In today’s Box Office Breakdown, we analyze five new releases:
Bleecker Street’s Hadestown: The Musical
Independent Film Company’s Motor City
KVN Productions’ Jana Nayagan
Neon’s Her Private Hell
Neon’s Sheep in the Box
Plus, a full breakdown of the top ten at the box office this weekend, including Bleecker Street’s highest opening of all time.
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Universal’s The Odyssey took #1 at the box office for the second weekend in a row with $87M domestic. Internationally, it earned $128M. This brings its worldwide total to $639.6M.
This is the lowest second weekend drop of any of Christopher Nolan’s previous films that got a wide release:
The Odyssey (2026)
$123.5M opening
-30% week 2 drop
Inception (2010)
$62.8M opening
-32% week 2 drop
The Prestige (2006)
$14.8M opening
-35.3% week 2 drop
Interstellar (2014)
$47.5M opening
-40.4% week 2 drop
Batman Begins (2005)
$48.7M opening
-43.4% week 2 drop
Oppenheimer (2023)
$82.4M opening (vs. The Odyssey’s $123.5M)
-43.4% week 2 drop (vs. The Odyssey’s -30%)
Dunkirk (2017)
$50.5M opening
-47.3% week 2 drop
The Dark Knight (2008)
$158.4M opening
-52.5% week 2 drop
Insomnia (2002)
$20.9M opening
-52.5% week 2 drop
The Dark Knight Rises (2012)
$160.9M opening
-61.4% week 2 drop
*Following (1999) was released on 1 screen, Memento (2001) maxed out at 531 screens, Tenet (2020) was released during COVID.
On top of that, for a film that opened over $100M, only two other films have posted smaller drops than The Odyssey’s tiny 30% drop: Universal’s Wicked (-27.9%) and Paramount’s Top Gun: Maverick (-28.9%).
This is great news for Universal, as The Odyssey, which was budgeted at $250M, will break even by next week.
Here’s the trailer.
Here’s the breakdown of the rest of the top 10:
$10.5M - Moana (Disney)
$102.3M domestic total
$228M worldwide
$250M
RT: 31% (critics) 89% (audience)
Week 3
In its third week, Moana took a 41% drop. Not as catastrophic as last week’s 58%. But combined with a series low opening, we now see this won’t come anywhere near recouping theatrically and will lose a lot of money for Disney.
It’s far below the previous incarnations of the film:
Moana (2016)
$144.7M week 3 total (vs. Moana’s $102.3M)
$248.8M domestic total
$643.3M worldwide
Moana 2 (2024)
$337.4M week 3 total (vs. Moana’s $102.3M)
$460.4M domestic total
$1.059bn worldwide
As of the current estimates, this will land as Disney’s 2nd lowest-performing live-action remake:
Snow White (2025)
$87.2M domestic total
$205.7M worldwide
Moana (2026)
$228M worldwide
Dumbo (2019)
$114.8M domestic total
$353.3M worldwide
Cinderella (2015)
$201.2M domestic total
$542.2M worldwide
There have been five Disney live-action remakes to crack $1bn at the box office (The Lion King, Beauty and the Beast, Aladdin, Lilo & Stitch, and Alice in Wonderland), and this will not be one of them.
This remake came out so soon after the previous Moana film that many have speculated audience fatigue is the root cause. But we believe the fact that it’s a near shot-for-shot remake is the deeper culprit.
$10M - Toy Story 5 (Pixar)
$448.6M domestic total
$1.02bn worldwide
$275M budget
RT: 92%
Week 6
This joins the previous two Toy Story films in cracking $1bn at the box office:
Toy Story 3 (2010)
$415M domestic total
$1.067bn worldwide
Toy Story 4 (2019)
$434M domestic total
$1.073bn worldwide
Toy Story 5 is now the highest-earning domestic Toy Story film of all time.
This comes at a great time for Pixar as they’ve recently undergone significant staff cuts after their last two films underperformed, Hoppers ($389.5M WW on a $150M budget) and Elio ($154M WW on a $300M budget).
$9.7M - Hadestown: The Musical (Bleecker Street)
RT: 100%
Week 1
This is Bleecker Street film’s highest opening film of all time, not counting inflation. Even beating out their previous highest opening:
Logan Lucky (2017)
$7.6M opening
Cast: Daniel Craig, Adam Driver, Channing Tatum
Dir: Steven Soderbergh
Hadestown: The Musical is now on par with the highest-opening filmed musical of all time:
Hamilton (2025)
$10.1M opening
$20.9M worldwide total
Hadestown has won a Tony and captured many people’s hearts. Massive congrats to the Bleecker Street team.
$9.6M - Minions & Monsters (Universal)
$155.4M domestic total
$382M worldwide
$85M production budget
RT: 89%
Week 4
Both of the previous Minions films earned around $1bn at the box office and opened north of $100M. By contrast, this Minions film has fallen short with a $37M opening.
The silver lining is that it fell only 29% in its fourth week.
It will become the lowest-grossing film of the 7 films in the Despicable Me universe, likely well behind:
Despicable Me (2010)
$56.4M opening
$251.7M domestic total
$544.2M worldwide
Luckily, the series is so popular that Minions & Monsters has already hit theatrical profitability even though it’s a big miss.
$2.6M - The Invite (A24)
$19.8M domestic total
$27.4M worldwide
Picked up by A24 at Sundance for $12M+
RT: 96%
Week 5 (third in wide release)
The Sundance buzz, the starry cast (Olivia Wilde, Seth Rogen, Edward Norton, Penélope Cruz), and the stellar reviews paid off! This title has broken even for A24. Good news as it’ll continue to play theatrically before it moves into ancillary markets.
