- The Super Mario Galaxy Movie £2,552,081 – £32,935,856
Dropped 53.9% in its third weekend
£548k 21.5% (-70.4% £1.85m) Fri; £1.16m 45.4% (-42.9% £2m) Sat; £844k 33.1% (-49.2% £1.66m) Sun
159th biggest third weekend between Finding Dory and Spider-Man 3 (close to Spider-Man: Across The Spider-Verse, Despicable Me, Men in Black 3 and Arthur Christmas) and 313th biggest inflated third weekend between Gone Girl and Doctor Strange (close to Tarzan, Tangled, Batman and Robin and The Nutty Professor).
Third weekends
2023’s Super Mario Bros dropped 44% £4,271,315 and £41,605,147 of £54,578,335/£55,198,543; took £648k Friday; £2m Saturday and £1.62m Sunday
2025’s A Minecraft Movie dropped 26% £5,307,316 and £45,467,916 of £55,508,185; took £2.39m Friday; £1.93m Saturday; £951k Sunday; £1.94m Monday; £719k Tuesday.
Other films that targeted a similar audience include.
2014’s The Lego Movie dropped 25.7% £5,978,904 /£6,430,751 and £21,880,053 66.53% of £32,887,286/£38,760,016
2017’s Jumanji: Welcome to the Jungle dropped 36.1% £5,210,725 and £17,835,902, 47.03% of £36,968,605
2022’s Uncharted dropped 19.8% £3,775,360 and £12,163,778 50.5% of £24,091,881
Despite the Super Mario Galaxy Movie being similar to Super Mario Bros and A Minecraft Movie dropping off much more heavily. Ahead of opening, it was surely expected to take similar, but seeing how it dropped off after its opening weekend, it was looking at close to £50m now might not top £40m. This is the problem with these films, while after it opened with £15m, the reaction was that it did that, but after getting poor reviews, ignoring that word of mouth would also likely be mixed, as it was with fans saying it wasn’t as good as the first film.
139th biggest between Suicide Squad and The Lego Movie (close to Fantastic Beasts 2, Mufasa: The Lion King, Sing 2 and Incredibles) and 292nd biggest inflated between Planet of the Apes and Night at the Museum (close to Three Men And A Baby, The Mummy, Hook and Stuart Little).
The Super Mario Galaxy Movie will drop about 50% in its fourth weekend, similar to last year’s A Minecraft Movie dropping 55% £2,492,087 and £51,674,822 of £55,508,185, and more than 2023’s Super Mario Bros dropped 28.2% £3,067,431 and £45,780,596, 83.9% of £54,578,335.
- 2. Project Hail Mary £1,676,572 – £30,344,276
Down 32.1% in its fifth weekend
£496k 29.6% (-32.3% £733k) Fri; £717k 42.8% (-29% £1.1m) Sat; £463k 27.6% (-36.3% £727k) Sun
68th biggest fifth weekend between Inception and Mary Poppins Returns (close to Rogue One: A Star Wars Story, Men In Black, Dune Part 2 and Sherlock Holmes) and 157th biggest inflated fifth weekend between Tomorrow Never Dies and Dune Part 2 (close to Batman, Forrest Gump, True Lies and Crocodile Dundee II).
But Project Hail Mary has become something rare: a film that transcends its genre and its marketing. It has become part of the story of human exploration. And that, more than any box office number, is its true legacy.
Project Hail Mary is reaching parts of the cultural conversation that other films cannot reach. It’s being discussed on science channels, news programmes, and social media feeds that would never normally talk about a Hollywood blockbuster. It has become part of the story of human exploration. It has become a symbol of what humanity can achieve when it works together, at a time when the headlines are dominated by division, conflict, and chaos.
This is not something that can be manufactured. It’s not something that marketing can buy. It’s a rare and precious alchemy of art, timing, and collective need. It’s similar to why Barbenheimer worked so well, as it was organically created by fans of the two films; trying to create something similar wouldn’t work.
Ryan Gosling’s last film, 2024’s The Fall Guy, took £12,126,013; next year, he returns to space in Star Wars: Starfighter. Ryan Gosling’s previous sci-fi films include 2018’s First Man, which took £7,360,906, and 2017’s Blade: The Series, which took £18,918,361.
Fifth weekends
2024’s Dune Part 2 dropped 36.5% £1,667,551 and £34,071,957 of £39,466,555
Took £650k Friday; £567k Saturday; £444k Sunday.
2021’s Dune dropped 45% £634,843 #4 556 screens and £20,185,469 92% of £21,947,056
2010’s Inception dropped 25% £1,681,130 #2 472 screens and £29,204,120 83.5% of £34,976,999 (£46,851,543 inflated); took 5.92x opening
2013’s Gravity dropped 37% £1,092,998 #3 428 screens and £24,557,256 75% of £32,756,514; 5.24x opening
2014’s Interstellar dropped 47% £610,289 #6 348 screens and £19,150,662 90.4% of £21,173,601; 3.73x opening
2015’s The Martian dropped 65% £590,743 #6 448 screens and £21,797,926 92.4% of £23,589,854; 3.61x opening
2023’s Oppenheimer dropped 35% £2,045,953 #2 740 screens and £50,054,877 84.1% of £59,550,750; took 5.37x opening
2007’s I Am Legend dropped 40% £647,662 #6 403 screens and £24,836,545 98% of £25,348,532 (£39,754,529 inflated); 2.3x opening
2005’s War of the Worlds dropped 42% £1,012,442 #5 325 screens and £27,637,440 91% of £30,367,791 (£51,386,687 inflated); 3.43x opening
2017’s Dunkirk down 26% £1,938,125 #2 647 screens and £49,101,623 86.4% of £56,797,955; 5.65x opening
Phil Lord and Christopher Miller previously directed.
