• 20th Century Studios’ The Devil Wears Prada 2

• Neon’s Hokum

• Angel Studios’ Animal Farm

• Magenta Light Studios’ Deep Water

• Crunchyroll’s That Time I Got Reincarnated as a Slime the Movie: Tears of the Azure Sea

• 36 Cinema Distribution’s One Spoon of Chocolate

• Music Box Films’ The Last One For the Road

Plus, a full breakdown of the top ten at the box office this weekend. And Anne Hathaway’s best and worst.

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20th Century Studios’ The Devil Wears Prada 2 took #1 at the box office with $77M domestic. Internationally, it made $156.6M this weekend, bringing its worldwide total to $233.6M.

The first film took on an iconic, pop-culture phenomenon quality in the two decades since it was released:

• The Devil Wears Prada (2006)

  • $27.5M opening ($44.8M w/ inflation)

  • $124.7M domestic total ($203M w/inflation)

  • $326.6M worldwide ($531.5M w/ inflation)

So it’s not a surprise that Prada 2 opened nearly 2x the first film. And it will easily surpass its worldwide total, even counting inflation, by the time it’s finished.

That would mean Prada 2 will become Anne Hathaway’s top-earning film of all time, in which she is the central star. Although it will not be her highest-earning film of all time, for a movie in which she is part of the ensemble or a co-star:

• The Dark Knight Rises (2012)

  • $160.8M opening

  • $448.1M domestic total

  • $1.085bn worldwide

• Alice in Wonderland (2010)

  • $116.1M opening

  • $334.2M domestic total

  • $1.025bn worldwide

• Interstellar (2014)

  • $47.5M opening

  • $203.2M domestic total

  • $774.6M worldwide

The Devil Wears Prada 2 carries a production budget of $100M and should have no problem recouping.

The per-screen average is a sensational $18.6K/screen across 4,150 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$54M - Michael (Lionsgate)

• $183.8M domestic total

• $423.9M worldwide

• $200M budget

• RT: 38% (critics), 97% (fans)

• Week 2

• Trailer

Michael is the top-opening biopic of all time. In week 2, it dropped 44%, not too bad, but more than the previous top-earning biopics:

• American Sniper (2015)

  • $89.3M opening ($126.2M inflation adjusted)

  • $200.4M week 2 wide release domestic total (-27.6% drop)

  • $350.1M domestic total

  • $547.6M worldwide

• The Passion of the Christ (2005)

  • $83.8M opening ($144.3M inflation adjusted)

  • $213.8M week 2 domestic total (-36.5% drop)

  • $370.8M domestic total

  • $610.1M worldwide

• Oppenheimer (2023)

  • $82.5M opening

  • $174.6M week 2 domestic total (-43.4% drop)

  • $330.1M domestic total

  • $975.8M worldwide

In its second week, Michael is already the 2nd highest-earning biopic of all time:

• Bohemian Rhapsody (2018)

  • $51.1M opening

  • $216.7M domestic total

  • $910.8M worldwide

• Michael (2026)

  • $423.9M worldwide (week 2 WW total)

• Elvis (2022)

  • $32.2M opening

  • $151M domestic total

  • $288.7M worldwide

• Straight Outta Compton (2015)

  • $60.2M opening ($83.4M inflation adjusted)

  • $161.2M domestic total

  • $201.6M worldwide

• Walk the Line (2005)

  • $22.3M opening

  • $119.5M domestic total

  • $186.8M worldwide ($312.2M inflation adjusted)

Right now, it’s projected that Bohemian Rhapsody’s shocking $694M international total will be stronger than Michael’s projected international total.

That would keep Bohemian Rhapsody as the top-earning music biopic of all time, but with Michael’s massive opening, we’ll see what happens. Universal is handling international distribution.

Michael had an incredible $13.7K/screen average across a massive 3,955 screens.

Lionsgate will have no problem recouping.

$12.1M - The Super Mario Galaxy Movie (Universal)

• $402.7M domestic total

• $894.2M worldwide

• $110M budget

• RT: 43%

• Week 5

• Trailer

This film took a 41% drop in its fifth weekend. It is now underperforming the first film by over $100M domestically:

• The Super Mario Bros. Movie (2023)

  • $146.3M domestic opening (vs. Galaxy’s $131.7M)

  • $518.1M - week 5 domestic total (vs. Galaxy’s $402.7M)

  • 54.6% week 5 drop (vs. Galaxy’s 41%)

However, The Super Mario Galaxy Movie could still crack $1bn, but not by much.

That would make it the first billion-dollar release of 2026. And the second-largest video-game-to-film adaptation of all time, if it’s able to beat out A Minecraft Movie’s $961.2M worldwide total.

The Super Mario Galaxy Movie cost $110M to make, and has already become very profitable.

$8.5M - Project Hail Mary (Amazon MGM Studios)

• $318.3M domestic total

• $638.4M worldwide

• $200M budget

• RT: 93%

• Week 7

• Trailer

This film took a small 33% drop in its seventh weekend.

This is by far Amazon MGM Studios’ highest-grossing film. And the highest-grossing US original film of 2026.

Most impressively, it has exceeded the 7th week domestic total of Oppenheimer, the only other sci-fi that isn’t a franchise or a sequel to open above $80M in 10 years:

• Oppenheimer (2023)

  • $82.46M domestic opening

  • $308.8M 7th week domestic total (vs. Project Hail Mary $318.3M)

Project Hail Mary is based on a book by Andy Weir, who also wrote The Martian, which it has now exceeded domestically and internationally:

• The Martian (2015)

  • $54.3M domestic opening

  • $228.4M domestic total

  • $630.6M worldwide

Project Hail Mary cost $200M to make, and it has reached theatrical profitability.

$6.4M - Hokum (Neon)

• RT: 86%

• Premiere: SXSW

• Week 1

This horror starring Adam Scott sits in the upper middle of Neon’s horror film openings:

• Longlegs (2024)

  • $22.4M opening

  • $125.4M worldwide

• The Monkey (2025)

  • $14.2M opening

  • $68.9M worldwide

• Together (2025)

  • $6.8M opening

  • $32.3M worldwide

• Hokum

  • $6.4M opening

• Immaculate (2024)

  • $5.3M opening

  • $35.3M worldwide

• Cuckoo (2024)

  • $3M opening

  • $6.7M worldwide

• Exit 8 (2026)

  • $2.8M opening

  • $45.8M worldwide

• It Lives Inside (2023)

  • $2.6M opening

  • $7.4M worldwide

• Shelby Oaks (2025)

  • $2.35M opening

  • $5.5M worldwide

However, it is the third-highest RT-rated film on this list, behind Exit 8 (93% RT) and Together (90% RT).

Interestingly, it’s not the first Neon horror film Scott has appeared in. Previously, he played Captain Petey Shelborn in The Monkey.

The budget for this film is fairly modest; it is likely that Neon will recoup its costs.

$3.4M - Animal Farm (Angel Studios)

• $35M budget

• RT: 25%

• Week 1

• Trailer

This is a low opening for Angel Studios, 32% below their average.

And it doesn’t hold a candle to their previous animated films’ openings:

• David (2025)

  • $22M opening

  • $80.4M domestic total

  • $87M worldwide

• The King of Kings (2025)

  • $19.1M opening

  • $60.3M domestic total

  • $83.5M worldwide

Animal Farm had a stacked voice cast of Seth Rogen, Woody Harrelson, and Steve Buscemi. But where Angel Studios gets its true power is in faith-based or ultra feel-good films.

This dystopian film from director Andy Serkis is neither.

It will not recoup.

$2.2M - Lee Cronin’s The Mummy (Warner Bros./Blumhouse)

• $24.4M domestic total

• $80M worldwide

• $22M budget

• RT: 43%

• Week 3

• Trailer

Brendan Fraser and Rachel Weisz are not in this film, as the marketing has made abundantly clear.

So, although it’s not fair to judge it against the previous 4 Mummy films, it’s worth noting that Lee Cronin’s The Mummy took a larger week 3 drop of 59% than all of the previous Mummy films:

• The Mummy (1999)

  • $43.4M domestic opening (vs. Lee Cronin’s $13.5M opening)

  • 44.5% week 3 drop (vs. Lee Cronin’s 59% week 3 drop)

• The Mummy Returns (2001)

  • $68.1M domestic opening (vs. Cronin’s $13.5M)

  • 39.4% week 3 drop (vs. Lee Cronin’s 59% week 3 drop)

• The Mummy: Tomb of the Dragon Emperor (2008) - the one that Fraser disowned

  • $40.5M domestic opening (vs. Cronin’s $13.5M)

  • 50.2% week 3 drop (vs. Lee Cronin’s 59% week 3 drop)

• The Mummy (2017)

  • $31.7M domestic opening (vs. Cronin’s $13.5M)

  • 58.2% week 3 drop (vs. Lee Cronin’s 59% week 3 drop)

Warner Bros. horror films are performing worse in 2026 e.g. They Will Kill You ($18.9M WW) vs. 2025’s The Conjuring: Last Rites ($499.2M WW), Final Destination: Bloodlines ($317.9M WW), and Weapons ($270M WW).

Despite all this, Lee Cronin’s The Mummy carried a small budget and has already recouped theatrically.

$2.1M - Deep Water (Magenta Light Studios)

• $40M budget

• RT: 76%

• Week 1

• Trailer

This is the latest film directed by Renny Harlin, whose previous non-sequel horror films have all opened higher:

• The Strangers: Chapter 1 (2024)

  • $11.8M opening

  • $35.2M domestic total

  • $48.2M worldwide

• The Covenant (2006)

  • $8.8M opening

  • $23.4M domestic total

  • $37.6M worldwide

• Exorcist: The Beginning (2004)

  • $18M opening

  • $41.8M domestic total

  • $78.1M worldwide

• Mindhunters (2004)

  • $2M opening (would be $3.6M w/ inflation)

  • $4.5M domestic total

  • $21.1M worldwide

The good news is that Deep Water is getting great reviews and has a stellar cast of Aaron Eckhart and Ben Kingsley.

It will not recoup.

$1M - That Time I Got Reincarnated as a Slime the Movie: Tears of the Azure Sea (Crunchyroll)

• $4.6M worldwide

• RT: 80%

• Week 1

• Trailer

Believe it or not, this is the second film in the That Time I Got Reincarnated series, opening lower than:

• That Time I Got Reincarnated as a Slime the Movie: Scarlet Bond (2022)

  • $1.6M opening

  • $2.5M domestic total

  • $14.6M worldwide

Crunchyroll has had better success domestically and internationally with previous films, like 2025’s Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle ($70M opening, $741.5M WW) and Chainsaw Man - The Movie: Reze Arc ($18M opening, $162.5M WW).

$908K - The Drama (A24)

• $46.9M domestic total

• $104M worldwide

• $28M budget

• RT: 77%

• Week 5

• Trailer

The Drama now exceeds the domestic total of A24’s previous highest-grossing rom-com, and will surpass the worldwide total by next week:

• Materialists (2025)

  • $36.5M domestic total

  • $105.6M worldwide

It’s also slightly edging out Zendaya’s previous rom-com:

• Challengers (2024)

  • $46.5M week 5 domestic total vs. The Drama $46.9M

  • $50.1M domestic total

  • $96.1M worldwide

It has also way outperformed Robert Pattinson’s previous romance film:

• Die My Love (2025)

  • $5.5M domestic total

  • $11.9M worldwide

The Drama has already recouped its budget.

Here are the lowest-grossing films of the week:

$1.2K - Kontinental ‘25 (1-2 Special)

• $41.8K domestic total

• $106.3K worldwide

• Premiere: Berlin (winner: Best Screenplay)

• $169 /screen average

• Week 6

• Trailer

$1K - Natchez (Oscilloscope)

• $196.1K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $510 /screen average

• Week 26

• Trailer

$138 - John Lilly and the Earth Coincidence Control Office (Oscilloscope)

• $19.8K domestic total

• Co-Dir: Michael Almereyda (Tesla)

• Narrator: Chloë Sevigny

• $69 /screen average

• Week 6

• Trailer

There were a couple of limited-release indie films that opened this weekend.

36 Cinema Distribution’s One Spoon of Chocolate earned $574K in its opening weekend. This had an ok per-screen average of $903/screen across 1,030 theaters. The film is directed and written by RZA and is presented by Quentin Tarantino.

Music Box Films’ The Last One For The Road earned $7.5K in its opening weekend. This had a strong per-screen average of $3.8K/screen across 2 theaters. The film premiered at Cannes Un Certain Regard and played TIFF, and NYFF.

Notably, A24’s Mother Mary, starring Anne Hathaway, dropped 82% in its third weekend of release. It’s interesting timing for A24, as perhaps they felt they could coast off of The Devil Wears Prada 2’s marketing. Instead, this has backfired with a big drop.

• Lionsgate’s Michael

• IFC’s Over Your Dead Body

• Sony Pictures Classics’ I Swear

• Vertical’s Desert Warrior

• Roadside Attractions’ Fuze

• Greenwich Entertainment’s Omaha

Plus, a full breakdown of the top ten at the box office this weekend.

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Lionsgate’s Michael took #1 at the box office with $97M domestic. Internationally, it made $120M this weekend, bringing its worldwide total to $217M.

This is the top-opening biopic of all time, not including inflation:

• American Sniper (2015)

  • $89.3M opening ($126.2M inflation adjusted)

  • $350.1M domestic total

  • $547.6M worldwide

• The Passion of the Christ (2005)

  • $83.8M opening ($144.3M inflation adjusted)

  • $370.8M domestic total

  • $610.1M worldwide

• Oppenheimer (2023)

  • $82.5M opening

  • $330.1M domestic total

  • $975.8M worldwide

Even including inflation, Michael is the top opening music biopic of all time. Well surpassing the previous top four earners:

• Bohemian Rhapsody (2018)

  • $51.1M opening

  • $216.7M domestic total

  • $910.8M worldwide

• Elvis (2022)

  • $32.2M opening

  • $151M domestic total

  • $288.7M worldwide

• Straight Outta Compton (2015)

  • $60.2M opening ($83.4M inflation adjusted)

  • $161.2M domestic total

  • $201.6M worldwide

• Walk the Line (2005)

  • $22.3M opening

  • $119.5M domestic total

  • $186.8M worldwide ($312.2M inflation adjusted)

Right now, it’s projected that Bohemian Rhapsody’s shocking $694M international total will be stronger than Michael’s projected international totals.

That would keep Bohemian Rhapsody as the top-earning music biopic of all time, but with Michael’s massive opening, we’ll see what happens. Universal is handling international distribution.

Michael cost $200M to make, including $50M in reshoots, as the third act had to be re-shot due to legal issues. The Jackson estate covered this additional $50M cost. As a plus, some of the footage can be used if there’s a second film, which is now very likely to be greenlit.

Some of the additional reshoot money went to the producer Graham King (total salary: $16M), and the director, Antoine Fuqua ($25M).

Michael had an incredible $24.5K/screen average across a massive 3955 screens.

Lionsgate will have no problem recouping.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$21M - The Super Mario Galaxy Movie (Universal)

• $386.5M domestic total

• $831.5M worldwide

• $110M budget

• RT: 43%

• Week 4

• Trailer

This film took a 42% drop in its fourth weekend. It is underperforming the first film:

• The Super Mario Bros. Movie (2023)

  • $146.3M domestic opening (vs. Galaxy’s $131.7M)

  • $490.5M - week 4 domestic total (vs. Galaxy’s $386.5M)

  • 32% week 4 drop (vs. Galaxy’s 42%)

However, The Super Mario Galaxy Movie should still crack $1bn, but not by much.

