- Spider-Man: Brand New Day £3,605,191 – £87,211,746
Dropped 41.4% in its fourth weekend.
£1.1m 30.5% (-39.2% £1.8k) Fri; £1.4m 38.8% (-38.3% £2.3m) Sat; £1.1m 30.7% (-45.7% £2.04m Sun); £864k Mon
22nd biggest fourth weekend between The Kings Speech and Mamma Mia 2 (close to Toy Story 4, LOTR: Two Towers, Star Wars: The Last Jedi and Joker) and 60th biggest fourth weekend between Harry Potter & Prisoner Of Azkaban and The Dark Knight (close to King Kong, Shrek 2, Avengers Assemble and Rogue One: A Star Wars Story).
Much has been written about why Spider-Ma m Brand New Day has performed so strongly and even stronger than 2021’s No Way Home, people have come out with the same predictable comments saying what superhero fatigue, but they are missing the point as Spider-Man is similar to Black Panther it’s a comic book film for people who don’t like comic-book films.
As similar to Obsession being more than a horror film as it was about toxicity masculinity, Spider-Man deals with real issues people are dealing with loneliness, imposter syndrome, and isolation issues that men struggle to admit. As I wrote recently we all hide behind masks the only difference is Peter wears a physical mask, but as in Spider-Man 2 when it is ripped off on the train and they tell him they will keep his secret, he also realises this walking out of the hospital. This is why similar to Obsession, Brand New Day is playing strongly to female audiences and far stronger than comic-book films normally play to female audiences.
Next month is the 25th anniversary of 9/11, Sony Pictures released the first teaser trailer of Spider-Man in July 2001. Spider-Man after opening 9 months after 9/11 it became a beacon of hope for New Yorkers “You mess with Spidey; you mess with New York!” “You mess with one of us; you mess with all of us!” and the world. The original film opened at a time when the world felt fragile and broken. Spider-Man became Hollywood’s ultimate comfort food. Every time a new film comes out, it carries a piece of that original DNA: the belief that no matter how bad things get, ordinary people will stand up and help.
Spider-Man is not just a hero; he is a symbol of resilience. He is the everyman who, through courage and determination, overcame impossible odds. That is why he is so huge in the US. He reminds them of how they moved on with their lives 25 years ago. He was that all-American regular boy who was able to do it. And that is why they embrace him far more than any other MCU or DC character, because they all think they could be Spider-Man.
2017’s Spider-Man: Homecoming dropped 28.5% £1,560,458/£1,668,794 and £24,540,135 80.8% of £30,380,216/£32,489,390
After Spider-Man: Far From Home performed similar to Homecoming after opening only 10 weeks after Avengers: Endgame, again few would have expected No Way Home to perform as strongly, but the different of course Far From Home was overshadowed by The Lion King, Toy Story 4, and Avengers: Endgame
2019’s Spider-Man: Far From Home dropped 26.3% £1,714,153/£1,901,713 and £30,564,827 82.5% of £37,037,828/£41,090,444
Sony finally got what they had expected from 2017 to get a real bounce from being part of the MCU, as up to then it was Disney that benefited the most from Spider-Man being in the MCU.
2021’s Spider-Man No Way Home dropped 26% £4,477,415 and £79,321,181 82.6% of £96,903,566.
The MCU Spider-Man films have been Avengers lit films including other MCU characters and move on the story from MCU films, Spider-Man: Homecoming was set up by Captain America: Civil War featuring Spider-Man and Black Panther. Spider-Man: Homecoming featured Tony Stark/Iron Man. It was only No Way Home and Brand-New Day when Spider-Man have had the Avengers bounce as previously MCU have benefited from Spider-Man as Avengers: Doomsday will hugely in December.
2019’s Avengers: Endgame dropped 49.4% £2,232,115 and £83,993,395 94.7% of £88,692,771/£98,397,382
2018’s Avenger Infinity War dropped 64.1% £2,047,469 and £64,054,508 90.5% of £70,804,892/£78,552,242
2012’s Avengers Assemble dropped 32.5% £2,814,216/£3,538,755 and £44,983,702 86.7% of £51,910,045/£65,274,641
There are three eras, moving from the Raimi/Maguire launch in 2002, through the Webb/Garfield reboot in 2012, and into the MCU-driven Tom Holland since 2016.
9th biggest between Avengers: Endgame and Top Gun: Maverick (close to Spectre, Avatar, Star Wars: The Last Jedi and Titanic) and 32nd biggest inflated between Superman and Top Gun: Maverick (close to Crocodile Dundee, Casino Royale, One Flew Over the Cuckoo’s Nest and Shrek 2).
Sony/Marvel will surely announced Spider-Man 5 as part of Phase Seven for release July 2029/30; Spider-Man will appear in Avengers: Doomsday and Avengers: Secret Wars. Sony Pictures will release Spider-Man: Beyond the Spider-Verse year, Sony Pictures have no plans for any more Spider-Man spinoff films.
- 2. The Odyssey £2,776,010 – £75,002,169
Dropped 26.2% in its sixth weekend.
£759k 27.3% (-28.4% £1.06m) Fri; £1.15m 41.4% (-18.4% £1.41m) Sat; £870k 31.1% (-30.9% £1.26m) Sun; £546k Mon
5th biggest sixth weekend between Avatar: The Way of Water and Wicked (close to Titanic, Paddington, Wicked and Top Gun: Maverick) and 17th biggest inflated sixth weekend between LOTR: Return of the King and Top Gun: Maverick (close to LOTR: Two Towers, Die Another Day, Bridget Jones’s Diary and Star Wars: Phantom Menace).
Over the last five weeks The Odyssey has held similar to James Bond and Lord of the Rings film in the UK as Christopher Nolan films are the equivalent to those films, 20+ years ago Peter Jackson’s Lord of the Rings trilogy were similarly epic films while the Jame Bond audience in the UK is similar to the Christopher Nolan target audience, they come out to see the one or two must-see films each year. The are not just films they are cultural moments.