2012’s 21 Jump Street taking £9,863,555/£12,402,995; 2014’s 22 Jump Street £18,322,998/£21,840,359. also directed 2009’s Cloudy with a Chance of Meatballs.
2014’s The Lego Movie dropped 38.9% £998,176/£1,079,000 and £30,063,416 91.4% of £32,887,286/£39,200,470
8th biggest film over the last 52 weeks between The Housemaid and Superman (close to Mission Impossible 8, Wuthering Heights, The Fantastic Four and How To Train Your Dragon).
163rd biggest between Spider-Man: Across The Spider-Verse and Twilight: Breaking Dawn – Part 1 (close to Incredibles, War of the Worlds, Man of Steel and Chicken Run) and 331st biggest inflated between The Living Daylights and Pulp Fiction (close to I, Robot, Monsters vs. Aliens, Happy Feet and Jumanji).
With Michael opening on Wednesday, Project Hail Mary will see its biggest drop in its six weeks on release.
- 3. The Drama £1,205,060 – £8,077,705
Dropped 31.7% in its third weekend.
£415k 34.4% (-26% £561k) Fri; £482k 40% (-16.9% £580k) Sat; £308k 25.6% (-50.6% £624k) Sun
539th biggest third weekend between Run, Fat Boy, Run and The Lost City (close to Bad Neighbours, Liar Liar, Fifty Shades Freed and P.S. I Love You) and 838th biggest inflated third weekend between Gran Torino (2009) and Instant Family (close to You, Me and Depree, 21 Jump Street, Superbad and Knocked Up).
What was interesting to see with The Drama after the twist was revealed was how audiences would respond, would men and women react differently to someone having a thought and someone who still chooses to go through with their actions.
Are the reactions with men and women different, as it’s Zendaya and Robert Pattinson, to those who have dealt with the betrayal, finding out their partner had an affair? The film has sparked a lot of debate; the dividing line isn’t between men and women. The split is between those who see The Drama as a valuable, provocative thought experiment about guilt, forgiveness, and moral judgment, and those who see it as an exploitative misfire that uses a horrific real-world issue as a cheap plot twist in a cringe-comedy.
Thinking about doing something as seen in the film Minority Report doesn’t mean that it is their future, as Doc Brown says to Jennifer in Back to the Future 3, after the note she brought back from the future was erased, “It means your future hasn’t been written yet. No one’s has. Your future is whatever you make it”.
In The Drama, Emma’s school shooting plan was detailed and developed. She had the weapon, she had the video manifesto ready, and she had lost hearing in one ear from practising. But then a classmate died in a real shooting at a local mall, and Emma stopped. She threw the rifle into a river and became a gun control activist. The movie argues that this choice, to walk away, is what matters, not the plan itself.
Minority Report makes the same argument, even more explicitly. John Anderton is told by the precogs that he will kill a man named Leo Crow. He tracks Crow down, gun in hand. Crow seems to confess to kidnapping and murdering Anderton’s son. But at the last moment, Anderton sees the truth: Crow is an innocent man, set up to be killed by the system Anderton helped create. Anderton chooses not to pull the trigger.
The film’s key line is when Anderton is confronted by his former mentor, Lamar Burgess. Anderton says, “You know your own future, which means you can change it if you want to. You still have a choice, Lamar. Like I did.”
That’s the philosophy of both films. Knowing the future means you can change it. Planning something doesn’t mean you have to do it. Walking away is always an option.
Emma walked away. Anderton walked away. The moral of both stories is the same: what defines you is not your darkest thought or your most detailed plan, but the choice you make in the moment of truth. The choice to stop. The choice to be better. The choice to walk away.
Comparisons to The Drama have been made to films including Closer, The Lobster, Triangle of Sadness and Marriage Story; they all explore the dark underbelly of relationships, but approach the gap between thought and action in very different ways.
But The Drama feels so different. It’s not just about betrayal or power or social pressure. It’s about the stories we tell ourselves about who is worthy of forgiveness and who is not.
Japanese saying is that we all have 3 different faces “The first one you show to the world, the second you show to your family, and the last you never show to anyone” This is similar to what Colombian novelist and Nobel laureate Gabriel García Márquez said we have three parts to our personality, the public side (the one we are in the outside world), the private side (the one we are with family and loved ones) and the secret side (we don’t share with anyone, our private thoughts we keep I our head, now we often share these fears and desires with AI rather than botting them up.
962nd biggest between The Haunted Mansion, and We’re the Millers (close to Where The Crawdads Sing, Inside Man, Confessions of a Shopaholic and Back To The Future Part III) and 1,521st biggest inflated between The Gift and Epic Movie (close to The Prince of Tides, Déjà Vu, Stakeout and High Fidelity).
- 4. Lee Cronin’s The Mummy £970,220 – NE
Took £347k (35.8%) Friday; £383k (39.5%) Saturday; £240k (24.7%) Sunday
1,846th biggest opening between Lock, Stock and Two Smoking Barrels and Military Wives (close to The Possession, Lawless, Crimson Peak and Shelter) and 2,485th biggest inflated opening between The Descent and Short Circuit 2 (close to Halloween (2007), The Menu, I, Frankenstein and Lesbian Vampire Killers).
58th biggest opening over the last 52 weeks between Elio and Shelter (close to The Black Phone 2, Bugonia, I Know What You Did Last Summer and The Accountant 2).
