- How To Train Your Dragon £8,145,189 – NE
Took £2,444,301 from Monday to Thursday previews
Took £1.13m (12.87%) Friday; £2.46m (30.2%) Saturday; £2.09m (25.97%) Sunday
158th biggest opening between Mary Poppins Returns and Les Misérables (close to Paddington 2, Jumanji: Welcome to the Jungle, The Lego Movie and Toy Story 2) and 238th biggest inflated opening between 1917 and Notting Hill (close to X-Men, Minority Report, Peter Rabbit, and Maleficent)
13th biggest opening over the last 52 weeks between Mission: Impossible 8 and Beetlejuice 2 (close to Gladiator 2, Despicable Me 4, Thunderbolts and Joker: Folie à Deux); 5th biggest 2025 opening between Mission: Impossible 8 and Captain America: Brave New World.
101st widest opening in 661 cinemas (2,000+ screens); similar to Mrs Harris Goes To Paris (close to Mufasa: The Lion King, Jurassic World: Fallen Kingdom, The Marvels and The Flash; 260+ 600+ cinema opening since 2015’s Jurassic World.
Opened in IMAX/PLF/Dolby/4DX/3D/ScreenX, likely taking about 40%+ of the opening from those formats, another reason why these films don’t need to open in so many screens.
It’s Universal Pictures’ fourth #1 opening of 2025 after Nosferatu, Dog Man and Bridget Jones: Mad About The Boy; Jurassic World: Rebirth, Downton Abbey: The Grand Finale and Wicked – Part 2 still to come.
How to Train Your Dragon took 30% of its opening from previews Monday-Thursday; Monday £871k; Tuesday £562k; £507k Weds and £488k Thurs; as it wasn’t school holidays, it was a surprising decision to open it on Monday, but having those previews would have expected it to open similar to Inside Out 2 opened £11,321,387 the same weekend last year taking £2.58m (22.8%) Friday, £4.95m (43.7%) Saturday, £3.77m (33.3%) Sunday. Universal Pictures could use the hot sunny weather as an excuse, but temperatures are getting hotter over the next 10 days. It was surely to give it a bit further distance from Pixar’s Elio opening on Friday.
How to Train Your Dragon is a live-action reimagination of the DreamWorks animated film, but it still features an animated dragon, and it features many of the cast from the animated film. The flying sequences feel very similar to those in the animated film, and many scenes feel like they are shot-by-shot from the original.
This, of course, is why there’s nostalgia towards these reimaginations as they are basically the same film as the original, but look photorealistic rather than animated, and there are many who wouldn’t see an animated film but would see a live-action version. The original animated film was stunning to watch, and as with other reimaginations, making it live-action, it feels less magical; it’s like some 2D animated films look far more real than 3D animated films. Audiences will enjoy How to Train Your Dragon in cinemas despite having a better version of it at home.
Analysts note Dragon’s success as a case study in smart IP stewardship. “There’s a difference between recycling and reigniting,” … “This tapped into genuine affection, not just brand awareness.”
It’s 15 years since the first Dreamworks Animation film opened, which means it doesn’t have the same nostalgic element as Disney’s reimaginations have done those preteens who saw the first film are now in their early 20s and their children if they have any will be far too young to go to the cinema to watch it and likely prefer the animated film.
2010’s How to Train Your Dragon £4,846,532/£6,491,909 taking £17,168,517/£22,997,156
2014’s How to Train Your Dragon 2 opened £7,779,040/£8,366,930, taking £24,690,123/£26,556,043
2019’s How to Train Your Dragon: The Hidden World opened £5,323,448/£5,876,438, taking £19,714,201/£21,762,075
What is crazy is as with Lilo & Stitch, audiences will come out to see the reimagination even though it’s very similar to the animated film they already own, and as dragons aren’t real, there is still animation in the live-action film. While it received very positive reactions at CinemaCon in April, critics’ reactions have been much more mixed, saying it’s almost a shot-by-shot remake of the original.
There is a Lilo & Stitch connection with HTTYD as directors, Dean DeBlois and Chris Sanders also made the original 2002 animated film. Both films also had the same actors repeating their roles, Chris Sanders voices Stitch again, and Gerard Butler voices Stoick the Vast. Studios will keep remaking these films as audiences keep going to see them. Universal Pictures has already dated HTTYD2
27 years ago, Gus Van Sant directed a shot-by-shot remake of Psycho, and it was slated by critics and flopped at the box office, but critics and audiences have embraced most of Disney’s reimaginations since 2010. Gus Van Sant was asked why he wanted to remake Psycho. His response was “Why not? It’s a marketing scheme. Why does a studio ever remake a film? Because they have this little thing they’ve forgotten about that they could put in the marketplace and make money from”.
With its opening inflated with previews, Pixar’s Elio opening and hot temperatures, HTTYD is expected to drop about 60% in its second weekend.
- 2. Lilo & Stitch £1,469,785 – £33,236,415
Down 58.5% in its fourth weekend
£227m 15.45% (-58.1% £542k) Fri; £734k 50% (-57.8% £1.74m) Sat; £510k 34.58% (-80.21% £1.25m) Sun
196th biggest fourth weekend between Borat and Fantastic Beasts 2 (close to Doctor Dolittle (1998), Harry Potter Order of the Phoenix, Babe and Chicken Run) and 364th biggest fourth weekend, inflated between Deep Impact and Murder on the Orient Express (close to Flubber, The Devil Wears Prada, The Holiday and Stuart Little).
7th biggest Disney reimagination fourth weekend, between The Jungle Book and The Little Mermaid (close to Cinderella, Maleficent: Mistress Of Evil, Maleficent and Dumbo); 20 Disney reimaginations since 2010 have taken £500m+ and £550m+ inflated.
After opening with £9.6m ahead of half-term, Lilo & Stitch should have early topped £40m, but as with Moana 2, it hasn’t performed as strongly as would have been expected if compared to US BO.
2002’s Lilo & Stitch up 6.7% £1,625,440/£3,019,757 and £9,315,027 72.25% of £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.
