- Scream 7 – £3,828,308 – NE
Includes £541,483 from Thursday previews
Took £1.27m 33.18% Friday; £1.24m 32.39% Saturday; £782k 20.43% Sunday
443rd biggest opening between Lara Croft: Tomb Raider and Sherlock Holmes: A Game of Shadows (close to Kick-Ass, Bad Boys: Ride Or Die, The Meg 2 and X-Men: Dark Phoenix) and 673rd biggest inflated opening between Elysium and Hotel Transylvania 3 (close to Gremlins 2: The New Batch, Twilight, The Panic Room and Judge Dredd).
20th biggest opening over the last 52 weeks between Snow White and Goat (close to Final Destination: Bloodlines, 28 Years Later: The Bone Temple, Five Nights at Freddy’s 2 and Hamnet).
12th biggest horror opening between Final Destination: Bloodlines and Paranormal Activity 2 (close to The Nun, The Final Destination, A Quiet Place Part II and 28 Years Later: The Bone Temple) and 31st biggest inflated horror opening between Saw IV and A Quiet Place Part II (close to The Ring, The Woman in Black, Final Destination 3 and 28 Years Later: The Bone Temple)
It’s Paramount’s first #1 since Sonic the Hedgehog 3 in December 2024; after having 9 weeks of films at #1 in 2024 didn’t have a #1 in 2025, showing how far they are from the other studios.
Opened in 595 cinemas, 315th Widest opening, similar to Send Help, Ambulance and The Matrix Resurrections: 765th 500+ cinema opening since 2002’s Monsters, Inc; while opening in 595 cinemas, it was probably playing in 900+ screens, as in most multiplexes, it was playing in at least two screens.
The sequel to 2023’s Scream VI, the seventh film in the Scream series and the 30th anniversary of the release of the first film, which was also written by Kevin Williamson. The film went through changes after Melissa Barrera and Jenna Ortega were fired, and Neve Campbell returned after not starring in Scream VI due to the salary she was offered did not match the value she brought to the franchise. 30 years on from the original film, of course, it’s to do with Sidney Prescott’s daughter, Ghostface targets. In Scream 7, Sydney has three children; in 2022’s Scream, she is pushing a stroller? It is one of these quirks of legacy sequels when they want to include a child, but the maths doesn’t work like in Top Gun: Maverick.
Audiences have had issues with who Ghostface is in the film, as it made little sense, as the character up to that point had little connection to Sydney and her daughter, and there was no reason identified why they wanted to target Sydney’s daughter. As with other Scream films, there are many red herrings, including Stu’s return in the trailer.
Opened close to
2025’s’s Final Destination: Bloodlines £4,009,856 (Friday £919k) (including £1,201,709 previews) taking £11,407,110
2025’s Five Nights At Freddy’s 2 £3,256,484 (Friday £1.42m) (no previews) taking £6,743,068
2026’s 28 Years Later: The Bone Temple £3,376,385 (Friday £724k) (including £956,656 previews) taking £7,458,325
Scream 7 took 6.03% of the US opening compared to 7.8% of Final Destination: Bloodlines. Without previews, they were much closer: Scream 7 5.2% and Final Destination: Bloodlines 5.4%
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.
Scream was a horror film for people who watched horror films Randy in Scream explains the rules of horrors, that you can never have sex, never drink and never say “I’ll be right back”, while the rules for the sequel are the body count is always higher, death scenes are more elaborate and never assume the killer is dead (that part is also the in the first film when Billy comes back from the dead for one last scare. While the rules of the third film were that the killer is superhuman.
The original title for Scream was Scary Movie, the title that was used a few years after Scream to spoof Scream, which was also spoofing horror films. This year, Paramount Pictures released both Scream 7 and A Scary Movie 6. Paramount Pictures attached the first trailer for Scary Movie, which was the original title of Scream.
Scream was one of several horrors that featured actors from popular teen US TV shows. I Know What You Did Last Summer opened in 1997, starring Sarah Michelle Gellar (Buffy), who then starred in Scream 2. There were also Final Destination, Urban Legend, Halloween H20: 20 Years Later and The Faculty, many of them written by Kevin Williamson, who wrote the original Scream script and also Dawson Creek (many of its teen actors appeared in these teen horrors).
In 2020, Paramount bought a 49% stake in Miramax for $375m, acquiring distribution rights to the 700+ library and to be able to develop new films and TV shows based on Miramax films. A year earlier, Spyglass Media acquired rights for Scream and soon afterwards announced plans for Scream 5that would be released by Paramount Pictures.
Spyglass Media was previously Spyglass Entertainment, launched in 1998. Disney famously sold the production rights to The Sixth Sense to Spyglass Entertainment; the film took $672.8m worldwide, and Disney kept distribution rights and had 12.5% of profits despite acquiring the script and developing the film.
Over the last year, Paramount have increased the number of films they released, but the films they have made have struggled to find an audience, last year including The Running Man, The Naked Gun, Roofman, Novocaine and Smurfs, while the long-awaited final Mission Impossible film, The Final Reckoning, didn’t meet BO expectations. Their slate for2026 sees many acquire properties, including Scary Movie, Street Fighter and The Angry Birds Movie 3, which is just a repeat of last year, why they were so desperate to acquire Warner Bros.
While Ghostface screamed to #1 in its opening weekend the real test comes next weekend the last film 2023’s Scream VI, dropped 68% in its second frame, a reminder that horror films targetting Generation Z often arrive loud and fade fast.