Opened lower than expected, as in the US opened similar to Lee Cronin’s to his last film, 2023’s Evil Dead Rise (opened £1,477,840, taking £5,288,972); Took £504k Friday (34%); £574k Saturday (39%) and £399k Sunday (27%)
It’s the third reboot of The Mummy after the 1999 reboot starring Brendan Fraser and Rachel Weisz (The Mummy 4 is set for release in May 2028) and the 2017 Tom Cruise reboot that was to be part of Universal’s Dark Universe.
Test screenings have said the film is terrible and has pushed gore to the extreme with vile scenes, making it very different to previous Mummy films featuring in Universal’s monsters’ films. So it was no surprise of its underwhelming opening and a poor response from critics and audiences.
It’s now four disappointing openings running for horrors as The Mummy follows Ready or Not 2: Here I Come and The Bride! And Undertone, while Scream 7 had a strong opening, it was very front-loaded, which was similarly the case with Send Help, despite positive reviews and positive word of mouth, and the year started with the underwhelming opening of 28 Years Later: The Bone Temple.
Last year, of course, had Sinners, 28 Years Later, Final Destination: Bloodlines, Weapons and The Conjuring: Last Rites, but they have struggled to find wide audiences or have any legs. Hokum, Obsession, Passenger and Backrooms to come in the next few weeks are unlikely to start much more interest in the genre.
Lee Cronin’s The Mummy is likely to drop heavily in its second weekend by about 70%
- 5. Akira (Re: 2026) – £884,729 – NE
1,980th biggest opening between White Chicks and How To Make A Killing (close to Last Action Hero, The X-Files: I Want to Believe, Where The Wild Things Are and Titanic (Re: 2023) and 2,603rd biggest inflated opening between Endless Love and The Missing (close to The Frighteners, Multiplicity, The Negotiator and The Assassin).
It’s the biggest re-release opening in 2026 ahead of The Lord Of The Rings: The Fellowship Of The Ring (£429k) but below last year’s biggest re-release openings Hamilton (£1.79m), Star Wars: Episode III Revenge Of The Sith (£1.76m) and Jaws (£1.09m); but being a Manga film had far less mainstream appeal as these films.
Last re-released in October 2020 during COVID, £201.124 from 127 screens, taking £357,792; it was originally due to open in over 300 screens, but with Cineworld/Picturehouse closing their screens days before its release date, it opened in a third fewer screens than expected and not in IMAX. This time, it shared IMAX screens with Project Hail Mail.
Akira was originally released in the UK in 1991 and has been re-released in cinemas several times since; in 2016, it took £114,952
Warner Bros had developed a live-action film based on the Japanese Manga animated film since 2002, with many directors attached, most recently Taika Waititi, who planned to start production in 2019 with a May 21, 2021, release date, with Asian-American teenagers in the lead roles, but directed Thor: Love and Thunder instead.
There were two long-term issues with the film: the fear of whitewashing casting an American actor (as was the case with 2017’s Ghost in the Shell remake starring Scarlett Johansson, which received a lot of negative media coverage for not casting an Asian actress in the lead) and the story, which is based around Japan’s role in World War 2.
There has been mixed success over the years with American remakes of Japanese films, including The Ring, Godzilla, Dark Water, and One Missed Call.
Also opened
The five new releases last weekend were replaced by six new releases this weekend; along with Lee Cronin’s The Mummy and Akira (Re: 2026), animated film opened Time Hoppers: The Silk Road £219,142 #7; the second BTS concert ‘ARIRANG’ IN GOYANG: LIVE VIEWING opened £203,738 a third less than BTS concert last weekend, but after 15m fans watched their concert on Netflix last month worldwide only extreme fans are going to pay £20 to see these concerts in the cinema especially on Saturday morning.
National Theatre’s All My Sons took £196,211, a third of its £597,806 taken since Thursday. It had one of the widest ever openings, playing in cinema and other non-cinema venues in almost 800 locations. It’s the film version of the Arthur Miller play starring Bryan Cranston, Marianne Jean-Baptiste and Paapa Essiedu.
Brian Cox’s Glenrothan found it even harder to find an audience than last weekend’s California Schemin’ (opened £223,213 #9 from 388 screens), opening with £159,465 #12 from 464 screens; as with California Schemin, Glenrothan will lose most of its screens after only a week.
Ahead of making the film, Brian Cox said at the Edinburgh International Film Festival in 2024, “Cinema is in a very bad way” … “What’s happened is that television is doing what cinema used to do, ”.. “I think cinema is in a very bad way. I think it’s lost its place because of, partly, the grandiose element between Marvel, DC and all of that. And I think it’s beginning to implode, actually. You’re losing the plot.” He talked about Deadpool and Wolverine, saying, “making a lot of money that’ll make everybody happy, but in terms of the work, it becomes diluted afterwards. You’re getting the same old … I mean, I’ve done that kind of [projects]. ”.. “So, it’s just become a party time for certain actors to do this stuff,” … “When you know that Hugh Jackman can do a bit more, Ryan Reynolds … but it’s because they go down that road and it’s box office. They make a lot of money. You can’t knock it.”
A 25th anniversary re-release of Bridget Jones’s Diary took £57,686 #16 from 484 screens, but only had a limited showing.
Even worse was the predictably Kiss Of The Spider Woman opening £6,856 #51 from 123 screens
Sony Pictures dumped it in UK cinemas 6 months after its US opening.
After receiving strong buzz at its world premiere at the 2025 Sundance Film Festival, it was acquired by Lionsgate Films, Roadside Attractions and LD Entertainment, but flopped in the US, taking only $2m with a $30m budget. It’s one of the many films that premiere at the Sundance Film Festival, getting lots of buzz and excitement, and studios are desperate to acquire it, but then months later, they struggle to find an audience.