Many called Lilo & Stitch BO a surprise, but these reimaginations are never surprises for Disney, as last year Lilo merchandising increased by over 300% in the UK, as it’s never about the film for Disney, with these reimaginations, it’s the merchandising that will be sold ahead and after its release. The original film has gained over 500m hours of viewing on Disney+, so many of those who are seeing the reimagination have probably recently watched the original animated film again.
Global sales for the films had taken $2.6bn, up from $200m in 2019. As Yoghurt says in Spaceballs, “Merchandising, merchandising, where the real money from the movie is made. Spaceballs-the T-shirt, Spaceballs-the Colouring Book, Spaceballs-the Lunch box, Spaceballs-the Breakfast Cereal, Spaceballs-the Flame Thrower.
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.
133rd biggest between Mufasa: The Lion King and Suicide Squad (close to Ice Age III, Fantastic Beasts 2, The Lego Movie, and Sing 2) and 277th inflated between Hot Fuzz and Three Men And A Baby (close to Home Alone, Pretty Woman, Rain-Man and Hook).
7th biggest Disney reimagination between Mufasa: The Lion King and The Little Mermaid; Moana is the next Disney reimagination to be released in July 2026, and after Moana 2 last year, will surely take £50m+ next summer.
Disney seems to be running short of reimaginations, with The Aristocrats, Hercules, and Bambi the only ones that are currently being developed; many others have been cancelled, including an Aladdin prequel, The Sword in the Stone, Robin Hood, The Princess and the Frog, The Hunchback of Notre Dame and Tangled, while they wouldn’t make a Pocahontas reimagination due to the same obvious reasons why Song of the Sea has never been mentioned being remade.
- 3. Mission: Impossible – The Final Reckoning £1,190,616 – £23,560,883
Down 48.7% in its fourth weekend
£255k 21.43% (-52.1% £532k) Fri; £490k 41.2% (-54.63% £1.08m) Sat; £450k 37.4% (-71.6% £700k Sun.
265th biggest fourth weekend between Fantastic Beasts 3 and Madagascar: Escape 2 Africa (close to 22 Jump Street, Johnny English, Deadpool 2 and Mission Impossible: Fallout) and 485th biggest inflated fourth weekend between Oz: The Great And Powerful and Wayne’s World (close to In the Line of Fire, The Golden Child, Rush Hour 2 and Final Destination).
The 3rd biggest Tom Cruise fourth weekend between War of the Worlds and Mission: Impossible- Fallout; 13th inflated Tom Cruise fourth weekend between Mission: Impossible III (£1,238,517) and Top Gun (£1,159,016) (close to The Last Samurai, Jerry Maguire, Cocktail and The Firm)
5th biggest Tom Cruise film between Mission: Impossible Fallout and Mission: Impossible- Rogue Nation, and the 11th inflation-inflated biggest between Mission: Impossible III and Mission: Impossible- Rogue Nation (close to Top Gun, Interview with the Vampire, Jerry Maguire and A Few Good Men). Tom Cruise has had 7 films taking £20m+ in the UK and 26 inflation-adjusted over the last 39 years. (17 Inflation inflated showing how his films have been such strong BO performers for almost 40 years.
Tom Cruise is the “Last Action Hero”, the only actor from the 80s who has continually had box office hits over almost 40 years, outlasting all of the other 80s action stars.
The plot of Tom Cruise’s next film, Untitled Alejandro G. Iñárritu, feels perfectly timed: “The most powerful man in the world embarks on a frantic mission to prove he is humanity’s saviour before the disaster he’s unleashed destroys everything.” It will be his first original film since 2017’s American Made. Tom Cruise will surely be hoping to replicate the success of Alejandro G. Iñárritu’s previous film, 2015’s The Revenant, which won Leonardo DiCaprio the Best Actor Oscar after several attempts.
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. After being an ambassador for cinema post-COVID, he surely deserves the Academy to reward him with an Oscar. Tom Cruise is also attached to a supernatural thriller, Deeper, reteaming up with director Doug Liman (Edge of Tomorrow). Tom Cruise has also talked about Top Gun 3, a Days of Thunder sequel, Edge of Tomorrow 2 and a Les Grossman film.
Previous instalments’ fourth weekends
1996’s Mission: Impossible dropped 14.4% £992,870/£1,944,269 and £13,185,549 71.8% of £18,351,333/£35,936,148
2000’s Mission: Impossible II dropped 34.8% £871,439/£1,634,204 and £12,730,515 73.6% of £17,291,606/£32,426,847
2006’s Mission: Impossible III dropped 58.9% £756,785/£1,238,517 and £13,959,350 91% of £15,342,575/£25,108,896
2011’s MI: Ghost Protocol dropped 40.6% £815,330/£1,072,307 and £16,686,503 95.1% of £17,536,984/£23,064,317
2015’s MI: Rogue Nation dropped 34.2% £1,042,827/£1,152,751 and £16,890,467 80.1% of £21,074,999
2018’s MI: Fallout dropped 42.5% £1,174,345/£1,296,334 and £20,102,327 82.5% of £24,373,443
2023’s MI: Dead Reckoning Part 1 dropped 43.3% £1,038,687 and £22,848,905, 86% of £26,579,966
Interesting to see its fourth weekend was very close to Mission: Impossible- Fallout, Mission: Impossible- Rogue Nation, Mission: Impossible – Dead Reckoning Part One and Mission: Impossible. While inflation inflated all of the films’ fourth weekends are very similar, apart from the first film, showing that Tom Cruise’s fanbase keeps coming out to see these films. This was why The Final Reckoning didn’t need to start with 45mins of the greatest hits of Ethan Hunt, that said, once it gets going, you forget about how it starts.
The 8 Mission: Impossible films have taken £165m+ at the UK BO and £230m+ inflation-adjusted since 1996; While Tom Cruise films since 1986’s Top Gun have taken £485m+ and £760m 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.
