- Scary Movie £4,188,570 – NE
Took £1.52m 36.29% Friday; £1.61m 38.44% Saturday; £1.058m 25.26% Sunday.
412th biggest opening between A Bug’s Life and Godzilla (1998) (close to Ghostbusters Afterlife, The Flash, American Pie: The Wedding and Fantastic Four: Rise of the Silver Surfer) and 814th biggest inflated opening between The Second-Best Exotic Marigold Hotel and X-Men: Dark Phoenix (close to Terminator: Genisys, The Naked Gun 2 ½: The Smell Of Fear, Mars Attacks and There’s Something About Mary).
21st biggest opening over the last 52 weeks between Backrooms and Scream 7 (close to The Housemaid, Downton Abbey 3, Goat and 28 Years Later: The Bone Temple).
Opened in 577 cinemas; 387th widest opening, similar to Transformer One, Jungle Cruise, The Aeronauts and Transformers: The Last Knight; 786th 500+ cinema opening since 2002’s Monsters, Inc; but Scary Movie was playing in multiple screens, so likely opened in about 1,000 screens including PLF/4DX and many other premium formats.
Its opening was 7.71% of its US opening, the highest US percentage share of the series; all had similar percentage shares apart from Scary Movie 4 (4.86%).
Scary Movie 6: The Paradox of a Parody
The problem is not the jokes. The problem is the premise. Scary Movie was always a paradox. And 30 years later, the paradox has finally collapsed.
The Original Sin: A Parody of a Parody
2000’s Scary Movie was a parody of 1996’s Scream. But Scream was already a spoof of horror films. Wes Craven’s film explicitly laid out the rules:
You may not survive the movie if you have sex.
You may not survive the movie if you drink or do drugs.
You may not survive the movie if you say, “I’ll be right back.”
The characters in Scream knew they were living inside a horror film. They discussed the rules. They tried to break them. The film was a meta-commentary on the genre; a parody wrapped in a slasher.
So Scary Movie came along and parodied Scream. A parody of a parody is not a genre. It is an echo. It worked once, in 2000, because the cultural moment was right. But it was always a house built on sand.
Scary Movie 6 isn’t parodying anything fresh. It is parodying the memory of a parody of a parody. The source material, the horror films of the 1990s, has long since been memed, mocked, and forgotten. What is left is an inside joke with no outside.
The Corporate Reboot: Inevitable, Not Necessary
Development on Scary Movie 6 began after Paramount Pictures acquired Miramax. Soon after, they rebooted the Scream film series. A new Scary Movie was inevitable, not because audiences demanded it, but because the corporate logic demanded it.
This is the difference between a sequel and a product. A sequel is born from creative desire. A product is born from a spreadsheet. Scary Movie 6 is the latter.
Interestingly, Paramount returned to Marlon Wayans and Shawn Wayans, who made the first two Scary Movie films. Unlike last year’s Naked Gun reboot, which ignored its original cast entirely, this film brought the Wayans brothers back. That sounds like a creative decision. But it turned the film into a family reunion, and audiences are paying the cover charge.
The Wayans left after the second film, and David Zucker directed and Leslie Nielsen starred, with scripts by Craig Mazin (who would later create Chornobyl and The Last of Us) and Pat Proft. Zucker and Proft were also involved with the fourth and fifth films.
The franchise has no single vision. It has a series of owners. The Wayans’ return does not restore the original magic—it just reminds audiences how long it has been.
The Dated Jokes: SNL and TikTok Are Faster
Parody films face an existential problem in 2026. When Scary Movie was released in 2000, it took 18 months to get a theatrical parody. That felt fast. Now, weekly comedy shows like Saturday Night Live can parody a film within days. TikTok creators do it within hours.
By the time Scary Movie 6 reaches cinemas, the films it is spoofing are already ancient history. The film opens with a joke about One Battle After Another (the 2025 Paul Thomas Anderson film). That film was buzzy for about six weeks. By June 2026, it will be a distant memory.
The “Whassup” joke in the trailer is the perfect example. Twenty years ago, it was funny because it was a shared cultural reference. Now it is a history lesson. The film is asking audiences to laugh at something their parents found funny. That is not nostalgia. That is archaeology.
Budweiser rebooted the Wassup campaign in a Super Bowl advert in 2020. Scary Movie is now parodying its own past parody, which is the perfect metaphor for a film that has nothing new to say, only old jokes to reheat. Cineworld have created a TikTok Wassup to promote Scary Movie, but the joke feels very dated now as Gen Z won’t know what these things people are talking about.