Industry reaction for The Odyssey and Spider-Man: Brand New Day taking over £162m has been predictably over the top, but with so many other films opening over the last five weeks since The Odyssey its not healthy for the industry that the box office is split over two films.
The only positive is that it’s not Disney as its great to see Universal and Sony be able to compete directly with Disney who have cannibalised the market for so long, but its just a blip as Brand New Day success only makes Avengers Doomsday to open far bigger and then they have more of the usual suspects for sequels, reboots and reimaginations to come over the next two years which will make it very hard for any other studio to get close to them as there won’t be another Christopher Nolan and Spider-Man film until 2029.
Barbenheimer
2023’s Oppenheimer dropped 20.9% £1,638,665 and £53,173,902 90.9 % of £58.5m; £432k 26.4% Friday; £611k 37.3% Saturday; £595k 36.3% Sunday; stayed behind Barbie for six weeks; Oppenheimer remained in the top five for seven weeks and the top ten for ten weeks.
Stayed second behind Barbie dropping 28.9% £1,944,777 and £89,082,599 of £95,671,481; £594k 30.5% Friday; £711k 36.5% Saturday; £639k 32.8% Sunday.
The Odyssey is expected to have a 100-day theatrical window, followed by PVOD in November and Sky Cinema in April 2027.
The BFI IMAX Impact
Last week it was reported BFI IMAX has taken £2,683,987 with 95% occupancy rate across all showtimes, tickets went on sale last Friday for more shows till September 24th and they quickly sold out. As the BFI IMAX, Science Museum and Vue Manchester has sold out almost all shows since it opened 6 weeks ago for their 70mm IMAX screenings they must be taking a bigger percentage week on week.
In the US over 50% of its sixth weekend was from IMAX and it must be similar in the UK with the 70mm IMAX cinemas taking about 10% of the weekend box office, this is why The Odyssey is having such small drops week after week and will continue so until it loses IMAX screens while it will take higher and higher percentage from IMAX. IMAX must have taken at least 20% of its total BO probably much higher as in the US its close to 30%.
Nolan comparisons sixth weekends
2010’s Inception dropped 35% £1,076,106 #6 from 419 screens and £31,575,347 89.5% of £35,264,403; dropped 35% in the seventh weekend £699,041; held #1 for 1 week and in the top 5 for 5 weeks and top 10 for 8 weeks.
2020’s Tenet dropped 3% £628,247 #1 from 355 screens and £15,948,191 91.2% of £17,479,421; dropped 52% in the seventh weekend taking £296,049 held #1 for 8 weeks and in the top 5 for 9 weeks and top 10 for 10 weeks
2017’s Dunkirk dropped 48% £998,531 #2 from 599 screens and £51,679,746 91% of £56,797,955; dropped 6% in the seventh weekend taking £935,980 held #1 for 4 weeks and in the top 5 for 8 weeks and top 10 for 10 weeks.
15th biggest between The Lion King and Toy Story 3 (close to Titanic, Avatar: The Way of Water, Harry Potter and Deathly Hallows Part 2 and Beauty and the Beast) and 51st biggest inflated between Moonraker and Harry Potter and the Half-Blood Prince (close to Flash Gordon, The Dark Knight, Lion, The Witch And The Wardrobe and Live and Let Die).
- 3. Insidious: Out Of The Further £2,198,329 – NE
Took £837k 38.03% Friday; £795k 36.12% Saturday; £569k 25.85% Sunday; £363k Monday.
862nd biggest opening between Beowulf and Pacific Rim (close to Super 8, The Ring, Chronicle and Saw II) and 1,312th biggest inflated opening between The Lovely Bones and The Garfield Movie (close to Arachnophobia, A Haunting In Venice, Halloween Ends and Freaky Friday).
36th biggest opening over the last 52 weeks between Predator: Badlands and The Roses (close to One Battle After Another, The Running Man, The Drama and The End Of Oak Street).
4th biggest horror opening in 2026 more than Obsession £1.39m and behind 28 Years Later: The Bone Temple £3.36m and will have legs similar to The Bone Temple.
Sony Pictures announced the sequel in 2024; it was original set for release in December 2024 and then Augst 25th before moving to August 2026.
2023’s Insidious: The Red Door opened £2,279,084; £816k Friday (38.5%); £837k Saturday (36.7%); £628k Sunday (27.5%) taking £7,858,051
2011’s Insidious opened £1,441,292 taking £7,035,245
2013’s Insidious 2 opened £2,877,742 taking £6,996,519
2015’s Insidious Chapter 3 opened £1,440,299 taking £3,874,112
2018’s Insidious: The Last Key opened £1,840,992 taking £5,040,84
While original horror films like Obsession and Backrooms have strongly performed this year, horror sequels have not clicked as well with audiences and been very front-loaded as 28 Years Later: The Bone Temple and Scream 7 and Insidious: Out Of The Further will also be front-loaded as seen by its huge drop off from Friday to Sunday and will drop 60% in its second weekend.
- 4.The End of Oak Street £929,717 – £4,617,732
Down 56% in its second weekend
£294k 31.6% (-58.2% £703k) Fri; £363k 39% (-46.7% £691k) Sat; £273k 29.3% (-55.1% £608k Sun.
1,249th biggest second weekend between Alfie and Elizabeth: The Golden Age (Friends with Benefits, Walking with Dinosaurs, Scary Movie 4, and Corpse Bride) and 1,826th biggest inflated second weekend between Identity and Toy Story 2 (Digital 3-D) (close to Side Effects, The Fly, Sphere and Hereditary)
35th biggest second weekend over the last 52 weeks between Five Nights at Freddy’s 2 and Predator: Badlands (close to Scream 7, Now You See Me: Now You Do not, Regretting You and Masters Of The Universe).
David Robert Mitchell’s 2014’s It Follows took £1.22m.
26th biggest film of 2026 between Masters Of The Universe and Reminders Of Him (close to Scream 7, Supergirl, Crime 101 and Send Help).