230th biggest between The Martian and Rocketman (close to Logan, The Bourne Ultimatum, Taken 2 and Jason Bourne) and 453rd biggest inflated between 12 Years a Slave and X-Men Origins: Wolverine (close to Superman Returns, Total Recall (1990), Die Hard with a Vengeance and Legend).
It was surprising The Running Man trailer wasn’t attached to Mission: Impossible, as the trailer was screened at CinemaCon in April, and Tom Cruise runs a lot in the Mission: Impossible films.
- 4. The Salt Path £592,578 – £6,002,299
Dropped 57% in its third weekend
1,086th biggest third weekend between Mean Girls (2004) and The Pink Panther (close to Shirley Valentine, Suffragette, Saltburn and Romeo & Juliet) and 1,407th biggest inflated third weekend between Unfriended and Air America and Total Recall (2012) (close to The Big Short, Importance Of Being Earnest (2002), A Man Called Otto and Girl With A Pearl Earring).
After having a strong second-weekend hold, The Salt Path had a surprisingly big third-weekend drop, especially as it was holding well up to Thursday. It’s probably due to exhibitors cutting back shows, this always happens as exhibitors had to book HTTYD in over 2,000 screens. It does make me think of the planned Digital Screen Network in 2004, which would have given distributors 250 digital screens across the UK, but like all great ideas, it was poorly conceived and supported.
While the industry gets caught up in the hype of tentpoles that attract the expected audiences, The Salt Path is far more important as it has likely attracted an audience who haven’t been to the cinema for many months and probably some returning to the cinema for the first time since lockdown. They will likely return to see Downton Abbey: The Grand Finale in September, but could have returned sooner if The Thursday Murder Club had been given a UK cinema release alongside being released on Netflix.
Third weekends
2024’s Wicked Little Lies dropped 23% £898,390 and £6,077,094, £9,626,572.
2022’s The Duke #5 dropped 26.6% taking £500,749 and £3,866,162 of £5,283,515
2012’s The Best Exotic Marigold Hotel #2 £1,787,352 down 24% 499 screens and £10,855,596 53.4% of £20,308,480.
2015’s The Lady in the Van #6 £950,961 down 41% 548 screens and £9,047,439 71.5% of £12,660,028.
2015’s The Second-Best Marigold Hotel #1 £1,409,311 down 29% 592 screens and £11,731,915 75.3% of £15,575,797.
2019’s The Good Liar #7 £263,002 down 57% and £3,223,157 83.4% of £3,844,314
2002’s Gosford Park dropped 18% £742,814 and £4,018,197 of £12,259,248; 14.64x opening; (£23,926,262 inflation inflated)
2013’s Philomena £1,006,356 £1,006,356 #3 29% drop and £7,298,426 of £10,470,225
2018’s The Guernsey Literary and Potato dropped 63% £357,429 #4 and £4,294,094 of £5,937,280.
2022’s See How They Run dropped 51% £473,222 #4 and £3,696,152 of £4,858,629.
1,256th biggest between Isle of Dogs and Atlantis: The Lost Empire (close to Mary Shelley’s Frankenstein, The Constant Gardener, The Guernsey Literary and Potato and The Blind Side) and 1,818th biggest inflated between House on Haunted Hill and This Means War (close to The Railway Man, Finding Neverland, Mississippi Burning and Gorillas In the Mist).
- 5. Ballerina £580,834 – £2,633,002
Down 59.2% in its second weekend
1,771st biggest second weekend between 21 and Over and The Place Beyond the Pines (close to Surrogates, First Knight, The Saint and Zombieland) and 2,344th biggest inflated second weekend between Welcome to Collinwood and Office Christmas Party (close to Assault on Precinct 13, The Last Boy Scout, Running Scared (1986) and Bad Company).
48th biggest second weekend over the last 52 weeks between The Bikeriders and Marching Powder (close to Black Bag, The Monkey, Terrifier 3 and Trap); 22nd biggest in 2025 between The Monkey and Marching Powder.
Ana de Armas previously starred with Keanu Reeves in 2015’s Knock Knock and also starred in 2019’s Knives Out, 2021’s No Time To Die and Netflix films The Grey Man and Blonde.
Lionsgate said they will turn a profit from Ballerina due to presales in many international territories, as they only self-distribute in the US, Latin America and the UK.
2015’s John Wick dropped 42.3% £311,102/£341,738 and £1,185,362 82.37% of £1,439,149/£1,580,868
2017’s John Wick: Chapter Two dropped 48.6% £1,146,520 and £4,443,479, 77.05% of £5,766,633
The first two John Wick films were released by Warner Bros in the UK. The first was released almost 6 months after the US opening, close to the Furious 7 opening, so it struggled to find an audience in the UK until its home video release.
2019’s John Wick: Chapter 3 Parabellum dropped 60.2% £1,416,278 and £6,246,151 65.1% of £9,587,828
2023’s John Wick: Chapter 4 dropped 51.3% £2,593,806 and £10,113,750, 57.8% of £17,508,038
Female action films have mixed success, including.