The film feels like when someone tells you a joke and then has to explain it afterwards because you are not laughing. The jokes are not just bad. They are old. And in the age of TikTok, old is the same as dead.
The third Scary Movie had the biggest opening of the series in the UK until this latest film; with the strong marketing campaign, the opening was always expected, as it is with all nostalgia-led sequels. It was also helped by how the year has started in cinemas with the wide mix of films and horrors.
2000’s Scary Movie opened £3,191,096/£6,014,277 taking £9,955,478/£18,763,148
2001’s Scary Movie 2 opened £1,553,796/£3,006,257 taking £4,327,602/£8,372,969
2004’s Scary Movie 3 opened £3,490,585/£6,227,079 taking £8,907,831/£15,891,253
2006’s Scary Movie 4 opened £1,953,094/£3,212,378 taking £5,795,802/£9,532,726
2013’s Scary Movie 5 opened £1,085,932/£1,332,054 taking £2,344,473/£2,875,839
Audiences likely didn’t see it because it was a Wayans film, or they would have seen the Fifty Shades of Black spoof a decade ago. Anna Faris appeared on The Claudia Winkleman Show in April to promote the film. The chat show got an audience of 2.5m on BBC1 on Friday night, the same slot The Graham Norton Show is on.
In Scary Movie 6, you can feel the Wayans brothers cracking each other up between takes. The inside jokes. The returning cast members. The “remember this?” moments. It is not a film designed to make the audience laugh. It is a film designed to make the Wayans family laugh.
As with Paramount’s Scream reboot, Scary Movie isn’t targeting the teens who saw the original Scary Movie films over a decade ago, but targeting their children. The Naked Gun reboot last year failed to find a new audience (opened £1,815,858, taking £7,449,596)
Compared to 1989’s The Naked Gun, which opened £1,061,570/£3,631,207, taking £7,740,553/£26,477,342
1991’s The Naked Gun 2 ½: The Smell Of Fear opened £1,594,006/£4,192,814 taking £7,962,029/20,943,027
1994’s The Naked Gun 33 1/3 The Final Insult opened £1,341,696/£3,290,251 taking £5,264,981/£12,911,353
Last weekend was the first since July 2017 with seven films taking over £1m, it’s only the sixth time this has happened. It once happened in January 2015 and three times in February 2011. It happens when there is a wide mix of films that play across all demographics. I call it the Chinese New Year Principle, when they release about half a dozen different films, and they all perform strongly as they find their own audiences and also get audiences to see a wider mix of films.
This has happened a lot over the first six months of the year as the tentpoles that have opened haven’t cannibalised the market but allowed other films to also find audiences. Looking at the last 23 weeks, there have only been three weeks when the #1 film has taken more than 50% of the top 10 box office: the opening weekend for Project Hail Mary, The Super Mario Galaxy Movie and Michael. In two weeks, this will change as from Toy Story 5 for the next 6 weeks as the films find their expected audience.
All except the first Scary Movie had big second weekend drops between 46%-60%, and Scary Movie will have a second weekend drop close to the highest drop.
- 2. The Amazing Digital Circus: The Last Act – £2,684,963 NE
Took £912,236 from Thursday previews.
Took £445k 16.57% Friday; £790k 29.42% Saturday; £542k 20.19% Sunday.
676th biggest opening between Goosebumps and Cars (close to The Emoji Movie, DC League of Super-Pets, Pixels and The Muppets) and 1,072nd biggest inflated opening between Dear John and Underworld (close to The Pirates! In an Adventure With Scientists, Matilda, The Magic Roundabout and Captain Underpants).
31st biggest opening over the last 52 weeks between Weapons and One Battle After Another (close to The SpongeBob Movie, The Magic Faraway Tree, The Running Man and Predator: Badlands).
420th widest opening in 569 cinemas, similar to Passengers and Pirates of the Caribbean: On Stranger Tides
The Amazing Digital Circus: The Last Act was given a cinema release after fans petitioned exhibitors to play it.
The pilot had over 58m views in Europe. The show’s global fanbase is enormous: 346m views on the pilot alone, over a billion views across the franchise. Was the question whether those fans would actually come out to see it in cinemas? It turned out they would: $36.6m globally, including £2.3m in the UK.
