Tag: box-office

Other Mommy's second weekend is in: $8.35M, down 70% from a $27.8M opening, the steepest drop in a six-film CinemaScore sample. The best and worst grades sit at opposite ends of the chart, and everything from B+ to C+ lands inside 3.6 points.

You Can See Everything, Nathan Fielder and Lance Oppenheim's nearly three-hour Elizabeth Holmes documentary, opened to an estimated $15 million from just 855 theaters. The crowd was young, the screenings sold out, and the old line that long films and docs don't sell just took a hit.

Wednesday, October 21 stacks the Slow Horses season 6 finale, all of The Terminal List season 2 and Netflix's New Stanford Prison Experiment, with Nobody Wants This season 3 and Lupin Part 4 right behind. In theaters, Street Fighter punched its way to No. 1 with an estimated $31M domestic and $51M worldwide.

A C+ movie and a B+ movie lost almost exactly the same share of their audience in weekend two. I lined up this fall's five wide releases, CinemaScore against second-weekend hold, to see what the grade really tells you. It tells you something, just less than the trade-press shorthand suggests.

Jessica Chastain's Other Mommy got torn apart by critics, handed a D+ by the people who paid to see it, and still opened No. 1 with $27.5M. The same weekend, Aaron Sorkin's better-reviewed, better-graded Social Network follow-up opened fifth with about $5.5M. Here's why that isn't a paradox.

Halloween season gets serious this week: Marvel's VisionQuest opens on Disney+ on Wednesday, and A24's Friday the 13th prequel Crystal Lake drops all eight episodes on Peacock on Thursday. Netflix brings a four-part Mike Tyson docuseries, a German psychological thriller and a Boston season of Love Is Blind, while Other Mommy took the weekend box office crown.

Verity opened at No. 1 with $32.6M, Anne Hathaway's third No. 1 opening of 2026 after The Devil Wears Prada 2 and The Odyssey. Five films, three crowns, $2.65B worldwide, and the worst-reviewed of the five has the best opening-to-budget ratio. Here's what the numbers show, and what they can't.

Tom Cruise's Digger opened to an estimated $8 million, his weakest debut since 2007, while the worse-reviewed Verity took No. 1 with $32.6 million. The star isn't the problem. A $125-180 million Iñárritu climate satire with no audience of its own is.

Streaming owns the week of October 5: Mike Flanagan's Carrie lands on Prime Video all at once on Wednesday, the same night Ted Lasso closes out its fourth season on Apple TV. Add Mackenzie Crook's Small Prophets, the SNL documentary Lorne and all four seasons of Mayor of Kingstown hitting Netflix, and your couch has a full calendar.

Avengers: Endgame Encore opened to $26 million, the third-best domestic re-release weekend ever, $800,000 ahead of last year's Revenge of the Sith. Here's the full ranked list, the ratio that makes Encore look weakest of all, and why a seven-year-old movie with four minutes of Doomsday footage is really a trailer you pay to see.

Avengers: Endgame Encore took the September 25-27 weekend with $26 million domestic and $86 million worldwide, the third-best domestic re-release opening ever, thanks to four new Avengers: Doomsday scenes. Brad Pitt's The Heart of the Beast and A24's Primetime both opened near $20 million, and on streaming Netflix's A Different World and SNL season 52 are out now.

Zach Cregger threw out Leon, Jill, Chris and Claire, cast a medical courier nobody has heard of, and landed a 96% Tomatometer — the highest score any video game movie has ever held. Then it opened to a franchise-record $60 million with a 91% audience score. The fans who spent nine months calling it a betrayal were never the people buying tickets.

Spider-Man: Brand New Day crossed $900 million domestic in 36 days. Star Wars: The Force Awakens needed 50. That record is already broken — but the all-time domestic crown was still $1,491,337 away as of Sunday night. Here is what the pace, the holds and the multipliers actually say about it.

Practical Magic 2 opened No. 1 with a 53-point gap between its Tomatometer and its audience score, and the internet already has a tidy story about what that means. The tidy story is wrong. The 1998 original had almost the same gap, the widest divide Rotten Tomatoes has ever recorded belongs to a film nobody is calling good, and a 92% from verified ticket-buyers is measuring something other than quality.

