- Lilo & Stitch £6,139,573 – £25,904,453
Down 35.8% in its second weekend (23% without previews)
£2.03m 33.1% (+30.1% £1.56m) Fri; £2.09m 34% (-40.1% £3.49m) Sat; £2.02m 32.9% (-62.9% £2.94m) Sun; £673k Monday; £402k Tues
62nd biggest second weekend between 1917 and Guardians of the Galaxy Vol. 2 (close to Paddington 2, Wonka, The Lego Movie and Bohemian Rhapsody) and 125th biggest second weekend, inflated between The Sixth Sense and Shrek Forever After (close to Labyrinth, The Lion King (1994), Mrs. Doubtfire and Tangled)
8th biggest second weekend over the last 52 weeks between Paddington in Peru and Despicable Me 4 (close to Moana 2, Bridget Jones: Mad About The Boy, Beetlejuice 2 and Mufasa: The Lion King); 3rd biggest 2025 second weekend between Bridget Jones: Mad About The Boy and Mission Impossible 8.
5th biggest Disney reimagination, second weekend, between Alice in Wonderland and Aladdin (close to The Jungle Book, Mufasa: The Lion King, The Little Mermaid and Dumbo)
The 20 Disney reimaginations since 2010 have taken almost £500m and £550m+ inflated.
Disney announced plans to remake the 2002 animated film in 2018; the first teaser was released in November, attached to Moana 2 a second teaser was attached to Mufasa: The Lion King in December. A TV spot played during the Superbowl in February received 173.1m online views in 24 hours. The first trailer was released in March with 158m views within 24 hours, the second most watched trailer after the teaser trailer for 2019’s The Lion King, with 224.6m views.
Lilo & Stitch is the first reimagination of an original Disney animated film, The 2002 animated film wasn’t as popular as all of the other animated films. Reimaginations were based on but became a bigger hit on home video over the last 23 years. Making it impossible to compare Lilo & Stitch’s reimagination with the others Disney have made over the last 15 years since Alice in Wonderland.
In 2002, Lilo & Stitch opened £1,516,249/£2,799,229 #1 280 screens, taking £12,892,631/£23,801,780; there were three straight-to-video sequels, including 2003’s Stitch! The Movie and 2005’s Lilo & Stitch 2: Stitch Has a Glitch. Several TV animated series and several video games.
Interestingly, Lilo % Stitch and Moana 2 had huge openings in the US, but they weren’t comparable in size in the UK, while Moana 2 opened with 26% more (£12,021,342 vs £9,568,923) despite having two extra days of previews.
Lilo & Stitch is seen as an original animated film, but the plot of an alien befriending a lonely child is remarkably similar to films like E.T., Bumblebee, The Iron Giant and many others, and the plot will be repeated in Pixar’s Elio opening next month. Disney have repeated the same plot many times, Meet The Robinsons, Treasure Planet, Big Hero 6, Atlantis: The Lost Empire and Brother Bear and recently seen in The Wild Robot.
Disney has exploited their animated films for decades. Originally, they would re-release a classic animated film every few years in cinemas, so each generation could experience them in the cinema. In the 80s and 90s, their cinema release would be followed by the film being available on home video for a limited time. In the 90s and 00s, Disney would make straight-to-video sequels of many of their animated films, and many of them were hugely popular, selling millions of videos and DVDs.
Disney made their first reimagination in 1996, 101 Dalmatians, taking £20,380,347/£43,624,959; $136.2m US and $320.7m worldwide. It was surprising Disney didn’t make another animated reimagination until 2010’s Alice in Wonderland (taking £42,169,542/£56,485,924; $334.2m US and $1.02bn. Disney first made Maleficent a retelling of Sleeping Beauty, but then, after Cinderella in 2015, they have been direct live-action remakes of the animated films. Disney kept making them as audiences kept coming out to see them in cinemas; they were easy money, far easier to remake a classic than try to create a classic, which Disney had successfully done for many decades previously.
Watching Field of Dreams again on Sky Cinema, you could switch Terrance Mann’s “People Will Come” comment about baseball with Disney animated films: “They’ll arrive at your door as innocent as children, longing for the past…Of course, we won’t mind if you look around,” you’ll say. “It’s only twenty dollars per person.” They’ll pass over the money without even thinking about it. For it is money they have and peace they lack.”
199th biggest between The Golden Compass and The Lost World: Jurassic Park (close to The LEGO Batman Movie, Beetlejuice Beetlejuice, Dumbo and Ratatouille) and 404th inflated between Cars and The Martian (close to The Naked Gun, The Nutty Professor, Licence to Kill and Beauty and the Beast (1992).
- 2. Mission: Impossible – The Final Reckoning £3,454,871 – £17,475,531
Down 59.7% in its second weekend (44% without previews)
£1.04m 30.1% (-30.2% £1.49m) Fri; £1.28m 37.1% (-49% £2.5m) Sat; £1.13m 32.8% (£2.2m -81.9%) Sun; £462k Mon; £445k Tues (16 days after opening overtakes Lilo % Stitch to be #1 for a day
201st biggest second weekend between Gladiator and Doctor Strange (close to Ocean’s Eleven, Chicken Run, Sherlock Holmes and Guardians of the Galaxy Vol 1) and 365th biggest inflated second weekend between Nanny McPhee & the Big Bang and Solo: A Star Wars Story (close to Ocean’s Twelve, Die Hard with a Vengeance, Jurassic Park 3 and Snatch).
13th biggest second weekend over the last 52 weeks, between Mufasa: The Lion King and Captain America: Brave New World (close to Gladiator 2, Beetlejuice 2, Sonic The Hedgehog 3 and Sinners)
The 3rd biggest Tom Cruise second weekend between Top Gun Maverick and War of the Worlds, ahead of Mission: Impossible Dead Reckoning Part 1; 2nd biggest Mission: Impossible second weekend after 1996’s Mission: Impossible £3,465,278 and ahead of Mission: Impossible – DR1 (£2,891,093) and 4th inflated between Mission: Impossible III and Mission: Impossible- Ghost Protocol
9th biggest Tom Cruise film between Mission: Impossible- Ghost Protocol and Mission: Impossible II (close to Minority Report, Mission: Impossible, The Last Samurai and Interview with the Vampire) and the 18th inflation-inflated biggest between Cocktail and Vanilla Sky (close to Jerry Maguire, A Few Good Men, The Firm and Collateral). Tom Cruise has had 14 films taking £10m+ in the UK and 26 inflation-adjusted over the last 39 years.