From the trailers it felt like a Cloverfield film but as its made by Warner Bros it cannot be as that was made by Paramount with J. J. Abrams.
2016’s 10 Cloverfield Lane dropped 51.8% £771,215 and £3,326,797 66.1% of £5,029,725
2008’s Cloverfield dropped 52.6% £1,652,549 and £6,704,421 73.5% of £9,120,932
The B-Movie Tradition
2002’s Eight-Legged Freaks dropped 52.1% £494,131/£922,608 and £2,284,137 69.1% £3,305,089/£6,171,040
1991’s Arachnophobia up 0.9% £846,515/£2,237,817 and £2,152,015 39% of £5,515,513/£14,580,614
2000’s Lake Placid dropped 29.9% £652,124/£1,187,162 and £2,007,138 of £3,203,300/£5,831,462
2006’s Snakes on a Plane dropped 34.7% £698,166/£1,148,318 and £2,661,860 72.1% of £3,692,064/£6,072,573
2018’s The Meg dropped 42,1% £2,113,490 and £8,561,776 56.8% of £15,075,792
1999’s Deep Blue Sea 25.4% £1,450,848/£2,760,402 and £4,310,464 54.2% of £7,943,717/£15,113,818
These films are not masterpieces, and they knew are just brainless popcorn films audiences used to watch on a hot summer night when you do not want to think too hard.
- 5. Spa Weekend £372,812 – NE
Took £175k 35.43% Friday; £179k 36.23% Saturday; £140k 28.34% Sunday.
2,780th biggest opening between Mercury Rising and A Beautiful Day In The Neighborhood (close to Midnight in Paris, Cafe Society, Wanderlust and The Big Sick) and 3,163rd biggest inflated opening between Arbitrage and Oculus (close to Flatliners (2017), Home Again, Pretty in Pink and Hampstead).
67th biggest opening over the last 52 weeks between Caught Stealing and Cold Storage (close to Ready Or Not 2: Here I Come, Mercy, Mutiny, and Ice Cream Man).
Jon Lucas and Scott Moore previously wrote the screenplays for The Hangover and Bad Moms. While 2016’s Bad Moms (opened £1,471,466 taking £8,141,704), Bridesmaids and Girls Trip were successful many others like 2017’s Rough Night (opened £244,462 #11 the same weekend in August) But even the writers of The Hangover could not save this from being a one-joke film.
The success of films like The Housemaid, The Drama and Obsession from earlier this year shows that female audiences are hungry for stories that respect their intelligence. Spa Weekend is the opposite; it is a checklist of tropes that feel like they were workshopped by a committee. With films like Spa Weekend once you have seen the trailer you have seen the film.
September brings more stereotypical female films Practical Magic 2 and Sense & Sensibility and Verity in October but also have the potential breakout horror Other Mommy ahead of The Hunger Games: Sunrise on the Reaping in November.
The audience is not the problem. The content is. And until studios stop treating female audiences as a monolith, they will keep wondering why films like Spa Weekend fail. As the industry still seems shocked when a film targetting audiences is successful despite more women going to the cinema than men.
Also opened
- Mutiny – Studiocanal
Opened £372,812 from 370 screens.
Took £123k Friday; £145k Saturday; £x Sunday.
Jason Statham starred in Shelter earlier this year opened £964,903; £279k 28.94% Friday; £407k 42.22% Saturday; £278k 28.84% Sunday; taking £1,913,913.
2024’s The Beekeeper, £956,380 (£250k Friday; £409k Saturday and £262k Sunday), taking £3,830,079
2025’s A Working Man, £658,134 (£201k Friday; £273k Saturday; £384k Sunday), taking £1,362,371.
Jason Statham’s first films were Guy Ritchie’s Lock, Stock and Two Smoking Barrels in 1998 and 2000’s Snatch. since starred in many action films, including The Transporter, The Italian Job, Cellular, Crank, The Expendables, The Mechanic, Spy and The Meg.
The Transporter (opened £338,420, taking £623,493, The Mechanic opened £921,554, taking £2,445,760, Crank opened £450,141, taking £1,279,643. 1998’s Lock, Stock and Two Smoking Barrels opened £941,638, taking £11,399,953.
Mutiny received mixed reviews but that did not previously stop audiences seeing Jason Statham films, but the bigger issue was the film was accidentally released on Amazon days before opening for a couple of hours, this was long enough for the film to be downloaded many times. Earlier in the summer high-quality version of The Odyssey and Spider-Man: Brand New Day were leaked online days after opening, neither had any impact on their box office, but it does affect films like Mutiny.
And
- Trainspotting (30th Anniversary 4K Restoration) – Park Circus
Opened £64,757 #19 from 190 screens.
Unlike other re-releases for anniversaries Trainspotting re-release is 6 months after it was originally re-leased in February 1996; the film and its marketing became a cultural phenomenon. (opened £1,422,906/£3,080,399 taking £12,431,663/£26,912,870 and 31 years later Trainspotting 2 opened £5,146,791 taking £16,892,424
It opened the same weekend as Sense and Sensibility which has a new version released next month.
- STOP! THAT! TRAIN! – Universal Pictures
Opened £86,179 #18 from 156 screens.
action comedy received positive reviews; Deadline said it played homage to Airplane and Naked Gun films.
It was also the tale of two films from last week Tony expanded from 101 screens to 356; taking £341,334 down 15% #10 and £1,009,387; while British film Sunny Dancer drops from 331 screens to 75 taking £8,902 down 91% taking £206,160.
Exhibitors are very fickle a few years ago they wouldn’t give a film like Tony a chance to build after its opening weekend but after A24 has had huge success with Marty Supreme, The Drama and Backrooms they will give A24 breathing room, something they won’t with True Brit who have yet to prove their worth to exhibitors.
Comparing the two films a film about an American chef who didn’t have much of a profile in the UK compared to a British film about a teenager who goes to summer camp after beating cancer, there would surely only be one film chosen, but not to the AI booking system exhibitors use.
