- Wuthering Heights £3,878,031 – £16,282,903
Dropped 49.4% in its second weekend.
£1.3m 33.5% (-40.9% £2.2m) Fri; £1.46m 37.6% (-55.6% £3.29m) Sat; £1.11m 28.8% (-46.8% £2.1m) Sun
167th biggest second weekend between The Amazing Spider-Man and Logan (close to The Little Mermaid (2023), Life of Pi, The Housemaid and The Wolf of Wall Street) and 307th biggest inflated second weekend between Mr Bean’s Holiday and Twister (close to Charlie’s Angels (2000), Forrest Gump, Slumdog Millionaire and The Beach).
7th biggest second weekend over the last 52 weeks between Zootropolis 2 and The Housemaid (close to Mission Impossible 8, Jurassic World Rebirth, The Fantastic Four and F1).
Wuthering Heights was playing in 758 cinemas and 1,371 screens.
30 years ago, Baz Luhrmann directed Romeo and Juliet, starring Leonardo DiCaprio and Claire Danes. It was set in modern times but kept all the key elements of the film and the Shakesperen text, and it has beloved audiences ever since.
1997’s Romeo + Juliet dropped 2.8% £681,563/£1,341,356 and £2,069,893 27.8% of £7,438,055/£14,638,531
Romeo + Juliet was made for 14-year-old girls studying the play for English Literature, and as Leonardo DiCaprio was 21 and Clare Danes was 17, they were close to the age of Romeo and Juliet, and the film played strongly to the 14-year-old girl. This was similar to a year later, when Leonardo DiCaprio and Kate Winslet played characters that were also close to their age, and a 14-year-old girl went to see Titanic again and again and again in the cinema.
2013’s The Great Gatsby dropped 51.4% £1,972,425/£2,419,468 and £8,424,006 54.5% of £15,446,265/£18,947,103
English period romance dramas have been a mainstay of cinema for decades, as they have a nostalgic element to dating that began with courtship, etiquette, letters, and lingering glances rather than the immediate physicality of swiping on an app.
Emerald Fennell’s previous films, 2020’s Promising Young Woman, didn’t have a UK cinema release due to COVID and were released on Sky Cinema; 2023’s Saltburn dropped 31.9% £572,728 and £3,156,661, 56.6% of £5,577,963.
2015’s 50 Shades of Grey dropped 66.1%, £4,597,092/£5,107,172 and £25,242,636 72.8% of £34,662,255/£38,508,275
2017’s Fifty Shades Darker dropped 54.5% £3,437,448/£3,676,096 and £16,712,705 73.6% of £22,694,878/£24,270,490
2018’s Fifty Shades Freed dropped 55.4% £2,730,197/£3,028,930 and £13,361,739 73.98% of £18,060,783/£20,036,963
While last year, Bridget Jones: Mad About The Boy dropped 44% £6,893,703 and £27,341,739, 59% of £46,367,473
11 years ago, Fifty Shades of Grey opened Valentine’s Day weekend at £13,550,290 (took £4.61m Friday), taking £38,570,543/£42,368,752; Fifty Shades Darker opened £7,906,468, and Fifty Shades Freed £6,132,414.
Modern versions include.
2019’s Little Women dropped 27.4% £2,599,137/£2,883,530 and £9,093,471 42.7% of £21,283,939/£23,612,791
2020’s Emma 29.3% £1,156,256/£1,308,137 and £4,571,310 61.3% of £7,455,943/£8,435,325 (COVID affected)
2005’s Pride And Prejudice dropped 23.5% £1,934,083/£3,289,173and £6,406,188 44% of £14,562,448/£24,765,437
1996’s Sense and Sensibility up 1.9% £641,529/£1,262,567 and £1,828,908 13.4% of £13,605,627/£26,776,676
1995’s Little Women dropped 16.2% £354,582/£816,150 and £1,181,295 37% of £3,143,960/£7,236,529
Had Emerald Fennell made Wuthering Heights for the 14-year-old girl she was, it would have been comparable to these other period films and have similar legs, but playing into the Promising Young Woman and Saltburn, it was always likely to drop off similarly to 50 Shades of Grey.
427th biggest between Ant-Man and The Smurfs (close to Downton Abbey: The Grand Finale, About A Boy, Forrest Gump and Casper) and 736th biggest inflated between Patriot Games and Sommersby (close to War of the Roses, Cold Mountain, Belfast, and Walk the Line).
15th biggest over the last 52 weeks between The Conjuring: Last Rites and Sinners (close to F1, Hamnet, Marty Supreme and 28 Years Later).
One of the reasons Warner Bros acquired Wuthering Heights is to show that after the criticism they received from Christoper Nolan, who saw him move to Universal Pictures to make his next two films (Oppenheimer and The Odyssey) after a long history with the studio. Over the last year, they have made Mickey 17 (Bong Joon Ho), Sinners (Ryan Coogler), Weapons (Zach Cregger), One Battle After Another (Paul Thomas Anderson), F1 (Joseph Kosinski), and The Bride! (Maggie Gyllenhaal), Flowervale Street (David Robert Mitchell), Digger (Alejandro G. Iñárritu).