- 2. Wuthering Heights £2,238,428 – £20,777,747
Dropped 42.3% in its third weekend
£707k 31.6% (-45.6% £1.3m) Fri; £883k 39.45% (-55.6% £1.46m) Sat; £648k 28.95% (-69.1% £1.11m) Sun
210th biggest third weekend between The Hunger Games Mockingjay Part 2 and 12 Years A Slaven (close Murder on the Orient Express, 50 Shades of Grey, Bridesmaids and Twilight Saga: Breaking Dawn 2) and 391st biggest inflated third weekend between Little Women (2019) and Space Jam (close to Miss Congeniality, Sleeping With The Enemy, Maleficent: Mistress Of Evil and Sleepy Hallow).
Wuthering Heights third weekend was similar to Gone Girl (£2,361,051); Murder on the Orient Express (£2,279,200); Bridesmaids (£2,227,589); Twilight Saga: Breaking Dawn 2 (£2,180,909); The Little Mermaid (£2,125,299).
Played in 971 screens in 757 cinemas
Rather than the classic adaptations Emerald Fennell said she was making it for, the 14-year-old girl she was lining Romeo + Juliet was made for 14-year-old girls studying the play for English Literature, 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. Wuthering Heights would be once in the cinema and then see it next on Netflix.
1997’s Romeo + Juliet dropped 13.6% £588,748/£1,158,692 and £3,277,047 44.1% of £7,438,055/£14,638,531
2013’s The Great Gatsby dropped 34% £1,302,008/£1,597,103 and £12,056,175 78% 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 took £5,577,963.
2015’s 50 Shades of Grey dropped 51.1% £2,248,492/£2,497,978 and £30,314,012 87.4% of £34,662,255/£38,508,275
2017’s Fifty Shades Darker dropped 56.3% £1,499,678/£1,603,794 and £20,310,579 89.5% of £22,694,878/£24,270,490
2018’s Fifty Shades Freed dropped 56.4% £1,190,524/£1,320,789 and £16,195,582 92.4% of £18,060,783/£20,036,963
While last year, Bridget Jones: Mad About The Boy dropped 40.1% £4,130,747 and £35,959,640, 77.6% of £46,367,473
Modern versions include.
2019’s Little Women dropped 22.3% £2,018,280/£2,239,117 and £13,215,006 62.1% of £21,283,939/£23,612,791
2020’s Emma dropped 41.3% £678,531/£767,660 and £6,203,027 83.2% of £7,455,943/£8,435,325 (COVID affected)
2005’s Pride And Prejudice dropped 23.8% £1,473,062/£2,505,144 and £9,433,853 64.8% of £14,562,448/£24,765,437
1996’s Sense and Sensibility up 51.7% £973,377/£1,915,663 and £3,389,225 24.9% of £13,605,627/£26,776,676
1995’s Little Women dropped 34.2% £232,682/£535,570 and £1,734,928 55.2% of £3,143,960/£7,236,529
299th biggest between Shakespeare In Love and Johnny English Reborn (close to The Woman in Black, Cinderella, Robin Hood: Prince Of Thieves and The Best Exotic Marigold Hotel) and 556th biggest inflated between Terminator Salvation and Black Swan (close to Sister Act, Kill Bill Volume One, The Last Samurai and The Departed).
13th biggest over the last 52 weeks between F1 and Hamnet (close to The Conjuring: Last Rites, Sinners, Marty Supreme and Thunderbolts).
Charli XCX’s soundtrack album is the #1 with singles Chains of Love #12, Dying for You #24, Always Everywhere #3, while Kate Bush’s Wuthering Heights song returned to the charts #40.
- 3. EPiC: Elvis Presley In Concert – £1,877,687 NE
Took £737,544 from 53 IMAX cinemas last weekend
Took £430k 22.91% Saturday; £366k 19.50% Saturday; £569k 30.31% Sunday
1,000th biggest opening between The Green Hornet and How To Be Single (close to Music and Lyrics, Edge of Tomorrow, Victoria and Abdul and Master and Commander) and 1,522nd biggest inflated opening between Penguins of Madagascar and Meet Joe Black (close to Superman IV, Top Gun, JFK and The Avengers (1998).
36th biggest opening over the last 52 weeks between Gabby’s Dollhouse: The Movie and The Naked Gun (close to The Roses, Mickey 17, Tron: Ares and Freakier Friday).
184th widest opening in 637 cinemas similar to Star Wars: Revenge Of The Sith (Re: 2025) and Jumanji: The Next Level; 297th 600+ cinema opening since 2015’s Jurassic World
It’s hard to categorise EPiC: Elvis Presley In Concert as it’s more than just a documentary, despite breaking records last weekend at the BFI IMAX for a documentary, but the previous record holder for a documentary would have been a very different kind of film. As it was also the first documentary to open in over 600 screens, the previous was 2025’s Oceans with David Attenborough, which opened £574,551 #4 from 528 screens.
Director Baz Luhrmann describes it not as a standard documentary but as a “dreamscape”. The film is assembled from over 59 hours of newly unearthed footage, including material from MGM’s That’s the Way It Is and Elvis on Tour, some of which had never been seen before. This footage was discovered in underground salt mines in Kansas.
What Baz Luhrmann created with EPiC: Elvis Presley In Concert is absolutely a direct extension of the maximalist, sensory-overload aesthetic he perfected in films like Moulin Rouge! and The Great Gatsby. It is a “visualised explosion for the eyes and ears,” but applied to archival concert footage.
Similar to Moulin Rouge, Luhrmann wasn’t interested in a historically accurate depiction of 1900s Paris. He created a heightened, hyper-real version of it as a bohemian ideal. He applies the same philosophy to Elvis in EPiC. He’s not interested in a dry, historical document of a 1970s concert. Instead, he uses the newly discovered footage as raw material to build a “dreamscape” of what it felt like to be at an Elvis show. It’s the emotional truth of the performance, not the literal truth of the camera angle, that matters.