YouTube videos have had over 25bn views alone, and it became one of the biggest streamed shows on Netflix in October 2024.
The Last Act will be released on YouTube and Netflix on June 19th, just two weeks after its theatrical debut. Exhibitors had no problem with this two‑week window. They booked it, promoted it, and counted the money. But when Netflix asks for a 17‑day window? Suddenly, the industry is defending the sanctity of the 90‑day theatrical window. The difference is not principal. It is power. One is a friendly indie. The other is an existential threat.
This follows the success of Netflix’s KPop Demon Hunters last year and the success of YouTube‑originated films Iron Lung and Backrooms. Exhibitors need to understand that audiences are seeking a wider mix of films. They are only cutting off their nose to spite their face when they demand antiquated theatrical windows from disruptors of new content.
In two weeks, Toy Story 5 will open. Everything that has been learned over the last six months—about diverse programming, about word-of-mouth, about the value of original films—will be forgotten. Exhibitors will focus on tentpole after tentpole until the end of July. The holdovers that made this weekend so vibrant will be reduced to scraps. The diversity that worked so well will be sacrificed for a single film.
The industry will celebrate Toy Story 5’s opening as a triumph. But it will be a triumph of cannibalisation, not growth. One film wins at the expense of everything else.
This weekend proved that a different model works. Two weeks from now, the industry will prove that it has learned nothing.
- 3. Masters Of The Universe £2,654,783 – NE
Took £518,970 from previews (Weds/Thurs)
Took £453k 17.06% Friday; £976k 36.76% Saturday; £725k 27.31% Sunday.
681st biggest opening between Halloween and Last Christmas (close to The Matrix Resurrections, Fantastic Four (2015), Exodus: Gods and Kings and Karate Kid: Legends) and 1,088th biggest inflated opening between The Predator and Tron Legacy (close to King Arthur, The Other Guys, Percy Jackson: Sea of Monsters and Free Guy).
32nd biggest opening over the last 52 weeks between The Amazing Digital Circus: The Last Act and One Battle After Another (close to The Magic Faraway Tree, Weapons, Now You See Me: Now You Don’t and The Running Man).
Opened 610 cinemas, 266th widest opening, similar to Independence Day: Resurgence and Maleficent: Mistress Of Evil; 308th 600+ cinema opening since 2015’s Jurassic World
Opening with previews was 9% of the US opening and 7.25% without previews, which was similar to Scary Movie.
After a film opens lower than expected the same questions are asked, was it the marketing or the wrong date, surely the issue was more similar to Karate Kid: Legends, it just wasn’t the film audiences expected and receiving positive reviews, calling it fun, silly and corny was a negative for the film. It’s what you expect from a film based on a Mattel action figure, like 2009’s G.I Joe (opened £1,708,760/£2,516,023 taking £6,293,469/£9,266,670) and its sequel 2013’s GI Joe: Retaliation (opened £2,792,861/£3,425,852 (including £890,338 previews) taking £7,288,281/£8,940,143).
Comparisons were also with 1998’s Small Soldiers, which opened £1,137,725/£2,239,110 taking £6,389,337/£12,574,592.
The issue with Masters of the Universe was the complete opposite of The Mandalorian & Grogu. Grogu was a children’s film sold as a Star Wars event, promising depth and delivering fluff. Masters was a toy commercial sold as a nostalgic fantasy, promising adventure and delivering corny. One pretended to be for everyone but was really for children. The other admitted it was for children, but audiences wanted more. Both disappointed. Neither learned the lesson. Masters tried to be clever for nostalgic adults and simple for children. It ended up being neither. That is not a scheduling problem. That is a film problem.
It was similar to The Mandalorian & Grogu was trying to be a sequel to the TV series. But it became a children’s Star Wars adventure, and a Christmas toy advert. It tried to be three things at once. It succeeded at none. The fans wanted the show. The children wanted fun. Disney wanted your money. Only one of them got what they wanted. Grogu played best to under-12s, which wasn’t the audience the film was aimed at or the TV show.
Nobody expects the Spanish Inquisition!
You could blame the date. But the first weekend of June has been a strong launch date for years. The real answer is simpler: nobody knows anything. William Goldman said it half a century ago, and it is still true. Not one person in the entire motion picture field knows for a certainty what is going to work. Every time out, it is a guess. This weekend, with Obsession holding, Backrooms exploding, Circus surprising, Scary overperforming, and Masters underwhelming, was proof. The industry will spend the next week explaining it. They will be wrong. Because nobody knows.