That would make it the first billion-dollar release of 2026. And the second-largest video-game-to-film adaptation of all time, if it’s able to beat out A Minecraft Movie’s $961.2M worldwide total.

The Super Mario Galaxy Movie cost $110M to make, and has already become very profitable.

$13.2M - Project Hail Mary (Amazon MGM Studios)

• $305.4M domestic total

• $613.4M worldwide

• $200M budget

• RT: 93%

• Week 6

• Trailer

This film took a small 36% drop in its sixth weekend.

This is by far Amazon MGM Studios’ highest-grossing film. And the highest-grossing US original film of 2026.

Most impressively, it has exceeded the 6th week domestic total of Oppenheimer, the only other sci-fi that isn’t a franchise or a sequel to open above $80M in 10 years:

• Oppenheimer (2023)

  • $82.46M domestic opening

  • -23.4% 5th week ($8.2M)

  • $299.2M 6th week domestic total (vs. Project Hail Mary $305.4M)

Project Hail Mary is based on a book by Andy Weir, who also wrote The Martian, which, it has now exceeded domestically, and should pass it internationally by next week:

• The Martian (2015)

  • $54.3M domestic opening

  • $228.4M domestic total

  • $630.6M worldwide

Project Hail Mary cost $200M to make, and it has reached theatrical profitability.

$5.6M - Lee Cronin’s The Mummy (Warner Bros./Blumhouse)

• $23.45M domestic total

• $65.5M worldwide

• $22M budget

• RT: 43%

• Week 2

• Trailer

Brendan Fraser and Rachel Weisz are not in this film, as the marketing has made abundantly clear.

So, although it’s not fair to judge it against the previous 4 Mummy films, it’s worth noting that Lee Cronin’s The Mummy took a larger week 2 drop of 58% than almost all of the previous Mummy films:

• The Mummy (1999)

  • $43.4M domestic opening (vs. Lee Cronin’s $13.5M opening)

  • 43% week 2 drop (vs. Lee Cronin’s 58% week 2 drop)

• The Mummy Returns (2001)

  • $68.1M domestic opening (vs. Cronin’s $13.5M)

  • 50.5% week 2 drop (vs. Cronin’s ↓58% week 2)

• The Mummy: Tomb of the Dragon Emperor (2008) - the one that Fraser disowned

  • $40.5M domestic opening (vs. Cronin’s $13.5M)

  • 59.2% week 2 drop (vs. Cronin’s ↓58% week 2)

• The Mummy (2017)

  • $31.7M domestic opening (vs. Cronin’s $13.5M)

  • 54.2% week 2 drop (vs. Cronin’s ↓58% week 2)

Warner Bros. horror films are performing worse in 2026 e.g. They Will Kill You ($18.9M WW) vs. 2025’s The Conjuring: Last Rites ($499.2M WW), Final Destination: Bloodlines ($317.9M WW), and Weapons ($270M WW).

Despite all this, Lee Cronin’s The Mummy carried a small budget and has already recouped theatrically.

$2.6M - The Drama (A24)

• $44.8M domestic total

• $101.8M worldwide

• $28M budget

• RT: 77%

• Week 4

• Trailer

The Drama continues to perform incredibly well in its fourth week, dropping 46%.

It has now exceeded the domestic total of A24’s previous highest-grossing rom-com, and will surpass the worldwide total by next week:

• Materialists (2025)

  • $36.5M domestic total

  • $105.6M worldwide

It’s also slightly outperforming Zendaya’s previous rom-com:

• Challengers (2024)

  • $43.4M week 4 domestic total vs. (The Drama $44.8M)

  • $50.1M domestic total

  • $96.1M worldwide

It has also way outperformed Robert Pattinson’s previous romance film:

• Die My Love (2025)

  • $5.5M domestic total

  • $11.9M worldwide

The Drama has already recouped its budget.

$1.9M - Hoppers (Pixar)

• $164.2M domestic total

• $370.6M worldwide

• $150M budget

• RT: 93%

• Week 8

• Trailer

This is Pixar’s best opening for an original film in nearly a decade. And it has exceeded the domestic totals of the last three original films:

• Elio (2025)

  • $73M domestic total

  • $154.3M WW total

• Elemental (2023)

  • $154.4M domestic total

  • $496.4M WW total

• Onward (2020)

  • $61.6M domestic total

  • $141.9M WW total

It is trailing:

Coco (2017)

• $196.9M - week 7 domestic total

• $210.5M domestic total

• $814.6M WW

Hoppers’ budget is $150M, and it has already recouped theatrically. Another benefit of Pixar films staying in theaters for a long time.

$1.5M - You, Me & Tuscany (Universal)

• $17.6M domestic total

• $20.5M worldwide

• $18M budget

• RT: 93%

• Week 3

• Trailer

This had the largest drop of any film in the top ten this weekend with 62% week 3 drop.

The cast is sensational: Halle Bailey (The Little Mermaid) and Regé-Jean Page (Bridgerton). The issue is that neither has led a non-kids film, so the numbers here aren’t huge.

Of course, Bailey shot to fame when Disney’s The Little Mermaid (2023) hit big:

• $95.6M opening

• $298.2M domestic total

• $569.6M worldwide

Because You, Me & Tuscany is not expected to do much business internationally, it may not recoup in theaters.

$1.5M - Over Your Dead Body (IFC)

• $1.4M budget

• RT: 70%

• Week 1

• Trailer

This is a fun, bloody film about married couple Samara Weaving and Jason Segel going on vacation to a secluded cabin for one purpose: to kill the other one.

This is the second film to release in a month in which Weaving spends the majority covered in blood. Her previous opened much higher:

• Searchlight’s Ready or Not 2: Here I Come (2026)

  • $9.1M opening

  • $22.8M domestic total

  • $38.4M worldwide

The difference with Over Your Dead Body is that the distributor IFC doesn’t have the marketing power of Searchlight. Thus the per screen average of Over Your Dead Body is $965/screen. Pretty average for one of IFC’s openings.

Interestingly, Ready or Not 2, dropped 81% in its 6th week. The highest drop of any film this weekend.

$1.25M - Mother Mary (A24)

• $1.5M domestic total

• $15-20M budget

• RT: 67%

• Week 2 (1st week opening wide)

• Trailer

This is a massive miss for A24 and Anne Hathaway.

It’s another example of A24 casting a massive A-lister in a film that doesn’t quite connect with larger audiences. The other being the slightly more resonant The Smashing Machine in which The Rock starred. That took $21.1M worldwide, and a $5.8M opening.

The difference is that A24 opened The Smashing Machine on 3,345 theaters, for a $1.7K/screen average.

Last week Mother Mary had a massive, weekend-best per-screen average of $33.6K/screen across 5 theaters. This weekend it is doing much worse on 1,103 screens with a disappointing $1.1K/screen average.

The film is directed by David Lowery (A Ghost Story).

$1.1M - Fuze (Roadside Attractions)

• $2.2M worldwide

• RT: 76%

• Week 1

• Trailer

This is a lower opening than expected for an action film starring Aaron Taylor-Johnson, Theo James and Sam Worthington.

It is directed by David Mackenzie, whose last film Relay (2024) also was heavy on suspense and co-starred Sam Worthington. That fared slightly better:

• Relay (2024)

  • $1.9M opening

  • $3.2M domestic total

  • $4.6M worldwide

Right now this is an estimate for Fuze, based on Friday’s $566K total and a low $486/screen average. So we’ll see where it lands.

Here are the lowest-grossing films of the week:

$4.3K - Natchez (Oscilloscope)

• $195.2K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $1.5K /screen average

• Week 25

• Trailer

$2.2K - Kontinental ‘25 (1-2 Special)

• $38.1K domestic total

• $102.6K worldwide

• Premiere: Berlin (winner: Best Screenplay)

• $221 /screen average

• Week 5

• Trailer

$1K - John Lilly and the Earth Coincidence Control Office (Oscilloscope)

• $19.5K domestic total

• Co-Dir: Michael Almereyda (Tesla)

• Narrator: Chloë Sevigny

• $256 /screen average

• Week 5

• Trailer

There was a flurry of limited-release indie films that opened this weekend.

Sony Pictures Classics’ I Swear earned $640K in its opening weekend. This had an OK per-screen average of $992/screen across 645 theaters. The film is directed by Kirk Jones (Waking Ned Devine, Nanny McPhee) and won a BAFTA for Best Actor.

Vertical’s Desert Warrior earned $472.1K in its opening weekend. This had a low, per-screen average of $467/screen across 1010 theaters. The film stars Anthony Mackie and Ben Kingsley.

Greenwich Entertainment’s Omaha earned $13.5K in its opening weekend. This had the second highest per-screen average of the weekend with $13.5K/screen across 1 theater. The film premiered at Sundance.

• Warner Bros.’ The Mummy

• Magnolia’s Normal

• Focus Features’ Lorne

• A24’s Mother Mary

• Magenta Light Studios’ Fireflies at El Mozote

• 1-2 Special’s Erupcja

• Oscilloscope’s Mad Bills to Pay (or Destiny, dile que no soy malo)

• The Forge’s Everyone is Lying to You for Money

• Janus Films’ Blue Heron

• Dark Sky Films’ Mārama

Plus, a full breakdown of the top ten at the box office this weekend.

If you’ve been forwarded this email, click here to sign up: https://theindustry.co/subscribe

Universal’s The Super Mario Galaxy Movie took #1 at the box office for the third weekend in a row with $35M domestic. This brings its domestic total to $355.2M. Internationally, it made $48M this weekend, bringing its worldwide total to $747.5M.

This film took a 49% drop in its third weekend. It is underperforming the first film:

• The Super Mario Bros. Movie (2023)

  • $146.3M domestic opening (vs. Galaxy’s $131.7M)

  • $436M - week 3 domestic total (vs. Galaxy’s $355M)

  • 35% week 3 drop (vs. Galaxy’s 49%)

However, The Super Mario Galaxy Movie should still crack $1bn, but not by much.

That would make it the first billion-dollar release of 2026. And the second-largest video-game-to-film adaptation of all time, if it’s able to beat out A Minecraft Movie’s $961.2M worldwide total.

The Super Mario Galaxy Movie cost $110M to make, and has already become very profitable.

The film had a strong per-screen average of $8.4K/screen across 4170 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$20.5M - Project Hail Mary (Amazon MGM Studios)

• $285.1M domestic total

• $573.1M worldwide

• $200M budget

• RT: 93%

• Week 5

• Trailer

This film took a tiny 24% drop in its fifth weekend. Much less than Ryan Gosling’s 2nd and 3rd highest opening films:

• Blade Runner 2049 (2018)

  • $32.7M domestic opening

  • -43.6% week 5 drop ($2.3M)

• The Fall Guy (2024)

  • $27.7M domestic opening

  • -29.8% week 5 drop ($4.2M)

• *Even Barbie, for which he is the co-star, dropped 37.8% in its fifth weekend.

This is now Amazon MGM Studios’ highest-grossing film. And the highest-grossing US original film of 2026.

Most impressively, it has tied the 5th week domestic total of Oppenheimer, the only other film that isn’t a franchise or a sequel to open above $80M in 10 years:

• Oppenheimer (2023)

  • $82.46M domestic opening

  • -43% 5th week ($10.7M)

  • $285.3M 5th week domestic total

Project Hail Mary is based on a book by Andy Weir, who also wrote The Martian, which, it has now exceeded domestically:

• The Martian (2015)

  • $54.3M domestic opening

  • $228.4M domestic total

  • $630.6M worldwide

Project Hail Mary cost $200M to make, and it has reached theatrical profitability.

$13.5M - Lee Cronin’s The Mummy (Warner Bros./Blumhouse)

• $30M worldwide

• $22M budget

• RT: 43%

• Week 1

• Trailer

Brendan Fraser and Rachel Weisz are not in this film, as has been made abundantly clear by the marketing.

So, although it’s not fair to judge it against the previous 4 Mummy films, it’s worth taking a look to see that it is underperforming by a big margin:

• The Mummy (1999)

  • $43.4M domestic opening

• The Mummy Returns (2001)

  • $68.1M domestic opening

• The Mummy: Tomb of the Dragon Emperor (2008)

  • $40.5M domestic opening

• The Mummy (2017)

  • $31.7M domestic opening

It also continues the trend of Warner Bros. horror films opening lower in 2026, including They Will Kill You (2026), which opened at $5M.

Vs. WB’s 2025:

• The Conjuring: Last Rites (2025)

  • $84M opening weekend

• Final Destination: Bloodlines (2025)

  • $51.6M opening weekend

• Weapons (2025)

  • $43.5M opening weekend

Despite all this, Lee Cronin’s The Mummy should still break even theatrically.

$4.8M - The Drama (A24)

• $39.7M domestic total

• $81.8M worldwide

• $28M budget

• RT: 77%

• Week 3

• Trailer

The Drama continues to perform incredibly well in its third week, dropping 44%.

It has now exceeded the domestic total of A24’s previous highest-grossing rom-com:

• Materialists (2025)

  • $36.5M domestic total

  • $105.6M worldwide

It’s also slightly outperforming Zendaya’s previous rom-com:

• Challengers (2024)

  • $37.8M week 3 domestic total

  • $50.1M domestic total

  • $96.1M worldwide

It has also way outperformed Robert Pattinson’s previous romance film:

• Die My Love (2025)

  • $5.5M domestic total

  • $11.9M worldwide

The Drama has already recouped its budget.

$3.8M - You, Me & Tuscany (Universal)

• $14.4M domestic total

• $15.4M worldwide

• $18M budget

• RT: 93%

• Week 4

• Trailer

This had a large 51% 2nd-weekend drop.

The cast is sensational: Halle Bailey (The Little Mermaid) and Regé-Jean Page (Bridgerton). The issue is that neither has led an adult film, so the numbers here aren’t huge.

Of course, Bailey shot to fame when Disney’s The Little Mermaid (2023) hit big:

• $95.6M opening

• $298.2M domestic total

• $569.6M worldwide

Because You, Me & Tuscany is not expected to do much business internationally, it may not recoup in theaters.

$2.9M - Hoppers (Pixar)

• $161.2M domestic total

• $359M worldwide

• $150M budget

• RT: 93%

• Week 7

• Trailer

This is Pixar’s best opening for an original film in nearly a decade. And it has exceeded the domestic totals of the last three original films:

• Elio (2025)

  • $73M domestic total

  • $154.3M WW total

• Elemental (2023)

  • $154.4M domestic total

  • $496.4M WW total

• Onward (2020)

  • $61.6M domestic total

  • $141.9M WW total

It is trailing:

Coco (2017)

• $191.9M - week 7 domestic total

• $210.5M domestic total

• $814.6M WW

Hoppers’ budget is $150M, and it should have no problem recouping, as Pixar films tend to stay in theaters for a long time.

$2.65M - Normal (Magnolia)

• <$20M budget

• RT: 77%

• Week 1

• Trailer

This continues the trend of pure-action Bob Odenkirk films with single-word titles, starting with “N:”

• Nobody (2021)

  • $6.8M opening

  • $27.6M domestic total

  • $57.5M worldwide

• Nobody 2 (2025)

  • $9.3M opening

  • $21.6M domestic total

  • $43.3M worldwide

Normal was supposed to be a massive opening for Magnolia across 2060 screens, but the per-screen average is very middling at $1.3K/theater.