What Baz Luhrmann created with EPiC: Elvis Presley In Concert is conceptually almost identical to ABBA Voyage, but executed through a different technological and artistic lens. Both projects take the legacy of a legendary pop act and use modern technology to create a new, immersive, and deeply emotional “live” experience that the original stars could never perform themselves. They are both, in essence, theme park attractions for music fans, built with the highest possible artistic integrity.
Luhrmann’s “dreamscape” approach lets Gen Z project themselves into the experience. The rapid editing, the close-ups of ecstatic audiences, the overwhelming sound—it puts you at the centre of the story. You’re not just watching Elvis; you’re living the concert through your own eyes. That “main character” feeling is incredibly powerful for a generation that expresses itself through curated personal narratives on social media.
By making it a “visualised experience” rather than a historical document, Luhrmann didn’t just show Gen Z who Elvis was. He let them feel why he mattered. And in doing so, he made Elvis feel like their discovery, not their grandparents’. That’s the real magic.
This approach made it the third-biggest documentary opening ever, behind only Michael Jackson’s This Is It (£4,877,255/£7,181,399) and One Direction: This Is Us (£3,471,872/£4,258,759).
Baz Luhrmann’s 2022 film Elvis (opened £4,023,573, taking £27,492,430) are perfect artistic bookend to one another. Watching them together creates a complete, almost circular portrait of Elvis Presley.
Together, the two films form a complete statement from Baz Luhrmann about Elvis Presley.
One film tells the story of how Elvis was created and consumed by America.
The other film lets you experience the pure, electrifying reality of the artist himself.
You can’t have one without the other. The biopic gives you the story; the documentary gives you the soul. They are two halves of a singular artistic project: to rescue Elvis from the myth and let audiences finally see and feel the man and the performer in a new, visceral way.
EPiC: Elvis Presley In Concert has more in common with Abba Voyage and The Sphere with U2 than a regular documentary.
Despite having a strong opening and IMAX previews, it loses many screens in its second weekend, and the cinemas it remains in showtimes are reduced to one or two a day. Surely it deserves to play in cinemas for more than a week, as it’s not got Event Cinema pricing.
- 4. Goat £903,253 – £11,813,068
Down 67.4% in its third weekend
£124k 13.73% (-89.7% £1.2m) Fri; £432k 47.84% (-3.9% £914k) Sat; £347k 38.43% (-60.2% £655k) Sun
742nd biggest third weekend between Treasure Planet and The House With A Clock In Its Walls (close to Scream (1997), The Maze Runner, Who Framed Roger Rabbit and Fun With Dick And Jane) and 1,047th biggest inflated third weekend between The Magic Roundabout and Jungle Cruise (close to Spy Kids 2, Green Card, Alice Through The Looking Glass and Father of the Bride 2)..
128th biggest animation third weekend between Treasure Planet and Puss in Boots (close to Angry Birds, Over The Hedge, The Croods 2: A New Age and The Addams Family 2), and 151st biggest inflated animation third weekend between The Magic Roundabout and Ferdinand (close to Hotel Transylvania, Planes, Monster House and Dc League of Super-Pets).
Goat had a heavy drop in its third weekend due to schools returning last week and Pixar’s Hoppers having previews Sat/Sun, but despite Hoppers having previews, it had a very low drop Sat/Sat.
A similar third weekend to
2013’s Cloudy With A Chance Of Meatballs 2 dropped 54.4% £946,924/£1,161,541 and £10,133,968 83.8% of £12,095,055/£14,836,354
2006’s Open Season dropped 4.4% £970,353/£1,596,002 and £5,852,847 78.9% of £7,418,065/£12,200,965
2016’s Angry Birds dropped 54.3% £919,519/£993,974 and £5,771,901 55.5% of £10,408,235/£11,251,007
2022’s The Bad Guys dropped 27.9% £807,369 and £7,587,779 56.3% of £13,478,928
2021’s Space Jam: A New Legacy dropped 7.9% £1,286,798 and £6,569,403, 51.1% of £12,856,288
1997’s Space Jam dropped 16.1% £1,137,131/£2,237,941 and £6,811,988 58.5% of £11,648,511/£22,924,957
625th biggest between Jaws and A Quiet Place (close to The Wolverine, Cats, Fantastic Four (2005) and Space Jam) and 1,044th biggest inflated between Moonwalker and 28 Days Later (close to Shaun of the Dead, Prince of Persia, Bad Boys and The Karate Kid Part 3).
- 5. Crime 101 £411,606 – £3,727,466
Down 46.1% in its third weekend
£113k 27.49% (-52.7% £239k) Fri; £324k 45.5% (-46.36% £324kk) Sat; £11k 27% (-69.67% £200k) Sun
1,434th biggest third weekend between Tower Heist and 40 Days And 40 Nights (close to The Nice Guys, Changing Lanes, Unstoppable and Natural Born Killers) and 1,634th biggest inflated third weekend between The Beekeeper and House Of Wax (close to Black Bag, Get Hard, Body Of Lies and Logan Lucky).
Similar films include.