It is the second live-action film adaptation after the 1987 film. There were plans for a sequel to the 1987 film, but they never materialised, and a reboot has been in development since 2009, started at Warner Bros, then Sony Pictures, then rights were moved to Netflix (they cancelled the film after spending $30m on development) and then was acquired by Amazon/MGM.
The original film was made by Cannon Films and was more like a B movie, never anything more, opening with £342,680/£1,276,682 from 234 screens, taking £2,198,857/£8,192,021; it came out soon after the popular animated TV series was released, which ran a few years earlier.
What Affected Its Opening
Masters of the Universe was likely affected by The Amazing Digital Circus: The Last Act. Without that competition, it could have opened closer to 2023’s Dungeons & Dragons: Honour Among Thieves, which opened to £3,544,354 and took £13,666,940.
The Flash Gordon Comparison
Masters of the Universe is playing to the same audience as 1980’s Flash Gordon, which took £14m (inflated to £79.5m) and became a cult hit. Masters will likely have a similar success on Amazon when it is released on the platform in a few months.
Much will be made about its budget. But for Amazon/MGM, this is not about the budget. It is about the fact that the film exists, and that it becomes part of their library. For a streaming platform, a catalogue title with a built-in nostalgia audience has value far beyond its opening weekend box office.
Masters of the Universe opened softly by blockbuster standards; £2.65m is not the start of a franchise. But it opened to positive reviews, found its audience (the same one that keeps Flash Gordon alive 45 years later), and will live on Amazon as a catalogue title for years. The box office is not the point. The library is the point. And for Amazon, that is enough.
- 4. Backrooms – £2,253,638 – £8,651,881
Down 47.4% in its second weekend
£633k 28.1% (-65.97% £1.86m) Fri; £958k 42.5% (-26.9% £1.31m) Sat; £662k 29.38% (-75.4% £1.11m) Sun
432nd biggest second weekend between Fantastic Four: Rise of the Silver Surfer and Last Christmas (close to The Suicide Squad, 22 Jump Street, Mission: Impossible and Unbreakable) and 719th biggest inflated second weekend between Knocked Up and Crimson Tide (close to Starship Troopers, Die Hard 2 Die Harder, Arachnophobia and Small Soldiers).
23rd biggest second weekend over the last 52 weeks between Downton Abbey 3 and The Magic Faraway Tree (close to The Mandalorian & Grogu, 28 Years Later, The Drama and Weapons).
10th biggest second weekend horror between The Blair Witch Project and Split (close to Sinners, Paranormal Activity 2, The Final Destination and A Quiet Place) and 27th biggest inflated second weekend horror between Final Destination and Jeepers Creepers (close to White Noise, The Exorcist (1998 RE), Saw II and The Haunting).
Held stronger than expected, likely due to such a strong marketplace and after opening in smaller screens in its opening weekend, along with all the media coverage it has received, which has made both Backrooms and Obsession play beyond its horror fanbase.
2026 has seen a lot of horror films released, many of them, such as Backrooms, received positive reviews, but they didn’t connect with audiences, as they were targeting older audiences, while Backrooms played to a similar under-35 audience as Five Nights at Freddy’s 2.
As Miramax did 30 years ago, A24 over recent years has found its identity within the film industry, and one of the reasons given for seeing Backrooms in post surveys was that it was an A24 film. Independent studios over the decades have had success making certain genres of films, like New Line Cinema making horrors in the 80s and 90s, but then when they try to make other genres of films, they struggle.
Second weekend was very close to 1999’s The Blair Witch Project dropped 61% £2,290,106/£4,357,185 and £7,202,110 48.1% of £14,971,525/£28,485,015; it had a similar marketing campaign but Blair Witch Project didn’t have the massive fanbase and was built up of months of build up opening in the UK four months after opening in the US and 10 months after it terrified Sundance Film Festival audiences who believed the events were real.
2009’s Paranormal Activity dropped 48.8% £1,839,273/£2,708,194 and £7,109,776 71.6% of £9,935,165/£14,628,800
The Warning: What Comes Next
As was the case after the success of The Blair Witch Project, studios made dozens of cheap found‑footage films. Most were terrible. Most lost money.
The same will happen now. Studio executives will scour YouTube for other creators’ content that they think could be the next Backrooms. They will assign junior producers to trawl Reddit for the next creepypasta. They will rush scripts into production with six‑week shoots and pray for a TikTok miracle.