This doesn’t look like it’s going to come close to recouping, but we’ll need to see how it does internationally.

$669K - The Exit 8 (Neon)

• $2.8M domestic total

• $42M worldwide

• $1.4M budget

• RT: 92%

• Week 2 (domestic)

• Trailer

While this film has hit very big internationally, it’s not connecting as well domestically for Neon. In fact, when it opened last week at $1.4M, it was their worst horror opening in some time:

• Longlegs (2024)

  • $22.4M opening

  • $125.4M worldwide

• The Monkey (2025)

  • $14.2M opening

  • $68.9M worldwide

• Together (2025)

  • $6.8M opening

  • $32.3M worldwide

• Immaculate (2024)

  • $5.3M opening

  • $35.3M worldwide

• Cuckoo (2024)

  • $3M opening

  • $6.7M worldwide

• It Lives Inside (2023)

  • $2.6M opening

  • $7.4M worldwide

• Shelby Oaks (2025)

  • $2.35M opening

  • $5.5M worldwide

Luckily, with great international biz, it has already recouped.

$596K - The Christophers (Neon)

• $702K domestic total

• RT: 97%

• Week 2

• Trailer

The film stars Ian McKellen and Michaela Coel, and right now, Neon is doing a slow rollout into theaters.

Last week it made a wild $20.2K/screen across 4 theaters ($80.7K total). This week, on only 364 screens, it did a decent $1.6K/theater.

We’ll see where it lands as they keep expanding.

$450K - Reminders of Him (Universal)

• $48.2M domestic total

• $85M worldwide

• $25M budget

• RT: 56%

• Week 6

• Trailer

This is the third film based on a Colleen Hoover book to release in theaters. And it’s looking like it may finish behind the previous two releases:

• It Ends With Us

  • $148.5M domestic total

  • $351.4M worldwide

• Regretting You

  • $41.6M domestic total

  • $90.5M worldwide

Hoover’s novels are amassing cultural gravity. And they’re being made for relatively modest amounts and have all been profitable theatrically.

The next one up is Amazon MGM’s Verity, and it will be huge.

Here are the lowest-grossing films of the week:

$3.7K - Marc by Sofia (A24)

• $302.3K domestic total

• Premiere: Venice (out of competition)

• $466 /screen average

• Week 5

• Trailer

$3.2K - Kontinental ‘25 (1-2 Special)

• $33.7K domestic total

• $106K worldwide

• Premiere: Berlin (winner: Best Screenplay)

• $535 /screen average

• Week 4

• Trailer

$2.1K - John Lilly and the Earth Coincidence Control Office (Oscilloscope)

• $17.1K domestic total

• Co-Dir: Michael Almereyda (Tesla)

• Narrator: Chloë Sevigny

• $302 /screen average

• Week 4

• Trailer

There was a flurry of limited-release indie films that opened this weekend.

Focus Features’ Lorne earned $270K in its opening weekend. This had a poor per-screen average of $652/screen across 414 theaters. The film is directed by Morgan Neville (Won’t You Be My Neighbor?).

A24’s Mother Mary earned $168K in its opening weekend. This had a massive, weekend-best per-screen average of $33.6K/screen across 5 theaters. The film is directed by David Lowery (A Ghost Story) and stars Anne Hathaway.

Magenta Light Studios’ Fireflies at El Mozote earned $47.7K in its opening weekend. This had a decent per-screen average of $1.2K/screen across 39 theaters. Produced by Bob Yari (Crash).

1-2 Special’s Erupcja earned $25.6K in its opening weekend. This had a very strong per-screen average of $12.8K/screen across 2 theaters. The film premiered at TIFF and stars Charli XCX.

Oscilloscope’s Mad Bills to Pay (or Destiny, dile que no soy malo) earned $23.1K in its opening weekend. This had a very strong per-screen average of $11.5K/screen across 2 theaters. The film premiered at Sundance and won the NEXT Special Jury Award for Ensemble Cast.

The Forge’s Everyone is Lying to You for Money earned $20.4K in its opening weekend. This had a strong per-screen average of $5.1K/screen across 4 theaters. It premiered at SXSW London.

Janus Films’ Blue Heron earned $16.5K in its opening weekend. This had a huge per-screen average of $16.5K/screen across 1 theater. It premiered at TIFF.

Dark Sky Films’ Mārama earned $6.3K in its opening weekend. This had a very strong per-screen average of $6.3K/screen across 1 theater. It premiered at TIFF.

• Warner Bros.’ They Will Kill You

• IFC's Forbidden Fruits

• Focus Features’ The AI Doc: Or How I Became an Apocaloptimist

• Neon’s Alpha

• Sony Pictures Classics’ A Magnificent Life

• Variance Film’s Jimmy O. Yang: Finally Home

• Greenwich Entertainment’s Fantasy Life

• WG Pictures’ Our Hero, Balthazar

• 1-2 Special’s Kontinental ‘25

• Oscilloscope’s John Lilly and the Earth Coincidence Control Office

Plus, a full breakdown of the top ten at the box office this weekend.

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Amazon MGM’s Project Hail Mary took #1 at the box office for the second weekend in a row with $54.5M domestic. This brings its domestic total to $164.3M. Internationally, it made $54.1M this weekend, bringing its worldwide total to $300.8M.

This film took a tiny 32% drop in its second weekend. Much less than Ryan Gosling’s 2nd and 3rd highest opening films:

• Blade Runner 2049 (2018)

  • $32.7M domestic opening

  • -52.7% week 2 drop ($15.5M)

• The Fall Guy (2024)

  • $27.7M domestic opening

  • -50.6% week 2 drop ($13.7M)

• *Even Barbie, for which he is the co-star, dropped 42.6% in its second weekend.

Project Hail Mary also outperformed the second weekend of Amazon’s previous highest opening films:

• Red One (2024)

  • $32.1M domestic opening

  • -58.8% week 2 drop ($13.2M)

• The Beekeeper

  • $16.6M domestic opening

  • -48.1% week 2 drop ($8.6M)

This is now Amazon MGM Studios’ highest-grossing film. And the highest-grossing US film of 2026.

It even dropped less than Oppenheimer (-43.4% 2nd week), the only other film that isn’t a franchise or a sequel to open above $80M in 10 years.

Project Hail Mary is based on a book by Andy Weir, who also wrote The Martian, which, in a moment of poetic unity, dropped by the same amount in its second week:

• The Martian (2015)

  • $54.3M domestic opening

  • -31.9% week 2 drop ($37M)

  • $228.4M domestic total

  • $630.6M worldwide

Project Hail Mary cost $200M to make, and it will reach theatrical profitability.

The film had a sensational per-screen average of $13.4/screen across 4007 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$12.2M - Hoppers (Pixar)

• $138.6M domestic total

• $297.6M worldwide

• $150M budget

• RT: 93%

• Week 4

• Trailer

This is Pixar’s best opening for an original film in nearly a decade. And it has earned more by its fourth week than the last three original films:

• Elio (2025)

  • $63.8M - week 4 domestic total

  • $73M domestic total

  • $154.3M WW total

• Elemental (2023)

  • $109.6M - week 4 domestic total

  • $154.4M domestic total

  • $496.4M WW total

• Onward (2020)

  • $61.6M - week 4 domestic total

  • $61.6M domestic total

  • $141.9M WW total

It is trailing:

Coco (2017)

• $150.7M - week 4 domestic total

• $210.5M domestic total

• $814.6M WW

Hoppers’ budget is $150M, and it should have no problem recouping, as Pixar films tend to stay in theaters for a long time.

$5M - They Will Kill You (Warner Bros.)

• $9M worldwide

• $20M budget

• RT: 66%

• Week 1

• Trailer

For a horror comedy, this is a great opening, about 40% more than the average horror comedy.

However, Warner Bros.’ New Line Cinema has been minting original straight horror hits, like:

• Weapons

  • $43.5M opening weekend

Also, the producer of this film is horror legend Andy Muschietti, the director of the highest-grossing horror film of all time:

• It (2017)

  • $123.4M opening weekend

  • $328.9M domestic total

  • $719.8M worldwide

In fact, the poster bore Andy’s name in a larger font than that of the director, Kirill Sokolov.

$4.75M - Dhurandhar: The Revenge (Moviegoers Entertainment)

• $22.8M domestic total

• $89.8M worldwide

• $27M budget

• RT: 96%

• Week 2

• Trailer

This is a massive domestic win for the Indian action-adventure crime film. It is a sequel and has already bested the domestic total of the first film:

• Dhurandhar (2025)

  • $2M opening

  • $19.7M domestic total

  • $137.2M WW total

More impressively, Dhurandhar: The Revenge beat out the domestic total of the previously highest-opening Bollywood film in the US:

• RRR (2022)

  • $9.5M opening

  • $15.2M domestic total

  • $166.6M WW total

We’ll see where it lands, but it’s already been majorly profitable.

$4.7M - Reminders of Him (Universal)

• $41.1M domestic total

• $69.5M worldwide

• $25M budget

• RT: 56%

• Week 3

• Trailer

This is the third film based on a Colleen Hoover book to release in theaters. And it’s looking like it’ll finish in the middle of the previous two releases:

• It Ends With Us

  • $148.5M domestic total

  • $351.4M worldwide

• Regretting You

  • $41.6M domestic total

  • $90.5M worldwide

Hoover’s novels are amassing cultural gravity. And they’re being made for relatively modest amounts and have all been profitable theatrically.

$4M - Ready or Not 2: Here I Come (Searchlight)

• $16.3M domestic total

• $23.5M worldwide

• $20M budget

• RT: 76%

• Week 2

• Trailer

This sequel took a 56% drop in its second week. Not too bad.
However, the first film in the series barely dropped in its second week:

• Ready or Not (2019)

  • $8M opening

  • -26.2% week 2 drop

  • $20.4M week 2 domestic total

  • $28.7M domestic total

  • $57.6M WW total

The sequel has a starrier cast, including Sarah Michelle Gellar, Elijah Wood, and even David Cronenberg, but at this pace, it is behind the first film. If it’s able to increase its international numbers, it should recoup theatrically.

$2.6M - Scream 7 (Paramount)

• $118.7M domestic total

• $204.1M worldwide

• $45M budget

• RT: 32%

• Week 5

• Trailer

Not including inflation, this is now the top-earning Scream film of all time:

• Scream (1996)

  • $6.4M opening

  • $103M domestic total

  • $173M worldwide

• Scream 2 (1997)

  • $32.9M opening ($66.4M w/ inflation)

  • $101.4M domestic total

  • $172.4M worldwide

• Scream VI (2023)

  • $44.4M opening

  • $108.4M domestic total

  • $166.6M worldwide

• Scream 3 (2000)

  • $34.7M opening ($66.5M w/ inflation)

  • $89.1M domestic total

  • $161.8M worldwide

• Scream (2022)

  • $30M opening

  • $81.6M domestic total

  • $137.7M worldwide

• Scream 4 (2011)

  • $18.7M opening

  • $38.2M domestic total

  • $97.2M worldwide

The budget was $45M, and it is fully recouped.

$2.2M - GOAT (Sony)

• $100.9M domestic total

• $180.9M worldwide

• $90M budget

• RT: 82%

• Week 7

• Trailer

GOAT had a tiny 36% drop in its seventh week.

Sony’s new original animated film will end nowhere near Sony’s top three animated films that launched series (Spider-Man not included):

• Hotel Transylvania (2012)

  • $42.5M opening

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • $124.9M domestic total

  • $236.8M worldwide

GOAT will not reach the mega totals of the above. It will also fall slightly short of recouping its $90M budget theatrically.

$1.65M - undertone (A24)

• $18.5M domestic total

• $500K budget

• RT: 32%

• Week 3

• Trailer

Two weeks ago, undertone was one of A24’s highest opening horror films by a first-time director. Last week, its steep 68% drop had a larger falloff than Hereditary (49.5% week 2), Talk to Me (39.4% week 2), and The Witch (42.4%). And now it seems it won’t get anywhere near the totals of:

• Hereditary (2018) - Ari Aster

  • $13.6M opening (vs. undertone’s $9.3M)

  • $44.1M domestic total

  • $90.2M worldwide

• Talk to Me (2022) - Danny and Michael Philippou

  • $10.4M opening (vs. undertone’s $9.3M)

  • $43.9M domestic total

  • $92.2M worldwide

• The Witch (2016) - Robert Eggers

  • $8.8M opening (vs. undertone’s $9.3M)

  • $25.1M domestic total

  • $40.4M worldwide

Regardless, A24 made an incredible pickup of this film at Fantastic Fest and has been marketing it with clever tactics that play on the sonic appeal.

The micro-budget makes this a massive win for A24 out of the gate and puts undertone director Ian Tuason in an elite category.

$1.17M - Forbidden Fruits (Independent Film Company)

• RT: 77%

• Week 1

• Trailer

This is the second horror comedy to open this weekend. And the results are lackluster, with this film opening 65% lower than the average horror comedy.

The film is produced by Diablo Cody (Jennifer’s Body) and stars Lili Reinhart, Alexandra Shipp, Lola Tung, Gabrielle Union, and Emma Chamberlain.

It had the lowest per-screen average of any film in the top ten this week, with $767/screen across 1525 screens.

However, if we were to rank this among IFC’s top ten 2025 releases, it would already be in #3, beating out

• The Baltimorons (2025)

  • $833.6K domestic total

And nearing the second spot domestically if it can hold:

• Dangerous Animals (2025)

  • $1.6M opening

  • $2.7M domestic total

  • $9.2M worldwide

So all in all, a strong result for IFC after Forbidden Fruits launched at SXSW.

Here are the lowest-grossing films of the week:

$4.3K - Natchez (Oscilloscope)

• $184.3K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $476 /screen average

• Week 21

• Trailer

$3.7K - John Lilly and the Earth Coincidence Control Office (Oscilloscope)

• Co-Dir: Michael Almereyda (Tesla)

• Narrator: Chloë Sevigny

• $3720 /screen average

• Week 1

• Trailer

$365 - OBEX (Oscilloscope)

• $48.3K domestic total

• Premiere: Sundance

• $365 /screen average

• Week 12

• Trailer

There was a flurry of limited-release indie films that opened this weekend.

Focus Features’ The AI Doc: Or How I Became an Apocaloptimist earned $650K in its opening weekend. This had an ok per-screen average of $827/screen across 786 theaters. The film is directed by Daniel Roher, who won the Oscar for his doc Navalny. It is produced by the EEAAO Best Picture winner, Daniel Kwan. It premiered at Sundance and played at SXSW.

Neon’s Alpha earned $121K in its opening weekend. This had a low per-screen average of $555/screen across 218 theaters. The film is directed by previous Palme d’Or winner Julia Ducournau (Titane) and premiered at Cannes.

Variance Film’s Jimmy O. Yang: Finally Home earned $80.7K in its opening weekend. This had a decent per-screen average of $1.17K/screen across 69 theaters. This is Jimmy O. Yang’s comedy special.

Sony Pictures Classics’ A Magnificent Life earned $62K in its opening weekend. This had a very low per-screen average of $186/screen across 333 theaters. The film premiered at Cannes at the Special Screenings section and is directed by Sylvain Chomet (The Triplets of Belleville).

