- The Fantastic Four: First Steps £8,144,593 – NE
Includes £2.1m (21.1%) from Thursday previews.
Friday: £2.14m (26.28%), Saturday: £2.17m (26.65%), Sunday: £1.78m (21.87%); £1.13m Mon: £1.07m Tues
This is the 160th largest opening, positioned between How To Train Your Dragon (2025) and Les Misérables, and is comparable to films such as War of the Worlds, Mission: Impossible – Ghost Protocol, The LEGO Batman Movie, and Toy Story 2. It also ranks as the 240th largest inflation-adjusted opening, situated between How To Train Your Dragon (2025) and Notting Hill, and similar to Minority Report, Goldeneye, Inception, and Prometheus.
22nd biggest MCU opening between Thor: The Dark World and Iron Man 2 (close to Doctor Strange, Ant-Man and the Wasp: Quantumania, Black Widow and Captain America: Brave New World).
7th biggest 2025 opening ahead of F1 The Movie (£7m), Superman (£6.9m), Captain America: Brave New World (£6.4m) and Thunderbolts* (£5.9m), and behind How To Train Your Dragon (£8.1m).
13th biggest opening over the last 52 weeks between How To Train Your Dragon and Beetlejuice 2 (close to Lilo & Stitch, Gladiator 2, Thunderbolts and Joker: Folie à Deux); 7th biggest 2025 opening between How To Train Your Dragon and F1)
39th biggest comic-book opening between Thor: The Dark World and Venom (close to X-Men: Days of Future Past, Spider-Man 2, Justice League and Men In Black) and 50th biggest inflated comic-book opening between Iron Man and X-Men: Apocalypse (close to X-Men Origins: Wolverine, Batman and Robin, Batman and Fantastic Four (2005).
Fantastic Four: First Steps is seen as a “return to form” for the MCU, praised for its retro-futuristic style and cast. However, some critics suggest this reflects lowered expectations due to superhero fatigue.
As the 37th MCU film and third adaptation of Fantastic Four, it is director Matt Shakman’s first major feature, moving from indie projects to a $120m+ blockbuster. Fox’s previous Fantastic Four films were poorly received before Disney’s 2019 acquisition.
110th widest opening in 658 cinemas (but as always more than double the amount of screens), similar to Better Man, Kingdom Of The Planet Of The Apes, The Hunger Games, The Ballad Of Songbirds And Snakes and Ghostbusters Afterlife; 267th 600+ cinema opening since 2015’s Jurassic World.
The UK opening was 6.92% 4 days and an abysmal 5.18% of its 3-day US opening, showing how disappointing its UK opening really was. The weather was perfect, summer cooler temperatures and drizzle, some will, of course, use the Women’s Euro Final as an excuse, but the majority of the Fantastic Four demographic would choose Fantastic Four over football.
The 6.92% is similar to films including Ant-Man, Lucy, Fast & Furious, Sonic the Hedgehog 2 and X-Men: The Last Stand. While the 5.18% is similar to Black Panther, Godzilla X Kong: The New Empire, Spider-Man and Robin Hood: Prince Of Thieves.
2005’s Fantastic Four opened £3.54m/£6.1m (£414,852 previews) taking £11,782,585/£19,812,754; opened in the US $56.1m/$101m taking $154.7m/$277.8m and $333.53m/$600m worldwide
2007’s Fantastic Four: Rise of the Silver Surfer opened £4.13m/£6.5m, taking £12,278,806/£19,257,058; opened in the US $58.1m/$97.2m, taking $131.9m/$270.7m and $301.9m/$505.1m
The 2015 release of Fantastic Four opened with £2.68 million (£2.95 million including £817,192 in previews) in the UK, grossing £5,653,567 (£6,210,298). In the United States, the film debuted with $25.68 million ($35.1 million with previews), achieving a total of $56.1 million ($76.6 million) domestically and $301.9 million ($412.2 million) worldwide. The film was directed by Josh Trank, who had previously received critical acclaim for the low-budget science fiction film Chronicle.
20th Century Fox X-Men Film Openings
| Title | R-Date | AV P | OWE | xOWE | OWE % | Total | 2025 BO |
| X-Men: Dark Phoenix | 09/06/2019 | £7.22 | £3,771,153 | 1.88 | 53.08% | £7,105,017 | £7,843,073 |
| Deadpool 2 | 15/05/2018 | £7.22 | £12,974,669 | 2.51 | 39.92% | £32,501,893 | £35,878,128 |
| X-Men: Apocalypse | 22/05/2016 | £7.41 | £7,354,293 | 2.48 | 40.25% | £18,273,403 | £19,654,389 |
| Deadpool | 10/02/2016 | £7.41 | £13,729,803 | 2.74 | 36.50% | £37,616,432 | £40,459,239 |
| Fantastic Four (2015) | 09/08/2015 | £7.21 | £2,686,176 | 2.10 | 47.51% | £5,653,567 | £6,249,505 |
| X-Men: Days Of Future Past | 25/05/2014 | £7.41 | £9,144,971 | 2.95 | 33.86% | £27,005,508 | £29,046,410 |
| The Wolverine | 28/07/2013 | £6.53 | £4,694,092 | 2.78 | 35.95% | £13,055,615 | £15,934,648 |
| X-Men: First Class | 05/06/2011 | £6.06 | £5,438,386 | 2.76 | 36.19% | £15,027,740 | £19,764,206 |
| X-Men Origins: Wolverine | 03/05/2009 | £5.44 | £6,658,979 | 2.43 | 41.19% | £16,166,926 | £23,685,735 |
| Fantastic Four: Rise Of The Silver Surfer | 17/06/2007 | £5.05 | £4,137,169 | 2.97 | 33.69% | £12,278,806 | £19,378,630 |
| X-Men: The Last Stand | 25/05/2006 | £4.87 | £7,091,820 | 2.69 | 37.19% | £19,066,987 | £31,204,083 |
| Fantastic Four (2005) | 21/07/2005 | £4.71 | £3,541,391 | 3.48 | 28.71% | £12,335,439 | £20,873,344 |
| X-Men 2 | 01/05/2003 | £4.44 | £7,037,861 | 2.91 | 34.33% | £20,500,928 | £36,800,089 |
| X-Men | 18/08/2000 | £4.25 | £3,848,755 | 3.89 | 25.70% | £14,976,383 | £28,085,123 |
Superhero Film Daily Box Office Comparison (UK)
| Film | Thu | Fri | Sat | Sun | Weekend Total | % Sat Drop |
| Deadpool 3 | 4.63 | 4.21 | 4.68 | 3.74 | 12.63 | +11% (Fri→Sat) |
| Man of Steel | – | 3.38 | 4.16 | 3.68 | 11.22 | +23% |
| Ant-Man 3 | – | 3.70 | 3.07 | 2.06 | 8.83 | -17% |
| Fantastic Four | 2.10 | 2.14 | 2.17 | 1.78 | 6.19 | +1% |
| Superman (2025) | – | 2.65 | 2.34 | 2.01 | 7.00 | -12% |
| CA Brave New World | – | 2.33 | 2.38 | 1.68 | 6.39 | +2% |
| Thunderbolts* | 1.01 | 1.37 | 1.80 | 1.79 | 4.97 | +31% |
| Joker 2 | – | 2.15 | 2.17 | 1.44 | 5.76 | +1% |
The were claims that there were many walkouts in cinemas playing the 3D trailer of Avatar: Fire and Ash at the start of the film, this was similar to what happened in November 1999 when the first teaser trailer of Star Wars: The Phantom Menace was shown in cinemas in the US with Meet Joe Black.
There were claims the reason why Superman performed lower than expected was due to its was too American but the previous films were similarly US focussed, I’m sure similar would be used as a excuse for The Fantastic Four: First Steps, while it might make sense for Captain America: The First Avenger that excuse can’t be used for the 37th MCU film and if it was then its surely Marvel’s mistake?