Fifteen original, auteur-driven films in two years. Two of them are sweeping the BAFTAs. Twenty-nine Oscar nominations between them. Directors like Bong Joon Ho, Paul Thomas Anderson, Ryan Coogler, Maggie Gyllenhaal, Emerald Fennell and Alejandro G. Iñárritu, Dall making films at Warner Bros.
While Disney have concentrated on tentpoles, many of these original films will last in the memory of audiences watching them for years to come, while most of Disney’s films will be instantly forgotten once they have left the cinema.
They have more similar original films to their slate for the next two years; this doesn’t look like a studio that could be sold and become a production hub within another studio. This looks like a studio that believes in its own future. That trusts its filmmakers. That understands that the only thing that lasts is the work itself.
Charli XCX soundtrack album is the #1 with singles Chains of Love #17; Dying for You #27; Always Everywhere #33.
- 2. Goat £2,769,663 – £10,537,362
Dropped 20.9% in its second weekend (up 24% without previews)
£1.2m (43.3%) (up 205.3% £393k) Fri; £914k 33% (-3.9% £951k) Sat; £655k 23.6% (-24.8% £871k) Sun
294th biggest second weekend between Monsters University and Marty Supreme (close to Johnny English Strikes Back, Cats and Dogs, High School Musical 3 and Godzilla) and 537th biggest inflated second weekend between Red Dragon and Marty Supreme (close to The Haunted Mansion (2004), Cheaper by the Dozen, Rocketman and Fantastic Four (2005)..
17th biggest second weekend over the last 52 weeks between Marty Supreme and Sinners (close to How To Train Your Dragon, The Conjuring: Last Rites, 28 Years Later and Thunderbolts).
57th biggest animation second weekend between Monsters University and How to Train Your Dragon 3 (close to Monsters vs. Aliens, Kung Fu Panda, Zootropolis and Despicable Me), and 86th biggest inflated animation second weekend between Hercules and The Lego Movie: The Second Part (close to Ice Age, Big Hero 6, The Rugrats Movie and The Little Mermaid (1990).
A similar second weekend to
2009’s Monsters Vs. Aliens dropped £2,827,416/£4,163,162 and £11,530,625 54.6% of £21,113,359/£31,087,869
2008’s Kung Fu Panda dropped 53.6% £2,812,094/ £4,331,706 and £10,877,368 55.4% of £19,634,723/£30,245,025
2019’s How to Train Your Dragon: The Hidden World dropped 48.3% £2,750,729/£3,051,709 and £9,055,241, 45.9% of £19,714,201/£21,871,295
2016’s Zootropolis dropped 48.4% £2,734,493/£2,955,909 and £12,597,202 52.96% of £23,786,172/£25,712,178
2024’s Migration dropped 31% £2,468,390/£2,554,497 and £6,664,960 31.4% of £21,238,435
2021’s Space Jam: A New Legacy up 2.4% £1,397,044 and £3,613,143 28.1% of £12,856,288
1997’s Space Jam dropped 7.5% £1,356,389/£2,669,454 and £4,343,740 37.3% of £11,648,511/£22,924,957
Last week was half-term, and Goat took about £1m Mon-Fri; over the last 9 days, Goat has held steadily, taking similar BO each day; Sat £951k; £871k Sun; £989k Mon; £927k Tues; £1.13m Weds; £1.19m Thurs; £1.2m Fri; £914k Sat; £655k Sun. With half-term over, it will drop off Mon-Fri, taking most of its BO Sat/Sun. The next major animated film is Hopper’s opening in two weeks from Pixar, and then have Toy Story 5Vs Minions 3 opening only two weeks apart in June/July.
- 3. Crime 101 £763,941 – £2,959,861
Dropped 45.7% in its second weekend (40% drop without previews)
£239k 31.3% (-19.3% £296k) Fri; £324k 42.4% (-46.4% £604k) Sat; £200k 26.2% (-45.4% £366k) Sun
1,484th biggest second weekend between Planet 51 and My Sister’s Keeper (close to The Recruit, Edge Of Darkness, Side Effects and Casino) and 2,060th biggest inflated second weekend between Avatar (re-release) and The Angry Birds Movie 2 (close to Roadhouse, Horrible Bosses 2, Working Girl and Consenting Adults).
43rd biggest second weekend over the last 52 weeks between Elio and Black Bag (close to The Amateur, Send Help, The Running Man and The Black Phone 2).
Similar films include.
1996’s Heat dropped 16.7% £1,352,356/£2,661,516 and £4,179,152 43% of £9,717,993/£21,038,142
1999’s Entrapment dropped 48.2% £712,283/£1,355,199 and £2,854,838 49.5% of £5,770,948/£10,979,880
2004’s Collateral dropped 36.1% £1,429,574/£2,550,309 and £4,799,173 58.6% of £8,192,302/£14,614,775
1999’s The Thomas Crown Affair dropped 23.6% £699,800/£1,331,448 and £2,363,964 41.1% of £5,752,380/£10,944,552
Crime 101 is interesting in that it knows it’s standing on the shoulders of giants. The characters discuss The Thomas Crown Affair. Director Bart Layton told Mashable, “You’re always looking for a way to smuggle in the layers. Crime capers or especially the structure of a heist film is great because you’re kind of positing a question at the beginning that an audience knows they’re not getting the answer to until like the third act.”