Greenwich Entertainment’s Fantasy Life earned $39K in its opening weekend. This had a weekend-best per-screen average of $39K/screen across 1 theater. The film premiered at SXSW last year, where it won the Narrative Feature Audience Award.

WG Pictures' Our Hero, Balthazar, earned $33.3K in its opening weekend. This had a massive per-screen average of $33.3K/screen across 1 theater. It premiered at Tribeca and stars Asa Butterfield.

1-2 Special’s Kontinental ‘25 earned $6.7K in its opening weekend. This had a strong per-screen average of $6.7K/screen across 1 theater. It premiered at Berlin and won Best Screenplay.

• Amazon MGM Studios’ Project Hail Mary

• Moviegoers Entertainment’s Dhurandhar: The Revenge

• Searchlight’s Ready or Not 2: Here I Come

• Roadside Attractions’ Tow

• A24’s Marc by Sofia

• Watermelon Pictures’ Palestine ‘36

• 1-2 Special’s Miroirs No. 3

• Music Box Films’ Late Shift

• Cartuna x Dweck’s Dead Lover

• Janus Films’ Two Prosecutors

Plus, a full breakdown of the top ten at the box office this weekend.

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Amazon MGM’s Project Hail Mary took #1 at the box office with $80.6M domestic. Internationally, it made $60.4M this weekend, bringing its worldwide total to $141M.

This film is breaking all sorts of records:

• Ryan Gosling’s highest domestic opener of all time, for a film in which he is the lead

  • #2 - Blade Runner 2049 ($32.7M)

  • #3 - The Fall Guy ($27.7M)

  • *Barbie is his highest domestic opening for a film in which he co-stars ($162M)

• Amazon’s highest opening

  • #2 - Red One ($32.1M)

  • #3 - The Beekeeper ($16.6M)

  • *It will be Amazon’s highest-grossing film by next week

• 2nd film that isn’t a franchise or a sequel to open above $80M in 10 years

  • #1 is Oppenheimer ($82.5M)

Project Hail Mary is based on a book by Andy Weir, who also wrote The Martian, which still opened lower:

• The Martian (2015)

  • $54.3M domestic opening

  • $228.4M domestic total

  • $630.6M worldwide

Project Hail Mary cost $200M to make, and it will reach theatrical profitability.

The film had a sensational per/screen average of $20.1K/screen across 4007 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$18M - Hoppers (Pixar)

• $120.4M domestic total

• $242.6M worldwide

• $150M budget

• RT: 93%

• Week 3

• Trailer

This is Pixar’s best opening for an original film in nearly a decade. And it has earned more by its third week than the last three original films:

• Elio (2025)

  • $55.1M - week 3 domestic total

  • $73M domestic total

  • $154.3M WW total

• Elemental (2023)

  • $89.6M - week 3 domestic total

  • $154.4 domestic total

  • $496.4M WW total

• Onward (2020)

  • $60.3M - week 3 domestic total

  • $61.6M domestic total

  • $141.9M WW total

It is trailing:

Coco (2017)

• $135M - week 3 domestic total

• $210.5M domestic total

• $814.6M WW

Hoppers’ budget is $150M, and it should have no problem recouping, as Pixar films tend to stay in theaters for a long time.

$9.6M - Dhurandhar: The Revenge (Moviegoers Entertainment)

• $53.6M worldwide

• $27M budget

• RT: 96%

• Week 1

• Trailer

This is a massive domestic win for the Indian action-adventure crime film. It is a sequel and beats out the first film’s US opening handily:

• Dhurandhar (2025)

  • $2M opening

  • $19.7M domestic total

  • $137.2M WW total

More impressively, Dhurandhar: The Revenge beat out the previously highest-opening Bollywood film in the US:

• RRR (2022)

  • $9.5M opening

  • $15.2M domestic total

  • $166.6M WW total

We’ll see where it lands, but it’s already been majorly profitable.

$9.1M - Ready or Not 2: Here I Come (Searchlight)

• $11.9M worldwide

• $20M budget

• RT: 76%

• Week 1

• Trailer

This sequel is outpacing the original:

• Ready or Not (2019)

  • $8M opening

  • $28.7M domestic total

  • $57.6M WW total

The sequel has a starrier cast, including Sarah Michelle Gellar, Elijah Wood, and even David Cronenberg.

It should have no problem recouping theatrically.

$8M - Reminders of Him (Universal)

• $33.2M domestic total

• $54M worldwide

• $25M budget

• RT: 56%

• Week 2

• Trailer

This is the third film based on a Colleen Hoover book to release in theaters. And its second weekend drop of 56% is sitting in the middle:

• It Ends With Us

  • 52.4% week 2 drop ($23.8M)

  • $148.5M domestic total

  • $351.4M worldwide

• Regretting You

  • 42.9% week 2 drop ($7.8M)

  • $41.6M domestic total

  • $90.5M worldwide

Hoover’s novels are amassing cultural gravity. And they’re being made for relatively modest amounts and have all been profitable theatrically.

$4.3M - Scream 7 (Paramount)

• $114.5M domestic total

• $193.8M worldwide

• $45M budget

• RT: 32%

• Week 4

• Trailer

Not including inflation, this is now the top-earning Scream film of all time:

• Scream (1996)

  • $6.4M opening

  • $103M domestic total

  • $173M worldwide

• Scream 2 (1997)

  • $32.9M opening ($66.4M w/ inflation)

  • $101.4M domestic total

  • $172.4M worldwide

• Scream VI (2023)

  • $44.4M opening

  • $108.4M domestic total

  • $166.6M worldwide

• Scream 3 (2000)

  • $34.7M opening ($66.5M w/ inflation)

  • $89.1M domestic total

  • $161.8M worldwide

• Scream (2022)

  • $30M opening

  • $81.6M domestic total

  • $137.7M worldwide

• Scream 4 (2011)

  • $18.7M opening

  • $38.2M domestic total

  • $97.2M worldwide

The budget was $45M, and it is fully recouped.

$3.5M - GOAT (Sony)

• $97.5M domestic total

• $174.5M worldwide

• $90M budget

• RT: 82%

• Week 6

• Trailer

GOAT had a tiny 25% drop in its sixth week.

Sony’s new original animated film will end nowhere near Sony’s top three animated films that launched series (Spider-Man not included):

• Hotel Transylvania (2012)

  • $42.5M opening

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • $124.9M domestic total

  • $236.8M worldwide

GOAT will not reach the mega totals of the above, and it will not recoup its $90M budget theatrically.

$9.3M - undertone (A24)

• $15.2M domestic total

• $500K budget

• RT: 32%

• Week 2

• Trailer

Last week, undertone was one of A24’s highest opening horror films by a first-time director. This week, its steep 68% drop, has a larger falloff than:

• Hereditary (2018) - Ari Aster

  • 49.5% week 2 drop

  • $13.6M opening (vs. undertone’s $9.3M)

  • $44.1M domestic total

  • $90.2M worldwide

• Talk to Me (2022) - Danny and Michael Philippou

  • 39.4% week 2 drop

  • $10.4M opening (vs. undertone’s $9.3M)

  • $43.9M domestic total

  • $92.2M worldwide

• The Witch (2016) - Robert Eggers

  • 42.4% week 2 drop

  • $8.8M opening (vs. undertone’s $9.3M)

  • $25.1M domestic total

  • $40.4M worldwide

Regardless, A24 made an incredible pickup of this film at Fantastic Fest and has been marketing it with clever tactics that play on the sonic appeal.

The micro-budget makes this a massive win for A24 out of the gate and puts undertone director Ian Tuason in an elite category.

$475K - “Wuthering Heights” (Warner Bros.)

• $83.3M domestic total

• $234.4M worldwide

• $80M (Warner Bros. acquired for this amount) + $85M marketing budget

• RT: 59%

• Week 6

• Trailer

Now that this is making its way towards the end of its box office run, it will likely be Warner Bros.’ second-lowest wide release in the past year from a film that opened #1:

• Minecraft Movie

  • $961.2M worldwide

• Superman

  • $618.7M worldwide

• The Conjuring: Last Rites

  • $499.2M worldwide

• Sinners

  • $370M worldwide

• Final Destination: Bloodlines

  • $317.9M worldwide

• Weapons

  • $270M worldwide

• One Battle After Another

  • $209.3M worldwide

However, this film is still doing great business and ranks as the fifth-highest-grossing erotic drama of all time behind the Fifty Shades of Grey series and Indecent Proposal:

• Fifty Shades of Grey (2015)

  • $85.2M opening

  • $166.2M domestic total

  • $570.8M worldwide

• Indecent Proposal (1993)

  • $18.3M opening

  • $106.6M domestic total

  • $266.6M worldwide

With a $165M budget all in, it will not recoup theatrically but should do great on VOD.

$280K - Avatar: Fire and Ash (20th Century)

• $403.9M domestic

• $1.486bn worldwide

• $400M+ production budget

• RT: 66%

• Week 14

• Trailer

Domestically, Fire and Ash is trailing behind both of the previous Avatar films’ 14th week totals by a big margin:

• Avatar (2009)

  • $736.9M - 14 week domestic total (vs. 3’s $403.9M)

    • Avatar 3 is down 45.2%

• Avatar: The Way of Water (2022)

  • $678.3M - 14 week domestic total (vs. 3’s $403.9M)

    • Avatar 3 is down 40.5%

Right now, Avatar 3 is far behind the mammoth totals of the first two films:

• Avatar (2009)

  • $749.8M domestic total

  • $1.994bn international total

  • $2.74bn worldwide total

• Avatar: The Way of Water (2022)

  • $684M domestic total

  • $1.64bn international total

  • $2.32bn worldwide total

This is a disappointing result and could result in the cancellation of the next Avatar film.

Here are the lowest-grossing films of the week:

$8.4K - A Private Life (Sony Pictures Classics)

• $1.4M domestic total

• $8.35M worldwide

• Premiere: Cannes (out of competition)

• Star: Jodie Foster

• $837 /screen average

• Week 10

• Trailer

$6.4K - The Moment (A24)

• $3.9M domestic total

• $5.06M worldwide

• Premiere: Sundance

• $648 /screen average

• Week 8

• Trailer

$977 - Standout: The Ben Kjar Story (Angel Studios)

• $622K domestic total

• Premiere: Slamdance

• $488 /screen average

• Week 9

• Trailer

There was a flurry of limited-release indie films that opened this weekend. But before we get to that, Warner Bros.’ The Bride took the steep 86.8% drop in its third week, earning just $275K, bringing its domestic total to $12.5M and $23.2M WW. It has a budget of $80M.

Roadside Attractions’ Tow earned $131K in its opening weekend. This had a low per-screen average of $727/screen across 180 theaters. The film stars Rose Byrne and premiered at Tribeca.

A24’s Marc by Sofia earned $46.8K in its opening weekend. This had an incredible per-screen average of $23.4K/screen across 2 theaters. The doc centers on Marc Jacobs and is directed by Sofia Coppola. It premiered out of competition at Venice.

1-2 Special’s Miroirs No. 3 earned $36.7K in its opening weekend. This had an excellent per-screen average of $12.2K/screen across 3 theaters. The film premiered at Cannes at the Director’s Fortnight and is directed by Christian Petzold.

Watermelon Pictures’ Palestine ‘36 earned $36K in its opening weekend. This had a weekend-best per-screen average of $36K/screen across 1 theater.

Music Box Films’ Late Shift earned $14K in its opening weekend. This had a decent per-screen average of $2.4K/screen across 6 theaters. It premiered at Berlin last year.

Cartuna x Dweck’s Dead Lover earned $13.5K in its opening weekend. This had a strong per-screen average of $13.5K/screen across 1 theater. It premiered at Sundance.

Janus Films’ Two Prosecutors earned $13.3K in its opening weekend. This had a strong per-screen average of $13.3K/screen across 1 theater. It premiered in competition at Cannes.

• Universal’s Reminders of Him

• A24’s undertone

• Bleecker Street’s Slanted

Plus, a full breakdown of the top ten at the box office this weekend.

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Pixar’s Hoppers took #1 at the box office for the second week in a row with $28.5M domestic. That brings its domestic total to $86.8M. Internationally, it made $31M this weekend, bringing its worldwide total to $164.7M.

Not only was this Pixar’s best opening for an original film in nearly a decade, it also boasted the lowest second weekend drop of 37.2%:

• Elio (2025)

  • 50% week 2 drop ($10.4M)

• Elemental (2023)

  • 37.7% week 2 drop ($18.4M)

• Onward (2020)

  • 72.9% week 2 drop ($10.6M - COVID shutdown)

It also beat out:

Coco (2017)

• 45.8% week 2 drop ($27.5M)

Hoppers’ budget is $150M, and it should have no problem recouping, as Pixar films tend to stay in theaters for a long time.

It had a very strong per-screen average of $7.1K/screen across 4000 theaters.

Trailer.

Here’s the breakdown of the rest of the top 10:

$18.3M - Reminders of Him (Universal)

• $28.25M worldwide

• $25M budget

• RT: 56%

• Week 1

• Trailer

This is the third film based on a Colleen Hoover book to release in theaters. And this is sitting in the middle:

• It Ends With Us

  • $50M opening

  • $148.5M domestic total

  • $351.4M worldwide

• Regretting You

  • $13.7M opening

  • $41.6M domestic total

  • $90.5M worldwide

Hoover’s novels are amassing cultural gravity. And they’re being made for relatively modest amounts and have all been profitable theatrically.

$9.3M - undertone (A24)

• $500K budget

• RT: 32%

• Week 1

• Trailer

undertone is one of A24’s highest opening horror films by a first time director. Compare it to:

• Hereditary (2018) - Ari Aster

  • $13.6M opening

  • $44.1M domestic total

  • $90.2M worldwide

• Talk to Me (2022) - Danny and Michael Philippou

  • $10.4M opening

  • $43.9M domestic total

  • $92.2M worldwide

• The Witch (2016) - Robert Eggers

  • $8.8M opening

  • $25.1M domestic total

  • $40.4M worldwide

A24 made an incredible pickup of this film at Fantastic Fest and has been marketing it with clever tactics that play on the sonic appeal.

The micro-budget makes this a massive win for A24 out of the gate and puts undertone director Ian Tuason in an elite category.

$8.35M - Scream 7 (Paramount)

• $106.5M domestic total

• $176.9M worldwide

• $45M budget

• RT: 32%

• Week 3

• Trailer

Not including inflation this is now the top earning Scream film of all time:

• Scream (1996)

  • $6.4M opening

  • $103M domestic total

  • $173M worldwide

• Scream 2 (1997)

  • $32.9M opening ($66.4M w/ inflation)

  • $101.4M domestic total

  • $172.4M worldwide

• Scream VI (2023)

  • $44.4M opening

  • $108.4M domestic total

  • $166.6M worldwide

• Scream 3 (2000)

  • $34.7M opening ($66.5M w/ inflation)

  • $89.1M domestic total

  • $161.8M worldwide

• Scream (2022)

  • $30M opening

  • $81.6M domestic total

  • $137.7M worldwide

• Scream 4 (2011)

  • $18.7M opening

  • $38.2M domestic total

  • $97.2M worldwide

The budget was $45M, and it is fully recouped.

$4.7M - GOAT (Sony)

• $90.6M domestic total

• $162.8M worldwide

• $90M budget

• RT: 82%

• Week 5

• Trailer

GOAT had a tiny 27% drop in its fifth week.

