did The Smashing Machine end up? A distant third place with a disastrous $6 million, which marks The Rock’s lowest opening ever. Granted, this biopic was never expected to do Jumanji (or even Red One) numbers, but it’s a bummer, as Benny Safdie made an excellent film, and Johnson delivers the performance of a lifetime (opposite Emily Blunt, who’s also excellent). This opening is significantly less than we predicted earlier this week and marks another in a long list of flops for A24 this year, whose reputation as an indie darling seems to be at risk. Think about it: Opus, Death of a Unicorn, The Legend of Oshi, Warfare, Sorry Baby, Eddington — none of these films caught on. The only bright spot for them this year has been Materialists, which made $100 million worldwide.

The Smashing Machine was leapfrogged by Paul Thomas Anderson’s One Battle After Another, which made $11.1 million, a 49% decline since last week. That’s not a bad hold, although it’s probably not going to come close to earning back its budget at the box office. Then again, with it likely to clean up at the Oscars, it’s still a prestige hit for the studio and will no doubt be a strong film to add to their catalog (I would imagine it will eventually turn a profit — even if it takes a few years). It’s currently at about $42 million domestically but has passed $100 million worldwide.

Meanwhile, Gabby’s Dollhouse lost a stunning 62% of its audience this weekend for a $5.2 million finish and a $21 million total. The Conjuring: Last Rites added another $4 million to its box office total, with an outstanding $167.8 million gross (by far the highest-grossing movie in the franchise). Demon Slayer: Infinity Castle wasn’t far behind with $3.5 million and a $124.6 million total.

Another surprise entry into the top ten was the re-release of James Cameron’s Avatar: The Way of Water, which made $3.19 million — a number that bodes well for the Christmas release of Avatar: Fire & Ash. The Strangers: Chapter 2 made $2.8 million for a disappointing $10.6 million domestic total. With numbers like these, it’s not a sure thing that the (already shot) third film will get a theatrical release. IFC/Shudder had a nice-sized hit with Good Boy, which made $2.25 million, marking their biggest opening since Late Night With the Devil (no joke — we have an “interview” with the dog star Indy dropping tomorrow on our Celeb Access YouTube Channel). Finally, the Indian title Kantara: A Legend – Chapter 1 rounded out the top ten with $1.7 million (according to ComScore’s early figures).

What did you see this weekend? Let us know in the comments!

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Thanks to Leonardo DiCaprio’s starring role, the movie is also posting a strong showing at the international box office, grossing enough to give it a worldwide opening of just under $50 million. Notably, this is the ninth WB movie of the year to open at number one at the box office, with the studio in the middle of a storied run that arguably began with A Minecraft Movie, continued with Sinners, and has paid off with releases like F1, Superman, Weapons, and more.

DreamWorks’ Gabby’s Dollhouse, which some believed could actually take the box office crown this weekend, had a more modest $13.7 million opening than expected. This could be because the young female audience is saving their allowances for Taylor Swift’s Life of a Showgirl release party event, which goes wide next weekend.

The anime smash Demon Slayer: Infinity Castle dropped to third place this weekend, earning $6.8 million for a $117.8 million domestic total—a game changer for anime and distributor Crunchyroll. Right behind it was The Conjuring: Last Rites, which added $6.8 million to its domestic tally for a stunning $161 million total. Its $400 million–plus international take has already made it the eighth highest-grossing horror film of all time.

Sadly, Renny Harlin, after scoring a sleeper hit with The Strangers: Chapter 1, had a flop with the sequel, Chapter 2, which only made $5.9 million this weekend. Will the already-shot third film get a theatrical release after this opening? We’ll have to wait and see. Another disappointment is the Jordan Peele–produced Him, which fell a massive 72 percent in week two for a $3.6 million weekend and a $20.7 million total. Another genre title, The Long Walk, has performed better, making $3.4 million this weekend for a $28 million domestic total. Meanwhile, Downton Abbey: The Grand Finale continued to draw an older audience with a $3.3 million gross and a $39 million domestic total.

Coming in at number nine is the Telugu-language Indian action film They Call Him OG, which made $1.42 million for a $5 million–plus domestic gross. Finally, the Colin Farrell/Margot Robbie flop A Big Bold Beautiful Journey wrapped up its short run with $1.25 million and a $5.9 million domestic total. Certainly, that movie’s performance is a worst-case scenario for Sony.