Following on from Amazon/MGM’s Mercy, (opened in January), it feels like their approach to making original films is using an algorithm/Moneyball approach, having a high concept idea and then add recognisable cast, and what you get is a 90s style film that now finds a much wider audience on streaming as seen by films like Carry-On and Heart of Stone, but sometimes this works as seen by the critical reaction to Crime 101 and the good opening.
30 years ago, last weekend, Trainspotting, Casino and Sense and Sensibility opened (new version is released in September), and it was the second weekend of Heat. The top 15 films took £7.6m with 2.2m admissions compared to £11m and 1.3m admissions last weekend, while the inflation-adjusted top 15 would be about £16.5m.
- 4. Zootropolis 2 £681,132 – £35,754,548
Up 51.7% in its thirteenth weekend
£295k 43.3% (+514.58% £48k) Fri; £225k 33% (+6.13% £212k) Sat; £161k 23.6% (-13.9% £187k) Sun
Returning to the top five for an encore over half-term due to a lack of family films opening since Zootropolis 2 opened in November, which saw it last much longer in cinemas and three weeks after being released on VOD.
On Sunday, it won Best Animated Film at the BAFTAs, highlighting the lack of animated films that were again released last year in cinemas.
125th biggest between Jurassic World: Rebirth and Twilight: Breaking Dawn – Part 2 (close to Jumanji: The Next Level, Die Another Day, Inception and Ice Age III) and 256th biggest inflated between Black Panther Wakanda Forever and The Fugitive (close to Life of Pi, Madagascar: Escape 2 Africa, Jurassic Park 3 and Armageddon).
While Zootropolis 2 has taken $1.85bn worldwide including $650m from China it should have surely taken more in than the original film in the UK £23,786,172/£25,712,178 and US up 19.5% $424m Vs $341.3m especially if you compare it to other Disney animated sequels and that it has hadn’t any competition for over 3 months, the Chinese BO has surely made it look like its far bigger than it really is especially when you compare it to the sequels to come.
The next animated films are Pixar’s Hoppers in March, The Super Mario Galaxy Movie in April, Toy Story 5 in June, Minions & Monsters in July, The Cat in the Hat and Hexed in November and The Angry Birds Movie 3 in December.
- 5. The Secret Agent £416,158 – NE
Includes £169,560 from previews.
Taking £246k Fri-Sun, it would have been 11th in the chart for weekend BO alone, below the ninth weekend of The Housemaid, £256,964, taking £31,721,141 and ahead of BAFTA-winning Hamnet, seventh weekend £186,229, taking £18,039,444.
Opened in 142 screens, more than half of all of the other films in the top 10 and a third of the screens of the films in the top 5.
For months, The Secret Agent was seen as the favourite to win Best Foreign Film at the BAFTAs after having its world premiere at the Cannes Film Festival, receiving a 13-minute standing ovation and widespread acclaim and winning Best Actor, Best Director and Best Film.
It received two BAFTA nominations for Best Foreign Film and Best Original Screenplay, and four Oscar nominations for Best Film and Best Foreign Film. Best Casting and Best Actor, but Sentimental Value won Best Foreign Film, and Best Original Screenplay was won by Sinners.
After not winning Best Foreign Film at the BAFTAs and having a preview-inflated opening, it will have its showtimes cut in its second weekend.
Opened in the US in November on limited release, taking $2.9m to date over 10 weeks playing in 145 screens, the widest so far and $6.9m internationally.
Also opened
Exhibitors often talk about a lack of films, but last weekend, six wide new releases were targeting different audiences, and they all struggled to find an audience. A decade or more ago, they would have all found far bigger audiences. All of these films aren’t the ones audiences rush out to see over opening weekend, but they all won’t last more than a week in cinemas.
• Cold Storage – £399,675 #6 from 479 screens
Sci-fi virus comedy horror starring Georgina Campbell, Joe Keery (Stranger Things) and Liam Neeson and based on a novel by David Koepp. David Koepp described it as “has everything I’d want to see in a movie; it’s scary, funny, exhilarating, surprising, and riotously entertaining”.
• Good Luck, Have Fun, Don’t Die – £278,957 #10 from 345 screens
Sci-fi action-adventure comedy starring Sam Rockwell and Juno Temple and directed by Gore Verbinski.
Gore Verbinski. previously directed 1997’s Mouse Hunt, 2001’s The Mexican, 2002’s The Ring, 2003’s Pirates of the Caribbean: The Curse of the Black Pearl, 2005’s The Weather Man, 2006’s Pirates of the Caribbean: Dead Man’s Chest, 2007’s Pirates of the Caribbean: At World’s End, and 2011’s Rango. But then directed the flop 2013’s The Lone Ranger and has only directed one film since the 2016 horror A Cure for Wellness. (it opened the same weekend)
Premiered at the Fantastic Fest, receiving positive reviews and had an international premiere at the Berlin Film Festival
From the trailers of both Good Luck, Have Fun, Don’t Die and Cold Storage, feel like they should be a double bill, and in comparison to other films released, feel like b-movies reminding me of Joe Dante’s 1993 film Matinee. The question is, will audiences come out to see such quirky films, completely outlandish, similar to 2023’s Cocaine Bear and films like Tremors.