2014’s Lucy dropped 35.9% £1,972,039/£2,121,073 and £8,006,914 56.7% of £14,129,734/£16,652,901
2008’s Wanted dropped 51.8% £2,049,000/£3,140,487 and £8,928,834 40% of £9,586,363/£14,600,768
Other Ballerina assassin films include
2018’s Red Sparrow dropped 36.7% £1,166,764 and £4,019,594 62.85% of £6,395,074/£7,015,095
2021’s Black Widow dropped 73.9% £1,801,017 and £11,209,008 59.5% of £18,841,549/£19,843,759
Other female assassin films include
2017’s Atomic Blonde dropped 70.3% £500,923 and £3,063,918
1993’s The Assassin/Point of No Return up 2.3% £361,176/£891,126 and £1,001,696 38.8% of £2,581,458/£6,369,205
1996’s The Long Kiss Goodnight dropped 35.1% £776,220/£1,661,530 and £2,485,929 55.4% of £4,484,333/£9,598,897
2010’s Salt dropped 55.3% £967,883/£1,288,342 and £4,383,618 65.1% of £6,737,499/£8,968,234
2022’s The 355 dropped 56% £161,483 and £713,765 83.53% of £854,519
2011’s Hanna dropped 27.7% £821,081/£1,073,096 and £2,553,101 70% of £3,645,789/£4,764,794
Ballerina was directed by Len Wiseman previously directed the first two Underworld films, female vampire assassin; 2003’s Underworld dropped 41.6% £868,821/£1,549,789 and £3,065,654 69.8% of £4,391,553/£7,833,581 and 2006’s Underworld: Evolution dropped 47.9% £597,717/£972,057 and £2,287,246 79.5% of £2,875,957/£4,677,121
As well as 2007’s Live Free or Die Hard dropped 60.3% £1,987,802/£3,137,185 and £9,142,312 66.4% of £13,644,640/£21,399,119
2012’s Total Recall dropped 72.9% £675,280/£844,895 and £4,075,574 72.1% of £5,421,536/£6,740,748
2,221st biggest between An Ideal Husband and Into The Storm (close to I Still Know What You Did Last Summer, Predator, XXX2: The Next Level, and Executive Decision) and 2,702nd biggest inflated between Truth or Dare and Beautiful Creatures (close to The Lost Boys, Howard – A New Breed of Hero, Space Cowboys and The Hard Way).
At CinemaCon, Lionsgate announced plans for a fifth John Wick film, along with an animated prequel and spinoff featuring Caine. They will try to expand the universe as much as possible, as they have done with The Hunger Games.
Also opened
Ahead of the release of 28 Years Later this weekend, 28 Days Later was re-released in cinemas, £53,394 #16 from 220 screens, and 28 Weeks Later #18, £29,844 from 144 screens.
The weekend’s top 10 box office took £13,279,653, up 13.7% from last weekend’s £11,682,908: 1,734,405 admissions, up 10.5% from 1,569,311 admissions.
The 18th biggest weekend of the last 52 weeks was between 09 August 2024 #1 It Ends With Us £4,516,760 (32.29%) and 16 August 2024 #1 Alien: Romulus £3,741,287 (28.18%)
53rd biggest since cinemas reopened out of 239 weeks between 30 June 2023 #1 Indiana Jones And The Dial Of Destiny £7,144,441 (53.69%) and 16 August 2024 #1 Alien: Romulus £3,741,287 (28.18%)
357th biggest top 10 of the last 24 years (out of 1,210) between 06 April 2018 #1 Peter Rabbit £3,152,269 (23.72%) and 11 May 2018 #1 Avengers: Infinity War £5,706,170 (42.98%) and 641st inflated between 08 March 2002 #1 Ocean’s Eleven £1,850,350 (25.69%) and 16 August 2024 #1 Alien: Romulus £3,741,287 (28.18%)
The top 3 took (£10,805,589) 81.4% of the top 10; How To Train Your Dragon 61.5% (£8,145,188); Lilo & Stitch 11.1% (£1,469,785); Mission: Impossible – The Final Reckoning 9% (£1,190,616).
142nd biggest percentage share #1 (61.34%) between 13 February 2015 #1 Fifty Shades of Grey £13,550,290 (61.45%) and 14 April 2023 #1 Super Mario Bros £7,568,523 (61.32%)
265th biggest admissions #1 (1,028,433) between 28 December 2018 #1 Mary Poppins Returns £7,441,687 (1,030,705) and 02 December 2005 #1 Harry Potter and the Goblet of Fire £4,829,804 (1,025,436)
Down 12.21% from 2024; (£15,127,051); Inside Out 2 (£11,321,387); Wilding (£127,191); Freud’s Last Session (£72,989); Star Trek III: The Search For Spock (40th Anniversary 4K Re-Issue) (£63,802); The Texas Chainsaw Massacre (4K Restoration) (£36,983); The Adventures Of Priscilla, Queen Of The Desert (30th Anniversary) (£7,634); #1 Inside Out 2 £11,321,387 1st week 685 screens (74.84% of top 10)
Up 22.31% from 2023; (£10,857,760); The Flash (£4,252,532); Greatest Days (£536,955); Fleabag – NT Live 2019 (Re: 2023) (£86,597); SUGA: Road To D-DAY (£35,909); #1 The Flash £4,252,532 1st week 660 screens (39.17%)
Down 7.93% from 2022 (£18,965,681); Jurassic World: Dominion (£12,121,728); #1 Jurassic World: Dominion £12,121,728 1st week 707 screens (63.9% of top 10)
Up 94.09% 2021 from (£6,842,018) The Hitman’s Wife’s Bodyguard (£1,636,128); In the Heights (£1,073,68); Monster Hunter (£150,078); In The Earth (£58,538); #1 The Hitman’s Wife’s Bodyguard £1,636,128 1st week 522 screens (23.91% of top 10)
2020 Lockdown
Up 15.11% from 2019; (£11,536,988); Aladdin 24.9% (£2,881,535); Men in Black International 24.5% (£2,823,117); Rocketman 14.1% (£1,633,127); #1 Aladdin £2,881,535 26.6% drop fourth weekend (#1 for 4 weeks)
Up 15.1% from 2019; (£11,536,988); Men In Black International (£2,823,117); Diego Maradona (£284,949); Romeo And Juliet – ROH, 2018/19 (£62,756); The Italian Job (50th Anniversary) (£38,640); #1 Aladdin £2,881,535 27% drop 656 screens 4th week (24.98% of top 10)
