In today’s Box Office Breakdown, we analyze nine new releases:
Sony’s Insidious: Out of the Further
Lionsgate’s Mutiny
Black Bear’s Spa Weekend
Vertical Entertainment’s The Magic Faraway Tree
Focus Features’ Hot Spot
Abramorama’s Never Stop Chasing
Neon’s It Ends
Unreasonable Studios’ Learning to Fly
Greenwich Entertainment’s The Marching Band
Plus, a full breakdown of the top ten at the box office this weekend.
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Sony’s Spider-Man: Brand New Day took #1 at the box office for the fourth weekend in a row with $39M domestic. That brings its domestic total to $854.9M. Internationally, it’s earned $70M for a total of $1.366bn. This brings its worldwide total to $2.22bn.
As of the current numbers, not including inflation, this is the third highest-grossing film domestically of all time:
Star Wars: The Force Awakens (2015)
$248M opening (vs. Brand New Day’s $360M)
$812.7M week 4 domestic total (vs. Brand New Day’s $854.9M)
$936M domestic total
$2.068bn worldwide
Avengers: Endgame (2019)
$357M opening (vs. Brand New Day’s $360M)
$858.4M domestic total
$2.8bn worldwide
The remarkable thing is Spider-Man: Brand New Day is on track to become the highest-earning film domestically of all time, as it’s already $42M above the previous record holder Star Wars: The Force Awakens (2015), by its fourth week.
Worldwide, it’s the 6th highest-earning film of all time, and it will likely clear $2.5bn.
It’s the second fastest film to make $2bn at the box office (17 days), only behind Avengers: Endgame (2019), which did it in 11 days.
There are now nine live-action Spider-Man films. The previous 8 earned a combined $7.9bn. With the two Spider-Verse films earning a combined $1.085bn, that brings Spider-Man films, not including Venom, up to $11.2bn.
That’s the highest-grossing superhero film franchise at the box office, well above Batman and Superman.
The film had a production budget of $225M and is very profitable.
Here’s the trailer.
Here’s the breakdown of the rest of the top 10:
$25.3M - Insidious: Out of the Further (Sony)
$60.3M worldwide
$18M budget
RT: 58%
Week 1
The past five Insidious films have averaged a $27.8M opening, so this is only slightly below average:
Insidious (2010)
$13.3M opening
$54M domestic total
$100.1M worldwide
Insidious: Chapter 2 (2013)
$40.3M opening
$83.6M domestic total
$161.9M worldwide
Insidious: Chapter 3 (2015)
$22.7M opening
$52.2M domestic total
$113M worldwide
Insidious: The Last Key (2018)
$29.6M opening
$67.7M domestic total
$167.9M worldwide
Insidious: The Red Door (2023)
$33M opening
$82.2M domestic total
$189.1M worldwide
This film was cheap to produce and hails from Sony’s Screen Gems, Sony’s Stage 6 Films, and Blumhouse-Atomic Monster (co-owned by Universal).
The film has already become profitable. Great news. However, horror franchises are earning some of the best numbers with their latest entries, like 2025’s Final Destination: Bloodlines ($317.9M WW) and 2025’s The Conjuring: Last Rites ($499M WW). No similar fate for Insidious: Out of the Further, despite the strong results.
$19.5M - The Odyssey (Universal)
$539.1M domestic total
$1.44bn worldwide
$250M budget
RT: 94%
Week 6
Nolan’s film took a minuscule 17% week 6 drop. That makes it the highest-grossing Nolan film of all time both domestically and worldwide:
The Dark Knight Rises (2012)
$160.9M opening (opened higher than The Odyssey’s $123.5M)
$448.2M domestic total
$1.085bn worldwide
The Dark Knight (2008)
$158.4M opening (opened higher than The Odyssey’s $123.5M)
$471.1M week 5 domestic total
$533M domestic total
$1.004bn worldwide
Oppenheimer (2023)
$82.4M opening (vs. The Odyssey’s $123.5M)
$330.1M domestic total
$975.8M worldwide
This is Nolan’s third film to make over $1bn at the box office.