Over the years, there have been Snakes on a Plane, Sharknado, Attack the Block, Lake Placid, Arachnophobia, Anaconda, Eight-Legged Freaks, The Relic, The Puppet Masters, Piranha 3D, Grindhouse and Colossal.
- The Moment – £324,352 #9 from 451 screens
Mockumentary starring Charli XCX, Rosanna Arquette, and Alexander Skarsgård; had its world premiere at the Sundance Film Festival, receiving mixed reviews.
• Wasteman – £330,866 #8 from 333 screens
Prison thriller starring David Jonsson and Tom Blyth and directed by Cal McMau.
Received world premiere at the Toronto International Film Festival; reviews described it as raw and brutal, but it is nothing much else, so unlikely to find an audience in cinemas.
- If I Had Legs I’d Kick You – £126,968 #15 from 77 screens
Received critical acclaim with a strong performance from Rose Byrne
- A Knight’s Tale (25th Anniversary – 4K Restoration)
Opened £47,427 from 218 screens #22.
A Knight’s Tale originally opened at the end of August 2001 with £1,678,264/£3,247,076 from 377 screens, taking £6,909,651/£13,368,673.
In 2002, Sony Pictures admitted to creating a fake film critic called David Manning who would write positive reviews for all of their films, including A Knight’s Tale, Hollow Man, and The Animal. With Wuthering Heights, Warner Bros has admitted to paying 2,000 influencers, so it’s still happening, but with studios connecting with “influencers” which has frustrated many critics as studios seem to focus on influencers inviting them to early preview screenings.
A Knight’s Tale was a fun, enjoyable film, but was overshadowed by Moulin Rouge, which also used modern music in a historical setting, opening the following week in the UK (£2,403,378/£4,650,014 taking £18,166,288/£35,147,818.
And I Swear returned into 108 screens ahead of the BAFTA Awards on Sunday, taking £18,029 #38 and £6,156,641. I Swear won Best Actor, Best Casting and Robert Aramayo won Best Rising Star, but caused controversy when Tourette syndrome activist John Davidson shouted racial abuse at Delroy Lindo and Michael B Jordan presenting an award.
Director Kirk Jones decided to fiance the film himself after having a conversation with a sales agent who told him to “bring the C-word down and the F-word down.” But Kirk Jones said the swearing has turned out to be a non-issue for audiences. saying “I haven’t seen one single comment about the swearing.” Kirk Jones was nominated for Best Newcomer award in 2000 for directing Waking Ned.
The film went on to be acquired by StudioCanal on the strength of a trailer, sell to most territories worldwide, and receive six BAFTA nominations, including Outstanding British Film and Best Original Screenplay. 16 years The King’s Speech also featured swearing i a key scene but that had no impact on its critical reception, Oscar and BAFTA awards and BO, but it did need US funding to be made. The King’s Speech famously featured a torrent of profanity (44 F-bombs) . This wasn’t gratuitous; it was the pivotal scene where the King, through swearing, finally finds his voice.
The BBC broadcast it unbleeped a couple of hours later, while there was no apology from BAFTA immediately after the outburst. Delroy Lindo and Michael B Jordan were probably unaware of the film, so it was the last thing they expected to hear, presenting an award at the prestigious BAFTA awards, having flown thousands of miles to be there.
As John Davidson said after the ceremony: “There was a microphone just in front of me, and with hindsight I have to question whether this was wise.” You do have to ask if BAFTA deliberately this for the mics did to pick up an attack, as events like these are rehearsed to the minute so would have known who was sitting with a mic near them.
—-
BO is currently 1% ahead of 2025; January BO was about £106m with 11.1m admissions.
The weekend’s top 10 box office took £10,184,519, down 33.9% from last weekend’s £15,414,193: 1,271,476 admissions, down 33.9% from 1,924,369 admissions.