Much will surely depend on how Tom Cruise’s first original films since 2017’s American Made Do, the Untitled Alejandro G. Iñárritu. The director’s previous film, 2015’s The Revenant, won Leonardo DiCaprio the Best Actor Oscar. Tom Cruise has been nominated three times, twice for Best Actor. Born on the Fourth of July, Jerry Maguire was once the Best Supporting Actor in Magnolia. Tom Cruise is also attached to a supernatural thriller, Deeper, reteaming up with director Doug Liman (Edge of Tomorrow). In a recent interview, Tom Cruise and Christopher McQuarrie talked about a Les Grossman film. Soon after 2008’s Tropic Thunder opened, there were rumours of a film, but they never went anywhere. Interestingly, it’s being mentioned again 17 years later.
Previous instalments’ second weekends
1996’s Mission: Impossible dropped 16.7% £3,465,278/£7,464,396 and £9,917,609 53.3% of £18,351,333/£35,936,148
2000’s Mission: Impossible II dropped 46% £2,494,661/£4,518,738 and £9,517,542 55% of £17,291,606/£32,426,847
2006’s Mission: Impossible III dropped 48.8% £2,751,733/£4,503,349 and £9,721,069 63.4% of £15,342,575/£25,108,896
2011’s Mission: Impossible – Ghost Protocol dropped 72.8% £2,223,200/£2,923,912 and £13,063,492 74.5% of £17,536,984/£23,064,317
2015’s Mission: Impossible- Rogue Nation dropped 55% £2,408,562/£2,662,446 and £11,047,842, 52.4% of £21,074,999
2018’s Mission: Impossible- Fallout dropped 66.1% £2,471,073 and £13,357,630, 54.7% of £24,373,443
2023’s Mission: Impossible – Dead Reckoning Part 1 dropped 72.2% £2,891,093 and £16,434,929, 61.8% of £26,579,966
The 8 Mission: Impossible films have taken £160m+ at the UK BO and £280m+ inflation-adjusted since 1996; While Tom Cruise films since 1986’s Top Gun have taken almost £480m+ and £755m inflation-adjusted. His next film is currently untitled, from director Alejandro G. Iñárritu (The Revenant), due for release in October 2026, it will be his first original film since 2017’s American Made.
Deadline reported that the next film he may star in is Deeper, starring Ana de Armas, reteaming with Edge of Tomorrow director Doug Liman, an underwater supernatural thriller that has been in development since 2016 with $200m+ budget. (he was to star in a film in space for Universal.) He has talked about Top Gun 3 and Days of Thunder 2
The Final Reckoning has been called the last Mission: Impossible film, but I’m sure there are already plans in place to reboot the series with Glen Powell and Hayley Atwell (many speculated was Ethan Hunt’s daughter), with Tom Cruise returning in a role similar to Top Gun: Maverick, as Paramount Pictures have a lack of franchises.
375th biggest between John Wick: Chapter 4 and Taken 3 (close to I, Robot, Tenet, The Matrix and Iron Man) and 662nd biggest inflated between Flushed Away and Lost in Translation (close to Ready Player One, The Rock, F9 and Rocky IV).
- 3. Karate Kid: Legends £2,592,601 – NE
Took £919,725 from previews Weds/Thurs
Took £533k 20.56% Friday; £588k 22.69% Saturday; £560k 21.41% Sunday.
664th biggest opening between Nanny McPhee and Nanny McPhee & the Big Bang (close to Mrs Doubtfire, The Flintstones, Lethal Weapon 3 and The Pursuit of Happyness) and 1,062nd biggest inflated opening between Percy Jackson and the Sea of Monsters and Wayne’s World (close to Good Morning Vietnam, Tron Legacy, Puss in Boots and Dragonheart).
31st biggest opening over the last 52 weeks between A Complete Unknown and Sinners (close to The Wild Robots, Dog Man, Red One and Mickey 17); the 13th biggest 2025 between A Complete Unknown and Sinners.
627th widest opening in 556 cinemas similar to Le Man’s 66, How to Train Your Dragon 3, Florence Foster Jenkins and About Time; 712th 500+ cinema opening since 2002’s Monsters, Inc.
Despite opening in Asia three weeks ago, the review embargo was in place until 2pm on Wednesday, several hours after having its first previews in the UK, showing Sony had little faith in the film. You can often tell when a film has issues with its running time, and a running time of 94 minutes and being a shared universe film means it must have been heavily trimmed, as would expect a 2h running time for a film like this.
It was surprising after the huge success of 2010’s The Karate Kid, a sequel was never announced; plans were made soon after the film was released, by due to script issues, it kept being delayed.
Development started in 2022 and is a sequel to the original films starring Ralph Macchio, the 2010 film starring Jackie Chan and the TV series Cobra Kai in a shared universe.
2010’s Karate Kid opened £4,882,306/£6,498,801, taking £11,613,244/£15,458,301
1986’s The Karate Kid Part 2 opened £415,683/£1,751,175, taking £3,427,577/£14,439,580
1989’s The Karate Kid Part 3 opened £528,464/£1,796,324, taking £3,398,000/£11,550,283
- 4. The Salt Path £1,479,568 – NE
Took £82,296 from previews.
Took £453k 30.63% Friday; £445k 39.76% Saturday; £440k 29.61% Sunday; £314k Mon; £387k Tues.