This is now Universal’s third-highest-grossing film of all time, surpassing 2023’s The Super Mario Bros. Movie ($1.362bn). And only behind 2015’s Furious 7 ($1.516bn) and 2015’s Jurassic World ($1.672bn).
It’s all great news for Universal, as The Odyssey is very profitable.
$9.1M - PAW Patrol: The Dino Movie (Paramount)
$35.4M domestic total
$103M worldwide
$40M budget (split 50/50 by Paramount and Spin Master)
RT: 81%
Week 2
If you’re not familiar with this series, there have been 10 films, although the majority have only been released internationally (with one clearing $18M).
This is the third PAW Patrol film to be released domestically and internationally. And it had the largest week 2 drop of the series:
PAW Patrol: The Mighty Movie (2023)
$22.8M opening
$11.3M week 2 (50.2% drop)
$65.3M domestic total
$205.1M worldwide
PAW Patrol: The Movie (2021)
$13.1M opening
$6.7M week 2 (49.4% drop)
$40.1M domestic total
$144.3M worldwide
PAW Patrol: The Dino Movie (2026)
$20.5M opening
$9.1M week 2 (55% drop)
$103M worldwide
These films are driven by the Canadian TV series, which has been running steadily since 2013.
PAW Patrol: The Dino Movie has just become profitable.
$9M - The End of Oak Street (Warner Bros.)
$38M domestic total
$86M worldwide
$80M budget
RT: 85%
Week 2
This took a 57% drop in its second weekend. Not terrible, but the film’s opening was lower than expected, and this will likely not recoup.
The film stars Anne Hathaway, who has been having a monster year* at the box office, with her two other films opening way higher and having lower week 2 drops:
The Odyssey (2026)
$123.5M opening
-27.1% week 2 drop
The Devil Wears Prada 2 (2026)
$76.7M opening
-45.8% week 2 drop
*Her A24 film Mother Mary (2026) flopped, earning a total of $3.1M worldwide.
The other star of the film is Ewan McGregor, who hasn’t led a widely released film since 2019, which opened lower and dropped more in its second weekend.
Doctor Sleep (2019)
$14.1M opening
-57.4% week 2 drop
The End of Oak Street will likely not break even theatrically.
$7.5M - Mutiny (Lionsgate)
$45M budget
RT: 50%
Week 1
This film stars Jason Statham and opened lower than the majority of his last four films, where he serves as the sole lead (e.g., not his ensemble Expendables or Fast films):
Shelter (2026)
$5.5M opening
$54.6M worldwide
A Working Man (2025)
$15.5M opening
$89.2M worldwide
The Beekeeper (2024)
$16.6M opening
$162.6M worldwide
Meg 2: The Trench (2023)
$30M opening
$398.5M worldwide
However, if you average out the 10 Statham films, Mutiny’s opening was only 15% lower.
This should make good money internationally, as Statham films often perform better overseas.
$5M - Tony (A24)
$6.7M domestic total
$7.2M worldwide
RT: 95%
Week 3 release (Week 1 wide release)
In this film, Dominic Sessa plays Anthony Bourdain. Sessa’s breakout role was in The Holdovers, where he also played a sharp-witted, rebellious outsider.
Both films deployed a similar limited-release-to-wide-release strategy, and Tony is faring better:
Tony
$349K Week 1 - $58.2K/screen average (6 screens)
$741K Week 2 - $20K/screen average (37 screens)
$5M Week 3 - $3.1K/screen average (1642 screens)
The Holdovers
$211.1K Week 1 - $35.2K/screen average (6 screens)
$568K Week 2 - $8.9K/screen average (64 screens)
$3.2M Week 3 - $4.1K/screen average (778 screens)
Of course, Anthony Bourdain is massively popular. There was a doc on him, Roadrunner: A Film About Anthony Bourdain (2021), which opened to $2M and made $5.5M worldwide.