But the challenge is finding another Kane Parsons or Markiplier. They are not assembly‑line products. They are anomalies.
This is like the post‑Sundance bidding wars of the 1990s. Studios would acquire films that had received strong buzz during the festival, convinced they had the next Blair Witch or Reservoir Dogs. Many months later, those films struggled to find an audience when they were given a theatrical release. The buzz had faded. The moment had passed.
The same will happen with YouTube acquisitions over the next few years. Studios will search for the next big thing. Most will fail. A few will succeed. The cycle will continue.
The Netflix Warning
Netflix warned in March that YouTube was its biggest competitor, not legacy studios, not other streaming services. YouTube generated $60bn in revenue last year, a third more than Netflix’s $45bn, with $15bn coming from premium content alone.
That is the context. Backrooms, Iron Lung and The Amazing Digital Circus are not anomalies. They are the first wave of a new model: digital‑native content, pre‑sold fanbases, theatrical windows measured in weeks, not months. The studios are chasing the wave. They will crash. And then they will chase again.
Backrooms has made $118m to date. YouTube generates $60bn. The scale difference is enormous. But studios will not learn the lesson. They will scour YouTube for the next viral hit, just as they scoured Sundance in the 1990s. They will overpay for unfinished concepts. They will announce multi-picture deals with teenage creators who have never made a feature. Most of those films will flop. The cycle will repeat. And in five years, “based on a YouTube series” will be a punchline*
- 5. Obsession – £1,925,958 £10,333,516
Up 23% in its fourth weekend.
£554k 28.78% (+9.3% £502k) Fri; £764k 39.69% (+47.8% £517k) Sat; £541k 34.57% (+31.63% £411k) Sun
120th biggest fourth weekend between A Christmas Carol and Shrek (close to The Full Monty, Guardians of the Galaxy Vol 2, Inside Out and Thor: Love And Thunder) and 237th biggest inflated fourth weekend between Back to the Future Part II and The Martian (close to Jurassic Park 3, The Matrix Reloaded, The Others and It Chapter One)
Obsession’s fourth weekend hold is remarkable by any measure. But the real story is not the number. It is what the number represents: a film that has found an audience beyond horror, beyond genre, beyond the typical Blumhouse crowd. To understand why, you have to look back at the rom-coms of the 1990s and 2000s, and see how differently they play now.
Obsession’s fourth weekend was similar to:
2024’s It Ends With Us dropped 38.2% £1,142,288 and £18,639,856 86.7% of £21.5m
2020’s Parasite dropped 39.2% £1,047,024 and £10,361,508 86.6% of £11,971,951
And
1998’s There’s Something About Mary dropped 53.8% £806,020/£1,602,040 and £10,654,545 66.3% of £16,063,108/£31,926,922
2013’s About Time dropped 30.8% £485,780/£595,880 and £6,263,595 82.1% of £7,631,873/£9,361,608
2005’s Hitch dropped 35.4% £1,073,241/£1,825,193 and £13,937,041 80.5% of £17,306,574/£29,432,199
2000’s What Women Want dropped 24.6% £1,234,265/£2,388,035 and £13,292,526 77.8% 3of £17,091,251/£33,067,855
1999’s You’ve Got Mail dropped 39.1% £276,874/£526,784 and £4,367,431 91.9% of £4,753,422/£9,043,922
It might seem strange to include these rom-coms. But they are all about the power and control that male characters have over female characters, often without the women realising it. These men are seen as “nice guys.” But they are manipulating the women they claim to love.
Now watch Hitch again. It is about a man who helps other men manipulate women into falling in love with them.
Watch What Women Want. It is about a man who can hear what women are thinking and uses that knowledge to manipulate them.
Twenty-five years ago, these films seemed sweet. Now, they feel twisted. (What Women Want has the added discomfort of Mel Gibson in the lead.)
Listen to this line from You’ve Got Mail (1998): “Timing is everything. He waited until you were primed. Until you knew there was no other man you could ever love.”
In 1998, that was romance. In 2026, it feels like a warning sign. He is doing this via the internet. He is hiding behind a screen. He is controlling her without her knowledge.
These films have to be seen as the films they were at the time. You cannot judge them by today’s standards. But you can ask what those standards say about us now. And you can see how a film like Obsession could only have emerged after a generation of women grew up watching these “nice guys” and started asking: what if he is not so nice?