1,230th biggest opening between The Island and Evil Dead Rises (close to My Big Fat Greek Wedding, 28 Days Later, Mandela: Long Walk to Freedom, and David Brent: Life on the Road) and 1,818th biggest inflated opening between Unfriended and The Young Victoria (close to Fool’s Gold, Patch Adams, The Other Boleyn Girl and Salmon Fishing in the Yemen).
39th biggest opening over the last 52 weeks between Better Man and Speak No Evil (close to Smile 2, Heretic, Longlegs and Trap; 16th biggest 2025 opening between Mickey 17 and The Amateur.
591st widest opening in 518 cinemas similar to Book Club, The Maze Runner: Scorch Trials and Paddington; 712th 500+ cinema opening since 2002’s Monsters, Inc.
The Salt Path is based on the real-life 2018 memoir by Raynor Winn. The book spent 85 weeks on the Sunday Times bestseller chart. The Salt Path is also known as the Southwest Coast Path, England’s longest footpath, It was the trail used by coastguards watching out for smugglers.
The film received mixed reviews after premiering at the Toronto Film Festival last year. Black Bear acquired UK rights in 2023. It was co-produced by LipSync Productions, part of Lip Sync Post, which entered administration two weeks ago.
The Salt Path plays to the grey pound demographic who regularly go to the cinema, going more Monday-Thursday than Friday-Sunday, so The Salt Path is likely to have as strong Monday-Thursday as Friday-Sunday, as seen with films like 2015’s The Lady in the Van taking £2.58m Mon-Thurs slightly more than it took Friday-Sunday £2.256m. While these films often hold strongly in their second weekends as they are word-of-mouth films, the problem often is that they don’t get to hold on to screens or as many performances after opening weekends.
Had the biggest opening for a grey pound audience since 2024’s Wicked Little Lies opened £1,642,777, taking £9,626,572.
Opened stronger than many other recent grey pound films including The Great Escaper £593,150 #4 608 screens taking £5,293,230; Allelujah £715,783 #4 from 558 screens taking £3,393,983; The Unlikely Pilgrimage Of Harold Fry £784,698 #3 from 642 screens taking £3,357,529; 2022’s The Duke £992,659 #3 from 651 screens taking £5,283,515; 2022’s See How They Run £1,163,484 taking £4,858,629; 2018’s The Guernsey Literary and Potato £825,777 #3 from 499 screens taking £5,937,280.
The weekend when schools go back is often a lucrative date for these films, as there is often a gap in the marketplace. It wasn’t the case this year, but what helped was that each film in the top 5 played to different demographics.
The biggest Grey Pound films include.
2015’s The Lady and the Van opened £2,256,121, taking £12,660,028
2012’s The Best Exotic Marigold Hotel opened £2,222,051, taking £20,308,480/£25,250,104
2003’s Calendar Girls opened £1,762,505/£3,143,928, taking £20,423,193/£36,430,560
2013’s Philomena opened £1,509,726/£1,831,092 taking £10,470,225/£12,698,956
The Salt Path is Black Bear’s second biggest opening in the UK after Ferrari, £1,981,677 (had extensive previews £975,272) and ahead of Longlegs (£1,371,352). Black Bear has had a strong first two years since taking over the struggling STX with a steady slate of films, including The Son, Immaculate, Dumb Money, The Monkey, Conclave, Ferrari and Longlegs. With upcoming films including Relay, 77 Blackout, I Want Your Sex, Motor City, Train Dreams, Untitled Guy Ritchie Movie and Wife and Dog.
They are going for midrange films rather than overstretching themselves as so often happens with a new independent UK distributor. Many try to run before they can walk, acquiring high-profile films that become a poisoned chalice, as was the case with STX acquiring international rights for Martin Scorsese’s The Irishman for $50m in 2016. A year later, Netflix acquired the rights, which was a huge relief for the company, but it made some other poor decisions, making more expensive films that flopped after having success with low-budget films.
- 5. Peppa Meets The Baby Cinema Experience £1,065,856 – NE
Took £219k 22.42% Friday; £330k 37.77% Saturday; £390k 39.82% Sunday.
Had the biggest Peppa Pig opening in the UK.
1,659th biggest opening between I Love You Phillip Morris and Conclave (close to Spy Kids 2, The Fabelmans, The Naked Gun, and Hercules (1997) and 2,292nd biggest inflated opening between Inkheart and Conclave (close to A Cinderella Story, From Dusk Till Dawn, The Death of Stalin and Definitely, Maybe).
49th biggest opening over the last 52 weeks between Conclave and The Penguin Lessons (close to Marching Powder, The Monkey, A Real Pain and Black Bag); 21st biggest 2025 opening
189th biggest animated opening between Astro Boy and Peppa Pig: My First Cinema Experience (close to Corpse Bride, Ballerina, Planes 2: Fire & Rescue and Monster House) and 215th biggest inflated animated opening between Peppa Pig: Festival of Fun and The Tigger Movie (close to The Nightmare Before Christmas, The Little Mermaid (1990), Oliver & Company (1989) and Cinderella (1986 RE).
234th widest opening in 608 cinemas similar to Smile 2, The Greatest Showman, IT Part 1 and La La Land; 259th 600+ cinema opening since 2015’s Jurassic World.
Many exhibitors had reduced prices for Peppa Pig (£3.99), so probably had similar admissions as The Final Reckoning. Mission Impossible had probably a third fewer admissions due to about 40% of the audience watching it in IMAX/PLF and other premium formats, while Peppa was a flat price for children and adults. For previous Peppa Pig films, exhibitors charged regular ticket prices for the hour-long film. In November 2014, Disney re-released Frozen in cinemas, reducing tickets to £1.
In February, Mummy Pig announced on GMB that she was pregnant, which started a big campaign around the birth of her child. On April 25th, it was announced at Battersea Power Station that Mummy Pig was expecting a girl; both events generated huge media coverage.
The Baby Cinema Experience opened in 14 countries and featured 10 new episodes.
2019’s Peppa Pig: Festival of Fun opened £982,617, taking £2,715,813
2017’s Peppa Pig: My First Cinema Experience opened £1,050,962, taking £3,719,305
2015’s Peppa Pig: The Golden Boots opened £687,417, taking £2,326,328
Also opened.
