- Street Fighter £2,313,689 – NE
Took £729k 31.5% Friday; £920k 39.76% Saturday; £665k 28.74% Sunday.
808th biggest opening between Belfast and Annie (2014) (close to Shazam! Fury Of The Gods, M3gan, Ghost in the Shell and Madame Web) and 1,258th biggest inflated opening between Ride Along 2 and Annabelle (close to Cowboys & Aliens, Timecop, Angry Birds and Moonwalker).
31st biggest opening over the last 52 weeks between Predator: Badlands and Insidious: Out Of The Further (close to Masters Of The Universe, The Running Man, The End Of Oak Street and Heart Of The Beast)
Street Fighter took 58% of its opening in the US from IMAX/PLF and it was probably a similar amount in the UK showing its opening was far worse than it looks.
Opened bigger than Mortal Kombat II (£1,607,520 taking £3,256,212) but much less than Capcom’s Resident Evil opening £4,211,819 taking £13,644,200 to date and Masters Of The Universe opening £2,654,783 taking £5,314,682.
While opening similar without previews to
2017’s Assassin’s Creed opened £5,285,064 (£3,371,311 previews) taking £7,996,695
2016’s Warcraft opened £3,623,725 (£2,171,126 previews) taking £5,947,228
There have been two earlier films based on Street Fighter;1995 film starring Jean-Claude Van Damme (opened £619,489/£1,425,893 taking £2,280,880/£5,249,957) and 2009’s Street Fighter: The Legend of Chun-Li, both were critical and box office flops. As with Resident Evil its targetting GenZ as older have endured the 1995 film and were tired watching the trailer.
Action-comedy Video game Street Fighter launched in 1987 and Mortal Kombat launched in 1992, both had similar fanbase.
Despite half-term this weekend Street Fighter will likely be similarly as front-loaded as Mortal Kombat II, as the film plays only to the fans of the video game.
After Spider-Man: Brand New Day dominated for six straight weeks, the market has completely fragmented. We have had a new #1 every single weekend since, and Street Fighter is about to be the sixth.
This is not a sign of a healthy, competitive market. It is a sign of a market with no legs. Films are opening, grabbing their weekend gross, and vanishing.
It means exhibitors are constantly swapping out screens, audiences are constantly being sold something new, and nothing has time to breathe. It is the fast-fashion model of cinema.
The industry has trained audiences to only show up for events, and now that the events are over, they are left with a slate of films that nobody cares about.
A new #1 every week is not a sign of health. It is a sign that the audience is moving on before the credits even roll.
- 2. Forgotten Island £1,299,538 – NE
Took £228k 17.55% Friday; £597k 45.96% Saturday; £474k 36.49% Sunday.
1,475th biggest opening between A Dog’s Purpose and Up In The Air (close to Look Who’s Talking Too, Shaun the Sheep 2, Clifford The Big Red Dog and Atlantis: The Lost Empire) and 2,116th biggest inflated opening between Dorian Gray and Zodiac (close to Herbie: Fully Loaded, Where The Wild Things Are, Dora & The Lost City Of Gold and The Lady and the Tramp (1989 re).
56th biggest opening over the last 52 weeks between Deliver Me From Nowhere and Regretting You (close to Marty Supreme, Obsession, Anaconda and The Black Phone 2).
Despite receiving positive reviews Forgotten Island was always likely to struggle especially over its opening weekend two weeks before most schools are on half-term. As being original animated film its comparison was 2023’s Ruby Gillman, Teenage Kraken opening £885,056 taking £2,287,836 and 2025’s Gabby’s Dollhouse: The Movie (0pening £1,901,289 taking £5,660,407) rather than The Wild Robot and Dog Man.
Had a disappointing opening last month in the US despite its originality about Filipino mythology and folklore, animation breaks the barriers as seen with films like Moana animation breaks down those culture barriers especially family films as children do not see it.
Scottish schools were on half term last week, with private schools this week and all other UK schools the following weekend so being the only major animated film on release it should find a wider audience with strong word of mouth.
Going into their 30th anniversary in 2028, next year is a much stronger with CoComelon: The Movie (based on a popular YouTube show), the live action remake How To Train Your Dragon 2 and Shrek 5.
- 3. Jailer 2 £1,169,412 – NE
Included £400,400 from previews.
1,613th biggest opening between Edge Of Darkness and Salmon Fishing in the Yemen (close to Fight Club, Asteroid City, Taken and Pompeii) and 2,272nd biggest inflated opening between The Book of Life and Beavis and Butthead Do America (close to Man On Fire, Leo, Carry on Columbus and The Forgotten).
59th biggest opening over the last 52 weeks between Anaconda and The Black Phone 2 (close to Obsession, Regretting You, The Dog Stars and Bugonia)
Jailer 2 opened with $32m worldwide including $18m internationally.
Dhurandhar: The Revenge £2,064,354 was the current biggest opening for Indian film, Ramayana opening in three weeks could have a bigger opening, selling 5,678 seats in the UK and 30,346 in the US. It opens the same weekend as Godzilla Minus Zero, so there will be two of 2026 biggest opening for a film not in the English language over that weekend.