The Social Horror Context
Previously, I compared Obsession with other social horrors: Get Out, The Invisible Man, and Send Help.
The difference is that audiences knew those films were social horrors before they were released. Obsession was marketed as a Blumhouse horror, a supernatural thriller about a monkey’s paw. Audiences walked in expecting one thing and got another.
That is the genius of the film. It is horror that plays to audiences who do not normally like horror. It has a fantasy element (the monkey’s paw), but it is grounded in a very human, very real horror that women deal with daily. As a man, I can never fully understand how my actions might be seen badly by women. Obsession plays on that “nice guy” persona.
In the original Devil Wears Prada, Andy is told that a million girls would kill for her job. Obsession literalises that metaphor. It takes the casual hyperbole of office politics and turns it into a supernatural nightmare. The girl who would kill for Andy’s job does not just want it; she wants Andy’s life, her partner, her existence. And she gets it. That is the horror.
The Trojan Horse: What Most Analysts Will Miss
This is what most analysts are failing to understand about Obsession.
The film was originally marketed as a horror, and it played to 60% males in its opening weekend. But then women saw it. And they realised it was not really a fantasy horror because many of them have experienced this behaviour from “nice guys” regularly.
They charm them. The women let their guard down. And then they pounce.
For women, Obsession is not a fantasy. It is a documentary. The horror is not supernatural. It is normal. That is what women are recognising. And that is why they are showing up in week four.
The men came for the horror. The women came for the recognition. And then the women told their friends.
The “Be Careful What You Wish For” Tradition
Obsession could also be seen as a darker version of the 2000s Bedazzled. In that film, Elliot Richards sells his soul to the Devil for seven wishes, hoping to win the affection of his crush, Alison Gardner. Each wish is twisted, revealing the shallowness of his desires. But Elliot eventually learns that he cannot force Alison to love him. In his final wish, he hopes she has a happy life, with or without him. It is a rare moment of genuine selflessness in a genre built on selfish wishes.
Of course, there was a more innocent culture 30 years ago. The darker elements of this behaviour weren’t realised. It is like looking back at films from the 70s and 80s, the way people are portrayed would not be allowed today.
The film industry ignored what Harvey Weinstein was doing for decades. It was only after his power slipped that the industry admitted the dark open secret it had known for decades.
That is the key to Obsession. The “nice guy” Bear has the power. He has the wish. He has the control. He is the architect of the nightmare.
Obsession takes these hidden dynamics and makes them explicit. There is no whimsy, no time travel, no secret identity played for laughs. Just the raw, terrifying reality of a man who wants to control the woman he claims to love.
Obsession joins a long tradition of “be careful what you wish for” stories: The Monkey’s Paw, Bedazzled, Bruce Almighty, Liar Liar, The Craft, Wishmaster. To be given the chance to have what you dreamed about is the ultimate fantasy. But as The Monkey’s Paw taught us a century ago, and Obsession reminds us today, the nightmare is usually hiding inside the wish.
Most of these stories are told from the male perspective. Taylor Swift’s short film for her song “All Too Well” sees it from the woman’s perspective. It looks very different from the other side.
The Female Audience
Obsession also plays strongly to the female audience who have recently enjoyed The Housemaid, Send Help, Wuthering Heights and The Drama. Those films feature women stuck in toxic situations, finding ways to escape. But Obsession goes a step further: it shows the man as the architect of his own nightmare, wishing for love but unable to receive it because he cannot be vulnerable.
The Verdict
That is the horror. And that is why Obsession is holding.
Most analysts will look at the fourth weekend hold and cite “strong word-of-mouth” or “positive reviews.” They will miss the real story. The film was marketed as a Blumhouse horror, and 60% men showed up opening weekend. But then women saw it. And they realised it was not a fantasy horror. It was a horror about the behaviour they have experienced from “nice guys” their entire lives.
The men came for the supernatural. The women came for the recognition. And then the women told their friends. That is why Obsession is holding.
——————–
BO is currently up 13% from 2025.
The weekend’s top 10 box office took £17,979,549, up 40.5% from last weekend’s £12,793,781: 2,088,217 admissions, up 40.5% from 1,485,921 admissions.