Down 0.42% from 2018: (£13,335,853); Hereditary (£1,863,913); The Happy Prince (£107,178); Super Troopers 2 (£101,881); Swan Lake – ROH, London 2017/18 (£71,257); #1 Jurassic World: Fallen Kingdom 2nd week £7,220,952 50% drop 667 screens (54.1% of top 10)
Up 131.1% from 2017: (£5,745,646); Churchill (£392,732); Gifted (£305,323); Whitney “Can I Be Me” (£93,867); Rock Dog (£13,351); #1 Wonder Woman £1,868,607 3rd week 613 screens 46% drop (32.5% of top 10)
Up 54.61% from 2016: (£8,610,329); The Conjuring 2: The Enfield Case (£4,637,862); Gods of Egypt (£484,467); Barbershop: A Fresh Cut (£91,502); The Keeping Room (£26,199); #1 The Conjuring 2: The Enfield Case £4,637,862 1st week 504 screens (53.8% of the top 10)
Down 44.69% from 2015; (£24,008,316); Jurassic World (£19,350,727); London Road (£216,248); Gascoigne (£47,455); Queen and Country (£31,966); #1 Jurassic World £19,350,727 605 screens 1st week (80.6% of top 10)
Up 92.74% from 2014: (£6,889,969); Oculus (£413,578); Belle (£407,120); Devil’s Knot (£122,892); The Young and Prodigious T.S. Spivet (£44,777); The Hooligan Factory (£6,518); The Food Guide to Love (£1,293); #1 22 Jump Street £2,255,100 477 screens 2nd week (32.7% of top 10)
Down 20.14% from 2013: (£16,628,964); Man Of Steel (£11,198,786); Much Ado About Nothing (£68,265); Admission (£33,557); #1 Man Of Steel £11,198,786 1st week 572 screens 67.3% of top 10)
Up 66.34% from 2012 (£7,983,254); Rock of Ages (£1,003,107); Red Lights (£445,109); Fast Girls (£335,700); Jaws (Re: 2012) (£187,197); Cosmopolis (£116,519); A Royal Affair (£75,960); #1 Prometheus £2,009,955 3rd week 522 screens 36% drop (25.2% of top 10)
Up 17.19% from 2011; (£11,331,755) Green Lantern (£2,472,969); Bad Teacher (£1,958,656); The Beaver (£55,185); #1 Green Lantern £2,472,969 1st week 478 screens (21.8% of top 10)
Up 217.36% from 2010: (£4,184,382); Killers (£1,053,074); Wild Target (£282,498); Our Family Wedding (£96,385); Please Give (£49,940); MacGruber (£34,367); #1 Killers £1,053,074 1st week 446 screens (25.1% of top 10)
Up 49.76% from 2009; (£8,867,112); The Hangover (£3,193,806); The Last House on the Left (£392,163); Looking for Eric (£366,242); Red Cliff (£153,288); #1 The Hangover £3,193,806 1st week 422 screens (36.1% of top 10)
Up 35.11% from 2008; (£9,828,672); The Incredible Hulk (£3,253,723); The Happening (£1,632,055); Priceless (£125,433); #1 The Incredible Hulk £3,253,723 1st weeks 484 screens (33.1% of top 10)
Up 35.29% from 2007: (£9,816,017); Fantastic Four: Rise of the Silver Surfer (£4,137,169); Vacancy (£565,936); #1 Fantastic Four: Rise of the Silver Surfer £4,137,169 1st week 475 screens (42.1% of top 10)
Up 129.71% from 2006; (£5,781,153); The Fast and the Furious: Tokyo Drift (£1,813,359); Hard Candy (£527,910); Thank You for Smoking (£188,676); Imagine Me and You (£39,950); #1 The Fast and the Furious: Tokyo Drift £1,813,359 1st week 415 screens (31.3% of top 10)
Up 73.25% from 2005: (£7,664,880); Batman Begins (£4,427,802); Bombon – El Perro (£33,768); We Don’t Live Here Anymore (£28,954); #1 Batman Begins £4,427,802 1st week 514 screens (57.7% of top 10)
Up 75.29% from 2004 (£7,575,851); Connie and Carla (£155,374); I’m Not Scared (£41,407); #1 Harry Potter and the Prisoner of Azkaban £4,391,262 2nd week 536 screens (57.9% of top 10)
Up 201.35% from 2003 (£4,406,684); Identity (£719,468); Dumb and Dumberer: When Harry (£673,202); A Guy Thing (£134,956); Iggy Goes Down (£86,581); #1 The Matrix Reloaded £1,071,551 4th week 457 screens 57% drop (24.3% of top 10
Up 5.28% from 2002 (£12,613,797); Spider-Man: The Movie (£9,426,969); #1 Spider-Man: The Movie £9,426,969 1st week 509 screens (74.74% of top 10)
2024 Next week: (£11,256,622); The Bikeriders (£1,085,530); Doctor Who – The Two Episode Finale (£364,353); Ghost: Rite Here Rite Now (£282,961); The Exorcism (£146,046); Something In The Water (£120,341); Waitress: The Musical (Theatre) (£47,571); #1 Inside Out 2 £7,762,903 2nd week 31% drop 700 screens (68.96% of top 10)
May UK BO
May BO was up 50% from last year, taking £109.1m compared to £72.7m from last May 2024, with total BO for the first five months of 2025 £455.5m, up 20% from 2024’s £380.4m; up 8% also from 2023.
It’s impossible to compare May 2024 with May 2025 as the delay of Deadpool & Wolverine left a massive hole that The Fall Guy, Kingdom Of The Planet Of The Apes, and Furiosa: A Mad Max Saga were never going to fill.
So, it will be interesting to see if the UK BO is still 20% ahead of 2024 after June and July; as last year Inside Out 2 took £59.2m; Deadpool & Wolverine £57.6m; Despicable Me 4 £48.3m; Twisters £14.4m; Bad Boys: Ride or Die £12m and A Quiet Place: Day One £9.6m; those 6 films took £200m+
Will, How To Train Your Dragon (£30m), Elio (£15m), 28 Years Later (£20m), F1 (£25m), Jurassic World Rebirth (£35m), Superman (£30m) and The Fantastic Four (£35m) take more?
US Box Office
- How To Train Your Dragon – Universal Pictures
Opened $84.63m; received mixed reviews (77% Rotten Tomatoes) and A CinemaScore
Took $11.1m from Thursday previews, including $2.5m from Wednesday previews; How to Train Your Dragon $3m; How to Train Your Dragon 2 $2m.
HTTYD was tracking to open between $65m-$75m, but some expected it to open about $100m.