1996’s Heat dropped 31.7% £923,963/£1,818,414 and £5,865,001 60.3% of £9,717,993/£21,038,142
2004’s Collateral dropped 33.8% £946,223/£1,688,028 and £6,457,927 78.8% of £8,192,302/£14,614,775
Crime 101 has held steadily over the last three weeks in the background to Wuthering Heights and Goat playing to an older audience who have grown up to similar films like The Thomas Crown Affair, Entrapment, Heat and Collateral. Performing similar to 2025’s Black Bag dropped 42.7% £421,458 and £3,100,522 81.6% of £3,796,978 and 2025’s The Amateur 67.7% £291,495 and £3,907,217 88.9% of £4,384,383
—-
• The Testament Of Ann Lee – Walt Disney
Opened £162,736 #10 from 182 screens
Received its world premiere at the Venice Film Festival, receiving positive reviews and critical acclaim for Amanda Seyfried’s performance, described as “career best”. But only had a limited wide release in the US, taking $2.4m and apart from receiving Golden Globe nominations failed to get either BAFTA or Oscar nominations, and with them, it will struggle to find an audience.
It was shot on 35mm film and released in selected cinemas in the US in 70mm, but while it had BAFTA screenings in the UK last year in 70mm, it wasn’t released in 70mm in the UK.
Amanda Seyfried came to the UK to promote the film last month, and most of the conversation was focused on the hugely successful The Housemaid and its sequel. While it’s yet another example that Disney have no interest in films and acquisitions made by Fox Searchlight, it’s almost like it exists to make it look like Disney is still making films.
——–
BO is currently flat with 2025; January BO was about £106m with 11.1m admissions.
The weekend’s top 10 box office took £10,124,911, down 0.6% from last weekend’s £10,184,519: 1,244,269 admissions, down 2.2% from 1,271,476 admissions.
29th biggest weekend of the last 52 weeks between 20 February 2026 #1 Wuthering Heights £3,878,031 (38.08%) and 25 April 2025 #1 A Minecraft Movie £2,492,087 (24.70%)
119th biggest since cinemas reopened out of 276 weeks between 02 February 2024 #1 Migration £3,577,676 (35.17%) and 25 April 2025 #1 A Minecraft Movie £2,492,087 (24.70%)
650th biggest top 10 of the last 24 years (out of 1,247) between 14 December 2007 #1 The Golden Compass £3,002,951 (29.64%) and 28 July 2006 #1 Cars £2,668,968 (26.37%) and 948th biggest inflated between 23 December 2005 #1 The Lion, the Witch and the Wardrobe £2,843,353 (47.70%) and 15 July 2022 #1 Thor: Love And Thunder £4,063,773 (41.83%)
The top 3 took £7,944,423 (78.5%) of the top 10; Scream 7 37.81% (£3,828,308); Wuthering Heights 22.1% (£2,238,428); EPiC: Elvis Presley In Concert 18.5% (£1,877,687)
520th biggest percentage share #1 (37.81%) between 24 October 2003 #1 Finding Nemo £3,887,996 (37.89%) and 09 June 2023 #1 Spider-Man: Across The Spider-Verse £4,062,817 (37.79%)
748th biggest admissions (477,941) between 23 August 2013 #1 Elysium £3,127,005 (478,868) and 08 February 2008 #1 National Treasure 2 £2,483,297 ( 477,557)
Up 19.98% from 2025; (£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)
Down 25.60% from 2024; (£13,609,322); Dune Part 2 (£9,279,080); Lisa Frankenstein (£91,537); #1 Dune Part 2 £9,279,080 1st week 712 screens (68.18% of top 10)
Down 7.20% from 2023; (£10,910,653); Creed III (£5,003,452); Demon Slayer: Kimetsu No Yaiba to the Swordsmith Village (£567,638); #1 Creed III £5,003,452 1st week 645 screens (45.86% of top 10)
Down 42.90% 2022 (£17,731,345); The Batman (£13,531,854); The Godfather: Part II (Re: 2022) (£45,151); #1 The Batman £13,531,854 1st week 706 screens (76.3% of top 10)
2021 Lockdown
Up 9.47% 2020; (£9,249,289); The Invisible Man (£2,163,798); Dark Waters (£860,942); Portrait of a Lady on Fire (£229,678); Agrippina – Met Opera 2020 (£216,109); Downhill (£188,720); True History of the Kelly Gang (£85,847); #1 The Invisible Man £2,163,798 1st week 580 screens (23.4% of top 10)
Up 19.30% from 2019: (£8,486,971); Fighting with My Family (£2,022,174); The Aftermath (£595,657); La Fille Du Regiment – Met Opera 2019 (£240,965); Alien (40th Anniversary) (£129,245); What They Had (£16,686); #1 Fighting with My Family £2,022,174 1st week 573 screens (23.8% of top 10)
Down 11.19% from 2018; (£11,400,044); Red Sparrow (£1,843,124); Game Night (£1,094,478); Monster Family (£126,235); A Fantastic Woman (£98,445); The Flames of Paris – Bolshoi 2018 (£74,391); #1 Black Panther £3,736,954 3rd week 599 screens 46% drop (32.8% of top 10)
Down 37.34% 2017: (£16,157,614); Logan (£9,443,363); Viceroy’s House (£921,309); Fist Fight (£400,112); Trespass Against Us (£32,569); #1 Logan £9,443,363 1st week 602 screens (58.4% of top 10)
