In today’s Box Office Breakdown, we analyze eleven new releases:
Warner Bros.’ The End of Oak Street
Paramount’s PAW Patrol: The Dino Movie
Trafalgar Releasing’s Katseye: Wild Hearts
Focus Features’ SIX: The Musical Live!
Angel Studios’ The Brink of War
Shloka Entertainments’ Vishwanath & Sons
Black Bear’s The Rivals of Amziah King
A24’s The Wrong Girls
EKKL Entertainment’s Elijah Peel
Oscilloscope’s Union County
Watermelon Pictures’ American Doctor
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 third weekend in a row with $70M domestic. That brings its domestic total to $785.8M. Internationally, it’s earned a total of $1.236bn. This brings its worldwide total to $2.022bn.
As of the current numbers, not including inflation, it is the second-biggest third weekend of all time, only behind:
Star Wars: The Force Awakens (2015)
$248M opening (vs. Brand New Day’s $360M)
$90.2M week 3 (-40%)
$742.2M week 3 domestic total (vs. Brand New Day’s $785M)
$936M domestic total
$2.068bn 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 $44M above the previous record holder Star Wars: The Force Awakens (2015), by its third week.
Worldwide, it’s now one of eight films to cross $2bn at the box office, 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 $11bn.
That’s the highest-grossing superhero film 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:
$23.2M - The Odyssey (Universal)
$504.7M domestic total
$1.29bn worldwide
$250M budget
RT: 94%
Week 5
Nolan’s film took a tiny 27% week 5 drop. That makes it the highest-grossing Nolan film of all time. And the second-highest-earning domestically:
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 (highest-earning domestically)
$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. It’s great news for Universal, as The Odyssey is very profitable.
$21M - The End of Oak Street (Warner Bros.)
$47M worldwide
$80M budget
RT: 85%
Week 1
This is an average opening for a sci-fi monster film. The film stars Anne Hathaway, who has been having a monster year* at the box office, with her two other films opening way higher:
The Odyssey (2026)
$123.5M opening
The Devil Wears Prada 2 (2026)
$76.7M opening
*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 starred in a film that was widely released since 2019:
Doctor Sleep (2019)
$14.1M opening
Given McGregor has been out of the picture (although he’s a fantastic actor), and the year Anne Hathaway is having, this is a good opening for an original film.
The End of Oak Street will likely not break even theatrically.
$20.5M - PAW Patrol: The Dino Movie (Paramount)
$69M worldwide
$40M budget
RT: 81%
Week 1
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 an average opening:
PAW Patrol: The Mighty Movie (2023)
$22.8M opening
$65.3M domestic total
$205.1M worldwide
PAW Patrol: The Dino Movie (2026)
$20.5M opening
PAW Patrol: The Movie (2021)
$13.1M opening
$40.1M domestic total
$144.3M worldwide
These films are driven by the Canadian TV series, which has been running steadily since 2013. PAW Patrol: The Dino Movie will have no problem recouping as it continues to expand internationally.
$3.6M - Katseye: Wild Hearts (Trafalgar Releasing)
RT: 89%
Week 1
This is a music doc about the pop girl group Katseye (Spotify’s #152 band in the world with 36.3M monthly listeners).
Synopsis:
A celebration to the group's new era and the fans who made it possible. Features exclusive behind-the-scenes footage, Eyekons fan videos, and intimate interviews with the members.
This is doing strong business, although Trafalgar has had slightly more success with their previous live concert films this year:
BTS World Tour 'Arirang' in Busan: Live Viewing (2026)
$3.8M opening
$9M worldwide
Twenty One Pilots: More Than We Ever Imagined (2026)
$4.3M opening
$5.8M worldwide
However, and some people may hate this, Katseye: Wild Hearts beat out:
Pink Floyd: Live at Pompeii (2025 re-release, Trafalgar Releasing)
$2.6M opening
$6.5M worldwide
Of course, it’s nowhere near the top concert films of all time: Taylor Swift’s The Eras Tour (2023), which opened at $93.2M, or Taylor Swift | The Official Release Party of a Showgirl, which took #1 at the box office with $33M.
$3M - SIX: The Musical Live! (Focus Features)
$11.9M worldwide
RT: 97%
Week 1
This is an okay opening for a filmed musical. However, it is nowhere near what Bleecker Street pulled off a couple of weeks ago:
Hadestown: The Musical (Bleecker Street’s event cinema division Crosswalk and LD Entertainment)
$9.7M opening
$20.6M worldwide total
In this category, the highest-earning filmed musical of all time is still:
Hamilton (2025)
$10.1M opening
$16.9M domestic total
$20.9M worldwide total
Six: The Musical! has won 2 Tonys and centers on the six wives of Henry VIII, reimagining them as pop stars.