EntTelligence said HTTYD had 5.8m admissions with an average price of $15.10 for general audiences, $12.89 for children, $13.45 for seniors; 54% before 5 pm; IMAX $8.1m, about 10%; taking 40% from IMAX/PLF screens
7th biggest opening worldwide box office; 8th US biggest and 7th biggest internationally live-action reimagining after The Lion King, Beauty and the Beast, Lilo & Stitch, The Jungle Book, Alice in Wonderland and Aladdin.
8th biggest Father’s Day US opening weekend and the 4th biggest opening of the year
The trailers have received over 750m views
116th biggest opening between X-Men Origins: Wolverine and The Hobbit: An Unexpected Journey (close to Inside Out, Harry Potter and the Chamber of Secrets, Despicable Me 2 and Oz the Great and Powerful)
Took $16.1m from IMAX worldwide; $8.1m US and $8m internationally; opened in 339 IMAX cinemas worldwide; over 6,600 cinemas and 13,000+ screens worldwide.
As always, it’s not how these films open, as with the huge fanbase for HTTYD, it was almost likely to open as it did, the question is how it will hold in its second weekend against the latest Pixar film, Elio, being an original film, expectations are low expected to open about $35m similar to last year’s Elemental.
2010’s How to Train Your Dragon opened $43.73m/$63.8m, taking $217.6m/$317.4m and $494.87m/$722m worldwide
2014’s How to Train Your Dragon 2 opened $49.45m/$63.8m, taking $217.6m/$317.4m and $621.53m/$906.7m worldwide
2019’s How to Train Your Dragon 3 opened $55.02m/$69.7m, taking $177m/$317.4m and $539.98m/$760.74m worldwide
The animated films have taken $1.6bn worldwide since 2010, and Universal Pictures has already dated How to Train Your Dragon 2 for 2027, which will surely be a reimagination of the second animated film; and then surely a third and fourth will follow. Cressida Cowell has written 12 novels so far this franchise will run for decades to come.
PG-rated films, including A Minecraft Movie and Lilo & Stitch, have taken $1.53bn at the US BO, 41% of 2025 BO to date, with Elio, Smurfs and Bad Guys 2 still to be released this summer.
4th best global opening of 2025 after A Minecraft Movie, Lilo & Stitch and Ne Zha 2
Took $114m from 81 territories and $197.8m worldwide; Mexico $14m; UK $11.4m; China $11.2m; Brazil $7.8m; Korea $7.4m; France $5.1m; Australia $4.4m; Spain $4.3m; Germany $4m; Italy $3.3m.
- Lilo & Stitch – Disney
Down 51% in its fourth weekend, $15.71m #2 and $366.58m
118th biggest fourth weekend between I Am Legend and The Hobbit: The Desolation of Smaug (close to Beetlejuice Beetlejuice, Shrek Forever After, What Women Want and Despicable Me)); The Jungle Book #27 $24.9m; Alice in Wonderland #86 $17.7m, Maleficent #185 $12.91m; Aladdin #92 $17.3m, Mufasa: The Lion King #150 $14.22m.
66th biggest between Despicable Me 2 and The Jungle Book; 298th inflated biggest between Speed and A Beautiful Mind; 2nd biggest 2025 behind A Minecraft Movie $423.67m and ahead of Sinners $272.54m; 30th biggest Disney film between Finding Nemo and The Jungle Book.
Fourth weekends
2002’s Lilo & Stitch dropped 36.5% $8.02m/$14.6m and $118.41m/$235m of $145.79m/$288.9m and $273.14m/$542m WW
2010’s Alice in Wonderland dropped 48.2%, $17.7m/$36m and $293.53m/$420m of $334.19m/$487.52m and $1.025bn/$1.495bn worldwide
2016’s The Jungle Book dropped 44% $24.48m/$42m and $287.6m/$330m of $364m/$484.4m and $966.55m/$1.286bn worldwide
2019’s Aladdin dropped 29.9%, $17.3m, and $264.04m of $355.55m and $1.050bn worldwide
2023’s The Little Mermaid dropped 52.3%, $11.05m, and $253.01m of $298.17m and $569.62m worldwide
Similar to last year’s Moana 2 dropped 50.2% $13.2m and $359.17m 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 47.5% $20.2m and $473.3m of $543.63m and $1.662bn worldwide
2017’s Beauty and the Beast dropped 47.9% $23.65m and $430.94m of $504.5m/$670.7m $1.266bn/$1.68bn worldwide
Took $31.3m and $492m from 52 territories and $858.4m worldwide; Mexico $61.8m; UK $45.1m; France $35.2m; Brazil $31.8m; Germany $27m.
99th biggest worldwide between The Twilight Saga: Breaking Dawn, Part 2 and Inception; the 3rd biggest 2025 worldwide behind Ne Zha 2 $1.98bn, and A Minecraft Movie $951.2m; 39th biggest Disney between Guardians of the Galaxy Vol 3 and Coco
- Ballerina – Lionsgate
Down 60% in its second weekend $9.75m and $42.18m
2014’s John Wick dropped 44.5%, $7.99m and $27.53m of $43.03m and $86.08m worldwide
2017’s John Wick: Chapter 2 dropped 46.7% $16.21m, and $58.4m of $92.02m and $174.34m worldwide
2019’s John Wick: Chapter 3 – Parabellum dropped 56.7% $24.58m and $101.22m of $171.01m and $328.34m worldwide
2023’s John Wick: Chapter 4 dropped 61.6% $28.34m, and $123.01m of $187.13m and $440.18m worldwide
Other Ballerina assassin films include
2018’s Red Sparrow dropped 49.6% $8.5m and $31.47m of $46.87m and $151.57m worldwide
2021’s Black Widow dropped 67.8% $25.84m and $131.6m of $183.65m and $379.75m worldwide
Other female assassin films include
2017’s Atomic Blonde dropped 55.4%, $8.15m and $34.03m of $51.68m and $100.01m worldwide
1993’s Point of No Return dropped 23.1% $5.5m/$18m and $15.17m/$33m of $30.03m/$83.5m
2011’s Colombiana dropped 28.3% $7.46m and $22.02m of $36.66m and $71.5m worldwide
Other female action films
2024’s Furiosa: A Mad Max Saga dropped 59% $10.78m and $49.7m of $67.47m and $174.17m worldwide
2019’s Alita: Battle Angel dropped 56.7% $12.34m and $61.02m of $85.83m and $404.98m worldwide
2014’s Lucy dropped 58.4%, $18.25m and $79.53m of $126.66m and $469.05m worldwide
2008’s Wanted dropped 60.6% $20.05m and $90.18m of $134.5m and $342.46m worldwide
Also, Netflix’s Heart of Stone, as with Karate Kid: Legends, which had Cobra Kai for fans to watch on Netflix, there was little to get non-John Wick fans interested in seeing Ballerina in cinemas, it will likely do much better when released on VOD.