Up 8.48% 2016: (£9,333,112); London Has Fallen (£3,229,675); Hail, Caesar! (£1,520,788); Manon Lescaut – Met Opera 2016 (£279,586); The Other Side of the Door (£262,955); The Choice (£139,669); Truth (£26,701); #1 London Has Fallen (£3,229,675 1st week
Down 17.71% 2015; (£12,304,244); The Second-Best Exotic Marigold Hotel (£3,771,852); Focus (£1,910,245); The Boy Next Door (£406,174); It Follows (£371,142); Catch Me Daddy (£37,679); #1 The Second-Best Exotic Marigold Hotel £3,771,852 1st week 589 screens (30.6% of top 10)
Down 14.66% 2014: (£11,864,224); Non-Stop (£2,652,364); Ride Along (£1,420,992); The Book Thief (expansion) (£1,370,649); Prince Igor – Metropolitan Opera 2014 (£259,667); Nymphomaniac Part 2 (£15,354); Unforgiven (£4,778); #1 The Lego Movie £3,266,594 3rd week 549 screens 45% drop (27.5% of top 10)
Up 29.99% 2013: (£7,788,702); Hansel and Gretel: Witch Hunters (£1,502,782); Safe Haven (£812,460); Broken City (£499,283); Arbitrage (£402,873); Stoker (£367,509); #1 Hansel and Gretel: Witch Hunters £1,502,782 1st week 404 screens (19.3% of top 10)
Down 6.10% 2012: (£10,782,506); This Means War (£1,821,698); Project X (£561,655); Wanderlust (£490,592); Hunky Dory (£31,930); #1 The Best Exotic Marigold Hotel £2,342,095 2nd week 1st #1 509 screens 5% up (21.7% of top 10)
Up 9.24% 2011; (£9,268,880); Rango (£1,638,613); The Adjustment Bureau (£1,395,715); Unknown (£1,356,345); Ironclad (£52,470); The Tempest (£8,445); #1 Rango £1,638,613 1st 470 screens (17.7% of top 10)
Down 31.61% 2010: (£14,805,412); Alice in Wonderland (£10,555,220); Legion (£212,328); Case 39 (£183,088); Ondine (£102,138); #1 Alice in Wonderland £10,555,220 1st week 533 screens (71.3% of top 10)
Up 3.65% 2009; (£9,768,713); The Unborn (£1,300,543); The International (£ 760,382); New in Town (£438,979); Franklyn (£52,567); #1 Slumdog Millionaire £1,676,508 8 weeks split over several weeks 449 screens up 7% (17.2% of top 10)
Up 51.65% 2008; (£6,676,677); The Bank Job (£951,013); Semi-Pro (£774,698); The Accidental Husband (£703,631); Untraceable (£549,524); Margot at the Wedding (£33,958); #1 The Bank Job £951,013 1st week 324 screens (14.2% of top 10)
Up 25.38% 2007: (£8,075,563); Ghost Rider (£1,851,897); The Illusionist (£675,293); Material Girls (£300,962); Freedom Writers (£233,382); #1 Hot Fuzz £2,219,655 3rd week 441 screens 33% drop (27.5% of top 10)
Up 58.38% 2006; (£6,392,804); Syriana (£864,796); The Weatherman (£406,217); Last Holiday (£399,524); The Matador (£335,017); Kidulthood (£100,056); #1 Date Movie £1,057,768 2nd week 356 screens 18% drop (16.5% of top 10)
Up 125.23% 2005: (£4,495,350); Boogeyman (£788,439); The Flight of the Phoenix (£292,012); Harold & Kumar Get the Munchies (£284,050); #1 Boogeyman £788,439 1st week 318 screens (17.5% of top 10)
Up 49.60% 2004; (£6,768,162); Along Came Polly (£2,252,808); The Missing (£497,573); House of Sand and Fog (£132,163); #1 Along Came Polly £2,252,808 1st week 385 screens (33.3% of top 10)
Up 20.80% 2003 (£8,381,722); Jackass: The Movie (£1,314,740); Analyse That (£575,278); Solaris (£313,804); Adaptation (£238,958); #1 The Ring £1,692,154 2nd week 398 screens 23% drop (20.2% of top 10)
Up 2.78% from 2002: (£9,851,530); A Beautiful Mind (expansion) (£1,226,446); The Mothman Prophecies (£762,516); The Shipping News (limited) (£96,694); #1 Ocean’s Eleven £2,623,689 2-week #1 split 3rd week 437 screens 27% drop (26.6% of top 10)
2025 Next week: (£7,149,384); Mickey 17 (£2,132,080); Marching Powder (£1,079,492); One Of Them Days (£203,136); Erin Brockovich (25th Anniversary) (£7,677); #1 Mickey 17 £2,132,080 1st week 685 screens (29.82% of top 10)
US Box Office
- Scream 7 – Paramount Pictures
Opened $63.61m; received poor reviews (37% Rotten Tomatoes) and B+ CinemaScore
It’s the biggest horror opening for Paramount ahead of 2011’s Paranormal Activity 3‘s $52.5m$82.5m and the best opening ever for a February horror ahead of 2001’s Hannibal $58m/$128m
2023’s Scream VI (76%) B+; 2022’s Scream (76%) B+; 2011’s Scream 4 (60%) B-; 2000’s Scream 3 (41%) B; 1997’s Scream 2 (82%) B+; and 1996’s Scream (80%).
Took 40% from IMAX/PLF
Took $7.5m from Thursday previews: Scream VI $5.7m; 2022’s Scream $3.5m, 2011’s Scream 4 $1m; The Conjuring: Last Rites $8.5m.
Scream 7 is released in IMAX but not 3D, unlike the last film
Took $7.1m worldwide from IMAX; $5.5m from the US (412 screens) and $1.6 internationally (226 screens)
EntTelligence said it had 4.2m admissions vs 3.3m for Scream VI. The average ticket price since 2023 for the pics has surged from $12.82 to $14.96 (non-premium format) and higher for IMAX/PLF
205th biggest opening between Five Nights at Freddy’s 2 and Madagascar: Escape 2 Africa (close to The Twilight Saga: Eclipse, Mission: Impossible – The Final Reckoning, Inception and Bad Boys for Life).
