In today’s Box Office Breakdown, we analyze six new releases:
Disney’s Moana
New Line/Warner Bros.’ Evil Dead Burn
Independent Film Company’s Night Nurse
Greenwich Entertainment’s Reading Lolita in Tehran
Sony Pictures Classics’ Gail Daughtry and the Celebrity Sex Pass
Music Box Films’ Remake
Plus, a full breakdown of the top ten at the box office this weekend, including a studio's first billion-dollar hit.
If you’ve been forwarded this email, click here to sign up: https://theindustry.co/subscribe
Disney’s Moana took #1 at the box office with $43M domestic. Internationally, it earned $52M. This brings its worldwide total to $95M.
This is the lowest opening of the Moana films, with the previous two being animated:
Moana (2016)
$56.6M opening
$248.8M domestic total
$643.3M worldwide
Moana 2 (2024)
$139.8M opening
$460.4M domestic total
$1.059bn worldwide
As of the current estimates, this is Disney’s 2nd lowest opening live-action remake:
Snow White (2025)
$42.2M opening
$87.2M domestic total
$205.7M worldwide
Moana (2026)
$43M opening
Dumbo (2019)
$46M opening
$114.8M domestic total
$353.3M worldwide
Cinderella (2015)
$67.9M opening
$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.
The production budget is $250M, and it may not recoup.
It has a per-screen average of $11.1K/screen across 3875 theaters.
Here is the trailer.
Here’s the breakdown of the rest of the top 10:
$20.5M - Minions & Monsters (Universal)
$108.3M domestic total
$280M worldwide
$85M production budget
RT: 89%
Week 2
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 weekend last week.
The silver lining is that it fell only 45% in its second week. Both previous Minions films fell 57% week 2.
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.
$18.5M - Toy Story 5 (Pixar)
$403.8M domestic total
$879.1M worldwide
$275M budget
RT: 92%
Week 4
With a low 4th week drop of 39%, this is already tracking better than the previous two Toy Story films that made over $1bn:
Toy Story 3 (2010)
$339.2M - week 4 domestic total (vs. 5’s $403.8M)
$415M domestic total
$1.067bn worldwide
Toy Story 4 (2019)
$346M - week 4 domestic total (vs. 5’s $403.8M)
$434M domestic total
$1.073bn worldwide
Although with inflation, Toy Story 5 is behind the week 4 domestic totals of these films.
Either way, Toy Story 5 is easily set to fly past $1bn by the time it finishes, marking another profitable run for Pixar’s favorite animated film series.
$13.7M - Evil Dead Burn (New Line/Warner Bros.)
$20M budget
RT: 72%
Week 1
In the modern Evil Dead era, this is the lowest opening:
Evil Dead (2013)
$25.8M opening
$54.2M domestic total
$97.5M worldwide
Evil Dead Rise (2023)
$24.5M opening
$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 will have no problem achieving profitability by the time it ends its worldwide run.
$6.4M - Young Washington (Angel)
$33.1M domestic total
$20M budget
RT: 60%
Week 2
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 67% week 2 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).
$5.7M - The Invite (A24)
$7.4M domestic total
$8.7M worldwide
Picked up by A24 at Sundance $12M+
RT: 96%
Week 3 (first in wide release)
A24 is playing its typical prestige-film strategy here: slowly drip-feeding the film into theaters. And it’s working well:
Week 1 - $54K/screen average (7 screens)
Week 2 - $25K/screen average (28 screens)
Week 3 - $3.5K/screen average (1610 screens)
Now that it’s expanding, A24 is hoping that the Sundance buzz, the starry cast (Olivia Wilde, Seth Rogen, Edward Norton, Penélope Cruz), and the stellar reviews will maintain the box office energy.
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
The only issue is that A24 paid a lot for this at Sundance, and it may not recoup theatrically. Yet it will be a strong Oscar contender.
$3.8M - Obsession (Focus Features)
$253.3M domestic total
$411.5M worldwide
$750K budget, picked up by Focus for $15M
RT: 96%
Week 9
In its ninth week, Obsession is still in the top ten at the box office with a minuscule 27% drop.
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 10th 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!
$3.56M - Supergirl (DC)
$66M domestic total
$112.4M worldwide
$186M budget
RT: 56%
Week 3
This is a disappointing result for a superhero film, especially one that cost so much. In fact, it is looking like it’ll earn less than another recent female-led superhero film that performed poorly:
The Marvels (2023)
$46M opening
$84M domestic total
$206M worldwide
RT: 63%
$317M budget
$215M net loss
Supergirl will not be profitable theatrically.
$3.2M - Disclosure Day (Universal)
$111.3M domestic total
$226.2M worldwide
$115M budget + $80M marketing budget.
RT: 80%
Week 5
Not counting inflation, this is currently Spielberg’s 21st highest-grossing film (he has directed 37 films).
Sadly, its week 2 drop of 60% really sunk the film’s overall domestic total, as it had Spielberg’s fifth-highest opening of all time, right behind:
Indiana Jones and the Kingdom of the Crystal Skull (2008)
$100.1M opening
The Lost World: Jurassic Park (1997)
$72.1M opening
War of the Worlds (2005)
$64.9M opening
Jurassic Park (1997)
$47M opening
Disclosure Day (2026)
$44.5M opening
So, as Disclosure Day winds down its box office run, we can say it’s an average performance for a Spielberg film and will not be profitable theatrically.
$1.5M - Backrooms (A24)
$194.2M domestic total
$367.9M worldwide
$10M budget
RT: 89%
Week 7
This is A24’s top-earning film of all time by nearly 2x:
Marty Supreme (2025)
$96M domestic total
$191.3M worldwide
Everything Everywhere All at Once (2022)
$77.2M domestic total
$147.9M worldwide
The Drama (2026)
$48.1M domestic total
$130.8M worldwide
Coming off the 4th-highest opening of a horror film of all time, Backrooms has cooled down a little, dropping behind Obsession’s insane $411.5M worldwide total.
Of course, this is a remarkable result. The director Kane Parsons is 20 years old. And this film is based on his YouTube series, which has racked up over 220M views on YouTube, with the top video garnering 80M views.
Here are the lowest-grossing films of the week:
$6.8K - The Hole (Big World Pictures)
$6.8K /screen average
Re-release of a 1998 film
$2.3K - The Python Hunter (Oscilloscope)
$89.9K domestic total
Premiere: SXSW
$389 /screen average
Week 10
$177 - Underland (Oscilloscope)
$12.3K domestic total
$149.9K worldwide
Narrator: Sandra Hüller
Producer: Darren Aronofsky
Premiere: Tribeca 2025
$177 /screen average
Week 6
Lionsgate’s Michael has hit $1bn at the box office. This makes it the highest-earning biopic of all time and Lionsgate’s top-earning film worldwide (although still trailing The Hunger Games 1 & 2’s domestic totals).
Sony Pictures Classics’ Gail Daughtry and the Celebrity Sex Pass earned $875K in its opening weekend. This had an ok per-screen average of $875/screen across 1000 theaters. The film premiered at Sundance and stars Zoey Deutch, John Slattery, and Jon Hamm playing very goofy versions of themselves.
Independent Film Company’s Night Nurse earned $72K in its opening weekend. This had a low per-screen average of $218/screen across 330 theaters. The film premiered at Sundance.
Greenwich Entertainment’s Reading Lolita in Tehran earned $15K in its opening weekend. This had a massive per-screen average of $15K/screen across 1 theater.
Music Box Films’ Remake earned $8.5K in its opening weekend. This had a very strong average of $8.5K/screen across 1 theater.