Ballerina has $90m budget, but as Lionsgate presold the film in most international markets apart from the UK and the US, they cover about 70% of production costs.
Took $13.5m from 84 territories and $49.7m and $91.5m worldwide; China $3m; UK $2.5m; Mexico $1.9m.
- Mission: Impossible – The Final Reckoning – Paramount Pictures
Down 29% in its fourth weekend, $10.55m #4 and $166.56m
296th biggest fourth weekend between Mr. & Mrs Smith and Tootsie (close to Dunkirk, Mission: Impossible – Fallout, Lethal Weapon 2 and Bad Boys: Ride or Die)
363rd biggest between Casino Royale and The Hunger Games: The Ballad of Songbirds & Snakes; 6th biggest 2025 between Thunderbolts* and Final Destination: Bloodlines; 46th biggest Paramount Pictures between True Grit and Kung Fu Panda 2
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.
Fourth weekends
1996’s Mission: Impossible dropped 41.3%, $8.6m #3 and $145.05m of $180.98m
2000’s Mission: Impossible II dropped 34.1% $11.36m #4 and $176.6m of $215.4m and $546.38m WW.
2006’s Mission: Impossible III dropped 38.3% $7m #4 and $114.27m of $134.02m and $398.47m WW; 3rd was against The Da Vinci Code $77.07m.
2011’s Mission: Impossible- Ghost Protocol dropped 32.5%, $19.86m #2 and $169.56m of $209.4m and $694.71 WW; harder to compare as had an exclusive opening weekend in IMAX cinemas; stayed in the top 5 for 5 weeks.
2015’s Mission: Impossible- Rogue Nation dropped 33.4% $11.45m #2 $157.51m of $195.04m and $682.71m WW
2018’s Mission: Impossible- Fallout dropped 44.3%, $10.77m #4 and $181.01m of $220.15m and $791.1m WW; 3rd was against The Meg $45.4m; stayed in top 5 for 6 weeks
2023’s Mission: Impossible- Dead Reckoning Part 1 dropped 38% $6.61m and $151.16m of $172.64m and $571.12m worldwide
Took $69.1m from IMAX worldwide; took $31m US and $38m internationally; IMAX had three weeks for The Final Reckoning compared to only one for Dead Reckoning Part 1.
Took $21m from 66 territories, taking $340.5m and $506.8m; China $55.8m; UK $31.2m; Japan $27.3m; Korea $21.6m; France $20.8m; will likely take about $600m+ worldwide
249th biggest worldwide between Dunkirk and La La Land; 4th biggest in 2025 between Lilo & Stitch and Captain America: Brave New World; 95th biggest action film between Dunkirk and Venom: Let There be Carnage; 28th biggest Paramount Pictures between Ghost and How to Train Your Dragon
- Materialists – A24
Opened $12m; received positive reviews (86% Rotten Tomatoes) and B-CinemaScore.
Took $1.5m from Thursday previews; Challengers $1.9m; Girls Trip $1.7m; Where the Crawdads Sing $2.3m; Don’t Worry Darling $3.1m.
A24’s third-biggest opening behind Civil War ($25.5m) and Hereditary ($13.5m), most A24 films open on a platform release before they go wide.
Opened as counter-programming to the blockbusters but with mixed reviews, low CinemaScore and opening lower than early estimates, it’s unlikely will hold on to its screens for that long. That said, it did open higher than the expected $8m-$9m.
It’s Celine Song’s follow-up from 2023’s Oscar-winning Past Lives opened $232,266 platform (4 screens), expanded to 906 after 5 weeks, taking $11.33m and $42.67m worldwide
Dakota Johnson’s first film since last year’s Madame Web, she said in interviews, it wasn’t her fault, saying, “There’s this thing that happens now where a lot of creative decisions are made by committee. Or made by people who don’t have a creative bone in their body,”
- The Life of Chuck – Neon
Up 931% in its second weekend, $2.31m #9, adding 1,056 screens, taking $2.61m
It’s disappointing that a film like The Life of Chuck now struggles to find an audience in cinemas after receiving such positive audience feedback ahead of opening, it will struggle to hold on to the screens with so many high-profile films opening over the next few weeks.
Based on a novella by Stephen King premiered at the Toronto Film Festival last year, winning the People’s Choice Award, and receiving positive reviews (81% Rotten Tomatoes). Neon acquired the film soon after and has run many talker screenings, generating strong word of mouth.
There have been at least 65 film adaptations of Stephen King’s novels over the last 50 years, taking $1.8bn in the US and $3bn worldwide. It’s the second of four adaptations being released this year, with The Long Walk set for release in September and The Running Man in November.
Directed by Mike Flanagan, previously directed Oculus, Ouija: Origin of Evil and Doctor Sleep.
StudioCanal will release it in the UK in August.
Stephen King recently ended the copyright Warner Bros had for 1994’s The Shawshank Redemption, starting speculation that Stephen King could be announcing plans for a new adaptation.
UK Box Office Top 10
UK Box Office Preview
Expectations have been high for 28 Years Later ever since it was first announced in January 2024. While they are very different films, comparisons could be made between 28 Days Later/28 Years Later with Trainspotting/T2 Trainspotting. Both films have iconic marketing campaigns, and both Trainspotting and 28 Days Later found a bigger audience when released on video/DVD.