—
2026 BO is currently up 22% from 2025.
The weekend’s top 10 box office took £12,010,454 down 21.9% from last weekend’s £15,383,513, 1,499,432 admissions, down 19.9% from 1,871,427 admissions.
29th biggest weekend of the last 52 weeks between 12 June 2026 #1 Disclosure Day £5,504,987 (44.77%) and 22 May 2026 #1 Star Wars: The Mandalorian And Grogu £5,291,385 (45.35%)
102nd biggest since cinemas reopened out of 301 weeks between 21 October 2022 #1 Black Adam £5,655,003 (47.06%) and 10 January 2025 #1 Mufasa: The Lion King £2,201,919 (18.36%)
487th biggest top 10 of the last 25 years (out of 1,271) between 11 March 2016 #1 Kung Fu Panda 3 £4,771,131 (39.71%) and 01 February 2019 #1 How to Train Your Dragon: The Hidden World £5,323,448 (44.37%) and 864th biggest inflated between 15 April 2005 #1 The Interpreter £1,589,829 (24.18%) and 22 June 2018 #1 Ocean’s 8 £4,347,070 (43.18%)
The top 3 took £8,579,530 (71.4%) of the top 10; Spider-Man: Brand New Day 30.02% (£3,605,191); The Odyssey 23.1% (£2,776,010); Insidious: Out Of The Further 18.3% (£2,198,329)
786th biggest percentage share #1 (30.02%) between 27 December 2013 #1 The Hobbit: The Desolation of Smaug £5,450,824 (30.06%) and 31 January 2020 #1 1917 £2,798,457 (30.0%)
802nd biggest admissions (450,086) between 25 June 2004 #1 Harry Potter and Prisoner of Azkaban £2,029,289 (451,957) and 26 March 2004 #1 The Passion of the Christ £2,019,935 (449,874)
Up 135.6% from 2025; (£5,095,939); The Life Of Chuck (£486,294); Eddington (£247,442); The Rocky Horror Picture Show (50th Anniversary) (£161,523); Spinal Tap (Re-Issue 2025) (£32,180); #1 Weapons £1,147,166 3rd week 628 screens down 26% (22.51% of top 10).
Up 13.9% from 2024; (£10,544,299); Kneecap (£1,035,664); Blink Twice (£746,328); The Crow (£410,308); The Amazing Spider-Man RE (£146,633); Pulp Fiction (30th Anniversary 4K Re-Issue) (£108,369); Cuckoo (£106,957); Between The Temples (£27,752); #1 Alien: Romulus £2,021,921 2nd week 46% drop 691 screens (19.18% of top 10)
Up 54.4% from 2023; (£7,775,273); Andre Rieu’s 2023 Maastricht Concert: Love Is All Around (£710,326); The Blackening (£367,486); Scrapper (£197,658); Theatre Camp (£141,872); #1 Barbie £1,944,777 6 weeks 753 screens (25.01%)
Up 126.1% 2022 (£5,311,427); Andre Rieu’s 2022 Maastricht Summer Concert (£798,706); Beast (£600,259); The Invitation (£261,791); Mr. Malcolm’s List (£43,467); Die Another Day (Re: 2022) (£6,225); #1 Andre Rieu’s 2022 Maastricht Summer Concert £798,706 1st week 607 screens (15.1% of top 10)
Up 121.2% 2021 (£5,427,888); Candyman (£1,112,674); Andre Rieu’s 2021 Summer Concert: Together Again (£420,056); Our Ladies (£124,295); The Nest (£121,186); #1 Free Guy £1,607,761 3rd week (29.6% of top 10)
Up 1,265% from 2020: (£879,533); The Karate Kid (Re: 2020) (£32,117); Get Out (Re: 2020) (£3,392) #1 Unhinged £178,8212 up 31% 380 screens 2nd week #1 over 4 weeks (20.33%)
Up 39% 2019; (£8,636,602); Angel Has Fallen (£2,122,408); Scary Stories to Tell In the Dark (£611,218); Crawl (£458,796); Pain and Glory (£307,131); It (Re: 2019) (£9,242); #1 Angel Has Fallen £2,122,408 537 screens 1st week (24.6% of top 10)
Down 6.1% 2018: (£12,788,350); BlacKkKlansman (£1,234,214); The Spy Who Dumped Me (£1,057,211); The Children Act (£517,378); Slender Man (£389,339); Alpha (£225,606); Luis and the Aliens (£218,248); #1 Disney’s Christopher Robin £2,138,824 2nd week 673 screens 16% drop (16.7% of top 10)
Up 79.2% 2017: (£6,700,471); American Made (£1,067,075); Logan Lucky (£705,087); Detroit (£658,028); Rough Night (£244,462); Mayweather Vs. McGregor (Boxing) (£171,256); Thomas & Friends: Journey Beyond Sodor (£92,389); #1 American Made £1,067,075 1st week 543 screens (15.9% of the top 10)
Up 32.9% 2016: (£9,034,593); Bad Moms (£1,471,466); War Dogs (£1,005,133); The Purge: Election Year (£807,803); Mechanic: Resurrection (£508,715); Julieta (£356,191); Popstar: Never Stop Never Stopping (£31,128); #1 Finding Dory £1,510,744 5th week (3rd #1) 611 screens down 48% (16.7% of the top 10)
Up 27.9% from 2015; (£9,389,554); Paper Towns (£2,072,789); Sinister 2 (£1,069,261); Vacation (£608,748); The Bad Education Movie (£594,861); Strange Magic (£56,127); Good People (£25,454); #1 Paper Towns £2,072,789 1st week 472 screens (22.1% of top 10)
Up 7.1% from 2014: (£11,216,125); Lucy (£3,076,997); Into the Storm (£1,147,657); Deliver Us from Evil (£629,554); What If (£592,501); Doctor Who: Deep Breath (£522,908); 2 Days, 1 Night (£165,278); Thomas and Friends: Tale of the Brave (£60,328); Sin City: A Dame to Kill For (£12,117); Sin City (Re: 2014) (£10,244); #1 Lucy £3,076,997 1st week 486 screens (27.4% of top 10)