Sony’s new original animated film will end nowhere near Sony’s top three animated films that launched series (Spider-Man not included):

• Hotel Transylvania (2012)

  • $42.5M opening

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • $124.9M domestic total

  • $236.8M worldwide

GOAT will not reach the mega totals of the above, and it’s unlikely to recoup its $90M budget.

$2.1M - The Bride! (Warner Bros.)

• $11.3M domestic total

• $27M worldwide

• $80M budget

• RT: 59%

• Week 2

• Trailer

This film dropped a massive 70% in its second week making a paltry per screen average of $638/screen across 3304 theaters.

This is actually Warner Bros.’ largest second weekend drop of the last year:

• Sinners

  • 6% week 2 drop

• Weapons

  • 43% week 2 drop

• One Battle After Another

  • 49% week 2 drop

• Minecraft Movie

  • 50% week 2 drop

• Superman

  • 54% week 2 drop

• Wuthering Heights

  • 57% week 2 drop

• Final Destination: Bloodlines

  • 62% week 2 drop

• The Conjuring: Last Rites

  • 69.5% week 2 drop

This film is set to lose a lot of money given the $80M budget. This is disappointing as Warner Bros. has been minting massive horror films in the last 12 months:

• Weapons

  • $270M worldwide

• Final Destination: Bloodlines

  • $317.9M worldwide

• Sinners

  • $370M worldwide

• The Conjuring: Last Rites

  • $499.2M worldwide

There’s something wonderfully punk about Maggie Gyllenhaal’s The Bride! But it’s not hitting the way WB wanted, even with Jessie Buckley, Christian Bale, and Jake Gyllenhaal as the stars.

$1.7M - Kiki’s Delivery Service (GKIDS)

• 35th anniversary re-release (week 1)

• $2.7M domestic total (since 1989)

• $12.1M worldwide (since 1989)

• RT: 98%

• Trailer

This is one of Hayao Miyazaki’s films, although it doesn’t get as much love as Spirited Away (2001) or Princess Mononoke (1997) or Howl’s Moving Castle (2004).

It was first released in the US in 2019, where it made $1M across three days. So GKIDS has already exceeded that total.

$1.7M - “Wuthering Heights” (Warner Bros.)

• $81.9M domestic total

• $226.4M worldwide

• $80M (Warner Bros. acquired for this amount) + $85M Marketing budget

• RT: 59%

• Week 5

• Trailer

Now that this is making its way towards the end of its box office run, it will likely be Warner Bros.’ second-lowest wide release in the past year from a film that opened #1:

• Minecraft Movie

  • $961.2M worldwide

• Superman

  • $618.7M worldwide

• The Conjuring: Last Rites

  • $499.2M worldwide

• Sinners

  • $370M worldwide

• Final Destination: Bloodlines

  • $317.9M worldwide

• Weapons

  • $270M worldwide

• One Battle After Another

  • $209.3M worldwide

However, this film is still doing great business and ranks as the fifth-highest-grossing erotic drama of all time behind the Fifty Shades of Grey series and Indecent Proposal:

• Fifty Shades of Grey (2015)

  • $85.2M opening

  • $166.2M domestic total

  • $570.8M worldwide

• Indecent Proposal (1993)

  • $18.3M opening

  • $106.6M domestic total

  • $266.6M worldwide

With a $165M budget all in, we’re still a ways from this hitting the break-even point at the box office.

$1.5M - Teenage Mutant Ninja Turtles II: The Secret of the Ooze (New Line Cinema)

• 35th anniversary re-release (week 1)

• $80.1M domestic total (since 1991)

• Not released internationally

• RT: 36%

• Trailer

These re-releases have become increasingly popular. Two examples: Paramount’s 10-year Interstellar re-release made $3.3M and Fathom Events 15th Anniversary Coraline re-release made $8.9M.

Usually these re-releases easily clear $1M while spending minimal money on marketing.

$1.1M - Crime 101 (Amazon MGM)

• $35.6M domestic total

• $67M worldwide

• $90M budget

• RT: 88%

• Week 5

This is a bad result for Amazon. Typically, they’ll try to recoup their production costs theatrically and then drive engagement to Prime as the movie plays there.

But this won’t come close to reaching $90M by the time it finishes its theatrical run.

So what happened? The movie stars Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Jennifer Jason Leigh, and Nick Nolte.

Crime 101 was marketed as a fairly generic crime drama, and although the execution was tip-top, the premise wasn’t compelling enough to drive the kind of big box office numbers that the cast deserved.

Here are the lowest-grossing films of the week:

$9.1K - Natchez (Oscilloscope)

• $163K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $698 /screen average

• Week 19

• Trailer

$8.1K - The Moment (A24)

• $3.89M domestic total

• $4.9M worldwide

• Premiere: Sundance

• $885 /screen average

• Week 7

• Trailer

$678 - OBEX (Oscilloscope)

• $47.7K domestic total

• Premiere: Sundance

• $226 /screen average

• Week 10

• Trailer

Bleecker Street’s Slanted earned $617K in its opening weekend. This had a decent per-screen average of $1K/screen across 588 theaters. It premiered at SXSW.

Focus Features’ Hamnet has now made $100M worldwide.

• Pixar’s Hoppers

• Warner Bros.’ The Bride!

• Magenta Light Studios’ Protector

• IFC Films’ Dolly

• Well Go USA’s Youngblood

• Mubi’s Pompei: Below the Clouds

Plus, a full breakdown of the top ten at the box office this weekend. Plus, a deep dive into how Warner Bros. lost its lead at the box office after 9 straight #1 releases.

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Pixar’s Hoppers took #1 at the box office with $46M domestic. Internationally, it made $42M, bringing its worldwide total to $88M.

This is sensational news for Pixar, and their best opening for an original film in nearly a decade, topping:

• Elio (2025)

  • $20.8M opening

• Elemental (2023)

  • $29.6M opening

• Onward (2020)

  • $39.1M opening

It came close to beating:

Coco (2017)

• $50.8M opening

Hoppers exceeds Pixar’s average opening by 17%. Of course, it’s nowhere close to Incredibles 2 (2018, $182.7M) and Finding Dory (2016, $135M) wild domestic openings.

Hoppers’ budget is $150M, and it should have no problem recouping, as Pixar films tend to stay in theaters for a long time.

It had a very strong per-screen average of $11.5K/screen across 4000 theaters.

Trailer.

Here’s the breakdown of the rest of the top 10:

$17.3M - Scream 7 (Paramount)

• $93.4M domestic total

• $149.5M worldwide

• $45M budget

• RT: 32%

• Week 2

• Trailer

Scream 7 dropped a massive 73% in its second weekend. That’s the largest week 2 drop in franchise history:

• Scream (1996)

  • $6.4M opening

  • $9.1M week 2 (+42.8%)

  • $103M domestic total

  • $173M worldwide

• Scream 2 (1997)

  • $32.9M opening ($66.4M w/ inflation)

  • $13.9M week 2 (-57.7%)

  • $101.4M domestic total

  • $172.4M worldwide

• Scream 3 (2000)

  • $34.7M opening ($66.5M w/ inflation)

  • $16.3M week 2 (-53%)

  • $89.1M domestic total

  • $161.8M worldwide

• Scream 4 (2011)

  • $18.7M opening

  • $7M week 2 (-62.4%)

  • $38.2M domestic total

  • $97.2M worldwide

• Scream (2022)

  • $30M opening

  • $12.2M week 2 (-59.3%)

  • $81.6M domestic total

  • $137.7M worldwide

• Scream VI (2023)

  • $44.4M opening

  • $17.3M week 2 (-61%)

  • $108.4M domestic total

  • $166.6M worldwide

However, because Scream 7 had the largest opening ever in the franchise (sans inflation), if it’s able to hold on, it is poised to become the highest-earning film in the series.

The budget was $45M, and it is fully recouped.

$7.3M - The Bride! (Warner Bros.)

• $13.6M worldwide

• $80M budget

• RT: 59%

• Week 1

• Trailer

Warner Bros. has had nine consecutive #1 opening weekends, with each film opening north of $30M domestically. The Bride! has unfortunately broken that hot streak.

This is disappointing as Warner Bros. has been minting massive horror films in the last 12 months:

• Sinners

  • $48M opening

  • $280M domestic total

  • $370M worldwide

• Weapons

  • $43.5M opening

  • $151.6M domestic total

  • $270M worldwide

• Final Destination: Bloodlines

  • $51.6M opening

  • $138.3M domestic total

  • $317.9M worldwide

• The Conjuring: Last Rites

  • $84M opening

  • $177.8M domestic total

  • $499.2M worldwide

It’s possible that we’ve been oversaturated with Frankenstein films this year, with Netflix’s Frankenstein (2025) just finishing up its awards campaign.

There’s something wonderfully punk about Maggie Gyllenhaal’s The Bride! A feminist retelling of Frankenstein, releasing on International Women’s Day. But it’s not hitting the way WB wanted, even with Jessie Buckley, Christian Bale, and Jake Gyllenhaal as the stars.

The budget was so high that it may not recoup.

$6.6M - GOAT (Sony)

• $83.8M domestic total

• $146.3M worldwide

• $90M budget

• RT: 82%

• Week 4

• Trailer

GOAT dropped a middling 55% in its fourth week.

Sony's new original animated film will end nowhere near Sony’s top three animated films that launched series (Spider-Man not included):

• Hotel Transylvania (2012)

  • $42.5M opening

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • $124.9M domestic total

  • $236.8M worldwide

GOAT will not reach the mega totals of the above, and it’s unclear if it’ll recoup its $90M budget.

$3.8M - “Wuthering Heights” (Warner Bros.)

• $78.8M domestic total

• $213.7M worldwide

• $80M (Warner Bros. acquired for this amount) + $85M Marketing budget

• RT: 59%

• Week 4

• Trailer

Now that this is making its way towards the end of its box office run, it will likely be Warner Bros.’ second-lowest wide release in the past year from a film that opened #1:

• Minecraft Movie

  • $961.2M

• Superman

  • $618.7M

• The Conjuring: Last Rites

  • $499.2M worldwide

• Sinners

  • $370M worldwide

• Final Destination: Bloodlines

  • $317.9M worldwide

• Weapons

  • $270M worldwide

• One Battle After Another

  • $209.3M

However, this film is still doing great business and ranks as the fifth-highest-grossing erotic drama of all time behind the Fifty Shades of Grey series and Indecent Proposal:

• Fifty Shades of Grey (2015)

  • $85.2M opening

  • $166.2M domestic total

  • $570.8M worldwide

• Indecent Proposal (1993)

  • $18.3M opening

  • $106.6M domestic total

  • $266.6M worldwide

With a $165M budget all in, we’re still a ways from this hitting the break-even point at the box office.

$2.07M - Crime 101 (Amazon MGM)

• $33.6M domestic total

• $60.6M worldwide

• $90M budget

• RT: 88%

• Week 4

This took a week 4 drop of 40%. This is a bad result for Amazon. Typically, they’ll try to recoup their production costs theatrically and then drive engagement to Prime as the movie plays there.

But this won’t come close to reaching $90M by the time it finishes its theatrical run.

So what happened? The movie stars Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Jennifer Jason Leigh, and Nick Nolte.

Crime 101 was marketed as a fairly generic crime drama, and although the execution was tip-top, the premise wasn’t compelling enough to drive the kind of big box office numbers that the cast deserved.

$1.6M - Send Help (20th Century)

• $62.74M domestic total

• $91.4M worldwide

• $40M budget

• RT: 94%

• Week 6

• Trailer

Send Help’s 2% week 3 drop was legendary. And now at week 6, the drop of 30% is pretty good as well.

This is director Sam Raimi’s top-earning original film, beating out:

• Drag Me to Hell (2009)

  • $90.8M worldwide (sans inflation)

Of course, his other films based on IP (Spider-Man, Doctor Strange, Oz the Great and Powerful) have pulled in massive earnings.

Send Help was boosted by the unusual but genius decision to cast rom-com regular Rachel McAdams in a horror.

$1.5M - I Can Only Imagine 2 (Lionsgate)

• $16.2M domestic total

• $18M budget

• RT: 62%

• Week 3

• Trailer

This had a sizable week 3 drop of 52%. Right now, it’s trailing the first film’s third week total by a large margin:

• I Can Only Imagine (2018)

  • $17.1M opening (vs 2’s $7.75M)

  • $55.3M week 3 total (vs 2’s $16M)

  • $83.5M domestic total

  • $86.1M worldwide

Lionsgate typically does decently with these faith-based films, where they partner with Kingdom Story Company (Jesus Revolution took $53.4M worldwide).

However, faith-based sequels tend not to make as much as the original.

• God’s Not Dead (2014)

  • $64.7M worldwide

• God’s Not Dead 2 (2016)

  • $24.5M worldwide

Luckily for Lionsgate, the budget here is fairly small, so even if it continues to drop next week, it shouldn’t be a huge loss.

$1.5M - EPiC: Elvis Presley in Concert (Neon - domestic, Universal - international)

• $10.9M domestic total

• $20.7M worldwide

• $10M budget

• RT: 96%

• Week 3

• Trailer

This is a massive win for Neon. It is now set to top every music doc of the last 15 years:

• Becoming Led Zeppelin (2025)

  • $10.4M domestic total

  • $14.7M worldwide

• Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021)

  • $2.3M domestic total

  • $3.7M worldwide

• Amazing Grace (2018)

  • $4.5M domestic total

  • $7.8M worldwide

• Marley (2012)

  • $1.4M domestic total

  • $3.8M worldwide

• Amy (2015)

  • $222K opening

  • $8.4M domestic total

  • $23.7M worldwide (will surpass by next weekend).

With Baz Luhrmann at the helm, who drove Elvis (2022) to $288.7M worldwide, we’re excited to see where this companion doc will go.

$1.3M - Demon Slayer: Kimetsu no Yaiba Infinity Castle (Sony)

• $135.8M domestic total

• $734.8M worldwide

• $20M budget

• RT: 98%

• Week 26

• Trailer

This re-release adds to the monstrous total of what is now the highest-grossing anime film of all time, well surpassing:

• Demon Slayer 1: Kimetsu no Yaiba - The Movie: Mugen Train (Crunchyroll, 2020)

  • $49.9M domestic total

  • $486.5M worldwide

• Spirited Away (2001)

  • $395.8M worldwide ($581.5M w/ inflation)

• Pokémon: The First Movie (1999)

  • $31M domestic opening ($60M w/ inflation)

  • $163.6M worldwide total ($318M w/ inflation)

The distributor, Crunchyroll (owner: Sony), controls much of the market here for popularizing Japanese anime, and they have built tremendously off the previous installment.

Here are the lowest-grossing films of the week:

$12.5K - Standout: The Ben Kjar Story (Angel Studios)

• $603.5K domestic total

• Premiere: Slamdance

• $830/screen average

• Week 7

• Trailer

$8.9K - The Moment (A24)

• $3.87M domestic total

• Premiere: Sundance

• $885 /screen average

• Week 6

• Trailer

$8.4K - Natchez (Oscilloscope)

• $149.2K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $1.1K /screen average

• Week 18

• Trailer

Mubi’s Pompei: Below the Clouds earned $18.8K in its opening weekend. This had a strong per-screen average of $9.4K/screen across 2 theaters. It premiered at Venice, where it won the Special Jury Prize.