- 4. Verity £1,094,502 – £9,488,334
Down 43.5% in its third weekend
£351k 32.1% (-67% £635k) Fri; £442k 40.4% (-43% £770k) Sat; £301k 27.5% (-26.3% £531k 27.4%) Sun
527th biggest second weekend between Glass and Pride and Prejudice (close to The Departed, American Hustle, Chicago, and A Quiet Place) and 875th biggest inflated second weekend between Monster-in-Law and A Knight’s Tale (close to Cocktail, In the Line of Fire, Swordfish and Don’t Worry Darling).
Verity is a very different kind of film from other Colleen Hoover adaptations. It is an erotic psychological thriller, a genre that has struggled to find audiences for 25 years. Recent attempts like Babygirl and Deep Water have tried to revive it, with mixed success. Verity likely sits between Gone Girl and the Fifty Shades trilogy Dakota Johnson starred in a decade ago.
It is also a very different kind of film for Anne Hathaway. Audiences have grown up with her in very different roles, and it can feel awkward seeing an actor in such a different part, even though we understand they want to play different characters.
Colleen Hoover’s earlier adaptions held stronger in their third weekends.
2024’s It Ends With Us dropped 34.8% £1,847,480 and £15,860,073 73.8% of £21,241,321
2025’s Regretting You dropped 12.9% £790,645 and £5,247,189 84.8% of £6,186,391
2026’s Reminders of Him dropped 24% £515,196 and £3,415,138 of £4,068,843
Colleen Hoover has opted over writing new novels over adapting her other original novels into films, as would have expected many of her other original novels in development. While even after the court case ending earlier this year there are still big questions if the It Ends With Us sequel will be made anytime soon.
- 5. Other Mommy £934,094 – £3,799,081
Down 52.6% in its second weekend
£294k 31.5% (-63.4% £721k) Fri; £398k 42.6% (-48% £764k) Sat; £242k 25.95% (-19% £485k) Sun.
1,250th biggest second weekend between The Producers and Vantage Point (close to Assassin’s Creed, Demolition Man, The End Of Oak Street and Scary Movie 4) and 1,824th biggest inflated second weekend between Spotlight and Mandela: Long Walk to Freedom (close to Cabin Fever, The Game, Side Effects and The Fly).
39th biggest second weekend over the last 52 weeks between Sense And Sensibility and The End Of Oak Street (close to Pressure, Five Nights at Freddy’s 2, Predator: Badlands and Regretting You)
Obsession dropped 4.3% £1,284,749 and £3,953,954 19.7% of £20.03m
Echoes of Coraline
Other Mommy also similarities to 2009’s Coraline dropped 43.5% £1,372,528 and £4,211,866 of £7,244,992. Both stories feature an “other mother” who traps a young girl in a distorted parallel world.
Second weekend was similar to Jessica Chastain 2013 horror Mama dropped 29.5% £1,066,008 and £3,484,674 65.5% of £5,321,101
With comic-book horror Clayface opening this weekend Other Mommy will drop again heavily.
Also opened
Whalefall £510,742 #7 from 502 screens
As with the US 20%+ of its opening was likely from PLF making its opening even more underwhelming.
Survival thriller starring Austin Abrams, Josh Brolin and Elisabeth Shue and directed by Brian Duffield, based on the 2023 novel by Daniel Kraus. There have been many similar extreme single location survival films including 2010’s 127 Hours (opened £2,168,570 taking £7,705,020), 2004’s Open Water (opened £1,970,176 taking £4,818,915) and 2023’s Cocaine Bear opened £1,581,128 taking £5,202,386.
The director Brian Duffield previously directed 2023’s No One Will Save You about a home invasion with an alien twice was released straight to streaming on Hulu.
The “claustrophobic trailer” promised a relentless, real-time race against a 60-minute oxygen clock. However, the actual theatrical cut dedicated the vast majority of its runtime to a dramatic, flashback-heavy narrative about toxic masculinity and parental grief. It was less The Shallows and more of a family melodrama taking place via memories, which killed the urgent momentum needed for a breakout survival hit.
This was seen from the test screenings, audiences were moved by the heavy narrative of grief, suicide, and parental abuse and wept during the climactic scenes. Despite these responses the test scores were very as they felt the combination of claustrophobic, visceral whale interiors, and the depressing, relentless “daddy issues” made the movie far too emotionally exhausting and grim to experience twice. As it should have been a B -movie survival film, instead they pushed down further on the father/son relationship which slowed the film down making it feel very different to the trailer.
The poor opening of adult drama Whalefall follows the underwhelming openings of The Social Reckoning and The Uprising last week, Digger three weeks ago and Sense And Sensibility a month ago, the only one to buck this trend was Heart of the Beast.
Adult dramas opening September/October have historically performed very strongly but the audience has not connected to any of these films. It is very concerning as its yet another nail in the coffin for these films. The problem is the industry does not seem to care or think it is a problem especially in September/October when there is another four new releases opening the next weekend. Last weekend there were five new releases in the top 10 and net weekend there will be another four.
The marketing campaigns for these films has been a massive reason why they did not connect with their target audiences, trying to be too clever and targetting the wrong audience, while alienating the audiences they were made for.