29th biggest weekend of the last 52 weeks between 05 September 2025 #1 The Conjuring: Last Rites £6,777,552 (64.81%) and 25 April 2025 #1 A Minecraft Movie £2,492,087 (24.70%)
117th biggest since cinemas reopened out of 275 weeks between 17 January 2025 #1 A Complete Unknown £2,616,302 (25.58%) and 02 February 2024 #1 Migration £3,577,676 (35.17%)
644th biggest top 10 of the last 24 years (out of 1,246) between 04 December 2009 #1 Paranormal Activity £1,839,273 (18.04%) and 02 February 2024 #1 Migration £3,577,676 (35.17%) and 944th biggest inflated between 04 April 2008 #1 27 Dresses £1,028,661 (15.53%) and 14 December 2001 #1 Harr Potter and the Philosopher’s Stone £2,391,251 (45.55%)
The top 3 took £7,411,635 (72.8%) of the top 10; Wuthering Heights 38.08% (£3,878,031); Goat 27.2% (£2,769,663); Crime 101 7.5% (£763,941)
516th biggest percentage share #1 (38.08%) between 14 January 2022 #1 Spider-Man No Way Home £3,215,166 (38.11%) and 18 October 2002 #1 XXX £3,435,891 (37.98%)
740th biggest admissions (484,149) between 06 April 2007 #1 Mr Beans Holiday £2,451,283 (34.89%) and 16 August 2024 #1 Alien: Romulus £3,741,287 (28.18%)
Down 32.71% from 2025; (£15,135,253); The Monkey (£1,070,404); I’m Still Here (£486,391); The Importance Of Being Earnest – NT Live 2025 (£341,209); #1 Bridget Jones: Mad About The Boy £6,893,703 734 screens 2nd weekend (45.55% of top 10)
Up 26.64% from 2024; (£8,042,310); Wicked Little Letters (£1,642,777); Demon Slayer: No Yaiba – To The Hashira Training (£641,878); Vanya – NT Live 2024 (£327,444); #1 Bob Marley: One Love £2,387,019 2nd week 66% drop 713 screens (29.7% of top 10)
Up 14.82% from 2023; (£8,869,711); Cocaine Bear (£1,581,128); What’s Love Got To Do With It? (£1,082,163); #1 Ant-Man and the Wasp: Quantumania £3,049,939 2nd week 65% drop 681 screens (34.39% of top 10)
Up 1.09% 2022 (£10,074,422); The Duke (£992,659); Cyrano (£398,650); The Godfather: 50th Anniversary (£267,096); Studio 666 (£135,385); #1 Uncharted £3,084,102 3rd week 631 screens 18% drop (30.6% of top 10)
2021 Lockdown
Down 26.53% 2020; (£13,862,134); The Call Of The Wild (£1,465,400); Like A Boss (£520,059); Brahms: The Boy II (£506,773); Greed (£369,028); Swan Lake – Bolshoi Ballet 2020 (£194,536); #1 Sonic The Hedgehog £4,171,244 2nd week 634 screens 12% drop (30.1% of top 10)
Up 9.57% from 2019: (£9,295,306); Cold Pursuit (£631,467); based on Sex (£458,914); Capernaum (£140,770); #1 The LEGO Movie 2 £2,410,824 3rd week 661 screens 2% drop (25.9% of top 10)
Down 35.30% from 2018; (£15,994,745); Lady Bird (expansion) (£1,233,508); I, Tonya (£1,049,551); Finding Your Feet (£923,220); La Boheme – Met Opera 2018 (£309,799); #1 Black Panther £6,859,230 2nd week 599 screens 61% drop (42.9% of top 10)
Down 9.95% 2017: (£11,360,198); Patriots Day (£843,380); A Cure for Wellness (£409,540); Rusalka – Met Opera 2017 (£215,774); Within (£8,364); #1 The LEGO Batman Movie £2,893,337 3rd week 610 screens 35% drop (25.4% of top 10)
Down 37.22% 2016: (£16,221,692); How To Be Single (£1,876,539); Triple 9 (£812,619); The Finest Hours (£247,643); #1 Deadpool £5,694,280 2nd week 571 screens 59% drop (35.1% of top 10)
Down 29.68% 2015; (£14,483,939); The Wedding Ringer (£990,445); Project Almanac (£868,030); Blackhat (£147,199); The Duke Of Burgundy (£43,155); Cake (£114,316); #1 Fifty Shades of Grey £4,597,092 2nd week 596 screens 66% drop (31.7% of top 10)
Down 24.38% 2014: (£13,831,826); A New York Winter’s Tale (£257,634); Peter Grimes – English National Opera 2014 (£145,097); Nymphomaniac Part 1 (£143,282); Stalingrad (£33,289); The Godfather: Part 2 (Re: 2014) (£9,583); #1 The Lego Movie £5,978,904 2nd week 552 screens 26% drop (43.2% of top 10)
Down 0.90% 2013: (£10,277,378); Mama (£1,512,297); Cloud Atlas (£544,725); Song for Marion (£456,714); Hardy Bucks: The Movie (£152,775); To the Wonder (£96,645); #1 Wreck-It Ralph 3rd week (2-weeks #1 split by one) £3,420,196 540 screens (33.3% of top 10)
Down 5.18% 2012: (£10,741,377); The Best Exotic Marigold Hotel (£2,222,051); Safe House (£2,142,872); One for the Money (£316,762); Black Gold (£11,004); #1 The Woman in Black £2,432,580 3rd week 451 screens 31% up (22.6% of top 10)
Down 26.33% 2011; (£13,823,666); I am Number Four (£1,628,523); No Strings Attached (£978,974); West is West (£758,226); Drive Angry (£651,344); The Rite (£626,159); Animal Kingdom (£155,081); #1 Gnomeo and Juliet £2,502,806 3rd week 1st #1 487 screens 13% up (18.1% of top 10)
Up 9.67% 2010: (£9,286,544); The Crazies (£1,194,207); Leap Year (£728,251); From Paris with Love (£678,950); Extraordinary Measures (£131,759); Everybody’s Fine (£68,948); Capitalism: A Love Story (£29,595); #1 Avatar £2,260,319 11th week (10 weeks #1 with week gap) 398 screens (24.4% of top 10)