Well Go USA’s Youngblood earned $93.7K in its opening weekend. This had a very weak per-screen average of $375/screen across 250 theaters.

IFC Films’ Dolly earned $480K in its opening weekend. This had a weak per-screen average of $592/screen across 810 theaters.

Magenta Light Studios’ Protector earned $744K in its opening weekend. This had a weak per-screen average of $738/screen across 1007 theaters. The film stars Milla Jovovich.

Also worth noting is a massive 94% drop for 20th Century Studios’ Psycho Killer in its 3rd week.

Also, Neon’s Sirat jumped up 173% to $353K for its 2026 re-release. Its total is $1M domestic.

• Paramount’s Scream 7

• Trafalgar Releasing’s Twenty One Pilots: More Than We Ever Imagined

• GAGA Corporation’s Uma Musume: Pretty Derby

• Greenwich’s Dreams

• GKIDS’ Hypnosis Mic

• Brainstorm’s For Worse

Plus, a full breakdown of the top ten at the box office this weekend. And final results for Avatar 3 which dropped to 11th place.

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Paramount’s Scream 7 took #1 at the box office with $64.1M domestic. Internationally it made $33.1M, bringing its worldwide total to $97.2M.

It is the largest opening in the franchise, not including inflation:

• Scream (1996)

  • $6.4M opening

  • $103M domestic total

  • $173M worldwide

• Scream 2 (1997)

  • $32.9M opening ($66.4M w/ inflation)

  • $101.4M domestic total

  • $172.4M worldwide

• Scream 3 (2000)

  • $34.7M opening ($66.5M w/ inflation)

  • $89.1M domestic total

  • $161.8M worldwide

• Scream 4 (2011)

  • $18.7M opening

  • $38.2M domestic total

  • $97.2M worldwide

• Scream (2022)

  • $30M opening

  • $81.6M domestic total

  • $137.7M worldwide

• Scream VI (2023)

  • $44.4M opening

  • $108.4M domestic total

  • $166.6M worldwide

In 2025 and 2026, late-stage horror franchise entries are performing well. Final Destination: Bloodlines (2025), the sixth film in the series, had a franchise-best opening at $51.6M.

In fact, from what we can tell, Scream 7 had the biggest box office opening for the 7th episode of a horror film, opening over 3x the average.

The budget was $45M and it should be fully recouped by next weekend.

The per screen average was a weekend-best of $18.1K/screen across 3540 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$12M - GOAT (Sony)

• $74M domestic total

• $130.5M worldwide

• $90M

• RT: 82%

• Week 3

• Trailer

GOAT dropped a small 29% in its third week.

Sony is on its way to creating another original animated hit franchise. Even though it opened lower than Sony’s top three animations that launched series (Spider-Man not included), its week 3 drop held steady:

• Hotel Transylvania (2012)

  • $42.5M opening

  • 36.3% week 3 drop ($17.2M)

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • 33.7% week 3 drop ($13.7M)

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • 36.9% week 3 drop ($15.8M)

  • $124.9M domestic total

  • $236.8M worldwide

• GOAT (2025)

  • $27.2M opening

  • 29% week 3 drop ($12M)

GOAT may not reach the mega totals of the above, and it’s unclear if it’ll recoup its $90M budget.

$6.95M - “Wuthering Heights” (Warner Bros.)

• $72.3M domestic total

• $192M worldwide

• $80M (Warner Bros. Acquired for this amount) + $85M Marketing budget

• RT: 59%

• Week 3

• Trailer

At a 50% drop, this ranks on the higher end for Warner Bros. third weekend drops for its top films of the past year:

• Sinners

  • 28% week 3 drop

• Final Destination: Bloodlines

  • 29.4% week 3 drop

• Weapons

  • 37% week 3 drop

• One Battle After Another

  • 39% week 3 drop

• Minecraft Movie

  • 48.4% week 3 drop

• The Conjuring: Last Rites

  • 52.1% week 3 drop

• Superman

  • 57.5% week 3 drop

However this film is still doing great business and ranks as the fifth-highest grossing erotic drama of all time behind the Fifty Shades of Grey series and Indecent Proposal:

• Fifty Shades of Grey (2015)

  • $85.2M opening

  • $166.2M domestic total

  • $570.8M worldwide

• Indecent Proposal (1993)

  • $18.3M opening

  • $106.6M domestic total

  • $266.6M worldwide

With a $165M budget all in we’re still a ways from this hitting break even point at the box office.

$4.3M - Twenty One Pilots: More Than We Ever Imagined (Trafalgar Releasing)

• RT: 100%

• Week 1

• Trailer

This is a massive win for Trafalgar Releasing and the Grammy-winning band Twenty One Pilots.

These concert films are gaining popularity. In the past two years, we’ve seen a spike, including some re-releases:

• Pink Floyd: Live at Pompeii (2025 re-release, Trafalgar Releasing)

  • $2.6M opening

  • $6.5M worldwide

• Renaissance: A Film by Beyoncé (2023)

  • $33.9M domestic

  • $44M worldwide

• Stop Making Sense (2023 re-release, A24)

  • $5.2M domestic

  • $6.9M worldwide

Of course, it’s nowhere near Taylor Swift’s The Eras Tour (2023) which opened at $93.2M or Taylor Swift | The Official Release Party of a Showgirl took #1 at the box office with $33M.

$3.5M - EPiC: Elvis Presley in Concert (Neon - domestic, Universal - international)

• $7.8M domestic total

• $14.4M worldwide

• $10M budget

• RT: 96%

• Week 2

• Trailer

This is a massive win for Neon as the film jumped 9% from its opening weekend. That’s because it opened on 325 screens with an astounding $10K/screen. Week 2 (this weekend) it did $1.8K/screen on 1940 theaters.

It had a larger opening than other top music docs of the past 15 years. And has already topped:

• Becoming Led Zeppelin (2025)

  • $2.7M opening

  • $10.4M domestic total

  • $14.7M worldwide (will surpass by tomorrow)

• Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021)

  • $800K opening

  • $2.3M domestic total

  • $3.7M worldwide

• Amazing Grace (2018)

  • $47K opening

  • $4.5M domestic total

  • $7.8M worldwide

• Marley (2012)

  • $262K opening

  • $1.4M domestic total

  • $3.8M worldwide

We’ll see if it can continue to hold steam internationally to top:

• Amy (2015)

  • $222K opening

  • $8.4M domestic total

  • $23.7M worldwide

With Baz Luhrmann at the helm, who drove Elvis (2022) to $288.7M worldwide, we’re excited to see where this companion doc will go.

$3.4M - Crime 101 (Amazon MGM)

• $30.1M domestic total

• $57.2M worldwide

• $90M budget

• RT: 88%

• Week 3

This took a smaller week 3 drop of 38%. Even still it’s clear to see that this is a bad result for Amazon. Typically, they’ll try to recoup their production costs theatrically and then drive engagement to Prime as the movie plays there.

But this won’t come close to reaching $90M by the time it finishes its theatrical run.

So what happened? The movie stars Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Jennifer Jason Leigh, and Nick Nolte.

Crime 101 was marketed as a fairly generic crime drama and although the execution was tip top, the premise wasn’t compelling enough to drive the kind of big box office numbers that the cast deserved.

$3.1M - I Can Only Imagine 2 (Lionsgate)

• $13.3M domestic total

• $18M budget

• RT: 62%

• Week 2

• Trailer

This had a large week 2 drop of 60%, more significant than the first film in the series which was a hit:

• I Can Only Imagine (2018)

  • $17.1M opening (vs 2’s $7.75M)

  • 20.4% week 2 drop - $13.6M

  • $83.5M domestic total

  • $86.1M worldwide

Lionsgate typically does decently with these faith-based films where they partner with Kingdom Story Company (Jesus Revolution took $53.4M worldwide).

However, faith-based sequels tend to not make as much as the original.

• God’s Not Dead (2014)

  • $64.7M worldwide

• God’s Not Dead 2 (2016)

  • $24.5M worldwide

Luckily for Lionsgate the budget here is fairly small so even if it continues to drop next week it shouldn’t be a huge loss.

$2.3M - Send Help (20th Century)

• $59.4M domestic total

• $86.9M worldwide

• $40M budget

• RT: 94%

• Week 5

• Trailer

Send Help’s 2% week 3 drop was legendary. And now at week 5, the drop of 48% is starting to show some fatigue.

But by next week this will be director Sam Raimi’s top earning original film. Of course, his other films based on IP (Spider-Man, Doctor Strange, Oz the Great and Powerful) have pulled in massive earnings.

His current top earning original film is:

• Drag Me to Hell (2009)

  • $90.8M worldwide

Send Help was boosted by the unusual but genius decision to cast rom-com regular Rachel McAdams in a horror.

$1.56M - How to Make a Killing (A24)

• $6.3M domestic total

• $15M budget

• RT: 47%

• Week 2

• Trailer

This took a 55% week 2 drop. And this continues to be a disappointing result for A24 and Glen Powell, especially after his previous film, failed to do well:

• The Running Man (2025)

  • $16.5M opening

  • $69.4M worldwide

  • $110M budget

This opened on 1625 screens and now is boosted in week 2 to 1726 screens. So we can see that at 1726 screens, A24 still hasn’t given this a full wide release.

If you recall A24 opened Eternity at 1348 and then boosted it to 2386 screens week 2 when it performed well.

We’ll have to see how this does internationally before we can tell if it’ll recoup.

$1.4M - Zootopia 2 (Disney)

• $425.8M domestic total

• $1.851bn worldwide

• $250M+ production budget

• RT: 91%

• Week 14

• Trailer

This is the highest-grossing Hollywood animated film of all time, surpassing:

• Inside Out 2 (Disney)

  • $1.699bn worldwide total

However, this is still well behind the highest-grossing animated film ever made:

• Ne Zha 2

  • $2.2bn worldwide total

Zootopia 2 dipped 35% in its 14th week.

Disney and Pixar have consistently proved they can put out animated sequels that outperform the first film by wide margins:

• Inside Out 2 (2024)

  • $154.2M opening

    • vs. $90.4M Inside Out 1

  • $653M domestic total

    • vs. $356.5M Inside Out 1

  • $1.699bn worldwide

    • vs. $859.1M Inside Out 1

• Moana 2 (2024)

  • $139.8M opening

    • vs. $56.6M Moana 1

  • $460.4M domestic total

    • vs. $248.8M Moana 1

  • $1.059bn worldwide

    • vs. $643.3M Moana 1

• Frozen 2 (2019)

  • $130.3M opening

    • vs. $93.6M Frozen 1

  • $477.4M domestic total

    • vs. $400M Frozen 1

  • $1.454bn worldwide

    • vs. $1.28bn Frozen 1

Interestingly, all three of the above films have domestic box office totals well above Zootopia 2. But international for the film has been incredibly strong.

$1.2M - Avatar: Fire and Ash (20th Century)

• $400.1M domestic

• $1.476bn worldwide

• $400M+ production budget

• RT: 66%

• Week 11

• Trailer

Domestically, Fire and Ash is trailing behind both of the previous Avatar films’ 11th week totals by a big margin:

• Avatar (2009)

  • $706.56M - 11 week domestic total (vs. 3’s $400.1M)

    • Avatar 3 is down 43.4%

• Avatar: The Way of Water (2022)

  • $655.5M - 11 week domestic total (vs. 3’s $400.1M)

    • Avatar 3 is down 39%

Right now, Avatar 3 is far behind the mammoth totals of the first two films:

• Avatar (2009)

  • $749.8M domestic total

  • $1.994bn international total

  • $2.74bn worldwide total

• Avatar: The Way of Water (2022)

  • $684M domestic total

  • $1.64bn international total

  • $2.32bn worldwide total

This is a disappointing result and could result in the cancellation of the next Avatar film.

Here are the lowest-grossing films of the week:

$29K - The Moment (A24)

• $3.85M domestic total

• Premiere: Sundance

• $583 /screen average

• Week 5

• Trailer

$10.9K - For Worse (Brainstorm Media)

• Premiere: SXSW

• Cast: Bradley Whitford

• $5.4K /screen average

• Week 1

• Trailer

$1.1K - OBEX (Oscilloscope)

• Premiere: Sundance

• $46.9K domestic total

• $527/screen average

• Week 8

• Trailer

GKIDS’ Hypnosis Mic earned $83.3K in its opening weekend. This had a strong per-screen average of $5.5K/screen across 15 theaters.

Greenwich’s Dreams earned $95K in its opening weekend. This had a weak per-screen average of $505/screen across 188 theaters. It stars Jessica Chastain and premiered at Berlin. Directed by Michel Franco.

GAGA Corporation’s Uma Musume: Pretty Derby earned $900K in its opening weekend. This had a decent per-screen average of $1.5K/screen across 600 theaters. It is a Japanese racing anime film. It had previously earned $8.5M internationally.

It’s also worth noting that A24’s Pillion jumped by 22% in its 4th weekend. Pulling in $701K for a domestic total of $2.5M

• Lionsgate’s I Can Only Imagine 2

• A24’s How to Make a Killing

• Neon’s EPiC: Elvis Presley in Concert

• 20th Century’s Psycho Killer

• Well Go USA’s Blades of the Guardians

• Focus Features’ Midwinter Break

• IFC Entertainment’s This Is Not a Test

Plus, a full breakdown of the top ten at the box office this weekend.

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Sony’s GOAT took #1 at the box office with $17M domestic. This brings its domestic total to $58.3M. Its worldwide total is $102.3M.

Sony is on its way to creating another original animated hit series. Even though it opened lower than Sony’s top three animations that launched series (Spider-Man not included), its week 2 drop held steady:

• Hotel Transylvania (2012)

  • $42.5M opening

  • 36.4% week 2 drop ($27M)

  • $148.3M domestic total

  • $377.1M worldwide

• The Smurfs (2011)

  • $35.6M opening

  • 41.9% week 2 drop ($20.7M)

  • $142.6M domestic total

  • $563.7M worldwide

• Cloudy with a Chance of Meatballs (2009)

  • $30.3M opening

  • 17.4% week 2 drop ($25M)

  • $124.9M domestic total

  • $236.8M worldwide

• GOAT (2025)

  • $27.2M opening

  • 38% week 2 drop ($17M)

Even though GOAT may not reach the mega totals of the above, it’s looking like it’ll recoup its $90M budget.

The film had a pretty good per/screen average of $4.4K across 3863 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$14.2M - “Wuthering Heights” (Warner Bros.)

• $60M domestic total

• $151.7M worldwide

• $80M (Warner Bros. Acquired for this amount) + $85M Marketing budget

• RT: 59%

• Week 2

• Trailer

At a 57% drop this ranks on the higher end for Warner Bros. second weekend drops for its top films of the past year:

• Sinners

  • 6% week 2 drop

• Weapons

  • 43% week 2 drop

• One Battle After Another

  • 49% week 2 drop

• Minecraft Movie

  • 50% week 2 drop

• Superman

  • 54% week 2 drop

• Final Destination: Bloodlines

  • 62% week 2 drop

• The Conjuring: Last Rites

  • 69.5% week 2 drop

However this film is still doing great business and ranks as the fourth-highest grossing erotic drama of all time behind the Fifty Shades of Grey series and Indecent Proposal:

• Fifty Shades of Grey (2015)

  • $85.2M opening

  • $166.2M domestic total

  • $570.8M worldwide

• Indecent Proposal (1993)

  • $18.3M opening

  • $106.6M domestic total

  • $266.6M worldwide

With a $165M budget all in we’re still a ways from this hitting break even point at the box office.