Why the MCU’s Fantastic Four Was Doomed to Disappoint (And How Avengers: Doomsday Will Make It Worse)
The Fantastic Four have always been Marvel’s toughest sell in live-action—Fox’s failed attempts proved that. But while those films could be written off as standalone misfires, the MCU’s version had a much heavier burden: it needed to be great in a franchise that’s lost its way. Here’s why it failed, and why shoving them into Avengers: Doomsday with time travel/multiverse tricks will only make things messier.
1. The Fox Films Were Bad, But They Had One Advantage: No Baggage
Fox’s Fantastic Four movies (2005, 2015) were forgettable, but they existed in isolation. If they sucked? Oh well—no wider universe suffered. The MCU doesn’t have that luxury.
Then, A bad Fantastic Four movie was just a bad movie.
Now: A mediocre FF movie is a franchise problem—it needs to set up future Avengers, introduce a major villain (Doom? Galactus?), and justify its place in a saga that’s already overcrowded.
Marvel positioned Fantastic Four as a “fresh start,” but after 15 years of interconnected storytelling, audiences don’t trust “standalone” anymore. If the film doesn’t tie into the bigger picture, it feels pointless. If it does, it’s homework.
2. The MCU’s Biggest Weakness Now? It Can’t Just Be “Okay”
Post-Endgame, Marvel’s biggest problem isn’t just superhero fatigue—it’s expectation fatigue.
Phase 1-3: Even weaker entries (Thor: The Dark World) got a pass because the overall arc was building to something.
Phase 4-5: With no clear direction, every film has to justify itself. Quantumania? Forgettable. The Marvels? Ignored. Fantastic Four? Just another reboot in a sea of them.
The Fox Fantastic Four films could be mid because the bar was low. The MCU’s version needed to be a must-see event—a course-correction masterpiece. Instead, it played things safe (retro aesthetic, no bold risks) and landed as just… fine.
And “fine” isn’t enough anymore.
3. Avengers: Doomsday Will Make It Worse (Thanks, Time Travel!)
Since Fantastic Four didn’t set the world on fire, Marvel’s backup plan is obvious: force the team into relevance via Avengers: Doomsday.
How? Time travel, multiverse jumps, or a Kang variant dragging them into the present.
Why? Because the MCU’s answer to everything now is: “Just hit the timeline reset button!”
But this is a band-aid fix, not a solution.
Stakes? Gone. If the FF’s integration is just a time-travel handwave, why care?
Chemistry? Forced. Throwing them into a New Avengers lineup (Shang-Chi, Ms. Marvel, etc.) won’t magically make them compelling.
Narrative? A Mess. The multiverse was fun in No Way Home, but now it’s just a crutch to avoid doing the hard work of earned storytelling.
The Real Problem: The MCU Doesn’t Know What to Do With the Fantastic Four
The Fantastic Four’s best stories (Galactus! Annihilation! Doom’s god-complex!) are big, weird, and cosmic—not quippy team-ups. Marvel had a chance to make their debut Dune-level epic. Instead, we got a movie that feels like it’s scared to commit.
Now, Avengers: Doomsday will likely:
Time-jump the Fantastic Four into the present (because the ’60s gimmick didn’t pay off). Retcon their importance (“Actually, Reed built Kang’s tech!”).
Shove them into the New Avengers with zero organic buildup.
It’s the same old MCU playbook: If a hero doesn’t work, just Avengers-ize them. But at this rate, the only “secret war” will be fans vs. Marvel’s convoluted timeline.
Production faced numerous challenges, including significant creative differences between the director and the studio. The studio assumed control over the project, resulting in substantial changes to both the plot and the ending. In a statement released one year after the film’s debut, Trank commented, “A year ago, I had a fantastic version of this. And it would’ve received great reviews. You’ll never see it. That’s reality, though.”
The upcoming iteration of The Fantastic Four is set in the 1960s and will serve as the inaugural film of Phase Six, expected to introduce the X-Men into the Marvel Cinematic Universe (MCU) with next year’s Avengers: Doomsday and 2027’s Avengers: Secret Wars.
Development for the MCU’s Fantastic Four commenced in July 2019, initially with Jon Watts attached to direct before he chose to lead Wolfs for Apple Studios. John Krasinski’s portrayal of Reed Richards in 2022’s Doctor Strange in the Multiverse of Madness sparked speculation regarding his involvement in the new Fantastic Four film.
The 37 MCUs have taken £1.2bn since 2008 and £1.4bn, inflated with an average opening of £11,755,763 and an average total of £31,904,312.
Originally scheduled for release in November 2024, Fantastic Four was subsequently rescheduled to February, then May, and finally July 2025, aiming to emulate the successful performance of Deadpool and Wolverine in the previous year.
The first teaser trailer launched in February, garnering 202 million views in its first 24 hours—ranking as the MCU’s third most-watched trailer behind Deadpool & Wolverine (365 million) and 2021’s Spider-Man: No Way Home (355 million). The second trailer debuted in April, followed by a third screening at CineEurope in June.
MCU films have underwhelmed both critically and at the box office recently, with Captain America: Brave New World opening £6,404,345 and Thunderbolts £5,979,242; Last year, the same weekend Deadpool & Wolverine opened £17,276,621.
This summer saw major scheduling mistakes, like not swapping Fantastic Four with Elio to avoid crowded release weekends after How to Train Your Dragon and Lilo & Stitch. Releasing F1, Jurassic World: Rebirth, and Superman over three weeks, along with M3GAN 2.0 on June 27th, also created issues. It’s surprising that studios still make such errors despite having ample data and AI tools; even strong marketing and reviews can’t fix poor scheduling.
The women’s Euro 2025 final had a peak of 12.2 million watching on BBC1 and ITV, and 15 million+ total viewers, including streaming platforms, on Sunday evening didn’t have much effect on Fantastic Four’s opening as its TV audience would have been a high percentage of women. Unlike in 2017 when Ariana Grande’s One Love Manchester concert was on the Sunday Wonder Woman opened, Wonder Woman opened far lower in the UK than in the US.
- 2. Superman £1,913,047 – £21,423,042
Down 60.8% in the third weekend
£557k 29.1% (-42.2% £1.32m) Fri; £758k 39.6% (-61.5% £1.97m) Sat; £598k 31.3% (-62.1% £1.58m) Sun; £384k Mon; £409k Tues
267th biggest third weekend between Iron Man and The Hangover (close to Inside Out, Star Trek Into Darkness, The Da Vinci Code and Interstellar) and 478th biggest inflated third weekend between The Twilight Saga: Eclipse and Captain America: The Winter Soldier (close to The Bourne Supremacy, Mad Max: Fury Road, Blade Runner 2049 and The Commitments).
43rd biggest comic-book third weekend between Iron Man and Wonder Woman (close to X-Men 2, Black Adam, Captain America: The Winter Soldier and Logan) and 58th biggest inflated third weekend comic-book between Captain America: The Winter Soldier and X-Men: Days Of Future Past (close to Superman Returns, Fantastic Four: Rise Of The Silver Surfer, Justice League and Blade 2).
7th biggest 2025 film ahead of F1 The Movie (£19.7m) and Captain America: Brave New World (£18.0m).
As always, when another comic-book film opens, the previous one has a big drop as they cannibalise each other, so there should have been a bigger gap between the two films than three weeks.
Seeing dinosaurs on screen was thrilling in 1993. But after a string of Jurassic World films that promised everything and delivered little beyond noise and CGI, the spectacle has dulled. The same applies to Superman. In 1978, Richard Donner and Christopher Reeve made audiences believe a man could fly. That belief hasn’t held through Superman Returns, Man of Steel, Batman v Superman, or Justice League — four attempts at cinematic reinvention that failed to capture the sincerity, awe, or optimism that made the original a classic.
When Superman first hit cinemas in 1978, it was a revelation. As with Jurassic Park in 1993 or Star Wars in 1977, there was genuine wonder in seeing something we’d never seen before. Now, we’re left with carefully managed marketing campaigns, algorithm-optimised trailers, and instant Twitter verdicts from influencer premieres — but little wonder.