Down 19.27% 2009; (£12,615,837); Confessions of a Shopaholic (£2,846,622); Push (£625,300); Gran Torino (£332,877); Che: Part Two (£92,320); Cadillac Records (£16,093); #1 Bolt £3,006,050 2nd week 494 screens 45% drop (23.8% of top 10)
Up 21% 2008; (£8,417,049); Be Kind Rewind (£1,388,146); Rambo (£1,247,195); #1 Jumper £1,513,088 2nd week 421 screens 51% drop (18% of top 10)
Up 8.17% 2007: (£9,415,236); The Number 23 (£1,206,087); The Good Shepherd (£629,863); School for Scoundrels (£340,984); #1 Hot Fuzz £3,297,539 2nd week 432 screens 44% drop (35.1% of top 10)
Up 36.85% 2006; (£7,442,296); Date Movie (£1,288,089); Lucky Number Slevin (£1,074,550); Capote (£236,444); The Fog (£210,525); #1 Date Movie £1,288,089 1st week 354 screens (17.3% of top 10)
Up 47.43% 2005: (£6,908,179); Hide and Seek (1,594,508); Coach Carter (£469,062); The Life Aquatic with Steve Zissou (expansion) (£455,722); Hotel Rwanda (£81,476); #1 Hide and Seek £1,594,508 1st week 345 screens (23.1% of top 10)
Up 26.30% 2004; (£8,063,782); Sex Lives of the Potato Men (£353,726); #1 The Haunted Mansion £1,564,558 2nd week 1st #1 364 screens 7% drop (19.4% of top 10)
Up 3.90% 2003 (£9,802,035); The Ring (£2,200,084); The One and Only (£61,413); #1 The Ring £2,200,084 1st week 396 screens (22.4% of top 10)
Down 17.34% from 2002: (£12,321,631); Ali (expansion) (£1,315,506); Don’t Say A Word (£597,896); Charlotte Grey (£450,229); A Beautiful Mind (limited) (£186,862); #1 Monsters, Inc. £4,234,293 3rd week 498 screens 26% drop (34.3% of top 10)
2025 Next week: (£8,438,548); The Last Showgirl (£384,166); Attack On Titan: The Last Attack (£331,879); Jesus Christ Superstar: Live Arena Tour (£193,171); #1 Bridget Jones: Mad About The Boy £4,130,747 3rd week 40% drop 740 screens (48.95% of top 10)
US Box Office
- Goat – Sony Pictures
Dropped 38% in its second weekend, $16.85m and $58.15m
633rd biggest second weekend between Transformers: The Last Knight and Saw II (close to Scream VI, Migration, Meet the Robinsons and Flushed Away)
2018’s Spider-Man: Into the Spider-Verse dropped 53.4% $16.46m and $64.56m of $190.24m and $375.58m worldwide
2022’s The Bad Guys dropped 32.2% $16.23m and $44.58m of $97.45m and $250.38m worldwide
2025’s Elio dropped 50% $10.43m and $41.95m of $72.98m and $154.29m worldwide.
2021’s Space Jam: A New Legacy dropped 69.1% (COVID) $9.58m and $51.38m of $70.59m and $163.69m worldwide
2007’s Surf’s Up dropped 47.5% $9.25m and $34.62m of $58.86m and $152.01m worldwide
1996’s Space Jam dropped 31.9% $21.83m and $53.88m of $90.41m
Social media universe 386.3m, 22% ahead of original animation films and ahead of The Bad Guys (212.8m), Pixar’s Elemental (301.3m) and Elio (272.5m).
Took $17m internationally in 51 territories, $44m total and $102.3m worldwide, including the UK $14.5m; France $3m; and Mexico $1.8m
- Wuthering Heights – Warner Bros
Down 57% in its second weekend, $14m and $59.81m
845th biggest second weekend between Fantastic Beasts: The Secrets of Dumbledore and Gremlins
IMAX/PLF, Dolby Cinema, drive-ins and dine-Ins performed strongly; 3`% came from IMAX/PLF
For American audiences, the material carries prestige; for British audiences, it carries ownership. That distinction doesn’t necessarily determine whether a film releases theatrically, but it does shape expectations — overseas, a gothic romance, at home, a piece of cultural inheritance.
Wuthering Heights is a big step up from Emerald Fennell’s previous two films. 2020’s Promising Young Woman was COVID affected dropped 4.4% $687,900 and $1.89m of $12.39m and $18.85m worldwide; 2023’s Saltburn dropped 9.3% $1.68m and $6.35m of $11.42m and $21.02m worldwide.
11 years ago, Fifty Shades of Grey dropped 73.9% $22.25m and $129.16m of $166.16m and $569.65m worldwide.
2017’s Fifty Shades Darker dropped 56.5% $2027m and $88.97m of $114.58m and $381.54m worldwide
2018’s Fifty Shades Freed dropped 55.1% $17.3m and $76.49m of $100.4m and $371.98m worldwide.
Promising Young Woman received critical acclaim, was nominated for five Oscars, winning Best Original Screenplay and received six BAFTA nominations, winning Best Original Screenplay and Best British Film.
The social media universe for Wuthering Heights has been massive with 381.2m across TikTok, YouTube, Instagram, Facebook and X, above It Ends with Us 337.4m and far more than Saltburn ‘s 213.9m. While Margot Robbie and Jacob Elordi don’t do social, Wuthering Heights had many other social connections, including Charli XxX on the soundtrack, which makes you think of Baz Luhrmann’s Romeo + Juliet and The Great Gatsby period films, but with modern day soundtrack.
