In today’s Box Office Breakdown, we analyze three new releases:
Sony’s Spider-Man: Brand New Day
Magnolia’s I Want Your Sex
Janus Films’ The Samurai and the Prisoner
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 with $355M domestic. Internationally, it earned $572M. This brings its worldwide total to $927M.
As of the current numbers, it is the second biggest opening weekend of all time, only behind:
Avengers: Endgame (2019)
$357M opening
$858.4M domestic total
$2.8bn worldwide
However, that total may be revised up by tomorrow and could actually be the highest opening in film history, not adjusting for inflation.
That means, not counting for inflation, a Spider-Man film now occupies the #2 and #3 spots for the top opening films of all time:
Spider-Man: No Way Home (2021)
3rd biggest opening weekend ever
$260M opening
$814.9M domestic total
$1.9bn worldwide
There are now nine live-action Spider-Man films. With the previous 8 earning a combined $7.9bn:
#1 - $810.9M (Spider-Man, 2002 - Tobey Maguire)
#2 - $788.3M (Spider-Man 2, 2004 - Tobey Maguire)
#3 - $887.4M (Spider-Man 3, 2007 - Tobey Maguire)
#4 - $758.7M (The Amazing Spider-Man, 2012 - Andrew Garfield)
#5 - $716M (The Amazing Spider-Man 2, 2014 - Andrew Garfield)
#6 - $881M (Spider-Man: Homecoming, 2017 - Tom Holland)
#7 - $1.13bn (Spider-Man: Far From Home, 2019 - Tom Holland)
#8 - $1.92bn (Spider-Man: No Way Home, 2021 - Tom Holland)
With the two Spider-Verse films earning a combined $1.085bn, that brings Spider-Man films, not including Venom, up to $9.9bn.
By tomorrow, the combined global gross of all Spider-Man films will be well over $10bn.
That’s the highest-grossing superhero at the box office, well above Batman and Superman.
The film had a production budget of $225M and is already profitable. The per/screen average was a mind-blowing $79.1K/screen across 4487 theaters.
Here’s the trailer.
Here’s the breakdown of the rest of the top 10:
$51M - The Odyssey (Universal)
$395.5M domestic total
$911M worldwide
$250M budget
RT: 94%
Week 3
Nolan’s film took a not-too-bad 43% week 3 drop. That makes it the highest cumulative domestic gross for a Nolan film through its third weekend, above:
The Dark Knight (2008)
$158.4M opening (opened higher than The Odyssey’s $123.5M)
$393.7M week 3 domestic total
$533M domestic total
$1.004bn worldwide
The Dark Knight Rises (2012)
$160.9M opening (opened higher than The Odyssey’s $123.5M)
$353.9M week 3 domestic total
$448.2M domestic total
$1.085bn worldwide
Oppenheimer (2023)
$82.4M opening (vs. The Odyssey’s $123.5M)
$229M week 3 domestic total
$330.1M domestic total
$975.8M worldwide
This is great news for Universal, as The Odyssey has already been profitable and is heading for $1bn+ worldwide.
$6.3M - Toy Story 5 (Pixar)
$461.7M domestic total
$1.065bn worldwide
$275M budget
RT: 92%
Week 7
This joins the previous two Toy Story films in cracking $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
Toy Story 5 is now the highest-earning domestic Toy Story film of all time.
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).
$5.8M - Minions & Monsters (Universal)
$168.4M domestic total
$427.1M worldwide
$85M production budget
RT: 89%
Week 5
Both of the previous Minions films earned around $1bn at the box office and opened north of $100M. By contrast, this Minions film has fallen short with a $37M opening.
The silver lining is that it fell only 41% in its fifth week.
It will become the lowest-grossing film of the 7 films in the Despicable Me universe, well behind:
Despicable Me (2010)
$56.4M opening
$251.7M domestic total
$544.2M worldwide
Luckily, the series is so popular that Minions & Monsters has already hit theatrical profitability even though it’s a big miss.
$5.3M - Moana (Disney)
$114.8M domestic total
$261M worldwide
$250M budget
RT: 31% (critics) 89% (audience)
Week 4
In its fourth week, Moana took a 50% drop. With a series-low opening, we now see this won’t come anywhere near recouping theatrically and will lose a lot of money for Disney.
It’s far below the previous incarnations of the film:
Moana (2016)
$162.9M week 4 total (vs. Moana’s $114.8M)
$248.8M domestic total
$643.3M worldwide
Moana 2 (2024)
$359.2M week 4 total (vs. Moana’s $114.8M)
$460.4M domestic total
$1.059bn worldwide
This will land as Disney’s 2nd lowest-performing live-action remake:
Snow White (2025)
$87.2M domestic total
$205.7M worldwide
Moana (2026)
$261M worldwide
Dumbo (2019)
$114.8M domestic total
$353.3M worldwide
Cinderella (2015)
$201.2M domestic total
$542.2M worldwide
There have been five Disney live-action remakes to crack $1bn at the box office (The Lion King, Beauty and the Beast, Aladdin, Lilo & Stitch, and Alice in Wonderland), and this will not be one of them.
This remake came out so soon after the previous Moana film that many have speculated audience fatigue is the root cause. But we believe the fact that it’s a near shot-for-shot remake is the deeper culprit.
