In today's Box Office Breakdown, we analyze four new releases:
Universal’s Him
Sony’s A Big Bold Beautiful Journey
Angel Studios’ The Senior
Oscilloscope’s Peacock
Plus, a full breakdown of the highest-grossing anime film of all time. Sony’s Demon Slayer: Infinity Castle
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Crunchyroll’s Demon Slayer -Kimetsu no Yaiba- The Movie: Infinity Castle took #1 at the Box Office for the second week in a row with $17.3M domestic. This brings its domestic total to $104.7M. Worldwide, it has earned $555M.
It is now the highest-grossing anime film of all time (not counting inflation):
Demon Slayer 1: Kimetsu no Yaiba - The Movie: Mugen Train (Crunchyroll, 2020)
$21.2M domestic opening
$49.9M domestic total
$486.5M worldwide
Spirited Away (2001)
$15.2M domestic total
$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.
For those unfamiliar with the “Demon Slayer” animated films, here is the synopsis of the latest entry:
The Demon Slayer Corps are drawn into the Infinity Castle, where Tanjiro, Nezuko, and the Hashira face terrifying Upper Rank demons in a desperate fight as the final battle against Muzan Kibutsuji begins.
This is the second film in the Demon Slayer series to be released theatrically and marks the beginning of a new trilogy.
Demon Slayer: Infinity Castle had the highest per-screen average of any film in the top 10 with $5.2K/screen across 3342 theaters.
It also had the highest drop of any film in the top ten this weekend, dipping 75% from its opening.
It ranks at 97% on RT.
Here is the trailer. Channing Tatum is part of the English-language cast.
Here’s the breakdown of the rest of the top 10:
$13.5M - Him (Universal)
$13.9M worldwide
$27M budget
RT: 28%
Week 1
This Jordan Peele-produced horror film still managed to eke out a strong opening despite low critical and audience reviews. This shows how much horror films’ box office performance is review-resistant.
Him opened more than double the average opening for a psychological horror film.
Of course, it’s nowhere near Peele’s films:
Get Out (2017)
$33M opening
$176.2M domestic total
$255.8M worldwide
98% RT
Us (2019)
$71M opening
$175.1M domestic total
$256.1M worldwide
93% RT
Nope (2022)
$44.4M opening
$123.3M domestic total
$171.2M worldwide
83% RT
The director Justin Tipping’s first feature, Kicks (2016), made $150K total. Surprisingly, it shared a lot of DNA with Moonlight (2016).
Him clinched the second-highest per/screen average of the top ten this weekend with $4.3K/screen.
$12.95M - The Conjuring: Last Rites (Warner Bros.)
$151.2M domestic total
$400M worldwide
$55M production budget
RT: 56%
Week 3
After its third week, it is the highest-grossing film in the series by a large margin:
The Conjuring (2013)
$41.9M opening
$137.4M domestic total
$320.4M worldwide total
86% RT
The Conjuring 2 (2016)
$40.4M opening
$102.5M domestic total
$321.4M worldwide total
80% RT
The Conjuring 3 (2021)
$24.1M opening
$65.6M domestic total
$206.4M worldwide total
56% RT
Critically, the current The Conjuring film is the lowest-rated of any in the pack. But the zealot-like resurgence of horror fans has catapulted this film to the highest earnings.
The Conjuring: Last Rites took a 49% week 3 drop. This is larger than Warner Bros.' previous horror release, Weapons, which only dipped 37% week 3. The film's quality appears to have a greater impact on the second and third weekend than on the first.
$6.3M - Downton Abbey: The Grand Finale (Focus Features)
$31.6M domestic total
$59.5M worldwide
$50M budget
RT: 90%
Week 2
This is the third theatrical Downton Abbey film. Its second weekend drop of 65% was higher than the latest installments:
Downton Abbey: A New Era (2022)
$16M opening (vs. Grand Finale’s $18M)
64% week 2 drop (vs. 65%)
$44.1M domestic total
$92.7M worldwide ($16.9M UK)
Downton Abbey (2019)
$31M opening (vs. Grand Finale’s $18M)
54% week 2 drop (vs. 65%)
$96.9M domestic total
$194.7M worldwide ($34.5M UK)
These films over-index in the UK as they focus on the British Aristocracy and their servants.
Few properties that began as TV series other than this and Mission: Impossible have enjoyed so many sequels in their theatrical run.
