In today’s Box Office Breakdown, we analyze six new releases:
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
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
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
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
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
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
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
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)
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
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
$2.2K - Kontinental ‘25 (1-2 Special)
$38.1K domestic total
$102.6K worldwide
Premiere: Berlin (winner: Best Screenplay)
$221 /screen average
Week 5
$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
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.