Studios come out with the normal “To break the franchise opening record with the seventh installement speaks to the lasting strength of this franchise, Ghostface’s staying power as an iconic villain, and the exceptional cast and filmmakers who brought it to life,” But its always expected with films like these as its peak-and-trough behaviour, driven by FOMO and social media buzz, not habit or ritual. And that’s exactly what exhibitors don’t need. They need consistency. They need people who go regardless of what’s new, who buy concessions, who fill mid-tier releases.
So, Gen Z might make opening weekends bigger. But they won’t save the midweek matinees, or the months-long runs that used to define a healthy ecosystem. The problem with Generation Z is they are very fickle, rush out to see the big new release like Scream 7 last weekend, and quickly move on to the next shiny new film, so they will drop 60% next weekend as was the case with 2022’a Scream and 2023’s Scream VI, while the original trilogy held far stronger.
As you can see from the drop of Scream 7, Sat/Sun is higher than Scream VI and similar to 2022’s Scream.
The campaign started with the first trailer released in October with 240m views.
Prerelease social media universe stats on Scream 7 at 264.5m, 11% above horror-franchise norms across TikTok, Facebook, X, YouTube and Instagram combined but behind Scream VI‘s 360.5m social media reach by 27%. Neve Campbell is active on social, bringing 672,000 fans, while Courteney Cox stands by in pre-activation mode with her 20.7m fans.
1996’s Scream opened with $6.35m, taking $103.04m and $173.04m worldwide (after opening #4 behind Beavis and Butt-Head America, Jerry Maguire, and 101 Dalmatians had a very strong word of mouth and held very strongly, staying in the top 10 for 9 weeks.
1997’s Scream 2 opened $32.92m, taking $101.36m and $172.36m WW
2000s Scream 3 opened $34.71m, taking $89.14m and $161.83m WW.
2011’s Scream 4 opened #2 (behind Rio $39.22m) with $18.69m, taking $38.18m and $97.23m WW
2022’s Scream opened $30.01m (24% PLF) #1, taking $81.64m and $137.74m WW
2023’s Scream VI opened $44.44m (PLF 25% and 22% 3D), taking $108.39m and $166.57m WW
Ahead of opening, Scream 7 was expected to open with $60m+ worldwide.
2022’s Scream opened internationally with $18 m from 50 territories; UK $3.4m; France $1.8m; Australia $1.5m; Russia $1.3m; Germany $1.1m; Mexico $1.1m.
Scream VI opened $22.6m internationally from 52 territories; UK $3.6m; France $4.2m; Australia $2m; Mexico $2m; Brazil $1.8m.
Opened $33.1m from 50 territories and $97.2m worldwide.
- Goat – Sony Pictures
Dropped 29% in its second weekend, $12m and $73.98m
531st biggest third weekend between The Addams Family and Wanted (close to Elemental, Alvin and the Chipmunks: The Road Chip, Epic and Mr Peabody & Sherman)
2018’s Spider-Man: Into the Spider-Verse up 14.2% $18.79m and $104.12m of $190.24m and $375.58m worldwide
2022’s The Bad Guys dropped 41% $9.57m and $57.37m of $97.45m and $250.38m worldwide
2025’s Elio dropped 44.5% $5.78m and $55.16m of $72.98m and $154.29m worldwide.
2021’s Space Jam: A New Legacy dropped 54.8% $4.32m (COVID) and $63.17m of $70.59m and $163.69m worldwide
2007’s Surf’s Up dropped 28.9% $6.58m and $47.19m of $58.86m and $152.01m worldwide
1996’s Space Jam dropped 16.4% $13.55m and $67.44m 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 $9.3m internationally in 54 territories, $56.5m total and $130.5m worldwide, including the UK $16.1m and France $4.5m.
- Wuthering Heights – Warner Bros
Down 52% in its second weekend, $6.7m and $72.09m
11 years ago, Fifty Shades of Grey dropped 52.6% $10.55m and $129.16m of $166.16m and $569.65m worldwide.
2017’s Fifty Shades Darker dropped 61.6% $7.79m and $103.72m of $114.58m and $381.54m worldwide
2018’s Fifty Shades Freed dropped 58.7% $7.14m and $89.79m 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.
1996’s Romeo + Juliet dropped 39.9% $5.42m and $31.43m of $46.4m/$117m and $147.6m/$370m WW
2013’s The Great Gatsby dropped 43.4% $13.54m and $114.27m of $144.8m/$205.1m and $353.7m/$501m WW
Took $15.6m internationally from 79 territories, $119.7m total and $192m worldwide; UK $28.3m; Italy $11.5m; Australis $11.1m, and Mexico $8m
- EPiC: Elvis Presley In Concert – Neon
Up 9% $3.5m and $4.3m; received positive reviews (96% Rotten Tomatoes) and A+ CinemaScore.
Took $3.21m last weekend from 325 IMAX screens
It’s hard-to-find comparisons to EPiC: Elvis Presley In Concert as it’s a unique cinema experience as its not a regular documentary or a concert film like 2013’s One Direction: This Is Us (opened $15.81m taking $29.13m and $74.37m worldwide) and Micheal Jackson’s 2009’s This Is It (opened $23.23m taking $72.09m and $267.9m worldwide).
After Baz Lurhman’s 2022 Elvis opened $31.21m, taking $151.1m and $288.67m; the biopic features Austin Butler’s extraordinary performance. It’s a recreation of an actor channelling Elvis’s essence, his voice, his movements. It’s brilliant, but it’s still an impersonation. While EPiC then arrives and says, “Here. Here is the real thing. Here is the voice, the charisma, the sweat, the vulnerability.” The documentary serves as the primary source document that validates the biopic’s central claim: that Elvis was a once-in-a-lifetime performer. You watch Butler’s interpretation, and then you watch the real Elvis, and the two conversations enrich each other.