1996’s Romeo + Juliet dropped 18.9% $9.02m/$23.5m and $23.53m/$61.3m of $46.4m/$117m and $147.6m/$370m WW
2013’s The Great Gatsby dropped 52.2% $23.93m and $90.68m of $144.8m/$205.1m and $353.7m/$501m WW
Took $26.3m internationally from 77 territories (including $970m IMAX) $91.7m total and $151.7m worldwide; UK $22.5m; Italy $9.4m; Australis $8.3m, and Mexico $6.4m
- Crime 101 – Amazon/MGM
Dropped 61% $5.5m and $24.43m
1995’s Heat dropped 12% $7.31 and $19.97m of $67.43m/$175.7m and $187.5m/$489m worldwide
Modern-day equivalent high-concept action films, including.
2024’s The Beekeeper dropped 48.1% $8.6m and $31.25m of $66.22m and $162.61m worldwide
2025’s A Working Man dropped 52.7% $7.33m and $27.87m of $89.4m. But Crime 101 is a cut above these action films.
Other similar heist films include.
1999’s The Thomas Crown Affair dropped 31% $10.07m an30.96m of $69.3m and $124.3m worldwide; MGM are currently making a reboot directed by Michael B. Jordan, starring Michael B. Jordan, Adria Arjona, Lily Gladstone, Aubrey Plaza and Kenneth Branagh.
1999’s Entrapment dropped 38.8% $12.32m and $38.45m from $87.7 m and $212/4m worldwide
With $90m, Crime 101 would need to take about $225m worldwide to break even. But for Amazon/MGM, the math is different. Theatrical releases are loss-leaders for streaming prestige, building awareness for films that will live forever on Prime Video. Crime 101 is the kind of mid-budget adult action-drama film that used to strongly perform 30 years ago; now it’s a streaming anchor with a brief theatrical window.
As with Amazon/MGM’s Mercy taking $24.34m and $53.62m worldwide, forcing it to have a 45-day or longer window is completely pointless, as it will be out of cinemas within a couple of weeks.
Opened with $11.9m internationally; UK $2m; Australia $1.4m.
- I Can Only Imagine 2 -Lionsgate
Opened $7.75m; received mixed reviews 61% Rotten Tomatoes) and A+ CinemaScore.
Included $1.8m previews that included $1.3m from Valentine’s Day previews.
Opened much lower than the first film, released in 2018, opening $17.1m, taking $83.48m and $86.8m worldwide; being a faith film, it has a limited audience outside North America, but can be lucrative as budgets are low, as is marketing spend, and audiences come in coaches rather than cars.
Since COVID, apart from 2023’s Sound of Freedom (opening $19.68m, taking $184.17m and $250.57m worldwide), faith films have struggled to find the audience in cinema they used to get.
- How to Make a Killing – A24
Opened $3.56m; received mixed reviews 47% Rotten Tomatoes)
The second disappointing opening for Glen Powell’s leading film after The Running Man (opened $16.49m, taking $37.81m and $69.39m worldwide). Since starring in Top Gun: Maverick, studios have been trying to make Glen Powell a leading actor, but while he is a very watchable actor, starring in 2018’s Set It Up (Netflix), Anyone But You, Hitman and Twisters, he has struggled to be a leading man, as seen with last year’s The Running Man remake.
A24 acquired US rights for How to Make a Killing for $5m and limited their marketing spend on the film that feels like a diet Saltburn, while Glen Powell’s Hitman for Netflix was vastly superior.
- EPiC: Elvis Presley in Concert -Neon
Opened $3.21m; received positive reviews 96% Rotten Tomatoes)
The Baz Luhrmann documentary opened in 325 IMAX screens only (it opened in 54 IMAX screens in the UK, taking £522,307 #5, but Universal Pictures is including it within its standard opening on Friday).
- Psycho Killer – 20th Century Studios
Opened $1.61m; received poor reviews 10% Rotten Tomatoes)
Took $250k from Thursday previews.
Psycho Killer was advertised “only in cinemas February 20th and probably will be out of cinemas February 27th. It’s another example Disney have no idea how to market 20th Century Studios films.
It was dumped in cinemas without being screened to critics and with very limited marketing, as the 2020 horror The Empty Man was. Disney have struggle to market many of 20th Century Studios’ films, what’s the point in giving them a cinema release if they are only being dumped?
The film was made by New Regency, so 20th Century Studios were contractually bound to give it a cinema release, so they do the lease possible and then release it on Disney+ as quickly as possible. New Regency have been at the studio since signing a 15-year deal with 20th Century Fox in 1997, which was extended for another 10 years in 2011. It was due to expire in 2022, and 20th Century Studios extended it in 2021 ad expires now at the end of the year.
Maybe they thought opening it this week, the week after Cold Storage, also starring Georgina Campbell, might spark some interest, but few knew it was being released.
Psycho Killer had been in development since 2007, and in 2023, it was made and has been sitting on the shelf for almost three years. The screenplay was written by Andrew Kevin Walker, who previously wrote the screenplays for both 1995’s Seven and 1999’s Sleepy Hollow.