With Whalefall it’s another example of Disney being seen to be continuing the 20th Century Studios brand but not having any interest in the films they make as they struggle to market anything original, this has been a problem with Disney long before they acquired 20th Century Fox, noy having an original live action film for more than a decade.
2026 BO is currently up 21% from 2025.
The weekend’s top 10 box office took £9,250,120 up 8.9% from last weekend’s £8,496,631: 1,112,582 admissions, up 4.9% from 1,060,753 admissions.
42nd biggest weekend of the last 52 weeks between 10 July 2026 #1 Moana (2026) £2,875,065 (30.57%) and 17 April 2026 #1 The Super Mario Galaxy Movie £2,552,081 (28.51%)
170th biggest since cinemas reopened out of 309 weeks between 21 May 2021 #1 Peter Rabbit 2 £4,605,673 (49.27%) and 25 October 2024 #1 Venom: The Last Dance £4,299,477 (46.85%)
785th biggest top 10 of the last 25 years (out of 1,279) between 11 October 2002 #1 Red Dragon £3,180,493 (34.35%) and 28 February 2020 #1 The Invisible Man £2,163,797 (23.39%) and 1.096th biggest inflated between 30 September 2022 #1 Smile £1,860,452 (22.27%) and 22 September 2006 #1 The Children of Men £1,284,254 (24.58%)
The top 3 took £4,782,639 (51.7%) of the top 10; Street Fighter 25.01% (£2,313,689); Forgotten Island 14.5% (£1,299,538); Jailer 2 12.64% (£1,169,412)
973rd biggest percentage share #1 (25.01%) between 26 March 2004 #1 The Passion of the Christ £2,019,935 (25.04%) and 25 August 2023 #1 Barbie £1,944,777 (25.01%)
1,084th biggest admissions (288,850) between 22 February 2008 #1 Jumper £1,513,088 (290,978) and 31 December 2004 #1 The Incredibles £1,296,333 (288,716)
Up 30.5% from 2025; (£7,088,486); Gabby’s Dollhouse: The Movie (£1,901,289); The Black Phone 2 (£1,100,233); Roofman (£679,368); Good Fortune (£306,776); After The Hunt (£207,821); #1 Gabby’s Dollhouse: The Movie £1,901,289 1st week 604 screens (26.82% of top 10)
Up 5.5% from 2024: (£8,766,339); (The Wild Robot £3,256,572); Smile 2 (£2,000,089); The Apprentice (£749,149); The Substance (£223,407); My Hero Academia: You’re Next (£216,844); London 2024 (Ballet) Alice’s Adventures In Wonderland – ROH (£147,703); Carrie (4K Restoration) (£43,431); Back To The Future II (35th Anniversary) (£8,972); #1 The Wild Robot £3,256,572 670 screens 1st week (37.15% of top 10)
Down 21.3% from 2023; (£11,761,134); Trolls Band Together (£3,051,810); Killers Of The Flower Moon (£2,531,393); Leo (£1,157,367); The Prince Of Egypt: The Musical (£113,687); Gravity (10th Anniversary) (£59,879); #1 Trolls Band Together £3,051,810 1st week 653 screens (25.95% of top 10)
Down 23% 2022 (£12,015,545); Black Adam (£5,655,003); The Banshees Of Inisherin (£1,643,220); Decision To Leave (£410,107); Poltergeist (40th Anniversary 4k Restoration) (£46,598); Coraline (Re: 2022) (£27,432); #1 Black Adam £5,655,003 1st week 650 screens (47.06% of top 10)
Down 47.5% 2021 (£17,614,556); Dune (£5,876,892); The Boss Baby 2 (£1,193,115); The French Dispatch (£867,672); Dear Evan Hansen (£236,397); #1 Dune £5,876,892 1st week 657 screens (33.4% of top 10)
Up 950.8% 2020; (£880,280); Michael Ball & Alfie Boe – Back Together (£175,778); I Am Greta (£29,687); #1 Tenet £187,275 down 37% 8th week 320 screens (21.27% of top 10)
Down 37.1% 2019; (£14,701,611); Maleficent: Mistress Of Evil (£3,300,000); Shaun The Sheep Movie: Farmageddon (£1,305,511); Zombieland: Double Tap (£1,242,352); Official Secrets (£537,990); The Shining (Re: 2019) (£18,191); #1 Joker £5,489,716 44% drop 3rd weekend 682 screens
Down 35.7% 2018: (£14,380,280); Halloween (£2,656,097); Goosebumps 2: Haunted Halloween (£2,119,165); Hunter Killer (£368,082); Samson Et Dalila – Met Opera 2018 (£176,889); Fahrenheit 11/9 (£56,814); #1 A Star is Born £2,883,000 2nd week #1 3rd week release 663 screens 7% drop (20.1% of top 10)
Down 5.5% 2017: (£9,783,969); Geostorm (£1,625,895); Happy Death Day (£998,388); The Death of Stalin (£995,458); My Little Pony (£916,123); Paw Patrol: Big Screen Tails (£35,332); Marshall (£14,967); The Princess Bride (30th Anniversary) (£1,128); #1 Blade Runner 2049 £1,791,027 3rd week 2nd #1 (w1 and w3) 617 screens (18.3% of the top 10)