Up 13.5% 2013: (£10,580,446); Elysium (£3,127,005); We’re the Millers (£1,508,326); The Mortal Instruments: City of Bones (£1,143,385); Thomas & Friends: King of the Railway (£63,311); Jurassic Park 3D (£111,703); What Maisie Knew (£95,852); Lovelace (£86,076); The Kings of Summer (£6,773); #1 Elysium £3,127,005 1st week 463 screens (29.5% of top 10)
Up 11.4% 2012 (£10,782,345); Keith Lemon: The Film (£1,196,310); The Imposter (£252,170); Shadow Dancer (£201,936); #1 Brave £2,371,691 4th week (2nd #1) 556 screens 55% drop (22% of top 10)
Down 23.5% 2011; (£15,690,651); One Day (£2,208,724); Final Destination 5 (£1,450,464); Conan the Barbarian (£622,268); The Skin I Live In (£325,349); #1 The Inbetweeners Movie £5,696,848 2nd week 471 screens 57% drop (36.3% of top 10)
Up 10.6% 2010: (£10,857,796); Grown Ups (£2,006,945); Scott Pilgrim vs. The World (£1,604,545); Diary of a Wimpy Kid (£671,161); The Girl who Played with Fire (£404,896); #1 Grown Ups £2,006,945 1st week 401 screens (18.5% of top 10)
Up 43.2% from 2009; (£8,384,307); Inglorious Basterds (£3,596,415); Dance Flick (£462,825); Shorts (£171,876); I Love You, Beth Cooper (£123,519); #1 Inglorious Basterds £3,596,415 1st week 444 screens (42.8% of top 10)
Up 11.6% 2008; (£10,756,388); Hellboy 2: The Golden Army (£2,969,602); Get Smart (£1,542,005); College Road Trip (£121,360); Somers Town (£121,345); #1 Hellboy 2: The Golden Army £2,969,602 1st week 464 screens (27.6% of top 10)
Up 51.2% 2007:(£7,941,925); Knocked Up (£1,583,998); Lady Chatterley (£48,776); Flood (£2,501); #1 The Bourne Ultimatum £2,864,804 2nd week 56% drop 457 screens (36% of top 10)
Up 96.6% 2006; (£6,106,683); You, Me, and Depree (£1,636,249); Severance (£483,152); Volver (£433,283); #1 You, Me, and Depree £1,636,249 1st week 409 screens (26.8% of top 10)
Up 88.6% 2005: (£6,367,870); The Dukes of Hazzard (£1,720,754); The Cave (£563,761); The Adventures of Shark Boy and Lavagirl in 3D (£399,436); Sisterhood of the Travelling Pants (£110,557); #1 The Dukes of Hazzard £1,720,754 1st week 447 screens (27.1% of top 10)
Up 40.6% from 2004; (£8,540,203); The Village (£2,945,763); A Cinderella Story (£611,209); #1 The Village £2,945,763 1st week 433 screens (34.5% of top 10)
Up 43.1% from 2003 (£8,393,708); Tomb Raider 2 (£1,524,676); Confidence (£325,685); The Man Who Sued God (£195,418); Swimming Pool (£119,092); #1 American Pie: The Wedding £2,180,783 2nd week 425 screens 47% drop (26% of top 10)
Up 76.9% from 2002 (£6,787,774); The Guru (£1,521,984); Reign Of Fire (£932,168); Talk To Her (£174,757); Black Knight (£167,084); #1 The Guru £1,521,984 1st 368 screens (22.4% of top 10)
Up 79.6% from 2001 (£6,685,496); Heartbreakers (£751,754); Crocodile Dundee in L.A. (£354,593); Lucky Break (£348,613); Josie and the Pussycats (£37,662); #1 Planet of the Apes £2,364,945 2nd week 447 screens 57% drop (35.3% of top 10).
Next week: 2025 (£8,161,723); The Roses (£2,183,190); Jaws (50th Anniversary) (£1,104,471); Caught Stealing (£570,843); Andre Rieu’s 2025 Maastricht Concert: Waltz The Night Away! (£566,325); Harry Potter And The Goblet Of Fire (20th Anniversary) (£507,768); #1 The Roses £2,183,190 1st week 696 screens (26.75% of top 10)
US Box Office
- Spider-Man: Brand New Day — Sony Pictures
Dropped 44.8% in its fourth weekend $39m and $854.9m.
8th biggest fourth weekend between Black Panther and The Avengers (close to Star Wars: The Force Awakens, The Super Mario Bros. Movie, Barbie, and Spider-Man: No Way Home).
Took $53.2m from IMAX worldwide total from the US, China, Japan, and South Korea
6th biggest film worldwide between Titanic and Star Wars: The Force Awakens (close to Avatar: The Way of Water, Ne Zha 2, Avengers: Infinity War and Spider-Man: No Way Home).
Avengers fourth weekends
2012’s Avengers dropped 34.12% $36.68m and $513.37m of $623.35m/$958m and $1.51bn/$2.4bn worldwide
2015’s Avengers: Age of Ultron dropped 44.2% $21.69m and $404.86m of $459m/$681m and $1.4bn/$2.1bn worldwide
2018’s Avengers Infinity War dropped 52.6% $29.45m and $595.81m of $678,8m/$930.1m and $2.048bn/$2.8bn/$3.9bn WW
2019’s Avengers Endgame dropped 52.6% $29.97m and $771.36m of $858.37m$1.18bn and $2.79bn worldwide
2021’s Spider-Man No Way Home dropped 41.8% $32.61m and $668.35m of $814.86m and $1.91bn worldwide
Its now impossible to compare Brand New Day with earlier films of this series and all other Spider-Man films made since 2002 as the only films they can be compared to are Avengers films and Spider-Man No Way Home.