- Doctor Who – The Two Episode Finale – CinemaLive
£381,725 from 458 cinemas simulcast with its BBC1 broadcast.
Last year, Doctor Who – Empire Of Death finale took £364,353 from 276 cinemas at 11pm on Friday same time it was released on iPlayer ahead of its broadcast on BBC1 the following night, watched by 2.55m.
2013’s Doctor Who: The Day Of The Doctor opened £1,798,629 #3 from 440 screens
- The Ballad Of Wallis Island – Universal Pictures
Opened £142,542 #12 from 129 screens (includes £14,823 previews)
Why did Universal Pictures open The Ballad Of Wallis Island against The Sal Path and The Phoenician Scheme last week?
The Ballad of Wallis Island received critical acclaim since premiering at the Sundance Film Festival in January and as the Surprise Film at the Glasgow Film Festival in March. But struggled to find an audience over its opening weekend. Maybe part of the problem is the number of films Universal Pictures is releasing, which means they are being forced to bunch up smaller films while focusing on the major films.
The problem, as always, screens and showtimes have been reduced in their second weekend as word-of-mouth spreads; these are films exhibitors should give time to find an audience.
UK box office in detail
The weekend’s top 10 box office took £16,985,780, down 22.6% from last weekend’s £21,932,424: 2,312,862 admissions, down 18.4% from 2,833,647 admissions.
The 11th biggest weekend of the last 52 weeks was between 05 December 2024 #1 Moana 2 £6,904,866 (37.13%) and 08 November 2024 #1 Paddington In Peru £9,649,984 (59.07%)
27th biggest since cinemas reopened out of 237 weeks between 22 October 2021 #1 Dune £5,876,892 (33.36%) and 02 June 2023 #1 Spider-Man: Across The Spider-Verse £9,159,823 (55.31%)
161st biggest top 10 of the last 24 years (out of 1,208) between 24 July 2015 #1 Inside Out £7,376,513 (43.29%) and 22 July 2011 #1 Harry Potter and the Deathly Hallows Part 2 £8,523,417 (50.26%) and 360th inflated between 21 January 2011 #1 The King’s Speech £4,226,074 (32.72%) and 19 March 2010 #1 Alice in Wonderland £4,847,129 (38.28%)
The top 3 took (£12,187,045) 71.7% of the top 10; Lilo & Stitch 36.15% (£6,139,573); Mission: Impossible – The Final Reckoning 20.34% (£3,454,871); Karate Kid: Legends 15.26% (£2,592,601).
547th biggest percentage share #1 (36.15%) between 06 June 2008 #1 Sex and the City £3,085,231 (36.18%) and 01 February 2008 #1 Cloverfield £3,485,956 (36.13%)
415th biggest admissions #1 (775,199) between 28 June 2024 #1 Inside Out 2 £6,003,526 (775,649) and 11 April 2003 #1 Johnny English £3,435,342 (773,726)
Up 155.65% from 2024; (£6,644,039); Harry Potter And The Prisoner Of Azkaban (20th Anniversary) (£394,066); Haikyu!!: The Dumpster Battle (£270,095); Sting (£231,113); The Crow (30th Anniversary) (£85,119); Young Woman And The Sea (£64,138); The Beast (£58,826); #1 IF £1,570,568 2nd week split over 3 weeks (23.64%)
Up 2.57% from 2023; (£16,560,628); Spider-Man: Across The Spider-Verse (£9,159,823); The Boogeyman (£492,071); SUGA – Agust D TOUR ‘D-DAY’ In JAPAN: LIVE VIEWING (£119,465); Die Zauberflote – Met Opera 2023 (£104,669); Reality (£62,987); The Machine (£36,377); Thelma & Louise (4K Restoration) (£5,977); #1 Spider-Man: Across The Spider-Verse £9,159,823 1st week 676 screens (55.31%)
Up 19.53% from 2022 (£14,210,581); Men (£519,907); Hamlet – Met Opera 2022 (£27,446); Dashcam (£9,060); #1 Top Gun: Maverick £10,325,500 756 screens 2nd week 35% drop (8% without previews) (72.7% of top 10)
Up 120.8% from 2021 from (£7,692,672); The Conjuring: The Devil Made Me Do It (£2,708,455); Cruella (£1,453,635); Demon Slayer: Mugen Train (£693,081); First Cow (£21,862); #1 The Conjuring: The Devil Made Me Do It £2,708,455 1st week 473 screens (35.21%)
2020 Lockdown
Up 0.62% from 2019; (£16,880,406); Godzilla: King of the Monsters (£3,507,717); Ma (£509,624); Thunder Road (£44,065); #1 Aladdin 2nd week £4,888,931 31% drop 645 screens (28.96% of top 10)
Up 73.28% from 2018: (£9,802,656); Book Club (£720,858); My Friend Dahmer (£37,940); #1 Solo: A Star Wars Story £3,147,338 684 screens 48% drop 2nd week (32.1% of top 10)
Up 5.44% from 2017: (£16,108,699); Wonder Woman (£6,179,616); Baywatch (£4,631,244); My Life as a Courgette (£55,566); Dough (£51,426); #1 Wonder Woman £6,179,616 1st week 599 screens (38.3% of top 10)
Up 17.03% from 2016: (£14,572,147); Warcraft: The Beginning (£3,623,725); Teenage Mutant Ninja Turtles: Out of the Shadows (£3,495,445); Me Before You (£1,790,657); The Nice Guys (£1,004,622); Race (£39,990); #1 Warcraft: The Beginning £3,623,725 500 screens 1st week (24.8% of top 10)
Up 37.17% from 2015; (£12,383,288); San Andreas (£4,628,394); Man Up (£528,748); Danny Collins (£225,308); The Connection (£82,486); #1 San Andreas £4,628,394 505 screens 1st week (37.3% of top 10)
