In today’s Box Office Breakdown, we analyze six new releases:
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.
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
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
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
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
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
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
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
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
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
$8.9K - The Moment (A24)
$3.87M domestic total
Premiere: Sundance
$885 /screen average
Week 6
$8.4K - Natchez (Oscilloscope)
$149.2K domestic total
Premiere: Tribeca (winner: Best Doc)
$1.1K /screen average
Week 18
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.