UK Box Office Top 10
Box Office Preview
Scream 7 sees Neve Campbell return, and it’s 30 years on from the original film. Of course, it’s to do with Sidney Prescott’s daughter, Ghostface targets.
Scream 7 is an 18 certificate, as the original films were, but not the recent films, but that is unlikely to have any impact; it might spark more interest, as 15 horrors are often too soft for horror fans.
It will be released in IMAX for the first time. The film series has been released in IMAX.
The sequel to 2023’s Scream VI, the seventh film in the Scream series and the 20th anniversary of the release of the first film, which was also written by Kevin Williamson.
2023’s Scream VI opened £3,043,922 over 5 days; £207k from Weds double bill; £467k Thurs; £805k Friday; £964k Saturday; £601k Sunday; taking £7,595,558.
The Scream series has taken over £42m to date and £70m inflation-adjusted.
1997’s Scream £1,070,532 (£2,125,282 inflated) from 214 screens £8,247,094 (£16,372,609 inflated); opening was 13% of total BO.
1998’s Scream 2 £2,493,950 (£4,951,134 inflated) from 387 screens £8,280,725 (£16,439,375 inflated)
2000’s Scream 3 £2,449,937 (£4,498,975 inflated) from 400 screens £5,585,267 (£10,256,581 inflated)
2011’s Scream 4 £2,061,885 (£2,749,180 inflated) from 408 screens £5,581,902 (£7,442,536 inflated)
2022’s Scream £2,468,510 from 622 screens £7,438,313; opening was 33.2% of total BO.
What was incredible about the first Scream film it opened in May 1997 six months after the US was it had very strong legs (was in the top 15 in the UK for over 3 months) as it was a horror film for people who don’t like horror films, but the sequel is far more of a straight horror, while tries to be too clever for itself. 1997’s Scream took 8x opening, taking only 12.5% of BO, while 2022’s Scream took 3x opening and opening 33% of BO. This was similar to Scream 2-4 and will also be the case with Scream 7.
Would expect Scream 7 to have a similar opening to Scream 6 over its 4-day opening £3m–£3.5m; £500k+ Thurs; £900k+ Friday; £1m+ Saturday; £700k+ Sunday.
Wuthering Heights is likely to drop 45%-55% in its third weekend, taking £1.7m-£2.1m, losing IMAX/PLF and other premium formats.
With Goat dropping 50%+in its third weekend, taking £1.2m-£1.4m; last year Dog Man dropped 67% in its fourth weekend, £680,902 and £12,053,949; as Goat had weekend previews its technically on its fourth weekend.
Opened fourth after taking £522,307 from 54 IMAX cinemas, Baz Luhrmann’s EPiC: Elvis Presley In Concert documentary should open with about £1m.
With Pixar’s Hoppers having Sat/Sun previews, Zootropolis 2 will likely drop 60% in its fourteenth weekend, which will see Crime 101 fifth. With The Secret Agent, Cold Storage, Wasteman, The Moment and Good Luck, Have Fun, Don’t Die all likely to drop heavily could see the return of Hamnet and The Housemaid in the top 10 and if NT Live: The Audience BO includes Thursday screenings, as it has encore screenings on Sat/Sun.
Coming Soon
- How To Make A Killing – Studiocanal
Black comedy thriller starring Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, and Ed Harris and directed by John Patton Ford; inspired by the 1949 film Kind Hearts and Coronets.
The screenplay was on the 2014 Blacklist with the title Rothchild, and in 2019, Jon S. Baird was going to direct with Shia LaBeouf and Mel Gibson. It was retitled Huntington in 2023, and Glen Powell was attached in 2024.
It received mixed reviews 59% Rotten Tomatoes).
Since starring in Top Gun: Maverick, studios have been trying to make Glen Powell a megastar, but while he is a very watchable actor, starring in Set It Up, Anyone But You, Hitman and Twisters, he has struggled to be a leading man as seen with last year’s The Running Man remake.
Glen Powell stars next in J.J. Abrams-directed sci-fi The Great Beyond, starring with Jenna Ortega, Emma Mackey, Sophie Okonedo, Merritt Wever, and Samuel L. Jackson.
- Reminders Of Him – Universal Pictures
Romantic drama starring Maika Monroe, Tyriq Withers, Rudy Pankow, Lainey Wilson, Lauren Graham, and Bradley Whitford and directed by Vanessa Caswill, based on Colleen Hoover’s 2022 novel.
The latest Colleen Hoover adaptation after 2025’s Regretting You and 2024’s It Ends With Us, with Verity released in October. Reminds me of when Nicholas Sparks’ adaptations came out in succession over several years about 20 years ago.
2025’s Regretting You opened £1,275,979, taking £6,186,391
2024’s It Ends With Us opened £4,516,760, taking £21,241,321
- Scarlet – Sony Pictures
Anime fantasy action inspired by Shakespeare’s Hamlet, directed by Mamoru Hosoda.
Had its premiere at the Venice Film Festival, receiving mixed reviews.
Mamoru Hosoda previously directed 2022’s BELLE, which opened £152,287 #9 from 147 screens.