Up 7.33% from 2014: (£15,825,863); Maleficent (£6,590,071); Edge of Tomorrow (£1,886,096); A Million Ways to Die in the West (£1,240,465); Jimmy’s Hall (£131,703); Heaven is for Real (£7,762); #1 Maleficent £6,590,071 486 screens 1st week (41.6% of top 10)
Up 39.85% from 2013: (£12,145,608); The Purge (£1,019,877); The Big Wedding (£595,956); Byzantium (£114,339); Populaire (£106,192); #1 The Hangover Part III £2,917,887 498 screens 51% drop 2nd week (24.1% of top 10)
Up 4.3% from 2012 (£16,285,480); Prometheus (£6,236,580); Snow White and the Huntsman (£3,589,027); Top Cat – The Movie (£457,287); The Angels’ Share (£256,446); LOL (£114,545); #1 Prometheus £6,236,580 1st week 514 screens (38.2% of top 10)
Up 27.12% from 2011; (£13,361,869); X-Men: First Class (£5,438,386); Eyes Wide Open 3D (£463,914); Senna (£375,173); Last Night (£51,245); Prom (£34,885); Screwed (£9,297); #1 X-Men: First Class £5,438,386 1st week 507 screens (40.7% of top 10)
Up 123.44% from 2010: (£7,601,859); Death at a Funeral (£696,280); 4.3.2.1 (£433,218); She’s Out of My League (£400,554); The Killer Inside Me (£124,006); #1 Sex and the City 2 £2,473,043 2nd week 521 screens 60% drop (32.5% of top 10)
Up 134.98% from 2009; (£7,228,664); Drag Me to Hell (£1,907,731); 12 Rounds (£326,804); Obsessed (£154,344); Jonas Brothers 3D Concert Experience (£117,060); Fireflies in the Garden (£20,828); #1 Night at the Museum 2 £2,054,769 520 screens 51% drop 2nd week (28.4% of top 10)
Up 3.44% from 2008; (£16,421,392); Sex and the City (£8,767,265); Harold & Kumar Escape from Guantanamo Bay (£265,346); Welcome Home Roscoe Jenkins (£40,380); #1 Sex and the City £8,767,265 460 screens 1st weeks (53.4% of top 10)
Up 106.25% from 2007: (£8,174,672); Wedding Daze (£803,471); Paradise Lost (£406,822); The Hitcher (£217,973); Flyboys (£38,531); #1 Pirates of the Caribbean: At World’s End £5,381,920 2nd week 550 screens 60% drop (65.8% of top 10)
Up 122.63% from 2006; (£7,629,707); Poseidon (£1,349,080); United 93 (£616,882); Wah-Wah (£46,159); Benchwarmers (£40,366); #1 X-Men: The Last Stand £ 2,310,683 2nd week 448 screens 67% drop (30.3% of top 10)
Up 89.49% from 2005: (£8,963,845); Sin City (£2,452,299); The League of Gentlemen’s Apocalypse (£555,996); #1 Star Wars: Episode III Revenge of the Sith £3,313,328 3rd week 490 screens 39% drop (36.9% of top 10)
Up 46.98% from 2004 (£11,556,263); The Day After Tomorrow (£7,321,633); #1 The Day After Tomorrow £7,321,633 1st 429 screens (63.3% of top 10)
Up 163.45% from 2003 (£6,447,499); Bringing Down the House (£1,133,139); Ripley’s Game (£244,457); #1 The Matrix Reloaded £3,783,905 2nd week 481 screens 69% drop (58.6% of top 10)
Up 182.74% from 2002 (£6,007,556); 40 Days and 40 Nights (£1,027,578); The Time Machine (£808,389); Snow Dogs (£331,432); #1 Star Wars Ep II – Attack of the Clones £2,442,698 471 screens 3rd week 40.6% drop (61.9% of top 10)
2024 Next week: (£7,466,094); Bad Boys: Ride Or Die (£3,873,533); The Watched (£387,339); The Dead Don’t Hurt (£95,827); The Matrix (25th Anniversary) (£45,538); Lord Of The Rings: The Fellowship Of The Ring (Extended Version) (Re: 2024) (£41,453); Lord Of The Rings: The Two Towers (Extended Version) (Re: 2024) (£30,454); Lord Of The Rings: The Return Of The King (Extended Version) (Re: 2024) (£2,502); #1 Bad Boys: Ride Or Die £3,873,533 1st week 644 screens (51.88% of top 10)
US Box Office
- Lilo & Stitch – Disney
Down 58% in its second weekend $61.8m and $278.93m
41st biggest second weekend between Guardians of the Galaxy Vol. 3 and Doctor Strange in the Multiverse of Madness (close to Alice in Wonderland #37, Pirates of the Caribbean: Dead Man’s Chest, The Jungle Book #43 and Toy Story 4)
2002’s Lilo & Stitch dropped 39% $21.51m/$42.62m and $77.08m/$152.71m of $145.79m/$288.9m and $273.14m/$542m WW
2010’s Alice in Wonderland dropped 46% $62.71m/$91.5m and $209.33m/$305.4m of $33.19m/$487.52m and $1.025bn/$1.495bn worldwide
2016’s The Jungle Book dropped 40.4% $61.53m/$81.9m and $192.21m/$255.8m of $364m/$484.4m and $966.55m/$1.286bn worldwide
2019’s Aladdin dropped 53.2% $42.84m and $185.53m of $355.55m and $1.050bn worldwide
2023’s The Little Mermaid dropped 56.7% $41.38m and $229.17m of $298.17m and $569.62m worldwide
Similar to last year’s Moana 2 dropped 63.3% $51.28m and $299.32m of $460.4m and $1.059bn worldwide, which is the real reason why Lilo & Stitch opened as it did as the audience who saw Moana 2 returned to see Lilo & Stitch and will return in November to see Zootopia 2, but many of them won’t see Elio opening in three weeks despite having a similar plot to Lilo & Stitch and made by Pixar.