$2.7M - The Brink of War (Angel Studios)
RT: 71%
Week 1
This is a low opening for a war film, 61% below the average. It’s also a low opening for an Angel Studios war film:
Young Washington
$19.4M opening
$47M worldwide
Truth & Treason (2025)
$2.6M opening
$6.2M worldwide
Note that Truth & Treason did not have a single A-list actor in the film. Compare that to The Brink of War, which has a stacked cast of Jeff Daniels and J.K. Simmons.
$2.3M - Toy Story 5 (Pixar)
$475.5M domestic total
$1.15bn worldwide
$275M budget
RT: 92%
Week 10
This is now the highest-earning Toy Story film of all time, not including inflation. It beat out the previous two films, which also cracked $1bn at the box office:
Toy Story 3 (2010)
$415M domestic total
$1.067bn worldwide
Toy Story 4 (2019)
$434M domestic total
$1.073bn worldwide
This comes at a great time for Pixar as they’ve recently undergone significant staff cuts after their last two films underperformed, Hoppers ($389.5M WW on a $150M budget) and Elio ($154M WW on a $300M budget).
$2M - One Night Only (Universal)
$9.9M domestic total
$12.1M worldwide
$25M budget
RT: 46%
Week 2
This took a big 64% drop in its second week.
This is the sex is banned except for one night of the year rom-com. So in terms of rom-coms that lean sci-fi starring Callum Turner (as One Night Only does), there’s a great comp in:
A24’s Eternity (2025)
Cast: Miles Teller, Elizabeth Olsen, Callum Turner
$3.2M opening (vs. One Night Only’s $5.5M)
$2.7M week 2 (-14.2% drop)
$16.2M domestic total
$35.9M worldwide
So by that count, One Night Only is not doing very well. Its 64% drop is over four times higher than Eternity’s week 2 drop of 14.2%.
One Night Only had a small budget, but it will not recoup theatrically.
The film also stars Monica Barbaro, who played Joan Baez in A Complete Unknown.
$1.8M - Vishwanath & Sons (Shloka Entertainments)
RT: 88%
Week 1
Synopsis:
Sanjay Vishwanath has devoted decades to excellence as an international shooter. When age, family duties, and an unexpected romance collide with his ambitions, he must confront what truly makes a life worth living.
This is a great opening for a Tamil-language film in the US.
Here are the lowest-grossing films of the week:
$23.9K - Backrooms (A24)
$197.5M domestic total
$393.2M worldwide
$825 /screen average
Week 12
$6.6K - The Death of Robin Hood (A24)
$5.35M domestic total
$6.7M worldwide
Cast: Hugh Jackman
$661 /screen average
Week 9
$2.9K - Sheep in the Box (Neon)
$191.4K domestic total
$764.1K worldwide
Premiere: Cannes
$127 /screen average
Week 4
Black Bear’s The Rivals of Amziah King earned $1.03M in its opening weekend. This had a decent per-screen average of $1.6K/screen across 632 theaters. The film stars Matthew McConaughey and Kurt Russell. It opened at SXSW in 2025. Black Bear is still figuring out their US release strategies. So this beat out the per/screen average of their previous Christy, starring Sydney Sweeney, which opened to $1.3M but had a weak $600/screen average across 2184 theaters.
Neon’s The Wrong Girls earned $406.5K in its opening weekend. This had a low per-screen average of $782/screen across 520 theaters. The film stars Kristen Stewart, Alia Shawkat, LaKeith Stanfield, Seth Rogen, and even Cate Blanchett.
EKKL Entertainment’s Elijah Peel earned $250.6K in its opening weekend. This had a low per-screen average of $468/screen across 535 theaters. EKKL is a new faith-based studio. We interviewed the founder here.
Oscilloscope’s Union County earned $68.5K in its opening weekend. This had a very strong per-screen average of $6.8K/screen across 10 theaters. The film stars Will Poulter and premiered at Sundance.
Watermelon Pictures’ American Doctor earned $40.1K in its opening weekend. This had the strongest per-screen average of the week with $40K/screen across 1 theater.
A24’s Tony earned $706K in its second weekend. It expanded to 37 screens and had a massive per-screen average of $19.1K/screen. The film stars Dominic Sessa as Anthony Bourdain. It also stars Antonio Banderas, Emilia Jones, and Leo Woodall.
Mubi’s Teenage Sex and Death at Camp Miasma earned $907K in its second weekend. It expanded to 54 screens and had a massive per-screen average of $16.8K/screen. The film premiered at Cannes and stars Hannah Einbinder and Gillian Anderson. Directed by Jane Schoenbrun.