It’s similar to The Color Purple; the original film in 1985 was award-winning, as was the 1992 stage musical, but the film wasn’t needed, as why does it need to be remade after having an award-winning film made only 40 years ago? But surely could ask why Warner Bros felt The Color Purple needed to be remade after Steven Spielberg’s award-winning 1985 film.
The same could be asked about 2021’s West Side Story remake, but I’m not going to question the decisions made by director Steven Spielberg, and the one great thing about the film is that it made the world see what an incredible talent Rachel Zegler is.
——————–
BO is currently up 8% from 2025.
The weekend’s top 10 box office took £8,952,048, down 31.6% from last weekend’s £13,096,990: 1,087,685 admissions, down 32.6% from 1,612,544 admissions.
37th biggest weekend of the last 52 weeks between 03 October 2025 #1 Taylor Swift: Party Of A Showgirl £3,471,544 (38.14%) and 30 January 2026 #1 Hamnet £1,412,612 (15.90%)
156th biggest since cinemas reopened out of 283 weeks between 24 May 2024 #1 The Garfield Movie £2,121,270 (23.65%) and 21 April 2023 #1 Super Mario Bros £4,271,315 (47.72%)
799th biggest top 10 of the last 25 years (out of 1,254) between 23 March 2007 #1 300 £4,746,071 (52.99%) and 21 April 2023 #1 Super Mario Bros £4,271,315 (47.72%) and 1,084th biggest inflated between 24 May 2024 #1 The Garfield Movie £2,121,270 (23.65%) and 08 October 2010 #1 Wall Street: Money Never Sleeps £1,784,309 (26.87%)
The top 3 took £5,433,713 (60.7%) of the top 10; The Super Mario Galaxy Movie 28.51% (£2,552,081); Project Hail Mary 18.73% (£1,676,572); The Drama 13.46% (£1,205,060)
830th biggest percentage share #1 28.51%) between 19 July 2013 #1 Monsters University £2,791,078 (28.52%) and 05 January 2024 #1 Wonka £3,779,636 (28.50%)
1,017th biggest admissions (318,612) between 04 September 2020 #1 Tenet £2,151,490 (318,739) and 20 September 2024 #1 Beetlejuice 2 £2,458,216 (318,010)
Down 24.29% from 2025; (£11,824,074); Sinners (£2,424,594); The Penguin Lessons (£1,057,236); Warfare (£752,942); Wallace & Gromit: Curse Of The Were-Rabbit (Re: 2025) (£31,601); #1 A Minecraft Movie £5,307,316 3rd week 27% drop 724 screens (44.89% of top 10)
Up 41.89% from 2024; (£6,309,075); Abigail (£596,590); La Rondine – Met Opera 2023/24 (£88,426); An American In Paris – The Musical (Re: 2024) (£72,387); Butterfly Tale (£63,708); The Book Of Clarence (£36,255); #1 Back To Black £1,897,014 2nd week 32% drop 748 screens (30.07% of top 10)
Up 0.01% from 2023; (£8,951,596); Evil Dead Rise (£1,477,840); Missing (£382,054); The Three Musketeers: D’Artagnan (£161,609); Coldplay – Music Of The Spheres: Live At River Plate (£145,544); #1 Super Mario Bros £4,271,315 3rd week down 44% 707 screens (47.72%)
Up 16.87% from 2022 (£7,659,588); The Unbearable Weight Of Massive Talent (£516,697); #1 Sonic the Hedgehog 2 (2nd week split over 4 weeks) £1,637,442 20% drop 647 screens (21.4% of top 10)
2021 Lockdown
2020 Lockdown
Up 79.36% from 2019: (£4,991,232); Red Joan (£432,866); Greta (£331,811); The Goonies (4K Restoration) (£59,033); #1 Shazam! £979,787 2nd week #1 over 3 weeks 512 screens (19.6% of top 10)
Up 57.08% from 2018: (£5,699,055); The Guernsey Literary and Potato Peel Pie Society (£825,777); The Leisure Seeker (£105,130); Funny Cow (£74,142); Wildling (£20,111); #1 Rampage £1,413,973 2nd week down 66% (24.81%)
Down 5.05% from 2017: (£9,428,676); Their Finest (£850,328); Eugene Onegin – Met Opera 2017 (£274,598); Unforgettable (£270,610); The Belko Experiment (£129,942); The Zookeeper’s Wife (£101,407); Rules Don’t Apply (£47,158); #1 Fast & Furious 8 £3,593,733 2nd week 58% drop (38.12%)
Down 28.63% from 2016: (£12,580,441); Bastille Day (£762,598); Friend Request (£624,996); Shakespeare Live! (£250,893); Miles Ahead (£168,397); #1 The Jungle Book £8,095,442 2nd week 18% drop (64.54%)
Up 19.69% from 2015; (£7,479,374); Child 44 (£505,558); A Little Chaos (£331,530); Ivan The Terrible – Bolshoi 2015 (£97,268); The Last Five Years (£5,371); #1 Fast & Furious 7 £3,039,720 3rd week 44% drop (40.64%)
Down 37.09% from 2014: (£14,230,137); The Amazing Spider-Man 2 (£9,011,114); The Love Punch (£613,424); Locke (£251,063); #1 The Amazing Spider-Man 2 £9,011,114 1st week (63.32%)
Up 16.60% from 2013: (£7,677,512); Olympus Has Fallen (£2,247,900); Evil Dead (£1,375,842); Love is All You Need (£202,176); Promised Land (£52,664); The Lords of Salem (£925); The Words (£765); #1 Olympus Has Fallen £2,247,900 1st week (29.28%)
Up 11.38% from 2012 (£8,037,734); Salmon Fishing in the Yemen (£1,169,235); Lockout (£596,500); Gone (£275,087); Marley (£203,062); #1 Battleship £1,282,091 2nd week 66% drop (15.95%)