Audiences haven’t stopped loving movies. They’ve just stopped pretending that bigger means better, or that nostalgia alone is enough to make them believe again.
2006’s Superman Returns dropped 42.2% £1,345,200/£2,201,487 and £11,989,893 76.24% of £15,727,425/£25,738,722
2013’s Man Of Steel dropped 52.1% £2,433,576/£2,970,230 and £26,223,494 88.1% of £29,764,997/£36,328,794
2016’s Batman V Superman dropped 51% £2,284,293/£2,456,925 and £33,308,649 91.3% of £36,495,828/£39,253,947
1987’s Superman IV dropped 26.7% £280,335/£1,039,195 and £2,158,859 62.4% of £3,457,959/£12,818,574
While 1983’s Superman III took £6,710,000/£28,118,095; 1981’s Superman II took £10,752,997/£54,244,418, and 1978’s Superman took £10,046,159/£86,484,325.
James Gunn previously directed the Guardians Of The Galaxy trilogy and 2021’s The Suicide Squad, a reboot of 2016’s The Suicide Squad.
2014’s Guardians of the Galaxy Vol 1 dropped 35.6% £2,114,664/£2,274,477 and £18,798,710, 65.9% of £28,536,999
2017’s Guardians of the Galaxy Vol 2 dropped 46.2% £3,276,958/£3,486,963 and £33,041,913 80.9% of £40,839,462
2023’s Guardians of the Galaxy Vol 3 dropped 47.5% £2,810,731 and £28,928,869, 79% of £36,650,055
2021’s The Suicide Squad dropped 52.9% £1,067,025 and £10,821,372 76.5% of £14,142,378
272nd biggest between Aquaman and The Theory of Everything (close to Men in Black 3, Crocodile Dundee, Mrs. Doubtfire and Hot Fuzz) and 519th biggest inflated between Kindergarten Cop and Moana (close to Beverly Hills Cop II, Spice World, Die Hard 4.0 and Solo: A Star Wars Story).
44th biggest comic-book film between Aquaman and Shang-Chi (close to Hancock, Men In Black 2, Batman Forever and X-Men: The Last Stand) and 63rd biggest inflated comic-book film between Venom and Black Adam (close to X-Men, Superman Returns, Fantastic Four (2005) and X-Men: Apocalypse)
- 3. The Bad Guys 2 £1,628,701 – NE
Took £557k 34.21% Friday; £570k 35% Saturday; £501k 30.77% Sunday; £410k Mon; £527k Tues.
1,121st biggest opening between Around the World in 80 Days and I am Number Four (close to Waterworld, Judge Dredd, Alien3 and The Fugitive) and 1,699th biggest inflated opening between Notorious and Tomorrowland – A World Beyond (close to Star Trek V: The Final Frontier, Lethal Weapon, The Lone Ranger and The Fly).
39th biggest opening over the last 52 weeks between Transformers One and Better Man (close to Smile 2, Heretic, The Salt Road and Speak No Evil); 22nd biggest 2025 opening between Mickey 17 and The Salt Road.
2nd biggest animated opening of the year after Dog Man (£3.2m) and ahead of Smurfs (£1.1m), Peppa Meets The Baby Cinema Experience (£1m) and Elio (£968k).
158th biggest animated opening between Rango and Wonder Park (close to Isle of Dogs, The Boy And The Heron, Cloudy with a Chance of Meatballs and Lilo & Stitch (2002) and 185th biggest inflated animated opening between Spies In Disguise and Treasure Planet (close to Encanto, ParaNorman, Smurfs: The Lost Village and Sinbad: Legend of the Seven Seas).
38th biggest Dreamworks Animation opening between Antz and Penguins Of Madagascar (close to Puss in Boots, Rise Of The Guardians and The Boss Baby 2) and 39th biggest inflated opening between Penguins Of Madagascar and The Boss Baby 2.
162nd widest opening in 638 cinemas similar to Man Called Otto, Dunkirk and Morbius.
2022’s The Bad Guys opened £2,279,074, taking £13,478,928; in 2022, The Bad Guys opened soon after Sonic the Hedgehog 2, while The Bad Guys 2 opens soon after Smurfs.
The Bad Guys 2, based on Aaron Blabey’s children’s books, features a cast including Sam Rockwell, Craig Robinson, Awkwafina, Richard Ayoade, Alex Borstein, Danielle Brooks, and Natasha Lyonne. Universal Pictures released the film a week before its US debut and after The Smurfs, coinciding with the start of school holidays. Despite competition from Smurfs, The Bad Guys 2 is expected to perform well during the summer break, similar to its predecessor. Plans for a third movie were announced in June 2025.
- 4. Jurassic World Rebirth £1,577,589 – £28,773,506
Down 52.1% in its fourth weekend.
£433k 27.46% (-62.8% £689k) Fri; £628k 39.82% (-55.14% £1.4m) Sat; £516k 32.72% (-57% £1.2m) Sun; £346k Mon; £402k Tues
169th biggest fourth weekend between POTC: On Stranger Tides and Bridesmaids (close to Star Wars: Revenge of the Sith, Guardians of the Galaxy Vol 3, Wonder Woman and The Day After Tomorrow) and 331st inflated fourth weekend between Monsters Vs. Aliens and Despicable Me (close to A Few Good Men, The Mummy (1999), I, Robot and Lost in Translation)
Fourth weekends
1993’s Jurassic Park dropped 20% £2,686,827/£6,671,032 and £27,761,741 58% of £47,886,423/£118,895,574
1997’s Jurassic Park: The Lost World dropped 55% £1,082,124/£2,119,049 and £20,488,199 79.4% of £25,799,961/£50,522,282
2001’s Jurassic Park 3 dropped 25.4% £1,009,943/£1,944,262 and £14,694,388 80.2% of £18,307,718/£35,244,568
2015’s Jurassic World dropped 54.8% £2,610,612/£2,885,794 and £53,763,933 84.4% of £63,674,773/£70,386,677
2018’s Jurassic World: Fallen Kingdom dropped 38.4% £2,001,876/£2,209,827 and £34,498,111, 83% of £41,573,492/£45,892,068
2022’s Jurassic World Dominion dropped 46.6% £1,823,313/£2,126,803 and £30,414,812 86.6% of £36,379,686
In Jurassic World: Fallen Kingdom, Claire asks, “Do you remember the first time you saw a dinosaur? First time you see them, it’s like… a miracle. You read about them in books, you see the bones in museums, but you don’t really believe it. They’re like myths. And then you see… the first one alive.” This was how cinema audiences responded to 1993’s Jurassic Park.
Jurassic Park took 9.82x opening compared with 3.29x for Jurassic World; 2.9x for Jurassic World: Fallen Kingdom, 4.53x for The Lost World: Jurassic Park; 3.84x for Jurassic Park 3. Dominion was 2.9x, and Rebirth will be similar.
173rd biggest between Sing and Life of Pi (close to King Kong, Twilight Saga: Eclipse, The World Is Not Enough and The Pirates of the Caribbean) and 340th biggest inflated between Scooby-Doo Too and Jumanji (close to Pulp Fiction, Lethal Weapon 3, Batman and Robin and Ghostbusters 2).
2014’s Godzilla dropped 51.6% £475,387/£940,157 and £16,449,997 96.3% of £17,074,621
2016’s Rogue One: A Star Wars Story dropped 45.4% £3,253,346/£3,499,213 and £59,682,374 90.4% of £66,013,076/£71,001,918
2023’s The Creator dropped 49.3% £325,784/£327,841 and £6,061,111 85.5% of £7,084,748).
Scarlett Johansson called Jurassic World Rebirth a ‘Love Letter’ to the original film, saying, “Fans of the Jurassic universe can expect to really feel the DNA of the original ‘Jurassic Park’ in this film.”
Unlike the original film, Jurassic World: Rebirth and other sequels lack standout quotes. The original’s famous line criticising unchecked scientific ambition can also be seen as a commentary on Hollywood’s approach to franchises.