Down 40.1% 2016: (£15,448,907); Trolls (£5,440,878); Jack Reacher: Never Go Back (£2,688,561); Ouija: Origin of Evil (£779,626); I, Daniel Blake (£444,800); Keeping Up with the Joneses (£271,306); Don Giovanni – Met Opera 2016 (£254,469); Queen of Katwe (£73,754); #1 Trolls £5,440,878 1st week 608 screens (35.2% of the top 10)
Down 46.7% 2015; (£17,426,172); Hotel Transylvania 2 (£6,317,438); Suffragette (£2,938,446); Pan (£2,738,758); Crimson Peak (£967,168); The Lobster (£229,619); Otello – Met Opera 2015 (£172,773); The Program (£144,181); #1 Hotel Transylvania 2 £6,317,438 1st week 557 screens (36.2% of top 10)
Down 27.4% 2014: (£12,738,897); Teenage Mutant Ninja Turtles (£4,785,448); The Judge (£420,720); Northern Soul (£278,829); Black Butler (£1,327); #1 Teenage Mutant Ninja Turtles £4,785,448 1st week 522 screens (37.5% of top 10)
Down 14.5% 2013: (£10,812,691); Turbo (£3,892,774); Captain Phillips (£3,483,981); Escape Plan (£961,470); Enough Said (£170,357); #1 Turbo £3,892,774 1st week 528 screens (36% of top 10)
Down 36.9% 2012: (£14,670,714); Madagascar 3: Europe’s Most Wanted (£6,030,904); Paranormal Activity 4 (£2,544,701); Frankenweenie (expansion) (£741,683); Beasts of the Southern Wild (£181,801); #1 Madagascar 3: Europe’s Most Wanted £6,030,904 1st week 532 screens (41.1% of top 10)
Down 17.6% 2011; (£11,227,673); Paranormal Activity 3 (£3,405,036); Contagion (£1,463,638); Monte Carlo (£237,469); Judy Moody and the Not Bummer Summer (£33,605); Restless (£11,270); #1 Paranormal Activity 3 £3,405,036 1st week 390 screens (30.3% of top 10)
Down 24.6% 2010: (£12,266,017); Paranormal Activity 2 (£3,764,722); RED (£1,662,472); Legend of the Guardians (£737,444); Alpha and Omega (£643,425); Easy A (£277,975); Africa United (£177,827); Ramona and Beezus (£84,475); #1 Paranormal Activity 2 £3,764,722 1st week 389 screens (30.7% of top 10)
Down 11.5% 2009; (£10,447,511); Couples Retreat (£1,825,142); The Imaginarium of Doctor Parnassus (£905,786); Triangle (£260,626); #1 Up £5,162,325 2nd week 535 screens 19% drop (49.4% of top 10)
Up 26.1% 2008; (£7,332,004); Burn After Reading (£2,045,565); Eagle Eye (£1,096,777); Igor (expansion) (£981,750); The Rocker (£217,745); #1 Burn After Reading £2,045,565 1st week 396 screens (27.9% of top 10)
Down 20.2% 2007: (£10,717,468); Saw IV (£2,482,889); Eastern Promises (£623,491); Sicko (£156,173); #1 Ratatouille £3,056,938 2nd week 525 screens 19% drop (33.5% of top 10)
Up 9% 2006; (£8,486,228); Barnyard: The Original Party Animals (£1,022,890); The Guardian (£826,569); The Grudge 2 (£773,422); The Last Kiss (£431,071); Marie Antoinette (£283,883); #1 The Departed £1,456,564 3rd week 2nd #1 358 screens 14% drop (17.1% of top 10)
Down 18.3% 2005: (£11,324,493); Nanny McPhee (£2,603,834); Corpse Bride (£1,150,464); Sky High (£646,569); Broken Flowers (£395,880); Dreamer (£149,058); #1 Wallace and Gromit: The Curse of the Were-Rabbit £4,666,723 2nd week 499 screens 50% drop (41.2% of top 10)
Down 4.1% 2004; (£9,648,812); Alien vs Predator (£2,003,663); Alfie (£1,314,156); The Princess Diaries 2 (expansion) (£807,008); #1 Shark Tale £3,199,963 2nd week 504 screens 58% drop (33.1% of top 10)
Down 26.3% 2003 (£13,372,837); Kill Bill Volume One (expansion) (£2,693,742); The League of Extraordinary Gentlemen (£2,005,435); Mystic River (£295,135); Bollywood Queen (£27,020); #1 Finding Nemo £5,923,138 3rd week 2nd #1 475 screens (44.3% of top 10)
Up 2.2% from 2002: (£9,046,691); XXX (£3,435,891); Slap Her, She’s French (£210,321); All Or Nothing (£164,291); The Powerpuff Girls (£92,007); #1 XXX £3,435,891 1st week 435 screens (37.9% of top 10)
Down 2.3% from 2001 (£9,463,581); America’s Sweethearts (£1,719,897); Jeepers Creepers (£1,533,151); Atlantis (expansion) (£1,282,458); Brotherhood of the Wolf (£123,245); #1 American Pie 2 £2,823,776 2nd week 420 screens 49% drop (29.8% of top 10)
Next week: 2025 (£7,393,984); Springsteen: Deliver Me From Nowhere (£1,306,626); Regretting You (£1,275,980); Chainsaw Man – The Movie: Reze Arc (£1,110,945); Pets On A Train (£443,107); Mrs. Warren’s Profession – NT Live 2025 (£150,043); Disney Junior Cinema Club 2025 (£80,883); The Descent (20th Anniversary) (£45,386); #1 Springsteen: Deliver Me From Nowhere £1,306,626 1st week 690 screens (17.67% of top 10)
US Box Office
- Street Fighter – Paramount Pictures
Opened $30.77m; received mixed reviews (44% Rotten Tomatoes) and B CinemaScore.