Down 10.54% from 2011; (£10,007,227); Fast Five (£5,332,096); Arthur (£764,468); Beastly (£553,069); TT3D (£312,998); Pina (£71,809); #1 Fast Five £5,332,096 1st week (53.28%)
Up 36.76% from 2010: (£6,545,848); Date Night (£1,272,405); It’s a Wonderful Afterlife (£464,468); The Joneses (£247,178); Centurion (£114,147); Agora (£31,530); Extract (£26,714); #1 Date Night £1,272,405 1st week 400 screens (19.4% of top 10)
Down 5.67% from 2009; (£9,489,959); I Love You Man (£1,122,258); Crank 2: High Voltage (£554,565); In the Loop (£468,954); Good (£27,054); Not Easily Broken (£10,727); #1 Monsters vs. Aliens £2,057,367 3rd week 1st #1 (21.68%)
Up 48.44% from 2008; (£6,030,881); Fool’s Gold (£975,498); In Bruges (expansion up 634%) (£638,654); Street Kings (£619,647); Happy-Go-Lucky (£383,365); Flashbacks of a Fool (£246,072); #1 21 £1,010,923 2nd week 39% drop (16.76%)
Up 67.99% from 2007: (£5,328,808); Fracture (£851,289); Alpha Dog (£452,232); The Reaping (£310,591); Pathfinder (£109,262); #1 Wild Hogs £954,553 2nd week 44% drop (17.91%)
Up 37.82% from 2006; (£6,495,276): Silent Hill (£991,687); American Dreamz (£690,625); Eight Below (£413,525); Tristan and Isolde (£224,133); Mistress of Spices (£85,563); #1 Ice Age II £1,886,277 3rd week 48% drop (29.04%)
Up 64.36% from 2005 (£5,446,480); The Wedding Date (£808,641); Guess Who (£697,561); Cursed (£207,597); Beauty Shop (£131,060); #1 The Interpreter £1,212,734 2nd week 24% drop (22.27%)
Up 10.27% from 2004 (£8,118,464); The Butterfly Effect (£735,287); The Girl Next Door (£713,107); Hidalgo (£446,550); Barbershop 2 (£73,174); #1 Scooby-Doo Too £1,772,130 3rd week 13% drop 487 screens (21.83% of top 10)
Up 17.94% from 2003: (£7,590,235); Phone Booth (£1,385,040); How to Lose a Guy in 10 Days (£1,247,975); Bulletproof Monk (£607,839); Ghosts of the Abyss (£75,227); #1 Johnny English £2,529,665 2nd week 26% drop (33.33%)
Up 40.47% from 2002 (£6,372,772); The Scorpion King (£1,610,794); #1 Bend It Like Beckham £1,721,146 2nd week 14% drop (27.01%)
2025 Next week: (£10,091,278); Star Wars: Episode III – Revenge Of The Sith (Re: 2025) (£1,762,623); The Accountant 2 (£907,034); Pink Floyd At Pompeii – MCMLXXII (£682,672); Until Dawn (£566,028); Pride & Prejudice (20th Anniversary) (£164,493); Le Nozze Di Figaro – Met Opera 2025 (£102,518); Miss Congeniality (25th Anniversary) (£11,577); #1 A Minecraft Movie £2,492,087 4th weekend down 53% 969 screens 24.70% of top 10)
US Box Office
- The Super Mario Galaxy Movie – Universal Pictures
Dropped 48% in its third weekend, $36.48m and $356.24m.
36th biggest third weekend between The Batman and Wicked (close to Jumanji: Welcome to the Jungle, Zootopia, Guardians of the Galaxy Vol. 2 and Toy Story 4); A Minecraft Movie #26 $40.49m; The Super Mario Bros. Movie #7 $59.93m
73rd biggest between Guardians of the Galaxy Vol. 3 and Inside Out (close to Jurassic World: Dominion, Despicable Me 4, Superman (2025) and Thor: Love and Thunder); A Minecraft Movie #39 $424.1m and The Super Mario Bros. Movie #17 $574.93m
Took $36.2m IMAX worldwide.
The Super Mario Galaxy Movie took almost 40% less than The Super Mario Bros. Movie in its third weekend and almost 20% less than its total after three weekends, despite having a similar opening weekend. This will see The Super Mario Galaxy Movie taking less than $450m.
Rumours are that The Super Mario Bros. Movie 3 will be released in Easter 2029, adding more characters from the Nintendo cinematic universe (plans for the Nintendo cinematic universe have been in development for many years, but away from Super Mario, they don’t have many characters they are known for to gamers).
Third weekends
2023’s Super Mario Bros dropped 35% $59.93m and $436.03m of $574.93m and $1.36bn worldwide
2025’s A Minecraft Movie dropped 55% 55% $80.6m and $310m of $424.08m and $960.38m worldwide
2019’s Pokémon Detective Pikachu dropped 53.8% to $25.1m and $94.25m from $144.17m and $450.06m worldwide
2020’s Sonic The Hedgehog dropped 54.9% to $26.19m and $106.49m of $148.97m and $319.71m worldwide
2022’s Uncharted dropped 47.7% $23m and $83.13m of $148.64m and $407.49m worldwide
2014’s The Lego Movie dropped 27.8% $49.84m and $130.14m of $257.96m and $470.75m worldwide
2017’s Jumanji: Welcome to the Jungle up 38.4% $50.05m and $169m of $404.54m and $962.54m WW
Third weekends
2023’s Super Mario Bros took $70.7m from 71 territories and $442.15m and $878.2m worldwide; Mexico $65.6m; UK $51.7m; Germany $37.2m; France $31.7m; Australia $27.3m; $39.3m from IMAX worldwide, including $10m internationally.