- 5. F1 The Movie £651,188 – £19,729,006
Down 48.3% in its fifth weekend
£198k 30.41% (-67.8% £292k) Friday; £272k 41.8% (-48.7% £530k) Sat; £181k 27.8% (-58.7% £438k) Sun.
362nd biggest fifth weekend between Chicken Little and Madagascar (close to Clash Of The Titans, True Lies, Tenet, and I Am Legend) and 598th biggest inflated fifth weekend between Freaky Friday and Rush (close to Interstellar, Phone Booth, Jerry Maguire and Police Academy 4: Citizens On Patrol).
F1 is still holding close to 2023’s Indiana Jones And The Dial of Destiny in its fifth weekend; Dial of Destiny dropped 34% £444,323 #6 and £19,104,351 of £20,311,195 with #1 Barbie £13,226,848 and #2 Oppenheimer £8,222,657
Fifth weekends
2019’s Le Mans ’66 dropped 29.6% £130,075/£143,587 and £5,919,482/£6,493,393
2023’s Ferrari took £3,850,021
2013’s Rush dropped 24.9% £531,945/£649,250 and £8,892,873 87.9% of £10,052,403/£12,192,195
1990’s Days of Thunder dropped 43.8% £101,686/£352,364 and £2,986,124 87.1% of £3,430,086/£9,667,716
Brad Pitt is coming off recent successes.
2022’s Bullet Train dropped 6.6% £554,100/£574,275 and £9,240,002 85.8% of £10,766,199
2019’s Once Upon a Time in Hollywood dropped 48.5% £557,889/£615,841 and £19,818,323,95.1% of £20,851,025.
Brad Pitt: A Distinguished Charismatic Movie Star
Brad Pitt has established himself as one of Hollywood’s most enduring leading men, redefining standards of stardom both in front of and behind the camera. While Tom Cruise often garners recognition as an “action hero,” Pitt has forged a unique path, distinguished by his refusal to conform to industry expectations. Opting for innovative and original projects rather than franchise or superhero roles, he has consistently demonstrated versatility and substantial screen presence.
From early work in “Thelma & Louise” and “Fight Club” to notable performances in “Inglourious Basterds” and “Once Upon a Time in Hollywood,” Pitt has successfully balanced widespread appeal with artistic credibility—a rare achievement among contemporary actors. Beyond his performances, as co-founder of Plan B Entertainment, he has produced several acclaimed and award-winning films that have significantly impacted 21st-century cinema.
- Acting Highlights: Notable Roles and Achievements
| Year | Film | Notes |
|———–|————————————–|—————————————————–|
| 1991 | Thelma & Louise | Breakthrough role; established as a film icon. |
| 1994 | Interview with the Vampire | Notable performance alongside Tom Cruise. |
| 1995 | Se7en, 12 Monkeys | Earned critical acclaim, Golden Globe, Oscar nod. |
| 1999 | Fight Club | Landmark performance; significant cultural impact. |
| 2001–07 | Ocean’s Eleven Trilogy | Demonstrated commercial success and star quality. |
| 2004 | Troy | Led an epic production with commanding presence. |
| 2008 | The Curious Case of Benjamin Button | Received Academy Award nomination. |
| 2009 | Inglourious Basterds | Memorable collaboration with Quentin Tarantino. |
| 2011 | Moneyball | Served as both lead actor and producer. |
| 2019 | Once Upon a Time in Hollywood | Won Oscar for Best Supporting Actor. |
| 2022 | Bullet Train, Babylon | Continued with varied and challenging roles. |
Pitt’s body of work reflects a distinctive combination of star power and creative ambition. He is recognised for selecting complex, nuanced characters and preferring collaborations with auteur directors, thus avoiding formulaic mainstream projects.
- Plan B Entertainment: Championing Distinguished Productions
| Year | Film | Accolades |
|——-|—————————-|————————————————–|
| 2006 | The Departed (co-producer) | Won Best Picture (2007). |
| 2013 | 12 Years a Slave | Won Best Picture; significant cultural impact. |
| 2015 | The Big Short | Best Picture nominee; also featured Pitt. |
| 2016 | Moonlight | Won Best Picture; recognized for groundbreaking themes. |
| 2018 | If Beale Street Could Talk | Acclaimed adaptation of James Baldwin’s novel. |
| 2020 | Minari | Best Picture nominee; praised for indie excellence. |
| 2022 | Women Talking, She Said, Blonde | Award-season contenders addressing important topics. |
As a producer through Plan B Entertainment, Pitt has become known for supporting ambitious, socially relevant projects that bring forward underrepresented voices and foster substantive discussion within the film industry. The company’s portfolio is characterised by its commitment to meaningful, impactful cinema rather than purely commercial ventures.
Conclusion: Redefining Contemporary Stardom
Brad Pitt represents a rare model of sustained influence within the entertainment industry. Over more than three decades, he has eschewed conventional career paths in favour of substantive, thoughtfully chosen roles and influential productions. Through high-profile acting and pioneering production efforts, Pitt has contributed to the evolution of modern prestige filmmaking. In a period dominated by studio-driven trends, his career continues to be defined by innovation and influence.
Joseph Kosinski developed the smallest movable 6k IMAX camera ever designed to take the viewer into the cockpit, as he did with Top Gun: Maverick; it had never been used before in a film.
2022’s Top Gun: Maverick dropped 20.6% £3,370,647 £63,069,284 75.7% of £83,575,590
2013’s Oblivion dropped 67.4% £129,648/ £158,238 and £10,486,465/£12,718,653
2010’s Tron Legacy dropped 48.3% £330,701/£442,973 and £9,753,424 96.9% of £10,069,754/£13,403,773
320th biggest between Venom and Thor: The Dark World (close to Minority Report, Batman Forever, Night at the Museum 2 and Seven) and 586th biggest inflated between Sleepers and Cars 2 (close to Dead Poets Society, Fantastic Four (2005), The Truman Show and Police Academy 3).
———-
The weekend’s top 10 box office took £15,756,045, up 17.6% from last weekend’s £13,400,090: 2,035,665 admissions, up f17.6% from 1,731,278 admissions.
2025 BO is up 16% ahead of 2024; it will drop down over the next few weeks as Fantastic Four will take nowhere near last year’s Deadpool Vs Wolverine.
The 14th biggest weekend of the last 52 weeks was between 08 November 2024 #1 Paddington In Peru £9,649,984 (59.07%) and 21 February 2025 #1 Bridget Jones: Mad About The Boy £6,893,703 (45.55%)
32nd biggest since cinemas reopened out of 245 weeks between 29 December 2023 #1 Wonka £6,672,464 (41.50%) and 11 November 2022 #1 Black Panther Wakanda Forever £12,363,870 (79.91%)
202nd biggest top 10 of the last 24 years (out of 1,216) between 02 August 2019 #1 Fast & Furious: Hobbs & Shaw £6,377,583 (40.31%) and 23 February 2018 #1 Black Panther £6,859,230 (43.57%) and 434th inflated between 06 December 2002 #1 Die Another Day £3,426,623 (40.15%) and 09 February 2018 #1 Fifty Shades Freed £6,132,414 (42.71%)
The top 3 took £11,686,341 (74.2%) of the top 10; The Fantastic Four: First Steps 51.69% (£8,144,593); Superman 12.14% (£1,913,047); The Bad Guys 2 10.34% (£1,628,701).