As Homecoming and Far From Home feel likely they are now part of a completely different film series, but it shows how Spider-Man finally started benefitting from being part of the MCU since No Way Home. While Marvel benefited from the addition of Spider-Man since 2016’s Captain America: Civil War as Spider-Man as Black Panther changed the dynamics of the MCU series.
Spider-Man: Homecoming took $545.96m and $880.16m WW
Spider-Man: Far From Home took $747.39m and $1.13bn WW
International
Spider-Man: No Way Home dropped 64.4% $121.4m from 61 territories (32,600+ screens) $587.1m total and $1.05bn worldwide; UK $68.9m; Mexico $52.8m; South Korea $41.1m; France $35.8m; Brazil $31.7m; Australia $31.4m; India $29.7m; Russia $28.5m; Italy $21.2m; Germany $20m; Spain $16.5m; it was then 21st biggest film worldwide between Iron Man 3 and Minions and then the 46th film to take over $1bn worldwide since Jurassic Park in 1993 Brand New Day is the 65th
Brand New Day took $70m from 67 territories taking $1.236bn total international and $2.22bn worldwide; France $74.3m; Germany $57.5m; UK $117.8m; China $221.4m; Brazil $66.3m; Mexico $84.6m; Australia $54.1m; South Korea $59.5m.
- Insidious: Out Of The Further – Sony Pictures
Opened $25.1m; received mixed reviews (60% Rotten Tomatoes) and C+ CinemaScore.
Took $3m from Thursday previews; Insidious: The Red Door $5m; Insidious: The Last Key $1.98m; Insidious: Chapter 2 $1.5m.
26% from PLFs
861st biggest opening between Meet the Robinsons and Master and Commander: The Far Side of the World (close to Underworld: Awakening, Tomorrow Never Dies, White House Down and Zombieland).
Other August horror openings include 2017’s Annabelle: Creation $35m; 2016’s Do not Breathe $26.4m; 2019’s Scary Stories to Tell in the Dark $20.9m and 2021’s Candyman $22m.
With C+ CinemaScore it is going to be very front-loaded as audiences agreed with critics about how bad this sequel was and why it opened late summer and is yet another sequel horror that has underwhelmed this year.
While audiences have embrace original horrors this year including Obsession and Backrooms sequel have underwhelmed, so bit might seem a great idea to do a sequel to a successful horror they often struggle to be as successful second time around as the scares are more predictable even though they up the gore.
Social media 282.2m across TikTok, Facebook, Instagram, X and YouTube more than 2023’s Insidious: Red Door 182m and more than 28 Years Later: The Bone Temple 195m.
2010’s Insidious opened $13.27m taking $54m and $100.1m worldwide
2013’s Insidious: Chapter 2 opened $40.27m taking $83.58m and $161.91m worldwide
2015’s Insidious: Chapter 3 opened $22.69m taking $52.21m and $112.98m worldwide
2018’s Insidious: The Last Key opened $29.58m taking $67.74m and $167.88m worldwide
2023’s Insidious: The Red Door opened $33.01m taking $82.15m and $189.08m worldwide
Insidious: The Red Door opened with $31.4m; Mexico $5.8m; UK $2.8m; France $1.9m; India $1.5m; Malaysia $1.2m; Brazil $1.1m; Germany $1.1m; Australia $1m.
Opened with $35m internationally from 64 territories; Mexico $4.2m; Philippines $4m; UK $3.1m; France $1.7m; Spain $1.6m; Germany $1.4m.
- The Odyssey – Universal Pictures
Dropped 16.5% in its sixth weekend $19.7m and $539.26m.
9h biggest sixth weekend between Wicked and Zootopia 2 (close to Avatar: The Way of Water, Black Panther, Frozen II and The Sixth Sense).
The Dark Knight #54 $10.54m; The Dark Knight Rises #162 $7.22m; Oppenheimer #112 $8.22m;
Premium-format impact
EntTelligence said average ticket prices for Odyssey were general $15.32; 70MM $22.46 and 70MM IMAX $27.77
Took $10m from IMAX in the US almost 50% of the weekends box office and $180.7m total (33.5% of total)
The Odyssey will play in IMAX cinemas until September 17th; took $34.4m worldwide over the weekend ($10m US and $9.1m China and $15.3m internationally) and $406.5m total (almost 30% of total BO from IMAX)
Oppenheimer comparison
2023’s Oppenheimer dropped 23% $8.22m and $299.24m of $330.07m and $975.81m worldwide; stayed in the top five for seven weeks and remained in the top ten for ten weeks, taking more than $1m every week during that run; over 6 weeks took $84.1m from the IMAX in the US
Other Nolan benchmarks sixth weekends
2020’s Tenet dropped 21.2% taking $2.1m #1 taking $48.3m 82.6% of $58.5m and $365.3m WW; dropped 26.5% in the seventh weekend taking $1.54m; held #1 for 5 weeks and stayed in top 10 for 13 weeks.
2017’s Dunkirk dropped 40.3% $3.94m #6 taking $172.42m 91.7% of $188.045m and $525.24m WW; up 10.8% in the seventh weekend taking $4.37m held #1 for 2 weeks and stayed in the top 10 for 9 weeks.
2014’s Interstellar dropped 30% $5.45m #6 taking $166.75m 88.7% of $188.02m and $677.89m WW; Dropped 50.4% in the sixth weekend taking $2.7m stayed in the top 10 for 6 weeks.
2010’s Inception dropped 30.5% $7.83m #9 taking $262.03m 89.6% of $292.57m and $825.79m WW; dropping 37.8% in the seventh weekend $4.87m held #1 for 3 weeks and staying in the top 10 for 11 weeks.
2012’s The Dark Knight Rises dropped 34.4% in the sixth weekend $7.22m #5 taking $422.25m 94.2% of $448.13m and $1.081bn WW; dropped 15.3% in the seventh weekend $6.11m; held #1 for 3 weeks and stayed in the top 10 for 8 weeks.