2025’s A Minecraft Movie took $59m from 76 territories $376.2m total, and $720.8m worldwide; UK $59.2m; Germany $27.8m; Australia $27.4m; Mexico $24.8m; China $24m; France $16.9m; Brazil $14.4m; Poland $14.3m; Spain $14m; Italy $11m; Argentina $8.8m; Holland $7.3m; taken $9.6m from IMAX internationally and $26.6m worldwide.
136th biggest worldwide between Shrek Forever After and Suicide Squad (close to Guardians of the Galaxy, The Hunger Games: Mockingjay – Part 1, X-Men: Days of Future Past and Monsters University); A Minecraft Movie #70 $960.38m and The Super Mario Bros. Movie #20 $1.36bn
Took $48.2 from 82 territories and $392.2m and $747.5m worldwide; Mexico $55.5m; UK $44.1m; Germany $34.3m; France $34m; Spain $19.7m; Australia $23.5m; China $17.1m; Italy $14.8m; Brazil $12.3m.
- Project Hail Mary – MGM/Amazon
Dropped 15% in its fifth weekend, $20.51m and $285.15m.
12th biggest fifth weekend between Barbie and The Avengers (close to The Sixth Sense, Inside Out 2, Jumanji: Welcome to the Jungle and Star Wars: Episode I The Phantom Menace)
The 15 screens in 70mm IMAX (including BFI IMAX) have taken $6.3m worldwide to date.
EntTelligence average ticket prices $15.53 (standard) and $18.89 (PLF/IMAX).
132nd biggest between Home Alone and Dune: Part Two (close to The Sixth Sense, Inception, Sinners and Gravity).
With Michael opening Friday, the question is how much more is in its tank, while it held very strongly over the last four weeks. The Super Mario Galaxy Movie wasn’t a competition for it, so likely to drop much heavier this weekend and then more against The Devil Wears Prada 2. So, while MGM have pushed back its streaming release date its surely unlikely to add more than $40m in the US and about $80m worldwide over the coming weeks.
Available in selected cinemas is an audio commentary from the directors that can be played by an app while you watch the film. Directors’ commentaries were a common addition on DVDs, but now that the home entertainment sector is a fraction of what it used to be, these are a rarity.
Fifth weekend
2025’s Sinners dropped 31.2% $15.2m and $240.57m of $279.98m and $369.88m worldwide
2024’s Dune Part 2 dropped 36% $11.35m and $252.64m of $282.14m and $714.84m worldwide
2021’s Dune dropped 42.7% $3.17m and $98.3m of $108.89m and $433.79m worldwide
2010’s Inception dropped 39% $11.28m and $248.46m of $292.58m and $839.03m worldwide
2023’s Oppenheimer dropped 43% $10.72m and $285.35m of $329.01m and $957.59m worldwide
2013’s Gravity dropped 36.3% $12.82m and $218.89m of $274.09m and $773.03m worldwide
2014’s Interstellar dropped 50.5% $7.78m and $158.44m of $188.02m and $731.07m worldwide
2015’s The Martian dropped 25.5% $11.71m and $183.12m of $228.43m and $630.62m worldwide
2016’s Arrival dropped 23.1% $5.58m and $81.43m of $100.54m and $203.38m worldwide
2009’s Avatar dropped 14.9% $42.78m and $493.25m of $749.76m and $2.743bn worldwide
Took $90m from IMAX worldwide: Dune Part 2 took $58.3m from IMAX in the US and $50.7m internationally, with an additional $15m from China from 1,600 IMAX cinemas.
Internationally Dune Part 2 fifth weekend $18.4m from 73 territories in 18,437 screens $373.7m total and $626.34m worldwide; China $46.5m; UK $43m; Germany $34.3m; France $34.2m; Australia $19.4m; S. Korea $16.5m; Spain $13.3m; Mexico $10.9m; Italy $10.5m; Poland $9.6m; Holland $9.3m; Brazil $7.1m.
Dune Part 2 IMAX took $62m US, $56.5m internationally and $134m worldwide; IMAX 21.4% of global BO.
218th biggest worldwide between Night at the Museum and Godzilla x Kong: The New Empire (close to War of the Worlds, I Am Legend, The Day After Tomorrow and Dunkirk); Ready Player One #203 $607.87m; The Martian #188 $630.62m; F1: The Movie #185 $634m; Dune: Part Two #152 $74.84m
Took $21m internationally and $288m from 71 territories and $573.1m worldwide; UK $40.3m; China $36.7m; Australia $22.5m; Germany $18m; S. Korea $17.2m; Mexico $14.1m; France $9.7m; Japan $9m; Spain $8.9m; India $8.1m; Brazil $7.8m.
Project Hail Mail returned to IMAX screens, taking $5.7m worldwide and $90m
- The Drama – A24
Dropped 44% in its third weekend, $4.84m and $39.35m
2024’s Challengers dropped 42.3% $4.37m and $37.76m of $50.11m and $96.11m worldwide
It’s the first of three films starring Zendaya and Robert Pattinson this year, starring in Christopher Nolan’s The Odyssey in July and Denis Villeneuve’s Dune Part 3 in December. Zendaya also stars in Spider-Man: Brand New Day, also opening in July.