269th biggest percentage share #1 (51.69%) between 28 December 2007 #1 I Am Legend £11,009,365 (51.79%) and 20 June 2003 #1 2 Fast 2 Furious £2,747,875 (51.60%)
260th biggest admissions #1 (1,052,273) between 13 June 2025 #1 How To Train Your Dragon £8,145,188 (1,052,350) and 02 May 2008 #1 Iron Man £5,465,103 (1,050,981)
Down 34.93% from 2024; (£24,215,414); Deadpool and Wolverine (£17,276,621); I Saw The TV Glow (£59,149); Chariots Of Fire (Re: 2024) (£3,017); #1 Deadpool and Wolverine £17,276,621 1st week 707 screens (71.35% of top 10)
Down 40.74% from 2023; (£26,586,491); Talk To Me (£643,547); #1 Barbie 2nd week £13,226,848 29% drop 745 screens (49.75%)
Up 45.54% from 2022 (£10,826,088); DC League of Super-Pets (£2,694,626); #1 DC League of Super-Pets £2,694,626 1st week 665 screens (24.9% of top 10)
Up 53.41% from 2021; (£10,270,607); The Suicide Squad (£3,252,028); Jungle Cruise (£2,241,651); Spirit Untamed (£592,154); The Sparks Brothers (£123,005); #1 The Suicide Squad £3,252,028 1st week 635 screens (31.66% of top 10)
Up 3,812.10% 2020: (£402,752); The Lord of the Rings: The Fellowship of the Ring (Re: 2020) – Extended Version £24,136 (81 screens); The Lord Of the Rings: The Two Towers (Re: 2020) Extended Version £10,479 (57 screens); The Lord Of the Rings: The Return Of The King (Re: 2020) – Extended Version £10,205 (57 screens); #1 Onward £60,074 5th week split over 5 months 123 screens (14.92% of top 10)
Down 17.54% from 2019; (£19,106,503); Andre Rieu 2019 Maastricht Concert – Shall We Dance? (£1,492,154); The Current War (£454,677); The Intruder (£51,347); #1 The Lion King £10,660,287 2nd week 721 screens (55.8% of top 10)
Down 38.61% from 2018: (£25,665,576); Mission: Impossible Fallout (£7,300,103); Hotel Transylvania 3: A Monster Vacation (£3,449,876); Andre Rieu’s 2018 Maastricht Concert: Amore (£1,486,528); #1 Mission: Impossible Fallout £7,300,103 1st week 584 screens (28.4% of top 10)
Down 22.82% from 2017: (£20,414,621); Captain Underpants (£2,495,744); Girls Trip (£1,557,981); 47 Meters Down (£637,964); The Big Sick (£488,718); #1 Dunkirk £8,235,532 2nd week 663 screens (40.34% of top 10)
Down 32.83% from 2016: (£23,455,514); Finding Dory (£8,122,075); Jason Bourne (£7,600,420); World Cup ’66 – Minute by Minute (£35,959); League of Gods (£8,349); #1 Finding Dory £8,122,075 1st week 588 screens (34.6% of the top 10)
Down 7.53% from 2015; (£17,039,800); Inside Out (£7,376,513); Southpaw (£1,662,296); The Legend of Barney Thomson (£163,395); #1 Inside Out £7,376,513 1st week 608 screens (43.3% of top 10)
Up 61.59% from 2014: (£9,750,537); Hercules (£1,449,120); The Purge: Anarchy (£1,165,143); Earth to Echo (£618,379); The House of Magic (£223,047); #1 Dawn of the Planet of the Apes £3,752,511 2nd week 574 screens 57% drop (38.5% of top 10)
Up 16.59% from 2013: (£13,514,255); The Wolverine (£4,694,092); Frances Ha (£150,689); #1 The Wolverine £4,694,092 1st week 522 screens (28.5% of top 10)
Up 29.61% from 2012 :(£12,156,512); Dr Seuss’ The Lorax (£1,853,294); Searching for Sugar Man (£68,857); #1 The Dark Knight Rises £7,275,558 2nd week 589 screens 49% drop (59.8% of top 10):
Down 7.1% from 2011; (£16,959,452); Cars 2 (£3,541,664); Horrible Bosses (£2,077,239); Beginners (£146,096); #1 Harry Potter & the Deathly Hallows: Part 2 £8,523,417 2nd week 581 screens 64% drop (50.2% of top 10)
Down 28.24% from 2010: (£29,078,984); Toy Story 3 (£21,187,264); The Rebound (£360,015); Splice (£110,225); #1 Toy Story 3 £21,187,264 1st week 562 screens (72.8% of top 10)
Up 15.57% from 2009; (£13,633,561); The Proposal (£3,249,640); Antichrist (£99,092); #1 Harry Potter and the Half-Blood Prince £5,176,950 2nd week 586 screens 74% drop (37.9% of top 10)
Down 16.66% from 2008; (£18,905,622); The Dark Knight (£11,191,824); Angus, Thongs and Perfect Snogging (£929,246); Baby Mama (£111,945); #1 The Dark Knight £11,191,824 1st week 502 screens (59.2% of top 10)
Down 43.83% from 2007: (£28,049,335); The Simpsons (£13,626,853); Transformers (£8,718,561); Sherrybaby (£36,036); Lonely Hearts (£3,362); #1 The Simpsons £13,626,853 1st week 499 screens (48.6% of top 10)
Up 55.68% from 2006; (£10,120,532); Cars (£2,668,968); Stay Alive (£140,126); #1 Cars £2,668,968 1st week 513 screens (26.37% of top 10)
Up 6.10% from 2005: (£14,849,850); Charlie and the Chocolate Factory (£7,972,168); #1 Fantastic Charlie and the Chocolate Factory £7,972,168 1st week (53.7% of top 10)
Up 76.62% from 2004 (£8,920,625); Thunderbirds (£1,350,974); Two Brothers (293,237); Before Sunset (£139,278); Cowboys and Angels (£18,806); #1 Spider-Man 2 £3,590,463 2nd week 503 screens 59% drop (40.2% of top 10)
Up 134.58% from 2003 (£6,716,741); Sinbad (£828,550); Agent Cody Banks (£534,312); Goodbye, Lenin! (£135,311) #1 The Hulk £1,384,426 2nd 500 screens 61% drop (20.6% of top 10)
Up 64.98% from 2002 (£9,549,998); Austin Powers in Goldmember (£5,585,978); The Crocodile Hunter (£266,803); Sunshine State (£25,888); #1 Austin Powers in Goldmember £5,585,978 1st week 446 screens (58.5% of top 10)
2024 Next week: (£14,436,761); Harold And The Purple Crayon (£641,549); Spider-Man RE (£253,261); BLACKPINK WORLD TOUR [BORN PINK] IN CINEMAS (£93,518); The Neverending Story (40th Anniversary) (£20,677); #1 Deadpool and Wolverine £8,021,084 2nd weeks (55.56% of top 10)
US Box Office
- The Fantastic Four: First Steps – Disney
Opened $117.64m; received positive reviews (88% Rotten Tomatoes) and A- CinemaScore
Took $24.4m from Thursday previews; Captain America: Civil War $25m; Superman $22.5m; Captain Marvel $20.7m; Marvel’s The Avengers $18.7m
After taking $57.2m on Friday including some were predicting Fantastic Four could open $130m+ but it dropped off on Saturday and Sunday with Sunday estimates $135m dropping to $117.64m on Monday, often Disney would underestimate Sunday and films would see a boost on Monday but wasn’t the case with Fantastic Four showing that its nor as fantastic as the early hype.
Fantastic Four dropped higher on Saturday, more than Superman (-33%), Thunderbolts* (-22%), Deadpool & Wolverine (-36%) and Captain America: Brave New World (-32%), showing how extended previews starting at 2 pm inflated opening day as extended previews artificially inflate UK openings.
61st biggest opening between Guardians of the Galaxy Vol. 3 and Spider-Man: Homecoming (close to The Hunger Games: Mockingjay – Part 1, Toy Story 4, Man of Steel and Spider-Man (2002).
18th biggest MCU opening between Guardians of the Galaxy Vol. 3 and Spider-Man: Homecoming (close to Iron Man 2, Thor: Ragnarok, Iron Man and Captain America: The Winter Soldier).
Almost 40% came from IMAX (14% from 418 screens), Dolby Cinema and PLF screens and 13% from 3D.
EntTelligence said it had an average ticket price of $15.77, average PLF $18.95.