2008’s The Dark Knight dropped 35.6% $10.54m #4 taking $489.41m 91.8% of $533.34m and $1.003bn WW; dropped 18.2% in the seventh weekend $8.62m held #1 for 4 weeks and stayed in the top 10 for 10 weeks.
Internationally
Oppenheimer took $30.4m from 82 territories (18,095 screens) $478.5m total and $777.7m worldwide (expected to take $850m+); UK $67.5m; Germany $42.7m; France $37.2m; Australia $24.3m; Spain $19.7m; Korea $18.8m; Mexico $18.8m; $70.4m internationally IMAX (15.3%) and $154.5m total.
The Odyssey took $68m from 83 territories $907.1m total and $1.44bn worldwide UK $100.6m; Korea $56m; France $75.3m; Germany $52.2m; Italy $59.8m; Australia $39.9m.
Playing in 441 IMAX cinemas including seven 70mm IMAX internationally.
- Spa Weekend – Black Bear
Opened $3.07m; received poor reviews (33% Rotten Tomatoes) and B+ CinemaScore.
Similar films include.
2017’s Rough Night opened $8m taking $22.1m and $47.34m worldwide
Black Bear were likely hoping it would connect with female audiences as Bad Mums did ten years ago opening $23.81m taking $113.25m and $183.93m worldwide but these films are more miss than hit when they try to go for the female one joke Hangover vibe, for every Bridesmaids, Girls Trip and Bad Moms there are many other terrible female bonding comedies.
- Mutiny – Lionsgate
Opened $7.7m; received mixed reviews (50% Rotten Tomatoes) and B+ CinemaScore.
Took $700k from Thursday previews double $385k Shelter took in January.
2026’s Shelter opened $5.53m taking $12.8m and $54.59m worldwide; In January Shelter struggled to find an audience, as Send Help and Iron Lung likely cannibalised Jason Statham’s audience.
2025’s A Working Man (opened $15.51m, taking $37m and $89.2m worldwide
2024’s The Beekeeper opened $16.57m, taking $66.22m and $162.61m worldwide; The Beekeeper 2 opens in January.
Oter Jason Statham films include.
2002’s The Transporter opened with $9.1 m, taking $25.29m and $43.92m worldwide
2006’s Crank opened $10.45m, taking $27.83m and $42.93m worldwide
2011’s The Mechanic opened $11.42m, taking $29.12m and $76.13 worldwide
Jason Statham’s films have taken over $750m in the US and over $2bn worldwide.
Internationally A Working Man opened with $15m from 63 territories ($8.8m Warner Bros); China $2.9m; Germany $1.4m; Australia $1.1m; Mexico $1.1m; UK $867k and The Beekeeper opened $20.4m from 49 territories and $37.2m worldwide, including $8.1m from IMAX; China $4.4m; Germany $2.8m; Australia $1.4m; Mexico $1.3m; UK $1.2m; Ukraine $919k; Italy $780k; Spain $729k.
- The End of Oak Street – Warner Bros
Dropped 58.3% in its second weekend $8.75m and $37.71m.
Even though it could not be a Cloverfield sequel the trailers and J.J Abrams producing made many compare it to those films.
2016’s 10 Cloverfield Lane 49.4% $12.5m and $45.18m of $72.08m and $110.21m worldwide
2008’s Cloverfield dropped 68.3% $12.71m and $64.3m of $80.04m and $172.39m worldwide
While it had a lot in common with other recent late summer B movies including
2006’s Snakes on a Plane dropped 57.7% $5.86m and $26.01m of $34.02m and $62.02m worldwide
2002’s Eight-Legged Freaks dropped 63% $2.4m and $14.19m of $17.32m and $45.86m worldwide
1990’s Arachnophobia up 1.4% $8.16m and $23.83m od $53.2m
2010’s Piranha 3D dropped 57.4% $4.3m and $18.26m of $25m and $83.18m worldwide
1999’s Lake Placid dropped 49% $5.59m and $21.37m of $31.77m and $56.87m worldwide
Late summer has been the perfect time to release brainless popcorn B movies.
Took $11.2m internationally from 78 territories and $86m worldwide; UK $6.3m; Mexico $5m; France $4.3m; Japan $3.3m.
- Paw Patrol: The Dino Movie – Paramount Pictures
Dropped 54.7% $9.17m and $35.48m.
2023’s PAW Patrol: The Mighty Movie dropped 50.2% $11.33m and $38.44m of $65.34m and $205.09m worldwide
2021’s PAW Patrol: The Movie dropped 49.4% $6.65m and $24.11m of $40.12m and $144.23m worldwide
Took $11.5m internationally from 58 territories and $103.4m worldwide; France $11m; China $10.4m; Germany $4m.
UK Box Office Top 10
Box Office Preview
Spider-Man: Brand New Day and The Odyssey will old top two places for a fifth week as the new releases will struggle again to find a wide audience.
Spider-Man: Brand New Day will drop again about 40-45% in its fifth weekend taking £1.8m-£2.1m similar to Black Panther £1,881,691 and Deadpool and Wolverine £1,778,863 fifth weekends.
With The Odyssey dropping 25-30% in its seventh weekend they could be taking very similar BO with IMAX BO pushing The Odyssey #1 after the last four weeks #2 taking £1.8m-£2.1m
Opening third will be The Dog Stars having a five-day opening, the Ridley Scott film has had low expectations, but earlier reactions have said its better than they expected.
Ridley Scott has made several films over recent years: House of Gucci, Napoleon, and Gladiator II and has directed many incredible films, but also many poor ones including 2014’s Exodus: Gods and Kings, 2013’s The Counsellor, 2010’s Robin Hood, 1997’s G.I. Jane, 1996’s White Squall, and 1992’s 1492: Conquest of Paradise.