The Holdovers ultimately made $20.4M domestically and $46M worldwide as it became an Oscar film for Focus Features. Let’s see if A24 will deploy a similar strategy for Tony, which also stars Antonio Banderas, Emilia Jones, and Leo Woodall.
$3.1M - Spa Weekend (Black Bear)
$20M budget
RT: 34%
Week 1
Given the budget, this is another low-opening film for Black Bear:
In the Grey (2026)
$2.9M opening
$5.7M domestic total
$27M worldwide
$70M budget
I Want Your Sex (2026)
$635K opening
$1.5M worldwide
Shelter (2026)
$5.5M opening
$54.6M worldwide
$50M budget
Christy
$1.3M opening
$2.3M worldwide
$15M budget
Spa Weekend centers on three women taking a wild spa weekend. It’s supposed to draw the Bridesmaids’ audience and stars Leslie Mann and Isla Fisher.
This will not recoup theatrically.
$3.1M - The Fast and the Furious (Universal)
$148.3M domestic total
$210.2M worldwide
RT: 55%
25-year anniversary re-release, Week 1
Re-release Trailer
This is a great re-release opening. In fact, it was on par with another re-release this summer:
Top Gun (Paramount)
$3.3M opening
40-year anniversary
However, Top Gun had an advantage because it was double-billed with Top Gun: Maverick ($1.503bn worldwide), which earned as much as the highest-grossing film of the Fast franchise, 2015’s Furious 7 ($1.516bn).
$1.9M - Teenage Sex and Death at Camp Miasma (Mubi)
$3.7M domestic total
$4.1M worldwide
RT: 95%
Week 3 release (Week 1 wide release)
This is the new film from Jane Schoenbrun, and it is already about to surpass their previous film:
I Saw the TV Glow (A24)
$5M domestic total
$5.4M worldwide
The difference with that film was that A24 never took I Saw the TV Glow above 460 theaters. Mubi has more confidence in Teenage Sex and Death at Camp Miasma, which is now on 1036 screens.
It also deployed a limited-to-wide-release strategy:
Teenage Sex and Death at Camp Miasma
$250K Week 1 - $49.9K/screen average (5 screens)
$907K Week 2 - $16.8K/screen average (54 screens)
$1.9M Week 3 - $1.8K/screen average (1036 screens)
The film premiered at Cannes in Un Certain Regard and stars Hannah Einbinder and Gillian Anderson.
Here are the lowest-grossing films of the week:
$23.8K - Mary Oliver: Saved by the Beauty of the World (Kino Lorber)
$679K domestic total
Featuring poems read by: Helena Bonham Carter, Steve Buscemi, Stephen Colbert, Oprah Winfrey
$850 /screen average
Week 8
$20.7K - Union County (Oscilloscope)
$100.5K domestic total
Cast: Will Poulter
Premiere: Sundance
$1.3K /screen average
Week 2
$12.2K - The Marching Band (Greenwich Entertainment)
$3.6M worldwide
Premiere: Cannes Première
$12.2K /screen average
Week 1
Vertical Entertainment’s The Magic Faraway Tree earned $1.37M in its opening weekend. This had a low per-screen average of $848/screen across 1611 theaters. The film has earned $30M worldwide and stars Andrew Garfield and Claire Foy.
Focus Features’ Hot Spot earned $250K in its opening weekend. This had an ok/low per-screen average of $933/screen across 268 theaters. This is from director Agnieszka Smoczyńska, whose debut film The Lure (2015) was one of the wildest films I’d ever seen when it premiered at Sundance.
Abramorama’s Never Stop Chasing earned $164.5K in its opening weekend. This had an ok per-screen average of $1.3K/screen across 126 theaters. It’s a tornado-chasing doc.
Neon’s It Ends earned $60.5K in its opening weekend. This had a massive per-screen average of $12.1K/screen across 5 theaters.
Unreasonable Studios’ Learning to Fly earned $30.6K in its opening weekend. This had a decent per-screen average of $1.7K/screen across 18 theaters.