$8M - I Can Only Imagine 2 (Lionsgate)

• $18M budget

• RT: 62%

• Week 1

• Trailer

This opened 53% lower than the first film, which was a hit:

• I Can Only Imagine (2018)

  • $17.1M opening

  • $83.5M domestic total

  • $86.1M worldwide

Lionsgate typically does decently with these faith-based films where they partner with Kingdom Story Company (Jesus Revolution took $53.4M worldwide).

Faith based sequels tend to have big drops:

• God’s Not Dead (2014)

  • $64.7M worldwide

• God’s Not Dead 2 (2016)

  • $24.5M worldwide

Luckily for Lionsgate the budget here is fairly small so even if it drops big next week it shouldn’t be a huge loss.

$5.8M - Crime 101 (Amazon MGM)

• $24.7M domestic total

• $46.3M worldwide

• $90M budget

• RT: 88%

• Week 2

This took a big week 2 drop of 59%. And now it’s clearer to see that this is a bad result for Amazon. Typically, they’ll try to recoup their production costs theatrically and then drive engagement to Prime as the movie plays there.

But this won’t come close to reaching $90M by the time it finishes its theatrical run.

So what happened? The movie stars Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Jennifer Jason Leigh, and Nick Nolte.

Crime 101 was marketed as a fairly generic crime drama and although the execution was tip top, the premise wasn’t compelling enough to drive the kind of big box office numbers that the cast deserved.

$4.5M - Send Help (20th Century)

• $55.5M domestic total

• $83M worldwide

• $40M budget

• RT: 94%

• Week 4

• Trailer

Send Help’s 2% week 3 drop was legendary. And now at week 4 it drops 49%.

And by next week this will be director Sam Raimi’s top earning original film. Of course, his other films based on IP (Spider-Man, Doctor Strange, Oz the Great and Powerful) have pulled in massive earnings.

His current top earning original film is:

• Drag Me to Hell (2009)

  • $90.8M worldwide

Send Help was boosted by the unusual but genius decision to cast rom-com regular Rachel McAdams in a horror.

$3.56M - How to Make a Killing (A24)

• $15M budget

• RT: 47%

• Week 1

• Trailer

This is a disappointing result for A24 and Glen Powell, especially after his previous film, failed to do well:

• The Running Man (2025)

  • $16.5M opening

  • $69.4M worldwide

  • $110M budget

We can see that at 1625 screens, A24 didn’t give this a full wide release. But it also didn’t slow drip it onto a handful of theaters, much like they do for their prestige films like The Brutalist or Marty Supreme.

We’ll have to see how this does internationally before we can tell if it’ll recoup.

$3.25M - EPiC: Elvis Presley in Concert (Neon - domestic, Universal - international)

• $5.3M worldwide ($2M international)

• $10M budget

• RT: 96%

• Week 1

• Trailer

This is a massive win for Neon as the film opened on only 325 screens. That gives us a per screen average of an astounding $10K/screen.

It had a larger opening than other top music docs of the past 15 years:

• Becoming Led Zeppelin (2025)

  • $2.7M opening

  • $10.4M domestic total

  • $14.7M worldwide

• Summer of Soul (...Or, When the Revolution Could Not Be Televised) (2021)

  • $800K opening

  • $2.3M domestic total

  • $3.7M worldwide

• Amazing Grace (2018)

  • $47K opening

  • $4.5M domestic total

  • $7.8M worldwide

• Amy (2015)

  • $222K opening

  • $8.4M domestic total

  • $23.7M worldwide

• Marley (2012)

  • $262K opening

  • $1.4M domestic total

  • $3.8M worldwide

With Baz Luhrmann at the helm, who drove Elvis (2022) to $288.7M worldwide, we’re excited to see where this companion doc will go.

$2.6M - Solo Mio (Angel Studios)

• $21.8M domestic total

• $4M budget

• RT: 81%

• Week 3

• Trailer

This is another non-faith-based, feel-good release from Angel Studios. This one is a rom-com starring Kevin James.

Solo Mio outperformed all of Angel Studios’ recent releases in the non-faith-based category:

• The Last Rodeo (2025)

  • $5.4M opening

  • $15.2M worldwide total (all domestic)

• I Was a Stranger (2024)

  • $1.2M opening

  • $2M worldwide total (all domestic)

• Homestead (2024)

  • $6M opening

  • $20.8M worldwide total (all domestic)

• Sketch (2024)

  • $2.4M opening

  • $10.2M worldwide total (all domestic)

Kevin James used to throw up massive box office numbers with Grown Ups 1 ($40.5M opening, $271.5M WW) and 2 ($41.5M opening, $247M WW) and Paul Blart: Mall Cop 1 ($31.8M opening, $183M WW) and 2 ($23.7M opening, $107.6M WW).

But James hasn’t had a domestic release since Becky (2020), which opened during COVID to $209K and made $1.1M WW. Before that, the last non-animated film he starred in was Paul Blart: Mall Cop 2.

So this is a big win for James and Angel Studios.

$2.3M - Zootopia 2 (Disney)

• $423.9M domestic total

• $1.848bn worldwide

• $250M+ production budget

• RT: 91%

• Week 13

• Trailer

This is the highest-grossing Hollywood animated film of all time, surpassing:

• Inside Out 2 (Disney)

  • $1.699bn worldwide total

However, this is still well behind the highest-grossing animated film ever made:

• Ne Zha 2

  • $2.2bn worldwide total

Zootopia 2 dipped 40% in its 13th week.

Disney and Pixar have consistently proved they can put out animated sequels that outperform the first film by wide margins:

• Inside Out 2 (2024)

  • $154.2M opening

    • vs. $90.4M Inside Out 1

  • $653M domestic total

    • vs. $356.5M Inside Out 1

  • $1.699bn worldwide

    • vs. $859.1M Inside Out 1

• Moana 2 (2024)

  • $139.8M opening

    • vs. $56.6M Moana 1

  • $460.4M domestic total

    • vs. $248.8M Moana 1

  • $1.059bn worldwide

    • vs. $643.3M Moana 1

• Frozen 2 (2019)

  • $130.3M opening

    • vs. $93.6M Frozen 1

  • $477.4M domestic total

    • vs. $400M Frozen 1

  • $1.454bn worldwide

    • vs. $1.28bn Frozen 1

Interestingly, all three of the above films have domestic box office totals well above Zootopia 2. But international for the film has been incredibly strong.

$1.8M - Avatar: Fire and Ash (20th Century)

• $399.4M domestic

• $1.473bn worldwide

• $400M+ production budget

• RT: 66%

• Week 10

• Trailer

Domestically, Fire and Ash is trailing behind both of the previous Avatar films’ 10th week totals by a big margin:

• Avatar (2009)

  • $687.9M - 10 week domestic total (vs. 3’s $399.4M)

    • Avatar 3 is down 41.9%

• Avatar: The Way of Water (2022)

  • $657.5M - 10 week domestic total (vs. 3’s $399.4M)

    • Avatar 3 is down 39.3%

Right now, Avatar 3 is far behind the mammoth totals of the first two films:

• Avatar (2009)

  • $749.8M domestic total

  • $1.994bn international total

  • $2.74bn worldwide total

• Avatar: The Way of Water (2022)

  • $684M domestic total

  • $1.64bn international total

  • $2.32bn worldwide total

This is a disappointing result and could result in the cancellation of the next Avatar film.

Here are the lowest-grossing films of the week:

$29K - Arco (Neon)

• $980K domestic total

• $1.16M worldwide

• Premiere: Cannes (Special Screening)

• Oscar-nominated for Best Animated Film

• $1.2K /screen average

• Week 15

• Trailer

$20K - Sentimental Value (Neon)

• $5M domestic total

• $13.6M worldwide

• Premiere: Cannes (winner: Grand Prix - 2nd place)

• $112 /screen average

• Week 16

• Trailer

$14.2K - A Poet (1-2 Special)

• Premiere: Cannes Un Certain Regard (Jury Prize)

• $184.8K domestic total

• $188.8K worldwide

• $746/screen average

• Week 4

• Trailer

IFC Entertainment’s This Is Not a Test earned $150K in its opening weekend. This has a low per-screen average of $333/screen across 450 theaters.

Focus Features’ Midwinter Break earned $530K in its opening weekend. This has a low per-screen average of $656/screen across 808 theaters. The film stars Lesley Manville & Ciarán Hinds.

Well Go USA’s Blades of the Guardians earned $760K in its opening weekend. This has a strong per-screen average of $4.1K/screen across 184 theaters. This is a Chinese martial arts film from director Yuen Woo-ping (stunts: Crouching Tiger, Hidden Dragon).

20th Century’s Psycho Killer earned $1.6M in its opening weekend. With a respectable per-screen average of $1.46K/screen across 1100 theaters. This film is produced by Roy Lee (Weapons) and co-stars Malcolm McDowell.

• Angel Studios’ Solo Mio

• Bleecker Street’s Stray Kids: The DominATE experience

• Vertical Entertainment’s Dracula

• Lionsgate’s The Strangers: Chapter 3

• A24’s Pillion

• IFC Entertainment’s Whistle

Plus, a full breakdown of the top ten at the box office this weekend.

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20th Century’s Send Help took #1 at the box office for the second week in a row with $10M domestic. This brings its domestic total to $35.8M. Its worldwide total is $53.7M.

Send Help’s 48% week 2 drop is one of Sam Raimi’s best of all time. Just look at his drops for his box office smash hits, all connected to previously existing IP:

• Doctor Strange in the Multiverse of Madness (2022)

  • -67% week 2 ($61.8M)

  • $955.8M worldwide

• Oz the Great and Powerful (2013)

  • -48% week 2 ($41.3M)

  • $493.3M worldwide

• Spider-Man 3 (2007)

  • -61.5% week 2 ($58.2M)

  • $887.4M worldwide

• Spider-Man 2 (2004)

  • -49% week 2 ($45.2M)

  • $785.4M worldwide

• Spider-Man (2002)

  • -38% week 2 ($71.4M)

  • $810.9M worldwide

Even though Send Help will not reach the mega totals of the above, it’s looking like it’ll recoup its $40M budget.

It’s nice to see Raimi return to his horror roots. The first film he directed was The Evil Dead (1981), which sparked the cult series of 5 films across 4 decades ($303M WW BO total). The newest one, Evil Dead Burn, is coming this July.

Send Help is pretty much on par with Raimi’s last horror film:

• Drag Me to Hell (2009)

  • -55.5% week 2 ($7M)

  • $90.8M worldwide

Send Help has strong star power with Rachel McAdams and Dylan O’Brien.

The film had an ok per/screen average of $2.8K across 3475 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$7.2M - Solo Mio (Angel Studios)

• $4M budget

• RT: 81%

• Week 1

• Trailer

This is another non-faith-based, feel-good release from Angel Studios. This one is a rom-com starring Kevin James.

In that sense, Solo Mio outperformed all of Angel Studios’ recent releases in the non-faith-based category:

• The Last Rodeo (2025)

  • $5.4M opening

  • $15.2M worldwide total (all domestic)

• I Was a Stranger (2024)

  • $1.2M opening

  • $2M worldwide total (all domestic)

• Homestead (2024)

  • $6M opening

  • $20.8M worldwide total (all domestic)

• Sketch (2024)

  • $2.4M opening

  • $10.2M worldwide total (all domestic)

Kevin James used to throw up massive box office numbers with Grown Ups 1 ($40.5M opening, $271.5M WW) and 2 ($41.5M opening, $247M WW) and Paul Blart: Mall Cop 1 ($31.8M opening, $183M WW) and 2 ($23.7M opening, $107.6M WW).

But James hasn’t had a domestic release since Becky (2020), which opened during COVID to $209K and made $1.1M WW. Before that, the last non-animated film he starred in was Paul Blart: Mall Cop 2.

So this is a big win for James and Angel Studios.

$6.25M - Iron Lung (Markiplier Studios)

• $26.8M domestic total

• $31.2M worldwide

• $3M budget

• RT: 50%

• Week 2

• Trailer

This is a self-distributed, self-financed sci-fi/horror film based on the 2022 indie video game by David Szymanski. It’s written, directed, stars, and is EP’d by YouTuber Markiplier (38.2M YT followers).

It follows a convict exploring a moon with blood oceans in a sealed submarine.

This is a wild success story, as it played in 3015 theaters domestically and a total of 4164 screens worldwide.

Markiplier was able to leverage his audience to drive an incredibly strong theatrical performance. In fact, Markiplier’s fans actually requested their local theaters play his film.

$5.56M - Stray Kids: The DominATE experience (Bleecker Street)

• $19.1M worldwide

• RT (audience score): 100%

• Week 1

• Trailer

This is a solid win for Bleecker Street, which just has domestic rights for this film. No word on what they paid to acquire from Live Nation Studios, the production company, but for a concert doc, these are solid numbers. Universal International has international rights and drove this to $13.5M international (top worldwide release of the weekend).

Remember, A24 re-released iconic Talking Heads concert doc Stop Making Sense, and it opened at $856K and topped out at $5.2M domestic. And Pink Floyd: Live at Pompeii (2025 re-release) made $2.6M domestic. So this smashed both of those domestically.

Of course, Stray Kids, the K-Pop band with 33.1M IG followers, was never going to be as big as these artists:

• Taylor Swift: The Official Release Party of a Showgirl (2025)

  • $30.4M domestic

  • $50.1M worldwide

• Justin Bieber: Never Say Never (2010)

  • $29.5M opening

  • $73M domestic

  • $99M worldwide

But K-Pop films have exploded in popularity in the US recently, with K-pop Demon Hunters' wild success on Netflix.

$4.5M - Dracula (Vertical Entertainment)

• $31.3M worldwide

• $52M budget

• RT: 55%

• Week 1

• Trailer

This is the second collaboration between director Luc Besson (The Fifth Element) and actor Caleb Landry Jones, after their critically excellent but commercial failure:

• DogMan (2023)

  • $25K domestic opening

  • $76.4K domestic total

  • $4.4M worldwide

Vertical doesn’t have the marketing power of Focus Features, whose recent vampire film Nosferatu (2024) opened nearly 5x higher:

• $21.7M opening

• $95.6M domestic total

• $181.8M worldwide

Overall, Dracula will need to continue to drive a strong international box office if it hopes to recoup. The win here is that Besson got $52M to create his vampyric vision. That’s the most he’s gotten since his semi-flop Valerian and the City of a Thousand Planets (2017), which cost $180M and made $225.8M worldwide ($41.2M domestic).

$4M - Zootopia 2 (Disney)

• $414.5M domestic total

• $1.8bn worldwide

• $250M+ production budget

• RT: 91%

• Week 11

• Trailer

This is the highest-grossing Hollywood animated film of all time, surpassing:

• Inside Out 2 (Disney)

  • $1.699bn worldwide total

However, this is still well behind the highest-grossing animated film ever made:

• Ne Zha 2

  • $2.2bn worldwide total

Zootopia 2 dipped 32% in its 11th week.