$2M - Hadestown: The Musical (Bleecker Street’s event cinema division Crosswalk and LD Entertainment)
$18.2M domestic total
RT: 100%
Week 2
Last week, this was Bleecker Street’s highest opening film of all time at $10.26M, not counting inflation. Even beating out their previous highest opening:
Logan Lucky (2017)
$7.6M opening
Cast: Daniel Craig, Adam Driver, Channing Tatum
Dir: Steven Soderbergh
Hadestown: The Musical has now surpassed the highest-opening filmed musical of all time, domestically:
Hamilton (2025)
$10.1M opening
$16.9M domestic total
$20.9M worldwide total
Hadestown has won 8 Tonys and captured many people’s hearts. Massive congrats to the Bleecker Street team.
$1.2M - The Invite (A24)
$22.8M domestic total
$38.5M worldwide
Picked up by A24 at Sundance for $12M+
RT: 96%
Week 6 (fourth in wide release)
The Sundance buzz, the starry cast (Olivia Wilde, Seth Rogen, Edward Norton, Penélope Cruz), and the stellar reviews paid off! This title is now profitable for A24. Good news as it’ll continue to play theatrically before it moves into ancillary markets.
A24 executed its typical prestige-film strategy here: slowly drip-feeding the film into theaters:
Week 1 - $54K/screen average (7 screens)
Week 2 - $25K/screen average (28 screens)
Week 3 - $3.5K/screen average (1610 screens)
Week 4 - $1.7K/screen average (2110 screens)
Week 5 - $1.3K/screen average (2032 screens)
And now, they’re slowly starting to pull it out of theaters:
Week 6 - $1.6K/screen average (792 screens)
The director is Olivia Wilde, whose previous features all did decently:
Booksmart (2019)
$6.9M opening
$22.7M domestic total
$25M worldwide
Don’t Worry Darling (2022)
$19.4M opening
$45.3M domestic total
$87.6M worldwide
It won’t get anywhere close to Don’t Worry Darling, but this is a strong Oscar contender for the acting categories.
$600K - I Want Your Sex (Magnolia)
Picked up by Magnolia at Sundance for 7 figures
RT: 89%
Week 1
This had a low per-screen average of $857/screen across 700 theaters. Regrettable as the cast is strong:
Olivia Wilde
Cooper Hoffman
Charli xcx
Mason Gooding (Scream, Heart Eyes)
Johnny Knoxville
This is director Gregg Araki’s 12th feature film. He’s known for working in the micro-budget world, but his films consistently play at top festivals like Sundance and Cannes. And his Mysterious Skin (2004, $2.15M worldwide), starring Brady Corbet and Joseph Gordon-Levitt, is an important film in indie cinema history for its daring depiction of abuse.
This is Araki’s top opening film of all time.
$477.7K - Young Washington (Angel)
$46.4M domestic total
$20M budget
RT: 60%
Week 5
This is another non-faith-based, feel-good release from Angel Studios. In that sense, Young Washington has already outperformed all of Angel Studios’ recent releases in the non-faith-based category:
Solo Mio (2026)
$26.4M worldwide
Homestead (2024)
$20.8M worldwide total
The Last Rodeo (2025)
$15.2M worldwide total
Sketch (2025)
$10.2M worldwide total
I Was a Stranger (2024)
$2.8M worldwide total
This is a strong performance for Angel Studios, bolstered by a remarkable cast of Ben Kingsley, Andy Serkis, and Mary-Louise Parker.
Young Washington had a massive 75% week 5 drop, meaning it will not reach the heights of its top-performing films like Sound of Freedom ($250.6M WW) and David ($87.9M WW).
It will likely barely break even by the end of its theatrical run.
$470K - Obsession (Focus Features)
$262.8M domestic total
$475M worldwide
$750K budget, picked up by Focus for $15M
RT: 96%
Week 12
In its 12th week, Obsession is still in the top ten, although it will likely drop out in the following weeks.
Obsession is Focus Features’ highest-grossing film of all time 2x-ing their previous top-earning films:
Downton Abbey (2019)
$96.9M domestic total
$194.7M worldwide
Coraline (2009)
$116.9M domestic total
$188.1M worldwide
Nosferatu (2024)
$95.6M domestic total
$182M worldwide
It is now the highest-grossing film with a budget below $1M. And the 8th highest-grossing horror film of all time. Not counting inflation (a big caveat), it is the 4th highest-grossing domestic horror film of all time, sitting behind:
It (2017)
$328.8M domestic total
The Sixth Sense (1999)
$293.5M domestic total
Jaws (1975)
$273.6M domestic total
Curry Barker is in a rare category of directors.
Here are the lowest-grossing films of the week:
$10.3K - The Death of Robin Hood (A24)
$5.3M domestic total
$6.1M worldwide
Cast: Hugh Jackman
$858 /screen average
Week 7
$4.8K - The Kidnapping of Arabella (Oscilloscope)
$22K domestic total
$91.5K worldwide
Premiere: Venice Film Festival
Winner: Best Actress, Venice’s Orizzonti section
$690 /screen average
Week 3
$1.1K - The Python Hunt (Oscilloscope)
$93.6K domestic total
Premiere: SXSW
$274 /screen average
Week 13
Janus Films’ The Samurai and the Prisoner earned $64K in its opening weekend. This had a massive per-screen average of $21.4K/screen across 3 theaters. The film premiered at Cannes in the Premiere section. It has earned a total of $6.3M in Japan.
Neon’s Her Private Hell took a nosedive, losing 90% in its second weekend, making $53.4K. It has just topped $1M worldwide. The film is directed by Nicolas Winding Refn (Drive) and stars Sophie Thatcher and Charles Melton. It premiered at Cannes.