What did you see this weekend? Let us know in the comments!

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As for Him, which was produced (but not directed) by Jordan Peele, poor reviews—including one from our own Tyler Nichols—doomed it to a mediocre $13 million opening. With a terrible C-minus CinemaScore, it seems audiences didn’t connect with this football-horror take on Faust. It will likely lose most of its business next weekend, though its opening isn’t disastrous.

The real surprise came from The Conjuring: Last Rites, which gave Him a genuine battle for second place, earning a better-than-expected $12.95 million in its third weekend. Its box office total now stands at a superb $151.7 million, making it the highest-grossing film in the Conjuring universe.

Lionsgate’s The Long Walk experienced a more modest-than-expected 46% drop in week two, earning $6.3 million for a $22.7 million total. It should be able to reach a $30 million domestic total, which, combined with foreign grosses and streaming sales, should help it turn a nice profit.

Downton Abbey: The Grand Finale also performed well, tying with The Long Walk for third place with $6.3 million, bringing its total to $31.6 million. It should come close to matching its predecessor, A New Era, which topped out at $44.1 million domestically.

As for the weekend’s biggest disaster, that title goes to the Margot Robbie and Colin Farrell-led A Big Bold Beautiful Journey, which opened to just $3.5 million. With a $50 million budget, this will go down as one of the year’s biggest box office disappointments, particularly given the talent involved. That said, the stars likely have better things ahead: Farrell with The Batman 2 and Robbie with the upcoming Withering Heights remake, which should perform well.

Angel Studios delivered a crowd-pleaser with The Senior (which we loved), earning an A CinemaScore and $2.7 million. Toy Story’s 30th Anniversary re-release continued to earn, bringing in $1.4 million for a $5.8 million total. The live stage production Noah didn’t quite match Disney’s recent Hamilton, but still appeared in the top 10 with $1.386 million, while Weapons closed out its run in tenth place with $1.26 million, just shy of a $150 million total (a mark it is expected to surpass this week).

Next weekend promises to be interesting with the release of One Battle After Another, one of the best-reviewed films of the year. Will it be enough to top the box office and recoup its huge budget? Let us know in the comments!

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However, this is different: Demon Slayer is playing limited runs, meaning many theaters are only showing it a few times a day. Screenings are packed to the gills, giving it an insane $21,100 per-screen average. It’s Sony’s biggest opening of the year by far, and another smash for their Crunchyroll label.

Last weekend’s champ, The Conjuring: Last Rites, turned out to be extremely front-loaded, losing a hefty 69% of its audience. However, given how high the opening was, I doubt anyone at Warner Bros. and New Line is too upset. After only two weeks, it’s only about $3 million away from being the highest-grossing film in the Conjuring franchise (including the spin-offs, which we ranked here).

Another franchise that’s supposed to be wrapping up this weekend is Downton Abbey, with The Grand Finale opening stronger than the last installment, A New Era, making a solid $18.1 million. That’s impressive considering Downton’s audience skews older, and given that the franchise is even more popular overseas, this third movie is poised to clean up for Focus. Maybe they were premature in bringing it to an end.

Another movie that did pretty well was Lionsgate’s Stephen King adaptation, The Long Walk, which notched an impressive $11.5 million. Given it sports a largely unknown young cast (with Mark Hamill as the baddie), that’s a solid number for a fairly low-budget movie. With a cost in the $20 million range, it should break even domestically and turn a nice profit by the time it hits VOD. Consider this one a single rather than a double or home run at the box office, but it still gives Lionsgate a much-needed win.

Another strong showing came via two limited-run Disney engagements. First up is Toy Story, celebrating its 30th anniversary (let that one sink in, folks), with a $3.5 million take. Hamilton, in its second weekend, continued to draw audiences, earning $2.2 million for a $14.9 million total. Not bad if you consider both are streaming in 4K on Disney Plus. Sandwiched between them was Weapons, which added $2.72 million to its incredible $147 million total, making it one of the year’s biggest sleeper hits.