The Drama has taken over $100m worldwide, A24’s fifth film to do so over its 13-year history. It has taken $40m in the US and $60m internationally.
A24’s other $100m+ films worldwide 2025’s Marty Supreme $181m; 2022’s Everything Everywhere All at Once $148m, 2024’s Civil War $127m; 2025’s The Materialists $108m. While $100m worldwide for a film like The Drama is a huge success, it does show the problem when all films are priced the same, as how you can compare The Drama with The Super Mario Galaxy Movie, but in a multiplex, they are priced the same in neighbouring screens.
A24 sold international rights to The Drama at Cannes last year.
The Drama has taken $10.6m in the UK; France, $5.4m in France, $5.2m in Italy, $3.9m in Australia, $3.4m
A24 have just started production on their highest budgeted film to date, Elden Ring, over $100m, a fantasy film based on a video game that has sold over 30m copies, it’s directed by Alex Garland and is being filmed in IMAX and due for release in 2028.
- Lee Cronin’s The Mummy – Warner Bros
Opened $13.51m; received average reviews (46% Rotten Tomatoes) C+ CinemaScore
Took $1.5m from Thursday previews; Evil Dead Rises took $2.5m
2023’s Evil Dead Rise opened $24.5m, taking $67.23m and $147.13m worldwide
With poor reviews and a poor CinemaScore, it will drop heavily in its second weekend, as many horrors have this year, likely to drop about 70%. Films like these that opened poorly and will drop heavily after they open highlight the problem with all studios coming out with their 45-day theatrical window, as I‘ve said many times, it’s not the length of the theatrical window, it’s having it fixed at any length, as it needs to be flexible to how the film is performing.
Comparisons have been made with 2015’s The Wolfman, opening $10.89m, taking $20.7m and $34.15m worldwide.
Opened $20.5m internationally from 77 territories; Mexico $2.2m; UK $1.4m; Spain $1.1m; France $1m
2023’s Evil Dead Rise opened with $16.8m from 58 territories.
Took $2m worldwide from 690 IMAX screens
UK Box Office Top 10
Box Office Preview
Opening Wednesday, the long-awaited biopic Michael about Michael Jackson, buzz has been strong for weeks, despite this embargo only ending the day before opening. As it is a biopic, there will be no plot to spoil, so if it is as great as the buzz, why the late embargo?
Showing how hugely popular in the UK Michael Jackson is despite the controversy that surrounded his life, 2009’s Michael Jackson’s This Is It opened £4,877,255/£7,181,399 taking £9,732,593/£14,330,528
This Is It was a documentary about his preparation for his This Is It 50 concerts at O2 Arena from July 2009 to March 2010, 10 were planned but another 40 added due to tickets selling out so quickly with over 1 million tickets sold (11 per second in 4 hours 750,000 tickets were sold), but none of the concerts happened due to his death in June 2009 two weeks before his first concert was to happen. Ahead of his death, over $85m was sold in ticket sales (£50m+). Michael Jackson hadn’t toured since 1997.
The Michael Jackson biopic comes 17 years later, after the huge success of Bohemian Rhapsody, so expectations are massive.
While Michael Jackson’s 1988 Moonwalker opened £660,625/£2,300,698 taking £3,401,538/£11,846,226.
Michael is the latest biographical musician drama after Bohemian Rhapsody (Queen), Walk the Line (Johnny Cash), Ray (Ray Charles), Elvis, Straight Outta Compton (N.W.A), A Complete Unknown (Bob Dylan), Springsteen: Deliver Me From Nowhere and Rocketman (Elton John); Upcoming musician biopics include Sam Mendes’s four Beatles films, and Ridley Scott directed Bee Gees biopic.
Over recent years, musician biopics have had mixed success, most recently Springsteen: Deliver Me From Nowhere underwhelmed, opening £1,306,626, taking £3,632,978.
2025’s A Complete Unknown opened £2,616,302; Fri £775k 29.6%; Sat £1.02m 38.9%; Sun £771k 29.5% taking £11,887,982
2006’s Walk The Line opened £1,111,142/£1,807,032 198 screens taking £9,737,493/£15,835,923.
2022’s Elvis opened #1 740 screens £4,023,572; £1.25m (31.1%) Friday; £1.45m (36%) Sat £1.29m (36%) Sun; taking £27,492,430; had long legs staying in top 5 for 7 weeks and top 10 for 11 weeks.
2018’s Bohemian Rhapsody opened £9,530,463 #1 (£3,054,530 previews) taking £54,948,727
2019’s Rocketman opened £5,381,904 #2 705 screens (including £1,360,606 from three days of previews), taking £23,502,881: top 5 for 5 weeks and top 10 for 7 weeks
2024’s Bob Marley: One Love opened £6,950,773 (including £1.82m on Valentine’s Day (Wednesday) taking £17,183,582
2023’s Whitney Houston: I Wanna Dance With Somebody £3,325,458 #2 687 screens taking £11,383,690
2015’s Straight Outta Compton £2,498,231 #1 429 screens taking £8,043,283
With Michael opening on Wednesday, they will surely be looking to repeat the opening of Bohemian Rhapsody, which opened £9,530,463 (£3,054,530 previews).
Reviews have been similarly poor as Bohemian Rhapsody, complaining it was a too sanitised version of his story, but as with any of these biopics that have been made with the band or family’s agreement, they have all been sanitised versions, as with Bohemian Rhapsody and Rocketman. Producers need the band’s approval so the films can feature the artists’ songs, as what’s a musician’s biopic without the songs that made them famous?