It is one of two post-apocalyptic films opening over the weekend and the fourth released in August, others were The End Of Oak Street, The Dog Stars, Colony, and The Last House on Netflix.
The end of August has traditionally been seen as dump week, the exception is 2020’s Tenet, but that opened then only because of COVID, a studio would not purposely choose to open a major film at the end of August if they had faith in it.
Having a 5-day opening and limited IMAX screenings it should see The Dog Stars take £1.2m-£1.5m making The Running Man opening £2,383,269 look incredible, but it is a film Disney have no interest in and are doing the minimal required to promote the film.
Opening fourth Coyote Vs. Acme, it already had seen days of previews, so will have a 10-day opening weekend that could see it open £1m+. The live-action animated comedy has a crazy history started development in 2018 was filmed in 2022 was due to be released in July 2023 (replaced by Barbie) and Warner Bros shelved the film (and Supergirl) as tax write off.
It was previewed at San Diego Comic-Con on July 25 receiving positive reactions calling it the best live-action animated film since Who Framed Roger Rabit and reviews have been very positive.
Insidious: Out Of The Further and The End Of Oak Street will both drop 50-60% in their second and third weekends, which will see Insidious: Out Of The Further drop to #5.
One Night Only will struggle to find an audience as it did in the US a few weeks ago, it will be lucky to open close to Spa Weekend £400k, but it will still do better than the other new releases I Want Your Sex and Colony.
There are several re-releases including Harry Potter and the Philosopher’s Stone (25th anniversary). Shaun The Sheep Movie, La La Land (10th anniversary) and The Fast And The Furious (25th anniversary).
Coming Soon
- Practical Magic 2 – Warner Bros
Fantasy drama legacy sequel starring Sandra Bullock, Nicole Kidman, Dianne Wiest, Stockard Channing and Maisie Williams and directed by Susanne Bier based on the 2021 novel The Book of Magic by Alice Hoffman.
Set 25 years after the first film as with all other legacy sequels features the children of the lead characters in the original film.
The first six months of the year was very strong for films targetting female audiences and September should see a return with Practical Magic 2 and Sense And Sensibility will likely be the biggest films of September.
Warner will be hoping it could connect with female audiences as The Devil Wears Prada 2 did earlier in the year but the original film wasn’t as beloved by audiences and wasn’t a huge hit in 1999 in the UK, so more likely to be similar to 2025’s Freakier Friday which similarly had the three generations of the female characters.
1999’s Practical Magic opened £1,001,536/£1,905,535 from 284 screens taking £2,987,705/£5,684,446
This was similar to 2003’s Freaky Friday opening £1,214,559/£2,191,130 taking £6,393,998/£11,535,118.
2025’s Freakier Friday opened £1,758,698 taking £8,192,283
It is fabulous to see Sandra Bullock and Nicole Kidman together but over recent years their star power has dimmed in cinemas, their biggest recent successes have come from steaming films and TV shows.
Sandra Bullock starring in The Lost City and Ocean’s Eight over the last 13 years since the massive success of Gravity. When Practical Magic opened in 1999 Sandra Bullock had recently starred in several disappointing films including In Love and War, Speed 2: Cruise Control and Hope Floats. After Practical Magic came one of her biggest hits Miss Congeniality.
Nicole Kidman has starred in Babygirl, Aquaman and the Lost City and Bombshell but as with Sandra Bullock has sadly been a long time since she had a big box office hit in the cinema so their decision to star in Practical Magic 2 was probably similar to Meryl Streep and Anne Hathaway agreeing to finally making Devil Wears Prada 2 for Hollywood to see them as leading actors again.
The trailer feels like it was made by paint by numbers, we need all the stereotypical elements, we must show that they are still as they were 25 years ago, then their children turn up, having done something crazy, then their grand mums turn up and make things worse, and then they fix the mess and end the film with a dance. There is the argument. There is the kids. There is the meddling grandma. There is the dance. I have seen this trailer before in Hocus Pocus 2, Freakier Friday, Coming 2 America, and many others.
I know I am not the target audience but was a huge fan of Sandra Bullock and Nicole Kidman films from the 90s to 00s and these feels calculated without any heart to it. I grew up with Practical Magic; watched many Sandra Bullock films including While You Were Sleeping and Miss Congeniality and Nicole Kidman in To Die For, Moulin Rouge and The Others.
But as Disney would say Freakier Friday is not for those who saw Freaky Friday in cinemas it is for their children, but they also want tis films to play to multi generations.
- Pressure – Studiocanal
War drama starring Andrew Scott, Brendan Fraser, Kerry Condon, Chris Messina, and Damian Lewis and directed by Anthony Maras based on David Haig 2014 stage play.
The film was made by Working Title for Studiocanal and then was acquired by Focus Features in November 2024 and was released in the US in May days before the anniversary of D-Day. Opening in the UK over 3 months later.
Made no sense for a film that would likely plat stronger in the UK and Europe to open in the US months before and was not a surprise despite positive reviews opened $5.81m taking $15.56m and $19.55m so far worldwide.
September has been a strong sloe to open British dramas as they would normally premiere at the Venice Film Festival and have a UK premiere days after having the cast and director doing global publicity tour. After opening in the US in May it was unlikely to have its European premiere at the Venice Film Festival so lost its momentum having a much lower profile UK premiere in early September.
Its being sold as from the producers of 2018’s Darkest Hour (open £4,058,356/£4,502,414 taking £24,112,875/£26,751,264
- Oasis: Do not Look Back In Anger – Disney
Documentary about Oasis reunion tour directed by Will Lovelace and Dylan Southern; has its world premiere at the Venice Film Festival and is followed by UK premiere days after.
Opens in cinemas and IMAX in the UK and direct to Disney+ in the US.(that said how mabny IMAX screens it will get with The Odyssey likely to still hold on to many in its .. week
In 2021 Oasis Knebworth 1996 documentary opened £344,833 #4 from 435 screens
And 2024 blur: Live At Wembley Stadium opened £81,680 #13 319 screens.