Took $4m from Thursday previews; Mortal Kombat II $5.2m; Masters of the Universe $4.4m; Uncharted $3.7m; Warcraft $3.1m; Rampage $2.4m.
654th biggest opening between Little Fockers and Star Trek: First Contact (close to Space Jam: A New Legacy, Pokémon: The First Movie – Mewtwo Strikes Back, John Wick: Chapter 2 and M3GAN).
58% from IMAX/PLF
Ahead of opening was expected to open with $30m and $70m worldwide.
Took $7.7m worldwide from IMAX; $5.4m US and $2.3m internationally.
Social media 920.6m from TikTok, YouTube, Instagram, Facebook, and X more than Minecraft Movie (772.4m), Mortal Kombat 2 (452.6m) and Five Nights at Freddy‘s (488.5m).
Legendary Pictures full financed the $82m film and Paramount get a distribution fee; it was originally in development at Sony Pictures but moved to Paramount when Legendary Pictures moved to the studio.
2026’s Mortal Kombat II opened $38.5m (almost 50% from IMAX/PLFs) taking $79.77m and $129.57m worldwide
2026’s Masters of the Universe opened $29.43m taking $64.83m and $113.79m worldwide
2026’s Resident Evil opened $60.15m taking $150m and $324.3m worldwide
2021’s Mortal Kombat (COVID) opened $23.3m, taking $42.32m and $84.42m worldwide
1994’s Street Fighter opened $6.85m/$19.8m taking $33.4m/$96m and $99.4m/$286m worldwide
1995’s Mortal Kombat opened $23.28m, taking $51.74m and $122.19m worldwide
2016’s Assassin’s Creed opened $10.27m taking $54.64m and $240.69m worldwide
2026’s Warcraft opened $24.16m taking $47.36m and $439.0.4m worldwide
Mortal Kombat II opened $23m internationally from 30,000 screens from 78 territories and $63m worldwide; UK $2.2m; Mexico $1.7m, and Australia $1.6m; took $9.7m worldwide from IMAX; $6.8m US and $2.9m internationally.
Opened with $20.1m from 65 territories and $51.1m worldwide; UK $3.3m; Mexico $1.8m; Australia $1.6m; Brazil $1.2m; France $1.1m.
Resident Evil opened $48.3m international and $108.3m worldwide; UK $5.8m; Mexico $5.6m; Australia $2.6m; France $2.6m; Germany $2.5m; Spain $2.3m.
- Whalefall – 29th Century Studios
Opened $7.83m; received positive reviews (71% Rotten Tomatoes) and B CinemaScore.
Took $900k from Thursday previews; Cocaine Bear $2m; Send Help $2.2m.
Opened in 500 PLF and 250 D-Box/Motion screens taking 21%.
While Deadline compared it to sea thrillers like 2016’s The Finest Hours, 2015’s In the Heart of the Sea and 2000’s The Perfect Storm, it was a survival thriller more like The Shallows, Open Water, and 127 Hours. After 20th Century Studios Send Help opened $19.1m (Premium formats 46% with 3D 8%) taking $64.73m and $94.04m WW.
Surely Whalefall should have had a similar opening especially boosted by it starring Austin Abrams coming off Weapons and Resident Evil and its claustrophobic trailer, of course it also highlighted its problematic side the father/son dynamic that overshadowed the film.
There was also issues with the darkness of the images, with some screens the images would been too dark to see, this was a widespread complaint on social media the combination of underwater gloom and some cinemas poorly calibrated, low-contrast projector screens made the film functionally unwatchable on certain screens.
2023’s Cocaine Bear opened $23.26m taking $64.67m and $88.31m worldwide
2016’s The Shallows opened $16.8mm taking $55.12m and $119.1m worldwide
Opened with $9.5m from 51 territories and $17.5m worldwide; Mexico $800k; UK $700k; China $700k; Korea $400k.
- You Can See Everything – A24
Opened $15.6m from 855 screens; received positive reviews (99% Rotten Tomatoes) and
Took $1.75m from Thursday previews.
There were over 2,000 sellouts over the weekend: 18-34 62% with 70% under the age of 35 and has a 174-minute running time. With widespread critical acclaim its build Oscar buzz, Fahrenheit 9/11 did not qualify for Oscars as it was shown on TV first before the November 2004 election.
It could be the first documentary to be nominated for Oscars for Best Picture
Social media was far more limited only 13k on Instagram and 42m views on YouTube from two videos; share-reposting at 61:1; awareness of 102m; Nathan Fielder Instagram has 1M fans with 30m video views.