$6.3M - The Long Walk (Lionsgate)
$22.7M domestic total
$24.7M worldwide
$20M budget
RT: 90%
Week 2
This is the 4th film based on a Stephen King book to open in the past two years:
The Monkey (2025, Neon)
$14M opening
$39.7M domestic total
$68.9M worldwide
The Life of Chuck (2024, Neon)
$224K opening
$6.7M domestic total
$16.9M worldwide
The Boogeyman (2023)
$12.4M opening
$42.2M domestic total
$67.3M worldwide
It opened lower than 2 out of these three Stephen King films. But it was the highest-grossing film domestically for star Cooper Hoffman (Licorice Pizza).
$3.5M - A Big Bold Beautiful Journey (Sony)
$8M worldwide
$60M production budget + $50M Sony paid to acquire the package
RT: 37%
Week 1
This film opened poorly. Not just because the average romantic drama opens nearly 2x higher, but because the film’s stars, Margot Robbie, failed to deliver when compared with her previous:
Barbie (2023)
$162M domestic opening
A Big Bold Beautiful Journey’s opening is almost identical to the film Robbie starred in before Barbie. That film was Babylon (2022), which opened to $3.6M.
For the other lead, Colin Farrell, his latest starring role in a theatrical film was Searchlight’s The Banshees of Inisherin, which took $184K when it opened to 4 screens. And made $1.3M on its first weekend, where it opened on 900 screens.
The one saving grace for A Big Bold Beautiful Journey may be that it’s doing better business internationally, making $4.5M.
$2.8M - The Senior (Angel Studios)
≈ $1M budget
RT: 80%
Week 1
This opened higher than Angel Studios’ previous inspirational sports film:
The Last Rodeo (2025)
$2.1M opening
$15.2M domestic total
The Senior’s opening is a decent for Angel Studios, but nowhere near their largest:
Sound of Freedom (2023)
$19.7M opening
$184.2M domestic total
$250.6M worldwide
Highest-grossing indie film of 2023
The King of Kings (2025)
$19.4M opening
$60.1M domestic total
$66.2M worldwide
Essentially, Angel Studios can do decent business by tapping into their core audience and explosive business when their films are fully faith-based.
$1.4M - Toy Story (Disney)
$198.4M domestic total
$374.6M worldwide
Week 1557 (30 years)
This is the third re-release of Toy Story (1995):
2009 re-release (15-year anniversary)
$12.5M opening
$30.7M domestic total
$41.3M worldwide
2020 re-release (25-year anniversary)
$505K opening
$727K domestic total
$767.8K worldwide
2025 re-release (30-year anniversary)
$3.5M opening
$4.8M domestic total
$6.6M worldwide
While it surpassed the pandemic 25-year re-release by a wide margin, it was nowhere near the 15-year anniversary re-release.
The original release opened at $29.1M. As the series continues to endure with the 5th installment slated for June 19, 2026.
$1.4M - Sight & Sound Presents: Daniel LIVE (Fathom Events)
$2.6M domestic total
RT: 98%
Week 56
This is a live broadcast into movie theaters of the brand-new original production, DANIEL.
Synopsis:
Taken from his people, Daniel is exiled inside the perilous kingdom of Babylon. As he navigates this new life, will his trust in God remain steadfast through every test of faith?
$1.26M - Weapons (Warner Bros.)
$149.7M domestic total
$263.4M worldwide
$38M budget
RT: 94%
Week 7
Weapons has crossed the $250M mark and now ranks as the 21st highest-grossing horror film of all time and 11th highest-grossing domestically.
It is the fourth-highest-grossing original horror of all time. After Split (2017, $278.8M WW), A Quiet Place (2018, $334.9M WW), and Sinners (2025, $336.7M WW). Every other horror property is either based on a book, a newspaper article, or is a sequel/spinoff.
Director Zach Cregger is a master comedian-turned-horror-filmmaker. Putting him in a rare category with Jordan Peele.
The film has fully recouped.
Here are the lowest-grossing films of the week:
$12.8K - CatVideoFest 2025 (Oscilloscope)
$1M domestic total
$1.2M worldwide
$1.2K /screen average
Week 8
$5.2K - Peacock (Oscilloscope)
$5.2K/screen average
$161.2K worldwide
Premiere: Venice Critics Week
Week 1
$5K - Women in Christ (Purdie Distribution)
$32.6K domestic total
$335 /screen average
Week 2
Mubi’s The History of Sound earned $320.2K in its second weekend. They moved from 4 screens (opening weekend) to 552 screens. This gives it a low per-screen average of $580/screen. It has earned $439K domestically. The film premiered at Cannes and stars Paul Mescal and Josh O'Connor.
Bleecker Street’s Spinal Tap II: The End Continues earned $373K in its second weekend. It had the lowest per-screen average of the week with $281 across 1326 screens. It has earned a strong $2.8M worldwide.