Disney’s Freakier Friday started to wrap up its run this weekend, with $2.1 million added to its domestic haul of $91 million—it won’t crack the magical century mark. Meanwhile, Spinal Tap II: The Legend Continues had an abysmal opening, with only $1.6 million and a crummy $872 per-screen average. That said, it was always unlikely to make much money at the box office. Even the original 1984 classic only made $5.8 million during its entire run (it was home video and cable that made it a classic). Adding insult to injury, it was nearly outgrossed by the 60th-anniversary re-release of The Sound of Music, which earned $1.48 million.

Next weekend sees the release of the Jordan Peele-produced Him. Does it have a chance of topping the box office? Let us know in the comments!

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The weekend’s runner-up was also unexpected: the film version of Lin-Manuel Miranda’s Hamilton earned $10 million, a huge number for a production that’s already streaming on Disney Plus. Weapons also continued its successful run, adding another $5.3 million to its $143 million domestic total.

Freakier Friday managed to hold on to fourth place, bringing in $3.8 million for an $87 million total. It will likely finish shy of the $100 million mark. Sadly, Darren Aronofsky’s excellent Caught Stealing dropped a steep 59% this weekend for a $3.2 million finish, bringing its domestic total to $14 million. It will take a miracle for this one to hit $20 million.

Still, it fared better than The Roses, which only made $2.8 million for a $12.28 million total. I imagine this experiment with opening big movies on Labor Day weekend will be a one-off, as neither film found much of an audience. Meanwhile, Fantastic Four: First Steps is hanging in there with $2.7 million for a $270 million domestic total. The Bad Guys 2 has also been consistent in its weekly grosses, earning $2.4 million for a $77 million total. The faith-based animated film Light of the World came out of nowhere to make $2.4 million in ninth place, although its $1,157 per-screen average suggests only devout Christians are checking it out. Finally, James Gunn’s Superman rounded out the top 10 with another $1 million, bringing its domestic total to $353 million.

The Conjuring likely won’t have any trouble holding on to the top spot next weekend, with the two big openers being the Stephen King adaptation of The Long Walk (which we liked) and the latest Downton Abbey film, which should play well with franchise fans. Still, it seems like nothing until possibly the Jordan Peele–produced Him has a real chance of dethroning it.

What do you think? Let us know in the comments!

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Indeed, Weapons, now that Kpop Demon Hunters is no longer competing with it, was able to retake the top spot with $10.2 million for a $132 million domestic haul (pretty close to what I predicted earlier this week). That’s a terrific number for an R-rated studio horror film, propelling director Zach Cregger to superstar status.

The movie in second place was a surprise: the fiftieth-anniversary reissue of Jaws was a monster hit, grossing $8.1 million. It easily beat Caught Stealing, which was widely predicted to open in the $10 million range but only managed $7.8 million. One wonders what Sony was thinking opening the film on Labor Day, as it almost seems like this was a movie they produced mainly to feed their Netflix pipeline, given their exclusive deal with the streamer (that’s how Kpop Demon Hunters, also produced by Sony, became a Netflix phenomenon). Freakier Friday landed in fourth place with $6.5 million and an $80 million total. This sequel seems to have come too late, underperforming at the box office and adding to Disney’s summer of woe. The next two movies on the list were distributed by Disney as well, with The Roses from Searchlight earning only $6.35 million. Expect it to hit Hulu within weeks. Fantastic Four: First Steps began wrapping up its underwhelming run with $4.8 million and a $264 million domestic total.

Universal’s The Bad Guys 2 showed a bit of staying power in seventh place, with $4.74 million and a $73 million domestic total. Superman added another $2.85 million to its coffers for a $351 million domestic total. Bob Odenkirk’s kick-ass Nobody 2 earned $1.83 million for a domestic total of just over $20 million, a disappointing result for this well-received sequel. Finally, The Naked Gun, which drops on digital Tuesday, made $1.8 million, pushing its domestic total over the $50 million mark.

One of the biggest stories of the weekend is what didn’t make the top 10. Cineverse laid an egg with Legendary’s expensive remake of The Toxic Avenger. It made a horrifying $1.7 million—with a per-screen average of only $879. That’s a terrible result for a movie that many fans of the original seem to be loving. What a shame.

Next weekend should liven up the box office a bit, with The Conjuring: Last Rites opening in theaters. Will it reinvigorate the box office? Let us know in the comments!

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