Th question is You Can See Everything a documentary as it is a staged film so if it pushes out real documentaries that really need award nominations to find their limited audience it will surely anger many filmmakers.
You Can See Everything is released a week after The Social Reckoning which was poorly received by critics and audiences and soon after Luca Guadagnino’s OpenAI film Artificial premiered in the US, originally set up at Amazon, they dropped it with Neon acquiring it has received positive reviews and is another major award contender.
It follows recent success for A24 with Backrooms, The Drama, The Invite and last years Marty Supreme all had strong marketing campaign.
Normally after a strong opening like this the studio would go much wider in its second weekend but A24 plan to keep the screens with similar numbers to keep its momentum as often films will dilute their box office expanding too wide to quickly.
Its opening was compared to 2006’s Borat opening $26.4m/$50.5m taking $128.5m/$245.1m and $262.55m/$501m worldwide as kit opened in a similar amount o0f screens 837 screens.
It is the best opening for a film opening in less than 1,000 screens since 2008’s Hannah Montana and Miley Cyrus: Best of Both Worlds Concert $31.1m/$48.82m taking $65.28m/$102.43m and $70.64m worldwide.
Ever since You Can See Everything received its world premiere as the secret screening at the Telluride Film Festival it has been strong buzz as the film came out of nowhere as no one knew what the documentary Nathan Fielder had made. Elizabeth Holmes invited him to follow her in the weeks before she began her prison sentence after defrauding investors with her company Theranos.
In 2022 Disney released a biographic drama TV series about Theranos The Dropout, it ended in 2015 after the Wall Street Journal exposed the Theranos’ fraud, Elizabeth Holmes was convicted in January 2022 reporting to prison in May 2023.
Had the second biggest opening for a documentary after 2004’s Fahrenheit 9/11 opening $23.9m/$48.1m taking $119.1m/$239.8m and $222.46m/$447.5m worldwide.
- Sense and Sensibility – Focus Features
Opened $7.2m; received positive reviews (76% Rotten Tomatoes) and A CinemaScore.
Took $1.15m from Thursday previews.
Audience was 84% female: 58% between 18 and 34.
1995’s Sense and Sensibility opened on limited release $721,341 from 70 screens having a slow expansion taking 10 weeks to get to its widest point 1,054 screens and took $43.18m
While Wuthering Heights opened $32.8m taking $84m and $241.8m worldwide
2019’s Little Women opened $16.75m, taking $108.1m and $20.1m worldwide
2005’s Pride And Prejudice opened $2.8m/$5.2m taking $38.4m/$69m and $128.6m/$230.9m WW
1996’s Romeo + Juliet opened $11.13m/$28m taking $46.4m/$117m and $147.6m/$370m WW
2013’s The Great Gatsby opened $50.08m/$70.9m taking $144.8m/$205.1m and $353.7m/$501m WW
This was a similar to Gen Z’s Wuthering Heights earlier this year, but it was a raunchier version to earlier adaptations, while Sense and Sensibility was much closer to the 1995 film.
There was Austenmania in the 90s, especially 1995, with the BBC’s Pride and Prejudice starring Colin Firth, which inspired Helen Fielding to create Bridget Jones’s Diary as fan fiction, a phenomenon that became four books and films. That same year saw the Oscar-winning Sense and Sensibility, the BBC adaptation of Persuasion, the modern-day Emma became Clueless. Also in 1995 was a remake of Little Women, based on Louisa May Alcott’s novel 1996 saw the period-set Emma starring Gwyneth Paltrow and Jeremy Northam, and 1999 brought Mansfield Park.
Remaking the classics feels similar to what Disney is doing with its live-action reimagining’s, bringing beloved stories to the next generation. The problem, of course, is that those who lived through the earlier incarnations see these as sacrilege. But as with the recent Star Wars films, Disney would say they are not for the children who saw the originals or the prequels, they are for their grandchildren. These adaptations are of classic novels, after all.
Sense and Sensibility had a soft opening in the UK with £1,536,410 taking £5,861,336 and has taken $19.18m worldwide struggling to find an audience elsewhere. After the raunchy Wuthering Heights earlier in the year was it a bit too vanilla for GenZ?
- Other Mummy – Universal Pictures
Dropped 70.5% in its second weekend $8.2m and $44.7m.
2013’s Mama dropped 53.9% $13.08m and $48.87m of $71.62m and $146.42m worldwide
After opening 62% more than Obsession it took 66% less In its second weekend $23.96m up 39.3% and $54.36m of $263.45 total and $522.19m worldwide.
As with Verity, Other Mommy has dropped far heavier in its second weekend in the US than the UK.
Took $9.5m internationally from 65 territories $33.9m total and $78.8m worldwide; UK $5m; Italy $3.7m; Mexico $3.4m; Australia $1.9m; France $1.2m
- La Bola Negra – Netflix
Opened $277,500 from 4 screens; received positive reviews (88% Rotten Tomatoes)
The second-highest screen average for a non-English language release, behind 2019’s Parasite and the third biggest opening average this year for a limited release after A24’s The Moment ($106k opening average) and The History of Concrete ($91k).
Netflix acquired La Bola Negra for $5m at Cannes and Netflix see it as their leading film for awards.