The Fantastic Four 42% Under 25 / 58%; Over 25 68% Male / 32% Female; 15% Under 18 / 27% 18 – 24 / 28% 25 – 34 / 31% 35+
Superman 28% Under 25 / 72% Over 25; 65% Male / 35% Female; 8% Under 18 / 20% 18 – 24 / 33% 25 – 34 / 39% 35+
Took $26.6m worldwide from IMAX screens; US $16m and International $10.6m
It’s the fourth film this year to open with $100m+ after A Minecraft Movie $162.8m, Lilo & Stitch $146m and Superman $125m. Of them, only A Minecraft Movie opening was a slight surprise, but not compared to Super Mario Bros.
The weekend BO is up 36% from last weekend but also down 35% from last year. Deadpool & Wolverine opened $211.43m, taking $636.74m and $1.338bn worldwide.
Ahead of opening, The Fantastic Four: First Steps was tracking to open with $110m+ but Disney have a habit of underestimating and all the reviews calling it the best Fantastic Four film and the best MCU film for years helped bring out fans who hadn’t seen an MCU for a while.
It was also expected to take about $120m internationally, but that was more likely about $300m worldwide. Above Captain America: Brave New World $88.8m US and $181m WW; Thunderbolts $74m US and $162m worldwide.
The average opening of MCU films in the US is $131.5m, and the average $292.7m; 37 MCUs have taken $11bn in the US and $14.2bn, inflated.
The Fantastic Four: First Steps is the fourth Fantastic Four film since 2005, and it’s the first MCU film to focus on the X-Men characters. 20th Century Fox had owned the rights from Marvel since 1994. 20th Century Fox made 14 X-Men films between 2000 and 2020, the first X-Men and the last, 2020’s The New Mutants, which was planned by the studio to start a new trilogy of films, was dumped by Disney in 2020.
Had it not been for 20th Century Fox taking the massive gamble of making X-Men in 2000, there would have been no Spider-Man film in 2002, and Marvel wouldn’t have taken the risk to finance a series of films that was to become the MCU. In 2000, comic-book films were dead.
2005’s Fantastic Four opened $56.06m/$100.7m taking $154.69m/$277.8m and $333.53m/$598.9m WW
2007’s Fantastic Four: Rise of the Silver Surfer opened $58.05m/$97.2m, taking $131.91m/$220.7m and $301.9m/$505.1m WW
2015’s Fantastic Four opened $25.68m/$35.1m taking $56.1m/$76.62m and $167.9m/$229.22m WW
ComScore said the 2025 box office has taken $5.2 bn up 13% from the January 1-July 27 frame last year; 10% higher than last summer $2.86bn; 15% less than 019’s at the same point in time $3.3bn.
Relish Mix had billion social media interactions across TikTok, Facebook, X, Instagram and YouTube, ahead of Jurassic World Rebirth (921m) and Superman (953m); 2021’s Spider-Man: No Way Home (1.2bn) and Deadpool & Wolverine (1.15bn); Pedro Pascal 11.4m, Joseph Quinn at 5.6m, Vanessa Kirby at 2.6m and Julia Garner at 1.5m.
Disney’s campaign reached 950m household TV ad impressions compared to Superman’s 1.52bn.
Opened with $100m internationally from 44 territories and $218m worldwide; Mexico $12m; UK $10.8m; France $5.7m; Brazil $5.1m; Australia $4.8m; China $4.5m, Italy $4.3m; Spain $3.1m; Germany $3m; S. Korea $2.9m; India $2.8m; Japan $2.5m.
International opening was 13% more than Thunderbolts*; 11% Superman; 4% Captain America: Brave New World
- Superman – Warner Bros
Dropped 57% in the third weekend $24.85m and $289.49m
108th biggest third between How to Train Your Dragon and Spider-Man 2 (close to Guardians of the Galaxy Vol 1, Star Wars: Episode III – Revenge of the Sith, Night at the Museum and Jurassic World: Rebirth.
126th biggest between Monsters, Inc. and Home Alone (close to Harry Potter and the Goblet of Fire, Man of Steel, Dune: Part Two and Sinners); 4th biggest 2025 between Jurassic World Rebirth and Sinners; 37th biggest comic book film between Man of Steel and The Amazing Spider-Man; 23rd biggest Warner Bros film between Man of Steel and Dune: Part Two.
EntTelligence also said the cinema trailer was seen by 95.7m playing with A Minecraft Movie; showing the importance of the trailer before a film is still a major reason why people see films in the cinema.
Third weekends
1978’s Superman up 58.6% $10.36m/$53.5m and $40.92m/$211.3m of $134.47m/$661.5m and $300.5m/$1.5bn WW
1981’s Superman II up 1.3% $10.9m/$45.2m and $53.47m/$221.4m of $108.2m/$447.9m and $216.4m/$895.9m WW
1983’s Superman III dropped 20% $7.26m/$24.9m and $41.42m/$141.9m of $59.95m/$219.1m and $80.25m/$293.3m WW
1987’s Superman IV dropped 64.6% $1.02m/$3.1m and $13.93m/$41.1m of $15.68m/$46.2m and $30.28m/$89.2m WW
2006’s Superman Returns dropped 43.7% $12.28m/$21.6m and $164.3m/$288.9m of $200.8m/$351.6m and $391.1m/$687.3m WW
2013’s Man of Steel dropped 49.8% $20.73m/$29.4m and $248.57m/$352m of $291.1m/$412.1m and $670.14m/$948.8m WW
Took $19.8m from 79 territories $213.2m total and $502.7m worldwide; UK $29m; Mexico $20.3m; Brazil $13.9m; Australia $13.3m; France $11.5m; China $8.8m; Spain $7.9m; India $6.7m; S. Korea $6.2m; Japan $6m; Germany $5.7m; Italy $5.4m.
257th biggest worldwide between Aladdin (1992) and Venom: Let There be Carnage; 8th biggest 2025 between F1: The Movie and Captain America: Brave New World; 52nd biggest comic book worldwide between Ant-Man and Venom: Let There be Carnage (close to Iron Man, X-Men: Apocalypse, Thor and Batman) and 44th biggest Warner Bros between F1: The Movie and Twister.
- Smurfs – Paramount Pictures
Dropped 51% in the second weekend $5.45m #5 and $22.84m
2011’s The Smurfs dropped 41.9% $20.7m/$29.9m and $75.9m/$109.8m of $142.61m/$206.2m and $563.74m/$815.2m worldwide
2013’s The Smurfs 2 dropped 46.8% $9.32m/$13.2m and $46.47m/$65.8m of $71.01m/$100.6m and $347.54m/$493m worldwide
2017’s Smurfs: The Lost Village dropped 49.2% $6.71m and $24.94m of $45.02m and $197.18m WW
Took $11.2m from 58 territories, totalling $46.3m and $69.1m worldwide.
- Jurassic World: Rebirth
Dropped 44% in its fourth weekend $13.2m and $301.71m
176th biggest fourth weekend between Moana 2 and The Lorax (close to The Hunger Games: Catching Fire, Monsters vs. Aliens, Saving Private Ryan and Spectre).
Jurassic World: Dominion #107; Jurassic World: Fallen Kingdom #111; Jurassic World #16; The Lost World: Jurassic Park #173; Jurassic Park III #509; Jurassic Park #74; #206 The Lost World: Jurassic Park; #40 Jurassic Park III.
110th biggest between Harry Potter and the Half-Blood Prince and The Twilight Saga: Eclipse; 3rd biggest in 2025 between Lilo & Stitch and Superman; 15th biggest Universal Pictures between Oppenheimer and Meet the Fockers; Jurassic Park; #1 Jurassic World; #5 Jurassic World: Fallen Kingdom; #6 Jurassic Park; #7 Jurassic World: Dominion.
Fourth weekends
2015’s Jurassic World dropped 46.4% $29.24m/$39.9m and $556.54m/$759.9m of $653.4m/$892.2m; $1.018bn/$1.39bn internationally $1.671bn/$2.28bn WW
2018’s Jurassic World: Fallen Kingdom dropped 43.4% $16.19m and $363.98m of $417.71m/$527.8m; $892.74m/$1.13bn internationally and $1.31bn/$1.65bn WW.