EPiC is designed as an immersive “visualised experience.” Launching in IMAX is perfectly aligned with Baz Luhrmann’s goal of making audiences “feel as much as possible like you’re actually in the audience” at an Elvis concert. It gave people the premium “big screen, big sound” event before they could see it in a standard cinema.
Took $5.2m internationally from 48 territories and $6.5m total, and $14.4m worldwide
UK Box Office Top 10
Box Office Preview
Hoppers is Pixar’s 30th film since 1995’s Toy Story and their best reviewed film since 2020’s Onward (opened £3,419,500 taking £7,308,920/£8,108,649 (COVID) Since 2020 Pixar has released 7 films releasing Soul, Luca and Turning Red straight to Disney+, Toy Story prequel Lightyear that disappointed both critically and at the BO, 2023’s Elemental performed better (opened £3,049,002 taking £18,151,466) and then had the predictable huge success from 2024’s Inside Out 2 before 2025’s Elio was a disappointment both critically and at the BO (opened £971,168 taking £4,731,082)
Hoppers is a return to original form for Pixar, as 2017’s Coco was the last original Pixar success.
Hoppers had previews last weekend, taking £1.45m and should open between 2009’s Up (£6,411,836), 2012’s Brave (£5,269,402) and 2017’s Coco (£5,209,214) and ahead of 2007’s Ratatouille (£4,444,384) and 2008’s Wall-e (£4,253,736). Taking about £3.5m-£4m over its official opening weekend, opening between £5m-£6m.
After Hopper’s Pixar release Toy Story 5 in June, but it has Minions & Monsters opening only three weeks after it opens its the first time two massive Pixar and Illumination animated films open so close together.
Second place will be between Scream 7, likely to drop over 60% in its second weekend, being even more front-loaded than 2023’s Scream VI, which dropped 68% in its second weekend (£987,312 and £5,137,371). Despite Shazam! Fury Of The Gods is having a poor opening (Shazam! Fury Of The Gods).
This time, Scream 7 has to deal with gothic horror The Bride starring BAFTA Best Actress winner (and soon to be Best Actress Oscar winner) Jessie Buckley and also Christian Bale, Peter Sarsgaard, Annette Bening, Jake Gyllenhaal, and Penélope Cruz and directed by Maggie Gyllenhaal, inspired by the 1935 film Bride of Frankenstein.
In 2023, the film was set at Netflix but moved to Warner Bros in 2024 due to budget concerns, and Warner Bros were eager to show themselves after the public falling out with Christopher Nolan. They wanted to make director-driven films like Joker: Folie à Deux, Mickey 17, Sinners, Weapons and One Battle After Another.
The Bride! Was originally due to be released in October 2025, but after having poor test screenings in early 2025, the $100m film was delayed to March 2026. There were reports that it was too arthouse and not enough horror. The film has been described as an R-rated “punk-rock” musical/thriller set in 1930s Chicago, which makes me think of films like the film Suckerpunch.
The Bride received glowing tweets from its UK premiere, which means exactly nothing.as if the film was as good it would surely have premiered at the Berlin Film Festival last month, and it wouldn’t have such a late embargo.
It’s expected to open with under $10m in the US: as soon as a studio delays a high profile release the warning signs are shinning as there are very few films that become successes after very public delay announcements including Jupiter Ascending, Chaos Walking, Pan, Gangster Squad, Jack the Giant Slayer, The Lone Ranger and 47 Ronin, while Titanic, X-Men, The Great Gatsby and Moulin Rouge are a few exceptions.
In an interview for Maggie Gyllenhaal said “the cut hitting theatres on Friday is not hers, what ended up in the final cut is “pulled back” from her original vision.” She believes that it would have gotten a different reaction “had a man directed it.”
Jessie Buckley could follow in the footsteps of Halle Berry, Natalie Portman, Jamie Foxx and Sandra Bullock, winning Best Actress for Hamnet, and her next film was a flop. Halle Berry won for Monster’s Ball and next film: Catwoman, Natalie Portman won for Black Swan and then flop Your Highness, Jamie Foxx won for Ray, and then flop Stealth, and Sandra Bullock won for Blind Side and then won Razzie for All About Steve.
Wuthering Heights will drop 45%-50% in its fourth weekend, taking £1.1m-£1.3m
Despite a strong opening EPiC: Elvis Presley In Concert shows are surprisingly cut back in their second weekend after such a strong opening, with IMAX previews would have expected it to have a longer run. So likely to drop heavily 80% in its second weekend.
With the arrival of Hoppers will also see Goat drop heavily in its fourth weekend, and Zootropolis 2 is likely to finally leave the top 10 after 15 weeks on release and a week before its release on Disney+.
Comedy-drama Mothers Pride is likely to open much lower than 2019’s Fisherman’s Friends, opening £1,154,865/£1,281,228 taking £7,380,488/£8,188,048
Netflix release Peaky Blinders: The Immortal Man in independent cinemas, including Everyman cinemas, despite Adam Aron saying that AMC are now best friends with Netflix, they still refuse to book their films. There is of course, double standards as EPiC: Elvis Presley In Concert drops most of its screens after only a week. Advance sales in Everyman Cinemas look strong for Peaky Blinders: The Immortal Man
Coming Soon
- Ready Or Not 2: Here I Come – Disney
Comedy horror sequel to 2019’s Ready or Not starring Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, David Cronenberg, Elijah Wood, Néstor Carbonell and Kevin Durand and directed by Matt Bettinelli-Olpin and Tyler Gillett.
Searchlight Pictures started development on the sequel in 2024; It was a moderate success due to its low $6m budget, taking $28.7m in the US and $57.61m worldwide, but it found a much bigger audience worldwide when it was released on Netflix and in the top 10 in over 60 countries for weeks. During the first week, it was watched by 5.3m. It’s one of several Disney films that found a far bigger audience when it was on Netflix than in its cinema release.