It is the first time Netflix has reported its box office figures officially, previously they were rumoured or estimated by exhibitors and analysts.
- Verity – MGM
Dropped 49.6% in its third weekend $6.04m and $65.92.
Anne Hathaway’s recent The End of Oak Street dropped 44% $4.9m and $45.98m of $54.22m of $121.62m WW.
The fourth Colleen Hoover adaptation after
2026’s Reminders of Him dropped 41.3% $4.7m and $41.07m of $48.55m and $89.27m worldwide
2025’s Regretting You dropped 14.9% $6.65m and $38.12m of $48.85m and $90.45m worldwide
2024’s It Ends with Us dropped 51.1% $11.64m and $120.61m of $148.51m and $351.44m worldwide
While The Housemaid dropped 1.4% (Christmas) $15.1m and $75.93m of $126.43m and $400.48m.
While October female adult thrillers
2014’s Gone Girl dropped 33.7% $17.51m and $106.78m of $167.75m and $370.89m worldwide
2016’s The Girl On the Train dropped 41.5% $7.16m and $58.79m of $75.39m and $173.18m worldwide
Reminders of Him took $7.1m internationally from 65 territories (5,091 screens) and $54m worldwide; Germany $5m; UK $3.3m; Australia $2.4m
It Ends With Us took $33.1m from 52 territories internationally $82.2m total and $182.6m worldwide; UK $14.6m; Australia $9.3m; Mexico $7.6m; Brazil $6.5m; Germany $4.5m; France $2.1m; Saudi Arabia $2.1m.
2022’s Where the Crawdads Sing dropped 40% $10.35m and $38.35m of $90.23m and $144.35m worldwide
Took $11.4m internationally from 43 territories $79.2m total and $145.3m worldwide; Germany $10m; Brazil $9.1m; UK $12.6m.
UK Box Office Top 10
Box Office Preview
After Spider-Man Brand New Day was #1 for 6 weeks running it will be the seventh weekend running with a new #1 as Street Fighter will drop 50%+ in its second weekend similar to Mortal Kombat II dropping 62.5% £603,111 and £2,854,242 88% of £3,256,212.
The market is no longer built on films that people want to see. It is built on films that people happen to see because they are the newest thing on the board.
Street Fighter won this week. Next week, it will be Clayface or Ghosts. The week after, something else.
It is not a slate. It is a conveyor belt. Its unlikely a film will hold foe more than a week until December, showing how the wider cinemagoing audience are only seeing a handful of films a year, the predictable must-see films. Toy Story 5, The Odyssey, Brand New Day, Avenger Doomsday and Dune Part 3.
What will replace Streetfighter could be either Clayface or Ghosts: The Possession Of Button House; Clayface is body horror based on the DC character that most have not heard of, so it will likely open similar to generic horror like 2022’s Smile opened £1,860,452.
Ghosts: The Possession Of Button House is the continuation of the TV comedy Ghosts hugely popular on BBC. When Ghosts ended its five series run in 2013 it was one of Britains most watched sitcoms averaging 6.62m on BBC1. The 2019 Christmas special had 3.92m increased to 7.2m watching it on demand.
From early reviews it has managed to go from a 25-minute comedy to a 90-minute film.
The question is as so as many other films based on popular TV shows it has a huge inbuilt fanbase; the question is will they see it in the cinema or wait to watch it on TV in a few months’ time. When films based on British TV shows click with audiences, they open strongly including Absolutely Fabulous: The Movie £4,042,959; Alan Partridge: Alpha Papa £2,175,850, Mrs. Brown’s Boys D’movie £4,301,306 and The Inbetweeners Movie £13,216,736.
But then there have also been many failures including 1998’s The Avengers, 2015’s The Bad Education Movie and 2016’s Dad’s Army and 2012’s Keith Lemon: The Film, despite the shows they were based on being hugely popular.
Stop-motion dark fantasy Wildwood, it’s the first Laika animated film since 2018’s Missing Link but plays to an older audience being 12A, received positive reviews, the question is will audiences see it, the trailer was released in May, with 179m views, the biggest trailer launch ever for a fully stop-motion animated film. The final trailer was released in September.
It is targeting the older tween/teen audience who enjoy fantasy films like The Golden Compass, The Spiderwick Chronicles, and Mortal Engines all of which struggled to find their target audiences. Because it plays to the in-between demographic between tweens and teens, it will be too old for some and too young for others.
Coraline opened £2,427,244, Paranorman £1,393,123, but then Kubo And The Two Strings opened £844,027; while 2005’s Corpse Bride opened £1,150,464 which is probably a likely opening for Wildwood with children hopefully discovering it over half-term next week as word of mouth spreads.
It looks like Amazon are dumping Ali G: Who Iz I? in the UK, it’s a sequel to 2002’s Ali G Indahouse, it is a character Sacha Baron Cohen originally played on the Channel 4 comedy series The 11 O’clock Show (running between 1998 and 2000) and Da Ali G Show (in 2002).