While 2019’s The Lion King dropped 60% $76.62m and $351.87m of $543.63m and $1.662bn worldwide
2017’s Beauty and the Beast dropped 48.3% $90.42m/$116.1m and $319.03m/$424.51m of $504.48m/$670.7m $1.266bn/$1.68bn worldwide
Lilo & Stitch will likely hold #1 for a third weekend but then face tough competition from another live-action reimagination, How to Train Your Dragon. Critics have said it’s better than the animated film, which hasn’t been said about any of the reimaginations made by Disney.
Took $113.1m and $330.7m from 52 territories and $610.8m worldwide; Mexico $45.9m; UK $34.5m; France $23.1m; Brazil $21.6m; Germany $18.1m; China $18.0m; Italy $16.6m; Spain $13.5m; Australia $11.2m; Argentina $10.7m.
- Mission: Impossible – The Final Reckoning – Paramount Pictures
Down 57% in its second weekend $27.21m and $122.53m
282nd biggest second weekend between Fast & Furious and Elf (close to John Wick: Chapter 4, 22 Jump Street, Quantum of Solace and Dunkirk)
609th biggest between The Good Dinosaur and G.I. Joe: Retaliation; 1,451st biggest inflated between Hidalgo and Medicine Man; 6th biggest 2025 between Thunderbolts* and Final Destination: Bloodlines; 80th biggest Paramount Pictures between Rango and G.I. Joe: Retaliation.
Tom Cruise has now had 23 films that have taken over $100m at the US box office. In the late 80s and 90s, Tom Cruise was the world’s biggest film star, starring in Top Gun, Rain Man, Days of Thunder, A Few Good Men, The Firm, Interview with a Vampire, Mission: Impossible, Jerry Maguire, Vanilla Sky, Minority Report. The Last Samurai, Collateral, War of the Worlds and Edge of Tomorrow.
When a film took $100m in the US BO was the sign of a hit. Now, with films costing many times more than they did 40 years ago, ticket prices are similarly more expensive films can take $100m+ within a few days.
Tom Cruise used to bookend the Mission: Impossible films after making original films. Making Jerry Maguire, Eyes Wide Shut, and Magnolia between the first two films. Vanilla Sky, Minority Report, The Last Samurai, Collateral and War of the Worlds before the third film in 2006.
Lions for Lambs, Valkyrie, and Knight and Day, all three underperforming at the BO, then starring in MI: Ghost Protocol in 2010. Starring in Rock of Ages, Jack Reacher, Oblivion and Edge of Tomorrow before MI: Rogue Nation. Jack Reacher: Never Go Back, The Mummy and American Made before MI Fallout, and since Top Gun: Maverick and the two final Mission: Impossible films.
The Untitled Alejandro G. Inarritu film will be his first original film since 2017’s American Made (taking $51.34m and $135.56m WW). Edge of Tomorrow was Tom Cruise’s last $100m original film in the US, but it wasn’t seen as a hit, taking $367m worldwide. The sequel that has been talked about since 2014 has still not been made.
It was rumoured at the time that Tom Cruise requested Paramount to make the Jack Reacher film as part of the deal for Ghost Protocol, similarly, to make Jack Reacher 2 despite the first film underperforming as part of his deal to make another Mission: Impossible film.
Since making his acting debut in 1981’s Endless Love, Tom Cruise’s films have taken $5.46bn at the US box office and $13.1bn worldwide; eight Mission: Impossible films have taken $1.7bn in the US and $4.35bn worldwide.
2023’s Mission: Impossible- Dead Reckoning Part 1 dropped 64.6% $19.35m and $118.6m of $172.64m and $571.12m worldwide
2018’s Mission: Impossible- Fallout dropped 42.3% $35.32m and $124.81m and 45.2% and 3rd weekend (3rd was against The Meg’s $45.4m), taking $220.15m and $791.11m worldwide
2015’s Mission: Impossible- Rogue Nation dropped 48.7% $28.5m and $107.75m, and 39.7% 3rd weekend (3rd was against Straight Outta Compton) and stayed in the top 5 for 7 weeks, taking $195.04m and $682.71m worldwide
2011’s Mission: Impossible: Ghost Protocol is harder to compare as had an exclusive opening weekend in IMAX cinemas holding strong despite immediate competition from Sherlock Holmes: A Game of Shadows and The Girl with the Dragon Tattoo and then held strongly in 4th and 5th weekends down 32.5% and 41.2%; stayed in top 5 for 5 weeks as many more films opened in the weeks after; took $209.39m and $594.71m worldwide
2006’s Mission: Impossible III dropped 47.6% $25m and $85.1m, and 54.6% 3rd weekend (3rd was against The Da Vinci Code), taking $134.02m and $398.47m worldwide
2000s Mission: Impossible II dropped 53.3% $27.01m and $130.71m, and 36.2% in the 3rd weekend (3rd was against Gone In 60 Seconds), taking $215.4m and $546.38m worldwide.
1996’s Mission: Impossible dropped 52.4% $21.62m and $107.15m and 52.2% third weekend (the third was against The Rock), taking $180.98m and $457.69m worldwide
Mission: Impossible – The Final Reckoning had a reported budget of $400m; Paramount 50% of the budget, Skydance 25% and New Republic 25%, and it received 20% tax relief shooting in the UK.
Tom Cruise is Paramount Pictures’ MVP now. It was vastly different in 2006 after the performance of Mission: Impossible 3 when he jumped on Oprah’s couch expressing his love for Katie Holmes, and Paramount ended their 14-year relationship with Tom Cruise. He then starred in Lions for Lambs and Valkyrie (his first film with Christopher McQuarrie), both for MGM. In between the two, he appeared as Les Grossman in Ben Stiller’s Tropic Thunder in 2008 (made by Dreamworks and released by Paramount. After Tropic Thunder, Tom Cruise spoke of wanting to do a Les Grossman film and during interviews for Final Reckoning has again spoken about wanting to do a Les Grossman film.
Took $53.2m from IMAX worldwide; took $24.9m US and $28.3m internationally; IMAX has three weeks for The Final Reckoning compared to only one for Dead Reckoning Part 1.