2019’s Ready or Not was the last wide film release made by Fox Searchlight Pictures before Disney acquired the studio in 2020.
2019’s Ready Or Not opened £947,958, taking £1,637,064/£1,816,189
Ready or Not feels similar to films like Saltburn and The Menu, trying to parody privilege, trying to be too clever, but they’re not clever enough to justify their own cleverness. These modern versions are often clever without being angry. They perform critique without commitment. They want credit for saying something without actually saying it, but sometimes social horrors connect with audiences like Get Out.
J.B. Priestley understood something many filmmakers don’t: the audience must be implicated. The Inspector’s final speech isn’t just about the Birlings, it’s about us: “We don’t live alone. We are members of one body. We are responsible for each other. And I tell you that the time will soon come when, if men will not learn that lesson, then they will be taught it in fire and blood and anguish.”
That’s not just a critique of the rich. It’s a warning to everyone. The modern films let us off the hook. We can leave the cinema feeling righteous without ever examining our own small cruelties, our own tiny complicities.
- Project Hail Mary – Sony Pictures/MGM
Sci-fi adventure starring Ryan Gosling, Sandra Hüller, Lionel Boyce, Ken Leung, and Milana Vayntrub and directed by Phil Lord and Christopher Miller, based on the 2021 novel by Andy Weir.
In 2020, MGM acquired rights for Project Hail Mary with Ryan Gosling attached to star. Soon after, Phil Lord and Christopher Miller were attached to direct, with Drew Goddard adapting the novel as he did with Andy Weir’s The Martian.
The first trailer was released in June and had over 400m views; the second trailer was released in November, and the final trailer was shown during the Super Bowl in February.
Project Hail Mary is shaping up to be the spiritual successor to The Martian in almost every way: same author, same screenwriter, same “sci-fi problem-solving” DNA, but the comparisons to Interstellar, Arrival, and Contact are inevitable given the scale and themes.
It’s Ryan Gosling’s first film since 2024’s The Fall Guy, and next year he returns to space in Star Wars: Starfighter. Ryan Gosling’s previous sci-fi films include 2018’s First Man and 2017’s Blade Runner 2069. Despite starring in the massive Barbie, he hasn’t opened a film on his own.
Its 156 mins long and will be released in IMAX
It’s Phil Lord and Christopher Miller’s first film they have directed officially since 2012’s 21 Jump Street and 2014’s The Lego Movie, and 22 Jump Street. Phil Lord and Christopher Miller directed 2018’s Solo: A Star Wars Story but were replaced by Ron Howard due to “creative differences”.
2015’s The Martian opened £6,531,734/£7,256,476 (including £1,630,490 previews) taking £23,578,878/£26,195,120
2013’s Gravity opened £6,238,375 #1 539 screens taking £32,756,514
2014’s Interstellar opened £5,378,220 #1 574 screens taking £21,173,601
2016’s Arrival opened £2,924,059 #1 561 screens taking £9,144,719
It’s expected to open between $45m-$55m in the US, so about £5m-£6m in the UK.
- Midwinter Break – Universal Pictures
Drama starring Lesley Manville and Ciarán Hinds and directed by Polly Findlay, based on the 2017 novel by Bernard MacLaverty.
In 2017, Film4 acquired rights for the 2017 novel Midwinter Break, with John Crowley attached to direct; in 2023, Polly Findlay replaced John Crowley as director.
It’s received mixed reviews, having its UK premiere at the Glasgow Film Festival in February, and also had a limited US release in February and will have a limited release in the UK in March.
- Moulin Rouge (25th Anniversary) – Park Circus
Musical romantic drama starring Nicole Kidman, Ewan McGregor, John Leguizamo and Jim Broadbent and directed by Baz Luhrmann. It is the final part of Luhrmann’s Red Curtain Trilogy after 1992’s Strictly Ballroom (1992) and 1996’s Romeo + Juliet.
Moulin Rouge premiered at the Cannes Film Festival and opened in the US soon afterwards, where it was a moderate success, but it was in the UK where it opened in September, where it was a much bigger hit (opened £2,403,378/£4,650,014 from 284 screens, taking £18,166,288/£35,147,818 7.6x opening. It opened #1 but was replaced by A.I. Artificial Intelligence after a week, but returned to #1 in its fifth weekend
The film’s soundtrack sold over 6m copies worldwide
And the film found a second and third life in the UK, first with hugely successful Secret Cinema events and the stage show musical.
Heath Ledger was one of the actors who auditioned for the role of Christian, and he starred in the jukebox musical A Knight’s Tale that was overshadowed by Moulin Rouge’s opening at the same time.
It was nominated for 8 Oscars, winning two and was nominated for 12 BAFTAs, winning three.
With Baz Lurhman’s documentary EPiC: Elvis Presley In Concert #3 in the chart last weekend, Park Circus re-released two of his classic films that both celebrate anniversaries this year, it’s the 25th anniversary since Moulin Rouge opened and 30 years (in the US) since Romeo + Juliet was released. As his Elvis documentary both were visualised experience that blew audiences away.
I saw both the first time, completely fresh, many months before they opened in the US, saw Mouli Rouge in January 2001 (opened in the US in May and UK in September), 20th Century Fox were having a screening for senior management and they invited me to see it, as they had done five years ago when I saw Romeo + Juliet. Seeing both films unexpectedly and not seeing a trailer before they were incredible visual experiences. This is what cinema is all about, it’s not about gimmicks like 3D, PLF, 4DX its about a film that takes you away.