Trainspotting opened £1.4m/£3.1m inflated in 1996, taking £12.5m/£26m, and T2 opened £5.1m, taking £17m. 28 Days Later in 2002 opened £1.5m/£3m taking £6.5m/£12m. The sequel opened similarly 5 years later.
After the release of 28 Weeks Later, a third film was in development at 20th Century Fox but was stuck in development hell for many years due to rights issues. Alex Garland initially said the sequel was going to be 28 Months Later, but the sequel wasn’t officially confirmed until June 2023.
Andrew MacDonald acquired the rights to 28 Days Later in 2022, licensing them to Sony Pictures when they acquired world rights to 28 Years Later and its sequel in January 2024, as they acquired world rights to Trainspotting 2 in December 2015; T2, released in 2017, was the sequel to 1996’s Trainspotting.
In 2002, 28 Days Later opened only in 35mm in 318 cinemas, 28 Years Later will open in double the number of cinemas and on many more screens.
Sony Pictures screened the first 28 minutes of 28 Years Later at CineEurope on Monday, ahead of the world premiere on Wednesday and opening in the UK on Thursday. The embargo ends at 10 pm on Wednesday after the premiere, and critics haven’t been allowed to even share an emoji about what they think of it. 28 Days Later had a budget of $8m, taking $75m worldwide; $45m US and $27.5m internationally; 28 Years Later has a budget of $75m.
It’s interesting looking back at the marketing campaign for 2002’s 28 Days Later, which included 1m CD-ROMs distributed with The Times, a website (www.28dayslaterthemovie.co.uk), with behind-the-scenes and animation clips from the film and a chatroom and forum allowing users to ask questions to the director and producer of the movie. So very different to the marketing campaign for 28 Years Later.
There have been many zombie films and TV series over the last decade, including The Walking Dead, World War Z, Zombieland and The Last of Us (series 2 recently ended).
After strong presales in the US, many predicted 28 Years Later could open with $50m+ (after Final Destination: Bloodlines opened $51.6m), but this has dropped down to $28m-$30m over recent days; 28 Days Later opened in the US $10.1m/$20m; 28 Weeks Later $9.8m/$16.4m.
Elio also opens likely to open similarly to recent original Pixar films, Onward and Elemental had more modest openings of £3,419,500 and £3,049,002.
While Toy Story 4 and Inside Out 2 had big openings (£13,300,000 and £11,321,387), original Pixar films have had soft openings since 2018’s Coco (£5,209,214)
Onward and Elemental had more modest openings, £3,419,500 and £3,049,002, and we would expect Elio to have a similar opening. This is, of course, the problem with Disney now, while Pixar sequels and reimaginations have their predictable huge openings, Inside Out 10 years ago was Pixar’s last original hit, and why they are making many more sequels like Toy Story 5, Incredibles 2 and Inside Out 3.
Elio is the 28th Pixar film since Toy Story was released 30 years ago in the US (opened in the UK in March 1996), it’s the 18th original Pixar animated film and the first original film since Elemental was released 2 years ago. Over the last 10 years, Pixar has released 15 films, and 8 were original (Soul, Luca and Turning Red had limited cinema releases after premiering on Disney+).
Elio has received positive reviews, but marketing has never really got going, as it always feels like Disney struggles with marketing original films.
With Elio opening and after How To Train Your Dragon’s 7-day opening, it will likely drop 60%+ in its second weekend, taking £2.5m-£3m, but the hottest temperatures of the year could see both 28 Years Later and Elio opening lower than expected and all holdovers (except The Ballad Of Wallis Island) dropping 50%+.
Opening in three weeks
- Superman – Warner Bros
Superhero film based on the DC Comics reboot of the Superman film series starring David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced and directed by James Gunn.
It’s the first film of the DC Universe (DCU); the reboot of DC Extended Universe (DCEU) that featured 15 films starting with 2013’s Man of Steel and ending with 2023’s Aquaman and the Lost Kingdom.
Development of a Superman sequel started after 2013’s Man of Steel, but after the disappointing performance of Batman v Superman: Dawn of Justice and Justice League, James Gunn took over control of DC Studios and started developing a new Superman film originally titled Superman: Legacy. Superman will be the first film of the DCU’s Chapter One: Gods and Monsters. It will be followed by Supergirl: Woman of Tomorrow and Clayface, set for release next year.
It is the third reboot of Superman over the last 20 years; it’s the summer of reboots, with Jurassic World: Rebirth being the second reboot of the Jurassic Park franchise and Fantastic Four: The First Steps the fourth Fantastic Four film over the last 20 years. Adding Lilo & Stitch and How To Train Your Dragon reimaginations, The Naked Gun, I Know What You Did Last Summer, and Freakier Friday feels completely lacking in imagination. They are films built on nostalgia from the original film, as will be the case with 28 Years Later.
With all of these franchises, they have passed their peak, and it’s hard to get excited about them as we did in previous incarnations, as you know, they won’t live up to their hype and will disappoint. That said, as with all of Disney’s reimaginations, this Superman reboot isn’t for those who grew up with the 70s Superman films.
2006’s Superman Returns opened £4,337,637/£7,098,761, taking £15,727,425/£25,738,722
2013’s Man Of Steel opened £11,198,786/£13,668,350, taking £29,764,997/£36,328,794
2016’s Batman V Superman opened £14,621,007/£15,725,968, taking £36,495,828/£39,253,947
1987’s Superman IV opened £508,468/£2,342,795, taking £3,457,959/£12,818,574
1983’s Superman III opened £1,103,312/£4,623,403, taking £6,710,000/£28,118,095
1980s Superman II took £10,752,997/£54,244,418
1978’s Superman took £10,046,159/£86,484,325
As with all of the recent DC films, there have been many rumours of poor test screenings, Warner Bros having concerns, reshoots, and the running time has been reduced by about 25 minutes from previous cuts. After the cuts and reshoots, Warner has more confidence in the film and is expected to open in the US with $160m+.