Disney and Pixar have consistently proved they can put out animated sequels that outperform the first film by wide margins:

• Inside Out 2 (2024)

  • $154.2M opening

    • vs. $90.4M Inside Out 1

  • $653M domestic total

    • vs. $356.5M Inside Out 1

  • $1.699bn worldwide

    • vs. $859.1M Inside Out 1

• Moana 2 (2024)

  • $139.8M opening

    • vs. $56.6M Moana 1

  • $460.4M domestic total

    • vs. $248.8M Moana 1

  • $1.059bn worldwide

    • vs. $643.3M Moana 1

• Frozen 2 (2019)

  • $130.3M opening

    • vs. $93.6M Frozen 1

  • $477.4M domestic total

    • vs. $400M Frozen 1

  • $1.454bn worldwide

    • vs. $1.28bn Frozen 1

Interestingly, all three of the above films have domestic box office totals well above Zootopia 2. But international for the film has been incredibly strong.

$3.5M - Avatar: Fire and Ash (20th Century)

• $391.5M domestic

• $1.417bn worldwide

• $400M+ production budget

• RT: 66%

• Week 8

• Trailer

Domestically, Fire and Ash is trailing behind both of the previous Avatar films’ 8th week totals by a big margin:

• Avatar (2009)

  • $629.3M - 8 week domestic total (vs. 3’s $391.5M)

    • Avatar 3 is down 37.8%

• Avatar: The Way of Water (2022)

  • $637M - 8 week domestic total (vs. 3’s $391.5M)

    • Avatar 3 is down 38.5%

Right now, Avatar 3 is far behind the mammoth totals of the first two films:

• Avatar (2009)

  • $749.8M domestic total

  • $1.994bn international total

  • $2.74bn worldwide total

• Avatar: The Way of Water (2022)

  • $684M domestic total

  • $1.64bn international total

  • $2.32bn worldwide total

This is a disappointing result and could result in the cancellation of the next Avatar film.

$3.5M - The Strangers: Chapter 3 (Lionsgate)

• $20M budget (across 3 films)

• RT: 18%

• Week 1

• Trailer

This opened much lower than the previous film in the series:

• The Strangers: Chapter 2 (2025)

  • $5.8M opening

  • $15.1M domestic

  • $21.9M worldwide

  • RT: 14%

• The Strangers: Chapter 1 (2024)

  • $11.8M opening

  • $35.2M domestic total

  • $48.2M worldwide

  • RT: 21%

• The Strangers: Prey at Night (2018)

  • $10.4M opening

  • $24.6M domestic total

  • $31M worldwide

  • RT: 40%

• The Strangers (2008)

  • $21M opening

  • $52.6M domestic total

  • $82.4M worldwide

  • RT: 50%

An interesting pattern where each sequel seems to earn about half of what the first film in the series earned. However, even though The Strangers: Chapter 3 has been the lowest-opening film in the series, the total series seems to have cost $20M, and across all three films, Lionsgate is now profitable.

$2.43M - Shelter (Black Bear Pictures)

• $10M domestic total

• $26.8M worldwide

• $50M budget

• RT: 64%

• Week 2

• Trailer

This is a low-performing Jason Statham action film. Especially since the last two non-franchise Statham films had made roughly 3x by week 2:

• A Working Man (2025)

  • $27.9M week 2 domestic total

  • $89.2M worldwide

• The Beekeeper (2024)

  • $31.2M week 2 domestic total

  • $162.6M worldwide

In fact, out of the last 10 Statham films, Shelter’s opening last week of $5.5M was just about half as much.

However, this should still be seen as a decent win, as Black Bear is a new distributor in the US. This is just their second film. And this well surpassed their first, Christy, which topped out at $2M worldwide.

$2.38M - Melania (Amazon MGM Studios)

• $13.4M domestic total

• $13.5M worldwide

• $75M budget ($40M acquisition + $35M marketing)

• RT: 10% (Critics’ score). 99% (Audience Score).

• Week 2

• Trailer

Last week, this was the best opening for a doc in a decade. However, this is the most expensive doc of all time, not including docs with extensive music licensing.

Compare Melania’s 67% week 2 drop with some other better-faring conservative political docs:

• Am I Racist? (2024)

  • -45.7% week 2 drop ($2.5M)

  • $12.3M worldwide

• Obama’s America (2012)

  • +5% week 2 gain ($33.1K)

  • $33.5M worldwide

For reference, the highest political earning doc of all time is Michael Moore’s:

• Fahrenheit 9/11 (2004)

  • -31.4% week 2 drop ($16.4M)

  • $222.4M worldwide

  • #3 highest-grossing doc of all time

What’s different about Melania is that the marketing budget for Fahrenheit 9/11 was less than half at $15M. And that was considered the biggest doc marketing spend ever, as it was The Weinsteins’ Oscar push for the film.

For Melania, many have speculated that Amazon is trying to curry favor with the Trump administration, and this is more of an investment in that relationship.

However, Melania performed well above expectations, especially with Conservatives.

Remember, Amazon MGM bought the film from filmmaker Brett Ratner (dir: Rush Hour) for $40M. There were other bids for the doc, like from Disney, which offered a more reasonable $14M.

These US political films tend to fare poorly internationally, so Melania will not recoup theatrically.

Here are the lowest-grossing films of the week:

$15.7K - The Love That Remains (Janus Films)

• $47.2K domestic total

• $194.2K worldwide

• Premiere: Cannes (Premiere section)

• $2K /screen average

• Week 2

• Trailer

$8.4K - Natchez (Oscilloscope)

• $46.6K domestic total

• Premiere: Tribeca (winner: Best Doc)

• $2.8K /screen average

• Week 2

• Trailer

$3.4K - OBEX (Oscilloscope)

• Premiere: Sundance

• $45.2K domestic total

• $688/screen average

• Week 5

• Trailer

A24’s Pillion earned $241.8K in its opening weekend. This is a strong per-screen average of $60.4K/screen across 4 theaters. This film stars Alexander Skarsgård and Harry Melling and premiered at Cannes at Un Certain Regard.

IFC Entertainment’s Whistle earned $720K in its opening weekend. With a low per-screen average of $600/screen across 1200 theaters. The horror film premiered at Fantastic Fest and co-stars Nick Frost.

There are a couple of Oscar-nominated titles doing great business:

• $217K - Song Sung Blue (Focus Features)

  • $38.9M domestic total

  • $55.3M worldwide

  • $484/screen average

  • Week 7

• $750K - Hamnet (Focus Features)

  • $21.8M domestic total

  • $70.6M worldwide total

  • $811/screen average

  • Week 11

Also worth noting that Neon’s Oscar-nominated Sirat did $34.1K/theater across 4 screens for a total of $136.3K. Worldwide it has earned $4.7M

• 20th Century’s Send Help

• Markiplier Studios’ Iron Lung

• Amazon MGM’s Melania

• Black Bear’s Shelter

• A24’s The Moment

• 1-2 Special’s A Poet

• Janus Films’ The Love That Remains

Plus, a full breakdown of the top ten at the box office this weekend.

This is a wild weekend at the box office…

Sam Raimi, who has only directed one film in the last 13 years, topped the box office with his new studio horror film, Send Help. He started off in indie horror with Evil Dead and transitioned to massive superhero IP with Spider-Man and Doctor Strange.

In second place at the box office is YouTuber Markiplier, with 38.2M followers, for his self-distributed horror sci-fi Iron Lung.

And in third place was Amazon MGM’s Melania, which had the institutional financial support of Amazon, which spent an outsized amount to guarantee a strong result.

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20th Century’s Send Help took #1 at the box office with $20M domestic. Internationally, it has earned $8.1M, bringing its worldwide total to $28.1M.

This is the latest film from Sam Raimi who has directed some box office smash hits, all connected to previously existing IP:

• Doctor Strange in the Multiverse of Madness (2022)

  • $187M opening

  • $955.8M worldwide

• Oz the Great and Powerful (2013)

  • $79M opening

  • $493.3M worldwide

• Spider-Man 3 (2007)

  • $151.1M opening

  • $887.4M worldwide

• Spider-Man 2 (2004)

  • $88.2M opening

  • $785.4M worldwide

• Spider-Man (2002)

  • $114.8M opening

  • $810.9M worldwide

Even though Send Help paled in comparison to the above, for an original horror film, it opened 3x above the average. However, if this launches a sequel/franchise, it’s right on par with the average opening for those films.

It’s nice to see Raimi return to his horror roots. The first film he directed was The Evil Dead (1981), which sparked the cult series of 5 films across 4 decades ($303M WW BO total). The newest one, Evil Dead Burn, is coming this July.

Send Help’s opening is pretty much on par with Raimi’s last horror film:

• Drag Me to Hell (2009)

  • $15.8M opening

  • $90.8M worldwide

Send Help has strong star power with Rachel McAdams and Dylan O’Brien so even though it cost $40M to make, we’re optimistic it’ll recoup theatrically.

The film had a strong per/screen average of $5,755 across 3475 theaters.

Here is the trailer.

Here’s the breakdown of the rest of the top 10:

$18M - Iron Lung (Markiplier Studios)

• $21.7M worldwide

• $3M budget

• RT: 50%

• Week 1

• Trailer

This is a self-distributed, self-financed sci-fi/horror film based on the 2022 indie video game by David Szymanski. It’s written, directed, stars, and is EP’d by YouTuber Markiplier (38.2M YT followers).

It follows a convict exploring a moon with blood oceans in a sealed submarine.

This is a wild success story, as it not only played in 3015 theaters domestically and a total of 4164 screens worldwide, but hit a US per-screen average of $5970/screen.

That’s the highest per-screen average of any film in the top ten this weekend.

Markiplier was able to leverage his audience to drive an incredibly strong theatrical performance. In fact, Markiplier’s fans actually requested their local theaters play his film.

$7.04M - Melania (Amazon MGM Studios)

• $75M budget ($40M acquisition + $35M marketing)

• RT: 10% (Critics’ score). 99% (Audience Score).

• Week 1

• Trailer

This is the best opening for a doc in a decade.
This is the most expensive doc of all time, not including docs with extensive music licensing.

Compare Melania with some other conservative political docs:

• Am I Racist? (2024)

  • $4.5M opening

  • $12.3M worldwide

• Obama’s America (2012)

  • $31K opening (1 theater)

  • $33.5M worldwide

For reference, the highest political doc of all time is Michael Moore’s:

• Fahrenheit 9/11 (2004)

  • $23.9M opening

  • $222.4M worldwide

  • #3 highest-grossing doc of all time

What’s different about Melania is that the marketing budget for Fahrenheit 9/11 was less than half at $15M. And that was considered the biggest doc marketing spend ever, as it was The Weinsteins’ Oscar push for the film.

For Melania, many have speculated that Amazon is trying to curry favor with the Trump administration, and this is more of an investment in that relationship.

However, Melania performed well above expectations, especially with Conservatives.

Remember, Amazon MGM bought the film from filmmaker Brett Ratner (dir: Rush Hour) for $40M. There were other bids for the doc, like from Disney, which offered a more reasonable $14M.

These US political films tend to fare poorly internationally, so Melania will not recoup theatrically.

$5.8M - Zootopia 2 (Disney)

• $409M domestic total

• $1.748bn worldwide

• $250M+ production budget

• RT: 91%

• Week 10

• Trailer

This is the highest-grossing Hollywood animated film of all time, surpassing:

• Inside Out 2 (Disney)

  • $1.699bn worldwide total

However, this is still well behind the highest-grossing animated film ever made:

• Ne Zha 2

  • $2.2bn worldwide total

Zootopia 2 actually increased 9% in its 10th week. That’s incredibly rare.

Disney and Pixar have consistently proved they can put out animated sequels that outperform the first film by wide margins:

• Inside Out 2 (2024)

  • $154.2M opening

    • vs. $90.4M Inside Out 1

  • $653M domestic total

    • vs. $356.5M Inside Out 1

  • $1.699bn worldwide

    • vs. $859.1M Inside Out 1

• Moana 2 (2024)

  • $139.8M opening

    • vs. $56.6M Moana 1

  • $460.4M domestic total

    • vs. $248.8M Moana 1

  • $1.059bn worldwide

    • vs. $643.3M Moana 1

• Frozen 2 (2019)

  • $130.3M opening

    • vs. $93.6M Frozen 1

  • $477.4M domestic total

    • vs. $400M Frozen 1

  • $1.454bn worldwide

    • vs. $1.28bn Frozen 1

Interestingly, all three of the above films have domestic box office totals well above Zootopia 2. But international for the film has been incredibly strong.

$5.5M - Shelter (Black Bear Pictures)

• $13M worldwide

• $50M budget

• RT: 64%

• Week 1

• Trailer

This is a low opening for a Jason Statham action film. Especially since the last two non-franchise Statham films have opened at roughly 3x:

• A Working Man (2025)

  • $15.5M opening

  • $89.2M worldwide

• The Beekeeper (2024)

  • $16.6M opening

  • $162.6M worldwide

In fact, out of the last 10 Statham films, Shelter’s opening was just about half as much.

However, this should still be seen as a decent win, as Black Bear is a new distributor in the US. This is just their second film. And this well surpassed their first, Christy, which opened at $1.3M.

$5.5M - Avatar: Fire and Ash (20th Century)

• $386.1M domestic

• $1.41bn worldwide

• $400M+ production budget

• RT: 66%

• Week 7

• Trailer

Domestically, Fire and Ash is trailing behind both of the previous Avatar films’ 7th week totals by a big margin:

• Avatar (2009)

  • $595.7M - 7 week domestic total (vs. 3’s $386.1M)

    • Avatar 3 is down 35.2%

• Avatar: The Way of Water (2022)

  • $620.8M - 7 week domestic total (vs. 3’s $386.1M)

    • Avatar 3 is down 37.8%

Right now, Avatar 3 is far behind the mammoth totals of the first two films:

• Avatar (2009)

  • $749.8M domestic total

  • $1.994bn international total

  • $2.74bn worldwide total

• Avatar: The Way of Water (2022)

  • $684M domestic total

  • $1.64bn international total

  • $2.32bn worldwide total

We’ll see how this plays out, but for now, we can say this is a disappointing result and may result in the cancellation of the next Avatar film.

$4.7M - Mercy (Amazon MGM Studios)

• $19.4M domestic total

• $41M worldwide

• $63M budget

• RT: 24%

• Week 2

• Trailer

This dropped 56% in its second week. This typically wouldn’t be a big drop, but last weekend was a massive storm across the US, so we’d have hoped this would have held better (as many others in the box office did).

But given the international popularity of star Chris Pratt, we’re optimistic this will at minimum recoup its production budget. And that’s usually the goal for these Amazon films, as they’re being fed directly into Prime for streaming.

$3.5M - The Housemaid (Lionsgate)

• $120.7M domestic total

• $309.8M worldwide

• $60M budget

• RT: 81%

• Week 7

• Trailer

The film dropped a very tiny 11% in its week 7, continuing a sensational run. That’s the kind of drop we like to see, as moviegoers were stymied by last week’s winter storm.

This is now Sweeney’s highest-grossing film of all time:

• Anyone But You (2024)

  • $88M domestic total

  • $204M worldwide

And it’s actually even approaching the top-grossing film that Sweeney has acted in:

• Once Upon a Time... in Hollywood (2019)

  • $142.5M domestic

  • $377.4M worldwide

This is great news, as the last three Sydney Sweeney films were box office fails:

• Christy (2025)

  • $1.3M opening

  • $1.9M domestic total

  • $2M worldwide

• Americana (2025)

  • $500K opening

  • $1.5M domestic total (estimated)

• Eden (2024)

  • $1M opening

  • $1.6M domestic total

  • $2.8M worldwide