The Mandalorian and Grogu closed its theatrical run as the lowest-grossing live-action Star Wars movie ever made. Eight days after landing on Disney+, it's the #1 movie on the platform worldwide, sitting ahead of Avengers: Infinity War on FlixPatrol's charts in 70 countries. Box office isn't the whole story anymore, and this is the cleanest proof of that this franchise has produced in years.

Cars and Akira took $8.77 million out of theaters over the September 4-6 weekend, nearly 10% of the entire box office, while Lionsgate ran all five Hunger Games films in five nights and reported nothing at all. Let me show you what the re-release math actually looks like -- and why the ticket is really the trailer.

Lucasfilm is scrambling after a brutal box office drop for its first movie in seven years. Between a desperate 'commentary cut' and the promise of The Ninth Jedi, the franchise is at a crossroads.

Lucasfilm is trying a desperate new tactic to save The Mandalorian & Grogu after a brutal second-weekend crash. From a $165M start to a 70 0rop, the numbers tell a story that no amount of Force-healing can fix.

For a decade, the safest bet at the box office was a familiar logo. In 2026, the numbers are telling a different story: a Star Wars movie is hemorrhaging market share to original genre films, and the gap between what nostalgia is supposed to deliver and what it actually returns has never been wider. Let me show you what the data says.

Premium-format seats — IMAX, Dolby, 70mm, PLF — crossed 16% of domestic gross in 2025, on roughly 1% of the screen count. Spielberg's Disclosure Day opens June 12 in IMAX, 70mm, and standard formats simultaneously — and the IMAX-share line, not the headline gross, is the only number that will move the next quarter's exhibitor earnings calls. That is what the dollar-per-seat math looks like when an exhibitor takes it seriously.

Disclosure Day opens wide this Friday, June 12, and the internet has already decided what it is. The numbers haven't. Here is what 49 years of Spielberg sci-fi releases actually say about the bar Friday's opening has to clear.

On May 19, 2006, Ron Howard and Tom Hanks released a $125 million prestige-tier adaptation of an airport thriller, watched the Vatican call for a boycott, and rode the controversy to $760 million worldwide. Twenty years later, the entire economic and cultural machine that made The Da Vinci Code possible has been dismantled — and we're looking at a fossil.

Boots Riley's I Love Boosters lands in theaters this Friday, and it joins a 2026 slate where the $30–$50M movie has quietly been the smartest bet on the board. Let me show you what the numbers reveal — because if you only watch the top of the chart, you're missing the actual story of this year's box office.

Look, I'm going to say something nobody at a Hollywood pitch meeting wants to hear: Mortal Kombat II opened to $40 million this weekend — the best opening of the entire Mortal Kombat film franchise, by the way — and it still got out-grossed by a sequel about a fashion magazine editor. In its second weekend. A holdover. A legacy comedy. About clothes.

Three films cleared $36 million domestically the weekend of May 8-10, and the 20-year-old comedy sequel beat them both. The −44% drop is doing all the work — and the demographic data shows exactly why none of the new entrants laid a glove on Miranda Priestly.

The numbers tell a story the marketing didn't. The Sheep Detectives projects a $14.9M domestic opening weekend — Hugh Jackman's biggest non-Marvel debut since Pan in 2015 — landing on a 97% Rotten Tomatoes score from 128 critics, his career-highest ever. Pre-release tracking topped out at $15M low-end. The film cleared it. Here's what that data actually means.

Nintendo and Illumination just pushed the Mario film franchise past $2 billion in combined worldwide gross. Critics still landed on "mixed to negative" for Galaxy. And I'm tired of pretending the box office is the same thing as a defense.

Two very different films open the same Friday: a fashion-comedy sequel and an animated political fable. We don't have opening numbers yet — but we have a decade of historical clash weekends, long-gap sequel data, and audience demographics that tell us a lot about what to expect.

Lee Cronin's The Mummy made 79.1% of its current domestic gross in its opening weekend. By Wednesday — Day 6 — it had earned $17.09M total, with weekdays adding just $3.57M combined. That's the most front-loaded R-rated horror opening of recent memory, and it tells us exactly where Universal's monster reboot wave is heading next: nowhere good.

Last week CinemaCon told us what Hollywood is planning. This week, Hollywood shows what actually works — and what doesn't. Michael drops Friday, Boys S5 gets its midpoint shake-up Wednesday, and The Mummy's $13.5M debut is exactly the crash-landing skeptics predicted.