7th biggest weekend of the last 52 weeks between 08 May 2026 #1 The Devil Wears Prada 2 £5,203,067 (28.33%) and 02 January 2026 #1 Avatar: Fire And Ash £4,427,062 (25.65%)
31st biggest since cinemas reopened out of 290 weeks between 14 July 2023 #1 Mission Impossible 7 £10,391,016 (57.13%) and 04 March 2022 #1 The Batman £13,531,854 (76.32%)
135th biggest top 10 of the last 25 years (out of 1,261) between 03 May 2019 #1 Avengers Endgame £14,331,192 (79.45%) and 10 January 2020 #1 1917 £7,446,302 941.42%) and 391st biggest inflated between 11 January 2002 #1 LOTR: Fellowship of the Rings £4,371,354 (48.78%) and 31 July 2009 #1 Harry Potter and the Half-Blood Prince £2,917,786 ( 23.50%)
The top 3 took £9,528,316 (52.9%) of the top 10; Scary Movie 23.3% (£4,188,570); The Amazing Digital Circus: The Last Act 14.93% (£2,684,963); Masters Of The Universe 14.77% (£2,654,783).
1,029th biggest percentage share #1 (23.30%) between 14 March 2025 #1 Mickey 17 £1,246,946 (23.36%) and 09 September 2022 #1 See How They Run £1,163,484 (23.23%)
747th biggest admissions (486,477) between 08 May 2015 #1 Avengers: Age Of Ultron £3,509,620 (486,771) and 13 October 2017 #1 The LEGO Ninjago Movie £3,642,038 (486,253)
Up 53.90% from 2025; (£11,682,908); Ballerina (£1,418,816); Clown In A Cornfield (£350,198); Dangerous Animals (£132,291); Showgirls (30th Anniversary) (£2,383); #1 Lilo & Stitch £3,528,384 3rd week 43% drop 668 screens (30.20% of top 10)
Up 140.82% from 2024; (£7,466,094); Bad Boys: Ride Or Die (£3,873,533); The Watched (£387,339); The Dead Don’t Hurt (£95,827); The Matrix (25th Anniversary) (£45,538); Lord Of The Rings: The Fellowship Of The Ring (Extended Version) (Re: 2024) (£41,453); Lord Of The Rings: The Two Towers (Extended Version) (Re: 2024) (£30,454); Lord Of The Rings: The Return Of The King (Extended Version) (Re: 2024) (£2,502); #1 Bad Boys: Ride Or Die £3,873,533 1st week 644 screens (51.88% of top 10)
Up 67.24% from 2023; (£10,750,760); Transformers: Rise Of The Beasts (£2,973,478); Chevalier (£124,432); Hairspray (35th Anniversary) (£2,306); #1 Spider-Man: Across The Spider-Verse £4,062,817 2nd week 690 screens 56% drop (37.79%)
Down 5.20% from 2022 (£18,965,681); Jurassic World: Dominion (£12,121,728); #1 Jurassic World: Dominion £12,121,728 1st week 707 screens (63.9% of top 10)
Up 276.79% from 2021 from (£8,645,168); A Quiet Place Part II (£3,567,048); Dream Horse (£209,389); The Lord of the Rings: The Return of the King (Re: 2020) – Extended Version (£24,652); Land (£14,615); #1 A Quiet Place Part II £3,567,048 1st week 561 screens (41.3% of top 10)
2020 Lockdown
Up 7.27% from 2019; (£16,708,373) X-Men: Dark Phoenix (£3,771,153); Take That – Greatest Hits Live (Concert) (£1,834,379); Casino Royale (Secret Cinema 2019) (£493,243); #1 Aladdin £3,929,625 654 screens 20% drop 3rd week (23.5% of top 10)
Down 3.55% from 2018: (£18,642,162); Jurassic World: Fallen Kingdom (£14,334,894); McQueen (£131,278); Coppelia – Bolshoi 2018 (£96,840); The Boy Downstairs (£12,823); #1 Jurassic World: Fallen Kingdom £14,334,894 663 screens 1st week (76.9% of top 10)
Up 47.04% from 2017: (£12,227,826); The Mummy (£3,343,650); Take That: Wonderland Live from the O2 2017 (£1,004,918); My Cousin Rachel (£637,704); Peter Pan – NT Live 2017 (£119,127); The Shack (£96,580); Norman: The Moderate Rise and Tragic Fall of a New York Fixer (£18,017); Wilson (£5,347); From the Land of the Moon (£4,547); #1 Wonder Woman £3,480,956 2nd week 613 screens (28.4% of top 10)
Up 150.15% from 2016: (£7,206,704); The Boss (£594,672); Mother’s Day (£419,532); When Marnie Was There (£99,352); Miracles from Heaven (£20,420); #1 Me Before You £1,453,859 529 screens 1st week (2nd week on release) 19% drop.