2022’s Jurassic World Dominion dropped 38.8% $16.38m and $332.53m of $376.8m/$411.9m; $625.1m/$683.3m internationally and $1.01bn/$1.1bn worldwide
1993’s Jurassic Park dropped 31.5% $19.96m/$52.8m and $205.73m/$571.9m of $407.18m/$1.13bn; $697.1m/$1.93bn and $1.1bn/$3.1bn WW
1997’s The Lost World: Jurassic Park dropped 32.8% $12.47m/$31.3m and $190.69m/$478.2m of $229.1m/$574.5m; $389.5m/$976.9m internationally and $618.6m/$1.55bn WW
2001’s Jurassic Park 3 dropped 38.7% $7.52m/$15.3m and $160.39m/$326.2m of $181.17m/$368.4m; $187.6m/$381.5m internationally and $368.78m/$750m WW
Took $23.5m from 82 territories $416.8m total, and $718.4n worldwide; China $75.6m; UK $39.1m; Mexico $32.4m; Germany $24.8m; France $21.3m; Australia $18.3m; Spain $17m; S. Korea $15.0m.
140th biggest worldwide between The Chronicles of Narnia: The Lion, the Witch and the Wardrobe and F9: The Fast Saga; #10 Jurassic World; #23 Jurassic World: Fallen Kingdom; #45 Jurassic Park; #56 Jurassic World: Dominion; #184 The Lost World: Jurassic Park; #434 Jurassic Park III; 4th biggest worldwide between A Minecraft Movie and How to Train Your Dragon; 19th biggest Universal Pictures between Wicked and F9: The Fast Saga; #1 Jurassic World; #4 Jurassic World: Fallen Kingdom; #7 Jurassic Park; #9 Jurassic World: Dominion; #23 The Lost World: Jurassic Park; #56 Jurassic Park III.
- I Know What You Did Last Summer – Sony Pictures
Dropped 59% in the second weekend $5.2m #6 and $23.65m
1997’s I Know What You Did Last Summer dropped 20.9% $12.5m/$31.4m and $32.76m/$82.2m of $125.6m/$315m WW
1998’ I Still Know What You Did Last Summer dropped 57.5% $7.01m/$17.3m and $26.22m/$64.4m and $40m/$100.1m WW
I Know What You Did Last Summer is likely to be another teen horror that will struggle to find an audience 27 years after the release of the first film. Plans for a fourth film began in 2014, but was cancelled, and a TV series was made in 2021 instead; plans restarted for a fourth film in 2023.
The sequel ignores events of the third film, 2006’s I’ll Always Know What You Did Last Summer (which was direct-to-video). Sarah Michelle Gellar was asked if she would return in the sequel, which would be hard, as she died in the first film.
As with the original film, as original Final Destination and Scream films, the cast for the fourth film are young actors from popular TV shows.
Took $5.8m internationally $22m total, and $45.6m worldwide.
- F1 – Warner Bros
Dropped 36% in the fifth weekend $6.3m and $165.65m
399th biggest fifth weekend between Harry Potter and the Chamber of Secrets and Are We There Yet? (close to John Wick: Chapter 3 – Parabellum, The Rock, Top Gun (1986) and Kingsman: The Secret Service)
370th biggest between 2012 and Robin Hood: Prince of Thieves; 10th biggest 2025 biggest between Thunderbolts* and Final Destination: Bloodlines; 65th biggest Warner Bros film between Kong: Skull Island and Robin Hood: Prince of Thieves.
Brad Pitt has had a long and successful career to date, starring in over 50 films since starring in 1991’s Thelma & Louise. Starring in a wide mix of films, taking $3.62bn in the US and $9.25bn worldwide. 15 films to date, taking $100m+ in the US. These films include his cameo in Deadpool 2.
Fifth weekend, Brad Pitt most recently starred in
2022’s Bullet Train up 3.1% $5.78m and $86.31m of $103.36m and $239.26m worldwide
2019’s Once Upon a Time… in Hollywood dropped 34.8% $5m and $123.19m of $142.5m and $392.1m worldwide
2013’s World War Z dropped 44.3% $5.19m and $183.93m of $202.8m and $540.45m worldwide
F1 is the first film directed by Joseph Kosinski since 2022’s Top Gun: Maverick; Apple Studios acquired the film in June 2022, produced by Jerry Bruckheimer. Joseph Kosinski previously directed.
2010’s TRON: Legacy dropped 43.7% $5.67m and $156.91m of $172.06m and $400.07m worldwide
Oblivion dropped 43.2% $2.33m and $85.58m of $89.1m and $286.16m worldwide.
2022’s Top Gun Maverick dropped 33.7% $29.61m and $520.83m of $718.73m and $1.495bn worldwide
Also directed 2022’s Spiderhead, released on Netflix
F1 has become Apple Studios’ highest-grossing film worldwide, overtaking Killers of the Flower Moon ($158m; Napoleon $221m; Fly Me to the Moon $42m; Argylle $96m.
2019’s Ford v. Ferrari dropped 38.7% $4.08m and $98.18m of $117.62m and $226.29m worldwide
F1 has a lot of similarities in plot to Tom Cruise’s 1990s Day of Thunder, taking $82.67m/$225.5m and $157.92m/$430.8m worldwide.
Took $20m from 78 territories and $344.1m and $509.7m worldwide; China $51.4m; UK $26.7m; France $24.7m; Mexico $18.7m; S. Korea $18.7m; Australia $16.5m; Germany $13.5m; Taiwan $13.2m; India $12.3m; Japan $11.9m; U.A.E. $9.1m; Spain $8.6m.
252nd biggest worldwide between Toy Story 2 and Demon Slayer: Kimetsu no Yaiba; 7th biggest in 2025 between Mission: Impossible—The Final Reckoning and Superman; 43rd biggest Warner Bros worldwide between Dunkirk and Superman..
UK Box Office Top 10
UK Box Office Preview
After taking about £1m a day Mon-Thurs, The Fantastic Four: First Steps will hold #1 for a second weekend, dropping about 60% from its opening weekend, taking £2.9m-£3.5m
Similar to 2014’s Guardians of the Galaxy dropped 47.6% £3,332,179 and £13,840,330, 48.9% of £28,326,152
2010’s Iron Man 2 dropped 58.1% £3,214,776 and £15,090,463 72.1% of £20,923,193
2023’s Ant-Man and the Wasp: Quantumania dropped 65.5% £3,049,939 and £14,653,459, 76.1% of £19,263,938
2013’s Thor: The Dark World dropped 65.6% £2,979,564 and £13,973,977, 70.9% of £19,711,938
2025’s Captain America: Brave New World dropped 54.3% £2,927,599 and £13,212,979, 74.4% of £17,749,330
2014’s Captain America: The Winter Soldier dropped 54.2% £2,764,030 and £10,933,395, 56.7% of £19,261,224
It remains to be seen whether female audiences will attend The Fantastic Four: First Steps, considering that over 15 million people watched England’s European Championship win last Sunday on BBC1 and ITV. However, some might have chosen to watch the game between Thursday and Saturday. Historically, comic-book films have attracted a larger proportion of viewers under 35, particularly men.
The Naked Gun is the fourth instalment in the Naked Gun film series. In 2013, Paramount Pictures announced plans for a reboot, casting Ed Helms with the working title ‘The Naked Gun: Episode IV: A New Hope’. In 2015, David Zucker was offered a producing role but declined, citing concerns about replicating the original without involvement from its creators.
In 2021, Seth MacFarlane joined as producer and cast Liam Neeson as Frank Drebin Jr. Upon viewing the trailer in April, David Zucker publicly expressed that he did not intend to see the remake. Trailers suggest that Liam Neeson’s portrayal may draw references from his previous roles, such as Bad Cop/Good Cop from The Lego Movie.