Took $76.1m from 64 territories, taking $231.2m and $353.8m worldwide; China $25.2m; UK $22.3m; Japan $18.5m; Korea $17m; France $14.2m.
458th biggest worldwide between Night at the Museum: Secret of the Tomb and The Great Gatsby; 7th biggest in 2025 between Thunderbolts* and Sinners; 168th biggest action film between Goldeneye and The Karate Kid; 51st biggest Paramount Pictures between Top Gun and Noah.
- Karate Kid: Legends – Sony Pictures
Opened $20.3m; received mixed reviews (59% Rotten Tomatoes) and A- CinemaScore.
Took $2.3m from Thursday previews; Jumanji: The Next Level $4.7m; Uncharted $3.7m; Free Guy $2.2m.
Ahead of the opening, Karate Kid: Legends was expected to open between $25m-$35m, dropping to mid-$20s ahead of the weekend.
Men 25+ 37%; women under 25 11%.
It was originally due for release a year ago in June 2024, before moving to December 2024 and then to May 2025.
1984’s The Karate Kid opened $5.03m/$17.23m, taking $91.07m/$311.99m
1986’s The Karate Kid Part II opened $12.65m/$39.5m, taking $115.1m/$357.1m
1989’s The Karate Kid Part III opened $10.36m/$29.89m, taking $38.95m/$112.4m
The first three featured Ralph Macchio, while the fourth had a female lead. Sony Pictures killed its BO before it opened for some reason, delaying its US release from August to September, but still opening in Canada in August meant it was DOA; 1994’s The Next Karate Kid opened $2.62m, taking $8.91m and $15.87m worldwide.
2010’s The Karate Kid opened $55.66m/$81.2m, taking $176.6m/$257.6m and $359.1m/$523.9m WW
After the huge success of The Karate Kid, there were plans for a sequel, but surprisingly never materialised after many years in development until Karate Kid: Legends
Took $12m from 43 territories, taking $26m and $47m worldwide.
- Final Destination: Bloodlines – Warner Bros
Down 44% in its third weekend $10.9m and $111.81m
620th biggest third weekend between Superman II and The Texas Chainsaw Massacre (close to Ghost, Now You See Me, Halloween (2018), and Mission: Impossible – Dead Reckoning Part One)
701st biggest between Doctor Zhivago and Spy Kids 3-D: Game Over; 1,619th biggest inflated between The Flash and Falling Down; 7th biggest 2025 between Dog Man and Disney’s Snow White; 21st biggest horror between The Nun and The Grudge; 111th biggest Warner Bros between The Hangover 3 and The Last Samurai.
Third weekends
2000’s Final Destination dropped 25.8% $5.35m/$11.43m and $28.35m/$60.52m of $53.33m/$113.9m and $112.88m WW
2003’s Final Destination 2 dropped 28.7% $6.24m/$11.91m and $36.13m/$68.97m of $46.96m/$89.7m and $90.94m WW
2006’s Final Destination 3 dropped 48.6% $5.35m/$9.4m and $44.79m/$78.72m of $54.09m/$95.1m and $118.89m WW
2009’s The Final Destination dropped 55.4% $5.5m/$8.5m and $58.3m/$89.5m of $66.5m/$102.1m and $186.2m WW
2011’s Final Destination 5 dropped 41.4%, $1.49m/$2.7m and $37.9m/$54.8m of $42.6m/$61.6m and $157.9m WW
2022’s Scream dropped 40.8% $7.22m and $62.01m of $81.64m and $137.74m worldwide
2023’s Scream VI dropped 51.9% $8.33m, and $89.82m of $108.39m and $166.57m worldwide
Took $14.5m (down 37%) from 74 territories $118.9m total, and $229.3m worldwide; UK $12.5m; Mexico $11.2m; India $7.6m; Philippines $6.9m; France $6.7m.
795th biggest worldwide between Encanto and The Heat; 9th biggest 2025 between Sinners and Disney’s Snow White; 30th biggest horror between Annabelle Comes Home and Interview with the Vampire; 131st biggest Warner Bros film between Annabelle Comes Home and Paddington 2.
- The Phoenician Scheme – Focus Features
Opened $560k from 6 screens; received positive reviews (77% Rotten Tomatoes)
Wes Anderson films often have a one-week platform release before having a wide release.
2023’s Asteroid City opened $853k from 6 screens in NY and LA, expanding the second weekend up 961% $9.05m, taking $28.15m and $53.85m worldwide
2021’s The French Despatch opened #9 $1,348,804 from 52 screens, expanding to 1,205 screens after 2 weeks, taking $16.12m and $46.33m worldwide
2018’s Isle of Dogs opened #15 $1,620,294 from 27 screens and slowly expanded into 1,939 screens after 4 weeks, taking $32.01m and $64.24m worldwide
2014’s The Grand Budapest Hotel opened #17 $811,166 from 4 screens, slowly expanding into 1,467 screens over 6 weeks, taking $59.3m and $172.93m worldwide
2009’s Fantastic Mr Fox opened #24 $265,900 from 4 screens and expanded into 2,033 screens after 3 weeks, taking $21m, taking $46.47m worldwide
2012’s Moonrise Kingdom opened #15 at $522,996 from 4 screens and slowly expanded into 924 screens after 8 weeks, taking $45.51m taking $68.26m worldwide
2007’s The Darjeeling Limited opened #37 $134,938 from 2 screens and slowly expanded into 698 screens after 5 weeks, taking $11.9m, taking $35.3m worldwide
Wes Anderson’s 10 directed films have taken almost $310m in the US and $600m worldwide.
Took $4.2m from 41 territories, taking $6.2m and $6.8m worldwide.
UK Box Office Top 10
UK Box Office Preview
Lilo & Stitch will hold #1 for a third weekend before the live-action reimagination of How To Train Your Dragon opens on Monday, but will drop about 50%, taking between £3m-£3.5m
Ballerina will depend on how many John Wick fans get sucked in from its new title From the World of John Wick, it’s surprising Ballerina is tracking to open in the US with $35m-$40m similar close to John Wick: Chapter 2‘s $30.2m would see it opening £2.5m-£3m.