2002’s Ali G Indahouse opened £3,231,673/£6,033,963 taking £10,170,779/£18,990,196
While Sacha Baron Cohen’s other comedies 2006’a Borat opened £6,242,344/£10,267,182 taking £23,863,341/£39,249,561
2009’s Bruno opened £5,000,229/£7,362,470 taking £15,786,364/£23,244,260
2012’s The Dictator opened £4,963,745/£6,241,695 taking £11,016,175/£13,852,364
Amazon released Borat sequel Borat Subsequent Moviefilm in 2020 straight to streaming, and the expectation when Amazon acquired Ali G: Who Iz I? was it would go straight to streaming instead it looks like it will have one week in cinemas having limited shows.
There was a boycott campaign a racist caricature, not understanding that is the whole point of the character. Sacha Baron Cohen’s uncomfortable comedy plays on a long-standing tradition of Jewish subversive satire, very much like Mel Brooks to weaponised bigotry against the bigots themselves. Mel Brooks famously used outrageous portrayals of Nazis and religious persecution to disarm hate by making it look completely ridiculous.
Baron Cohen takes the same concept but applies it to the real world using a “Trojan Horse” technique. Instead of putting actors on a stage, he puts himself into character to see how real, ordinary people react when confronted with extreme bigotry, In Da Ali G Show, Borat gets the entire crowd of an American country bar to enthusiastically sing along to a fictional song called “Throw the Jew Down the Well”.
Even on a very limited evening only shows its hard to know if audiences will embrace his awkward uncomfortable comedy, it could open similar to jackass: best and last £781,483.
Forgotten Island will drop to fifth having a minimal drop with half-term holidays started and positive word of mouth. The top five could possibly all take £1m+
Street Fighter will likely drop 55%-60% taking £600k-£900k.
With Whalefall repeating the big second weekend falls of The Social Reckoning 54% (£284,789 and £1,270,871) and third weekend drop of Digger 63% (£183,890) and £2,771,221. It does highlight the madness of studios agreeing to 45-day theatrical windows and even Netflix now agreeing to longer theatrical windows.
Fixed theatrical windows of any length doesn’t work, they have to be flexible, with studios able to change them depending on how the film is performing, as seen earlier in the year with Obsession, Universal Pictures extended its window and it played for many months, but then films like Whalefall, The Social Reckoning, The Uprising, Digger and The Dog Stars are out of cinemas within weeks.
Coming Soon
- Wild Horse Nine – Disney
Black comedy political thriller starring John Malkovich, Sam Rockwell, Steve Buscemi, Tom Waits, and Parker Posey and written and directed by Martin McDonagh.
Had its world premiere at Venice Film Festival receiving positive reviews and John Malkovich won the Volpi Cup for Best Actor. As Seven Psychopaths, Three Billboards and The Banshees of Inisherin, Wild Horse Nine had its UK premiere at the London Film Festival.
The 1970s spy backdrop has similarities to the recent TV series Ponies and also the 70d bickering buddy cop thriller The Nice Guys.
Martin McDonagh previously directed.
2008’s In Bruges opened in the UK in April 2008 with £638,654 #3 (after opening in Ireland for 6 weeks taking £2.2m) from 270 screens taking £4,729,687 (taking about 50% of its BO from Ireland from about 60 screens).
2012’s Seven Psychopaths opened £1,121,679 (including £301,551 previews) taking £3,141,163
2017’s Three Billboards opened £2,361,782 #3 (same weekend as Darkest Hour £4,058,356 from 605 screens) taking £15,238,741.
2022’s The Banshees of Inisherin opened £1,643,220 taking £9,956,471
In Bruges, Three Billboards and The Banshees of Inisherin were nominated for Oscars but not won, but they won BAFTAs.
- I Play Rocky – Entertainment Film Distributors
Biographical drama starring Anthony Ippolito, AnnaSophia Robb, Toby Kebbell and Matt Dillon and directed by Peter Farrelly; telling the story of the development and making Rocky, about how Sylvester Stallone wrote the screenplay but refused to sell the script unless he starred as Rocky despite being an unknown actor.
It premiered at the Toronto International Film Festival receiving positive reviews; opens exactly 50 years since Rocky opened in the US, the film took $117.23m/$658m and $225m/$1.3bn worldwide having a budget of $1m and won three Oscars, Best Film, Best Directo and Best Editing.
I Play Rocky will surely b a crowd pleaser if the audience finds it, the problem is they struggle to find their audience normally and do not get a chance to find their audience, seen this happen many times with similar films over recent years.
I Play Rocky is an unusual film directed by Peter Farrelly as he directed many gross out comedies with his brother including Dumb and Dumber; Shallow Hal; There’s Something About Mary; and Heartbreak Kid.
That said he also directed 2019’s Green Book on his own which also won the audience award at the Toronto International Film Festival
It was the Surprise Film last week at the London Film Festival
- George Michael: The Faith Tour (Concert) – Universal Pictures
Concert film of George Micheal’s Paris Faith Tour, directed by Andy Morahan and David Austin.
The concert footage was believed to be lost but the footage was restored and remastered and released alongside an 18-track The Faith Tour album of previously unheard performances.
George Michael sold 125m records worldwide, had seven #1s on the UK singles chart, was the most-played artist on British radio between 1984 and 2004 and released his final studio album in 2004, followed by a last live album in 2014.
Earlier this year EPiC: Elvis Presley In Concert opened £1,877,687 taking £3,373,235.