1989’s The Naked Gun opened £1,061,570/£3,631,207, taking £7,740,553/£26,477,342
1991’s The Naked Gun 2 ½: The Smell Of Fear opened £1,594,006/£4,192,814 taking £7,962,029/20,943,027
1994’s The Naked Gun 33 1/3 The Final Insult opened £1,341,696/£3,290,251 taking £5,264,981/£12,911,353
Legacy comedy sequels have struggled to find similar success, as seen with films like Bill & Ted Face the Music, Vacation, Men in Black International, Anchorman 2: The Legend Continues, Zoolander 2, Dumb and Dumber To, The Pink Panther, Blues Brothers 2000, Coming 2 America, and Beverly Hills Cop: Axel F.
It would be like making a modern sequel to Blazing Saddles, Police Academy, Airplane!, or Hot Shots. It will be interesting to see what Mel Brooks does with Spaceballs 2, as Rick Moranis and Bill Pullman will return. It will be 32 years since Mel Brooks directed his last film, Dracula: Dead and Loving It. It’s been 20 years since The Producers film remake flopped at the box office, despite audiences loving the stage show and the original film.
Premiere reaction was incredibly positive, but as always, I need to take it with a pinch of salt as reactions are hyperbolic nonsense, with actual reviews far less gushing, while it’s been 31 years since the last Naked Gun film, but reviews have been possible will younger unfer 35s be iterested?
Also opening is horror Bring Her Back, having previews since last Saturday (£268k), having a 9-day opening weekend. Many horrors have struggled to find an audience this year, but with its extended openings could open with about £1m.
Another A24 film, The Legend Of Ochi, finally opens after several delays will struggle to find an audience.
Superman will drop 50%+ in its fourth weekend, taking about £1m.
With The Bad Guys 2 down about 30% in its second weekend, taking £1.1m-£1.3m
And both Jurassic World: Rebirth and F1 are dropping 50% in their fifth and sixth weekends.
Opening in three weeks
- Materialists – Sony Pictures
Romantic comedy starring Dakota Johnson, Chris Evans, and Pedro Pascal and directed by Celine Song. It’s Celine Song’s second film after 2023’s Past Lives opened £515,509 216 screens taking £2,476,499.
It was released in the US, receiving positive reviews via A24, opening $11.33m, taking $36.22m and $52.02m worldwide; Sony Pictures acquired international rights.
Materialists shares similar themes to Past Lives as well as films like Sweet Home Alabama, Broadcast News and Pride and Prejudice.
Celine Song will write the screenplay for a legacy sequel to 1997’s My Best Friend’s Wedding. 2023’s Anyone But You, starring Sydney Sweeney and Ben Glen Powell, was seen as a sorta sequel to My Best Friend’s Wedding.
The My Best Friend’s Wedding sequel will be released in 2027, similar to many legacy sequels like The Devil Wears Prada 2, set for release next year and Spaceballs 2, set for release 40 years after the original film.
- Nobody 2 – Universal Pictures
Action thriller sequel to 2021’s Nobody starring Bob Odenkirk, Connie Nielsen, Michael Ironside, Colin Salmon, Billy MacLellan, Christopher Lloyd, Colin Hanks and Sharon Stone and directed by Timo Tjahjanto.
2021’s Nobody opened £574,399 taking £1.27m
The first film opened closer to action films The Hitman’s Wife’s Bodyguard and F9 soon after cinemas reopened after the second COVID lockdown, but unlikely the sequel will do much better.
- Together – Entertainment Films
Supernatural horror starring Dave Franco and Alison Brie and directed by Michael Shanks.
Together premiered at the 2025 Sundance Film Festival after receiving strong word-of-mouth. There was a bidding war, and Neon acquired world rights for $17m. The film has received positive reviews, but many horror films have struggled to find an audience this year.
- The Life Of Chuck – Studiocanal
Fantasy drama featuring Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mia Sara, Carl Lumbly, Benjamin Pajak, Jacob Tremblay, and Mark Hamill, directed by Mike Flanagan. The film is based on the novella by Stephen King.
The Life of Chuck premiered at the Toronto Film Festival, where it won the People’s Choice Award. The film holds an 81% approval rating on Rotten Tomatoes and was supported by an extensive screening program. Despite these factors, the release in the US in June experienced limited audience engagement, and similar results are anticipated for the UK release.
Mike Flanagan has previously directed other Stephen King adaptations, including Gerald’s Game (2017) and Doctor Sleep (2019), as well as Oculus, Before I Wake, and Ouija: Origin of Evil.
- The Thursday Murder Club – Netflix
A crime comedy featuring an ensemble cast that includes Helen Mirren, Pierce Brosnan, Ben Kingsley, Celia Imrie, David Tennant, Jonathan Pryce, Naomi Ackie, Daniel Mays, Paul Freeman, and Richard E. Grant. Chris Columbus directs the film, adapted from Richard Osman’s 2020 novel.
The film is scheduled for a limited theatrical release before its debut on Netflix the following week. The Thursday Murder Club, adapted from a best-selling novel and featuring a distinguished British cast, has potential for strong box office performance. However, major cinema exhibitors have declined to screen the film due to its imminent Netflix release.
Cinemas Need All the Help They Can Get – So Why Alienate Netflix?
Cinemas are struggling, yet they continue to make self-defeating decisions. A perfect example is the handling of The Thursday Murder Club—a film that should have been a major theatrical opportunity. Instead of begging Netflix for a wide release (or at least negotiating a sensible window), exhibitors have once again taken a hardline stance. But after years of antagonising Netflix—lobbying against day-and-date releases, refusing to play their films without lengthy exclusivity—why should Netflix do cinemas any favours?
US exhibitors often claim they’d love to show Netflix films—but only on their terms. They demand prolonged theatrical windows, even though forcing a streaming-first studio into traditional release patterns is commercial suicide. Netflix’s model relies on immediate global availability; locking their films into months of exclusivity risks them underperforming in cinemas and failing to find their audience on streaming. We’ve already seen this with Apple’s theatrical experiments—aside from F1, most of their films disappeared without a trace.
The Thursday Murder Club is exactly the kind of film cinemas should be fighting for. It’s tailor-made for the 50+ demographic—a loyal cinema-going audience that’s chronically underserved. With its A-list cast (Helen Mirren, Pierce Brosnan, Ben Kingsley), the massive popularity of Richard Osman’s books, and the enduring appeal of cosy murder mysteries, this film could have been a significant draw. Even if Netflix planned to release it on streaming after a week, a UK theatrical run could have tapped into the 40% of Brits who don’t subscribe to Netflix—many of whom are older viewers.
Instead, exhibitors have predictably cut off their nose to spite their face. Their hypocrisy is glaring; they’re happy to screen Doctor Who as “event cinema” even when it airs simultaneously on BBC One. If simulcasts don’t kill the big-screen experience for Whovians, why couldn’t The Thursday Murder Club get the same treatment? The truth is that cinemas are clinging to outdated rules while ignoring pragmatic solutions. If they keep refusing to adapt, they’ll only have themselves to blame when streaming leaves, them behind for good.
- Eddington – Universal Pictures
Western black comedy starring Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Micheal Ward, Austin Butler, and Emma Stone and directed by Ari Aster.
Had its world premiere at the Cannes Film Festival and received positive reviews; opened in the US I July $4.4m, taking $6.91m and $7.44m worldwide.
Ari Aster previously directed Hereditary, Midsommar, and Beau Is Afraid.
How do you think “Superman” (2025) would have opened without the hot weather that weekend? There seemed to be a large Box Office rebound last week afterwards.
It was a start of school holidays bounce that always happens at the start of the summer hols, it was more than these drops slightly lower, as the issue was these films Jurassic World Rebirth, Superman and Fantastic Four all target same demographic they should have been split up, like had Elio been switched with Fantastic Four it would has had bigger gaps between these films. It’s more due to dating mistakes like as all studios use the same AIs giving them the same dating advice?