A24 executed its typical prestige-film strategy here: slowly drip-feeding the film into theaters:
Week 1 - $54K/screen average (7 screens)
Week 2 - $25K/screen average (28 screens)
Week 3 - $3.5K/screen average (1610 screens)
Week 4 - $1.7K/screen average (2110 screens)
Week 5 - $1.3K/screen average (2032 screens)
The director is Olivia Wilde, whose previous features all did decently:
Booksmart (2019)
$6.9M opening
$22.7M domestic total
$25M worldwide
Don’t Worry Darling (2022)
$19.4M opening
$45.3M domestic total
$87.6M worldwide
It won’t get anywhere close to Don’t Worry Darling, but this is a strong Oscar contender for the acting categories.
$2.6M - Evil Dead Burn (New Line/Warner Bros.)
$29.2M domestic total
$63.4M worldwide
$20M budget
RT: 72%
Week 3
In the modern Evil Dead era, this is the lowest-performing:
Evil Dead (2013)
$48.4M week 3 total (vs. Burn’s $29.2M)
$54.2M domestic total
$97.5M worldwide
Evil Dead Rise (2023)
$54.3M week 3 total (vs. Burn’s $29.2M)
$67.2M domestic total
$147.1M worldwide
This is disappointing, as many Warner Bros. horror franchises are now earning their series-best box office totals, including 2025’s Final Destination Bloodlines ($317.9M WW) and 2025’s The Conjuring: Last Rites ($499M WW).
However, Evil Dead Burn has already hit profitability.
$2M - Young Washington (Angel)
$45M domestic total
$20M budget
RT: 60%
Week 4
This is another non-faith-based, feel-good release from Angel Studios. In that sense, Young Washington has already outperformed all of Angel Studios’ recent releases in the non-faith-based category:
Solo Mio (2026)
$26.4M worldwide
Homestead (2024)
$20.8M worldwide total
The Last Rodeo (2025)
$15.2M worldwide total
Sketch (2025)
$10.2M worldwide total
I Was a Stranger (2024)
$2M worldwide total
This is a strong performance for Angel Studios, bolstered by a remarkable cast of Ben Kingsley, Andy Serkis, and Mary-Louise Parker.
Young Washington had a 44% week 4 drop, meaning it will not reach the heights of its top-performing films like Sound of Freedom ($184.2M WW) and David ($87.9M WW).
It will likely just break even by the end of its theatrical run.
$1.6M - Motor City (Independent Film Company)
$30M budget, picked up by IFC’s RLJE for $3-4M
RT: 65%
Week 1
This is a low opening for an action film, especially one that stars action regulars Alan Ritchson and co-star Gerard Butler.
Ritchson is a massive hit on streaming. He stars in Netflix’s War Machine, which is currently their 9th most-viewed film of all time with 140M views. He also leads Amazon’s very popular Reacher series, which has just been renewed for Season 5.
But this is Ritchson’s first film theatrically released where he received top billing. So his popularity has not translated to this opening.
Motor City had a middling per-screen average of $1K/screen across 1600 theaters.
$1.5M - Obsession (Focus Features)
$261.4M domestic total
$448.2M worldwide
$750K budget, picked up by Focus for $15M
RT: 96%
Week 11
In its 11th week, Obsession is still in the top ten. Although it will likely drop out in the following weeks.
Obsession is Focus Features’ highest-earning film of all time 2x-ing their previous top-earning films:
Downton Abbey (2019)
$96.9M domestic total
$194.7M worldwide
Coraline (2009)
$116.9M domestic total
$188.1M worldwide
Nosferatu (2024)
$95.6M domestic total
$182M worldwide
It is now the highest-grossing film with a budget below $1M. And the 9th highest-grossing horror film of all time. Not counting inflation (a big caveat), it is the 4th highest-grossing domestic horror film of all time, sitting behind:
It (2017)
$328.8M domestic total
The Sixth Sense (1999)
$293.5M domestic total
Jaws (1975)
$273.6M domestic total
Curry Barker is in a rare category of directors, and it’s his first feature!
Here are the lowest-grossing films of the week:
$13.5K - The Death of Robin Hood (A24)
$5.3M domestic total
$6M worldwide
Cast: Hugh Jackman
$845 /screen average
Week 6
$10.7K - The Hole (Big World Pictures)
$36K domestic total
$3.6K /screen average
Re-release of a 1998 film
$5.5K - The Kidnapping of Arabella (Oscilloscope)
$16.7K domestic total
$86.2K worldwide
Premiere: Venice Film Festival
Winner: Best Actress, Venice’s Orizzonti section
$1.8K /screen average
Week 2
KVN Productions’ Jana Nayagan earned $740K in its opening weekend. This had an ok per-screen average of $1.8K/screen across 415 theaters. The film has earned $1.3M domestically.
Neon’s Her Private Hell earned $530K in its opening weekend. This had a low per-screen average of $785/screen across 675 theaters. The film is directed by Nicolas Winding Refn (Drive) and stars Sophie Thatcher and Charles Melton. It premiered at Cannes.
Neon’s Sheep in the Box earned $33.1K in its opening weekend. This had a massive per-screen average of $11.1K/screen across 3 theaters. The film is directed by Hirokazu Kore-eda (Shoplifters) and premiered at Cannes.