Ballerina embargo ended on June 4th, but its social media embargo ended on May 22,if giving positive reviews. This will surely see critics give Ballerina far harsher reviews than it might have done, as previously, when studios didn’t screen films for critics, they would be slated by critics who had to pay to see it to review it. In 1998, Warner Bros didn’t screen the film version of the TV show The Avengers to critics and received full-page articles slating the decision in the papers where the review would have been.
Female action films have mixed success, including.
2017’s Atomic Blonde opened £1,686,430, taking £3,063,918
2014’s Lucy opened £3,076,997 taking £14,129,734/ £16,652,901
2008’s Wanted opened £3,814,055/£5,809,099, taking £9,586,363/£14,600,768
And then there have been films like The 355
Would see Mission: Impossible – The Final Reckoning drop 50%+ in its third weekend to £1.5m-£2m and Karate Kid: Legends having a similar drop after its extended opening, down 60% in its second weekend to £1m-£1.5m.
The Salt Path should have the lowest drop of 30% after taking £1.5m+ Monday-Thursday, taking £1m+ in its second weekend.
Peppa Meets The Baby Cinema Experience will likely drop 50% in its second weekend, taking £500k+
Horror Clown In A Cornfield might spark some interest, opening £500k+
Streetcar Named Desire –NT Live returns to cinemas on Thursday and depending on how ComScore reports its BO if it will chart over the weekend, as of course, they will include Monday-Thursday. How To Train Your Dragon BO in its opening weekend next week, but then with Event Cinema screenings on Wed/Thurs, separate from Friday shows.
Also re-released over the weekend on limited release is Showgirls (30th Anniversary, 4K Restoration); as always, these anniversary re-releases are many months before their official anniversary; it would be January 2026. Showgirls opened £406,671/£870,496 on 266 screens, taking £921,565/£1,972,647.
Showgirls were panned by critics, but over the last 30 years has received a cult following as it’s a hilariously bad film. Some critics now say it was misunderstood satire.
Opening in three weeks
- F1 – Warner Bros (Wednesday)
The sports drama starring Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem was directed by Joseph Kosinski and produced by Jerry Bruckheimer.
Soon after Apple Studios won their first Best Picture Oscar for CODA, they acquired an F1 film (then untitled) and announced plans to spend $1bn annually on theatrical releases, putting a slate together including Martin Scorsese’s Killers of the Flower Moon, Jon Watts’s Wolfs, Matthew Vaughn’s Argylle, Ridley Scott’s Napoleon, and Greg Berlanti’s Fly Me To the Moon.
Apple opted to sell distribution rights to studios for their films, but after many of these expensive films underperformed in cinemas, they decided to move more of these films to Apple TV, bypassing theatrical release. This is the problem with making original films, they are massive gambles, as audiences might say they want to see original films in the cinema, but they don’t rush out to see them.
Car racing films have had mixed success at the box office, including 2019’s Le Mans ’66, 2013’s Rush and 1990’s Days of Thunder. F1 looks like it’s the Days of Thunder sequel Tom Cruise has been talking about doing; that said, at the time, Days of Thunder was seen as a Top Gun sequel as it had many similarities to Top Gun.
F1 has a 2h 35 min running time.
- M3GAN 2.0 – Universal Pictures
Sci-fi horror sequel to 2023’s M3GAN starring Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Ivanna Sakhno, Aristotle Athari, Timm Sharp, and Jemaine Clement and directed by Gerard Johnstone.
After the success of 2023’s M3GAN, Universal Pictures announced plans for a sequel in 2023, It was originally due to be released in January and March 2025 before moving to a prime summer slot.
In 2022, M3GAN became an internet meme, and the trailer for the sequel is as crazy as the first one, with the tagline “Hold on to your vaginas bitches” against Britney Spears Oops I did it Again.
M3GAN 2.0 will likely open bigger than M3GAN: 2023’s M3GAN opened £2,356,357 taking £6,953,411; that said it opens the weekend after 28 Years Later and much depends on how that opens and holds in its second weekend, but younger horror fans are likely to be drawn to M3GAN 2.0 while older fans to 28 Years Later.
- Miley Cyrus: Something Beautiful (Concert) – Trafalgar
Musical film and visual album released alongside her 2025 album of the same name. Written and directed by Miley Cyrus, Jacob Bixenman and Brendan Walter. Miley said in an interview that the film was inspired by Pink Floyd’s The Wall (1979).
2009’s The Hannah Montana Movie feels like an age ago as Miley Cyrus is all grown up.
- Clueless (30th Anniversary 4K Re-Issue) – Paramount Pictures
Teen comedy was a modern-day adaptation of Jane Austen’s Emma starring Alicia Silverstone, Paul Rudd, Stacey Dash and Brittany Murphy and directed by Amy Heckerling.
It’s seen as one of the best teen films of all time and has been beloved by audiences ever since it opened.
It features one of the sickest burns in cinema history when Tai says to Cher, “Why should I listen to you anyway? You’re a virgin who can’t drive.” Those words burned through me at the time when I did the preview screenings of the film, as at the time, I was similar.
Clueless opened in the UK in October 1995, several months after opening in the US with £638,212/£1,452,482 at 196 screens, taking £3,802,232/£8,653,356 but over the decades since has become a massive hit on video/DVD.
A TV show based on the film ran for three seasons, starring many of the cast from the film, apart from Alicia Silverstone, as she had a two-film deal with Sony Pictures, but only one was made, 1997’s Excess Baggage, which underperformed at the box office. Despite being fully involved in the casting and production of the film didn’t receive a producer credit on Excess Baggage. The film opened two months after starring in Batman & Robin underperformed. Alicia Silverstone never made the second film for Sony Pictures.
It’s been recently announced that Alicia Silverstone will star in a new Clueless TV show.