Demographically, DCM data shows the audience skews older: 49% aged 45+, with 15% 16-24 and 20% 25-34. This is a Bohemian Rhapsody audience.
The Super Mario Galaxy Movie audience has no interest in a Michael Jackson biopic, but as with its last two weekends, it will drop 50%+, taking £1m-£1.3m
After strong holds over the last weekend, Project Hail Mary and The Drama will also suffer similar 50% drops, with Project Hail Mary taking about £1m and The Drama about £600k-£800k.
The Magic Faraway Tree will have a smaller sixth weekend drop, as again its audience won’t be seeing Michael.
With the bottom five new releases last weekend all likely to drop off heavily, it will be interesting to see what will be this weekend’s films 6-10, as the only other new releases, the one-day re-release of Fight Club and Mother Mary, are unlikely to get into the top 10.
Coming Soon
- Mortal Kombat II -Warner Bros
The martial arts fantasy sequel to 2021’s Mortal Kombat, and the fourth film instalment based on the long-running video game franchise. Returning cast includes Jessica McNamee, Josh Lawson, Ludi Lin, Mehcad Brooks and Lewis Tan, joined by Karl Urban and Adeline Rudolph, with Simon McQuoid again directing.
The 2021 film arrived under highly unusual circumstances, with a limited global rollout during COVID and only a muted UK theatrical launch as cinemas reopened in May that year. It opened to just £319,313 from 340 sites, including £124,464 in previews, finishing No.6 for the weekend.
The earlier big-screen outings, 1995’s Mortal Kombat and 1998’s Mortal Kombat: Annihilation, also failed to make much impact at the UK box office, meaning the franchise’s cinema history has never matched its gaming footprint.
That footprint remains substantial. The Mortal Kombat series has sold more than 100 million games worldwide, while 2023’s Mortal Kombat 1 has reportedly shifted around 8 million copies. UK sales were said to be down 38% on Mortal Kombat 11, suggesting a loyal audience, if not one on the scale of Super Mario Bros or Minecraft. In cinema terms, it may sit closer to Street Fighter, which itself is heading back to screens later this year.
In the US, 2021’s Mortal Kombat opened to $23.3m, finishing on $42.3m domestic and $84.4m worldwide, enough, apparently, for Warner Bros to return for another round. The studio will be hoping the recent success of game adaptations has shifted the landscape in their favour.
Its release timing may be shrewd. Landing a month after The Super Mario Galaxy Movie and two weeks before Star Wars: The Mandalorian and Grogu, while titles such as Michael and The Devil Wears Prada 2 skew elsewhere demographically, Mortal Kombat II could find a short but useful lane among younger male audiences underserved by the current schedule.
It’s tracking to open with $50m in the US, but will surely be looking to open much less than its normal 10% in the UK, opening third or even fourth behind Devil Wears Prada 2, Michael and The Sheep Detectives.
Perhaps most surprising of all, Warner Bros are reportedly developing a third film before this one has even entered the arena.
- Billie Eilish – Hit Me Hard And Soft: The Tour – Paramount Pictures
3D concert film features performances from Billie Eilish’s seventh headlining concert tour, Hit Me Hard and Soft: The Tour (2025), in Manchester, directed by James Cameron (yes, that James Cameron).
In 2025, Billie Eilish announced the concert was being filmed for a secret 3D film by James Cameron.
James Cameron has said, “not a concert movie for streaming” Despite James Cameron’s claims, it surely has a very limited front-loaded appeal to her fans only.
Hit Me Hard and Soft was the fifth biggest selling album in the UK in 2024; Don’t Smile at Me (2017) sold 85,000 copies; When We All Fall Asleep (2019) sold 212,500 copies; Happier Ever After (2021) sold 65,000 copies
Albums have sold over 77.4m (2025), and her single ” Lovely. Has over 3.7bn streams on Spotify (2025).
2023’s Billie Eilish: Live At The O2 (Extended Cut) opened £329,407 #10 from 256 screens
While 2011’s Justin Bieber: Never Say Never (3D) opened £820,592/£1,084,644 taking £1,993,888/£2,635,486
- The Sheep Detectives – Sony Pictures/MGM
The Sheep Detectives is a comedy based on Leonie Swann’s 2005 bestseller Three Bags Full, featuring an ensemble cast led by Hugh Jackman, Nicholas Braun, Molly Gordon and Emma Thompson, with voice work from Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Patrick Stewart, Bella Ramsey and Brett Goldstein. The film is directed by Minions and Despicable Me veteran Kyle Balda.
Like Project Hail Mary, MGM is deploying previews the weekend before full release in an attempt to build early word of mouth. It will be interesting to see how those previews perform opposite The Devil Wears Prada 2, although the two titles are likely fishing in very different ponds.
There is a hint of Babe in the premise and tone, no bad thing given that family favourite became one of 1995’s great surprise success stories, opening to £1.36m before climbing to £19.36m in the UK, equivalent to roughly £44.56m today.
The Sheep Detectives has shades of Babe, the ensemble wit of Chicken Run, and the quiet family-word-of-mouth potential of Paddington if it lands with audiences. But more likely similar to films like Shaun the Sheep Movie and The Bad Guys, it feels like The Thursday Murder Club with sheep and could be the feel-good counterprogramming to louder FOMO tentpoles. Think The Thursday Murder Club… only woollier.
The Sheep Detectives has the kind of quirky title and warm, gently offbeat trailer that could appeal to families looking for an alternative to louder tentpole fare. If audiences take to it, and if exhibitors give it room to breathe, this could be the sort of sleeper hit that grazes steadily through to half-term three weeks later.