Up 107.68% from 2015; (£8,657,357); Spy (£2,557,824); Insidious Chapter 3 (£1,440,299); The Empire Strikes Back (Secret Cinema 2015) (£304,115); Survivor (£130,307); Electric Boogaloo: The Wild, Untold Story of Cannon Films (£4,442); #1 Spy £2,557,824 531 screens 1st week (29.5% of top 10)
Up 45.39% from 2014: (£12,366,516); 22 Jump Street (£4,854,991); D-Day 70 Years On (£287,767); Grace of Monaco (£238,862); Der Rosenkavalier – Glyndebourne 2014 (£75,428); Fruitvale Station (£30,162); #1 22 Jump Street £4,854,991 454 screens 1st week (39.2% of top 10)
Up 130.33% from 2013: (£7,805,920); After Earth (£2,249,532); Behind the Candelabra (£513,288); The Stone Roses: Made of Stone (£367,319); The Iceman (£201,789); The Last Exorcism: Part II (£115,811); #1 After Earth £2,249,532 470 screens 1st week (28.8% of top 10)
Up 57.40% from 2012 (£11,422,558); The Pact (£932,325); Ill Manors (£256,288); Red Tails (£193,420); A Fantastic Fear of Everything (£35,400); #1 Prometheus £3,135,504 2nd week 536 screens 50% drop (27.4% of top 10)
Up 23.23% from 2011; (£14,590,776); Kung Fu Panda 2 (£6,188,897); Honey 2 (£520,654); Mother’s Day (£94,385); #1 Kung Fu Panda 2 £6,188,897 1st week 514 screens (42.4% of top 10)
Up 231.29% from 2010: (£5,427,181); Letters to Juliet (£793,425); Brooklyn’s Finest (£468,279); Greenberg (£118,804); #1 Sex and the City 2 £1,489,833 3rd week 542 screens 40% drop (27.3% of top 10)
Up 27.43% from 2009; (£14,109,630); Terminator Salvation (£6,936,528); Last Chance Harvey (£640,390); Anything for Her (£89,467); #1 Terminator Salvation £6,936,528 1st week 489 screens (49.1% of top 10)
Up 110.84% from 2008; (£8,527,504); Superhero Movie (£851,353); Prom Night (£507,985); Gone, Baby, Gone (£351,127); #1 Sex and the City £3,085,231 2nd week 65% drop 469 screens (36.2% of top 10)
Up 160.94% from 2007: (£6,890,280); Ocean’s Thirteen (£3,021,302); Are We Done Yet? (£419,247); Taking Liberties (£21,350); #1 Ocean’s Thirteen £3,021,302 1st week 475 screens (43.8% of top 10)
Up 235.94% from 2006; (£5,352,087); The Omen (£2,096,002); RV (£273,850); Secuestro Express (£18,784); #1 The Omen £2,096,002 1st week 347 screens (39.1% of top 10)
Up 125.33% from 2005: (£7,979,378); Mr and Mrs Smith (£3,943,422); #1 Mr and Mrs Smith £3,943,422 1st week 450 screens (49.4% of top 10)
Down 38.19% from 2004 (£29,089,953); Harry Potter and the Prisoner of Azkaban (£23,882,688); Japanese Story (£37,580); #1 Harry Potter and the Prisoner of Azkaban £23,882,688 1st week 535 screens (82.1% of top 10)
Up 176.63% from 2003 (£6,499,525); Anger Management (£1,768,335); The Hunted (£394,122); Dark Water (£34,978); #1 The Matrix Reloaded £2,485,938 3rd week 473 screens 34% drop (38.2% of top 10)
Up 211.44% from 2002 (£5,773,078); Unfaithful (£779,335); Monster’s Ball (£486,017); Dragonfly (£80,209); #1 Star Wars Ep II – Attack of the Clones £2,058,716 464 screens 4th week 16% drop (35.6% of top 10)
2025 Next week: (£13,279,653); How To Train Your Dragon (£8,145,188); Tornado (£70,185); 28 Days Later (Re: 2025) (£53,394); #1 How To Train Your Dragon £8,145,188 661 screens 1st week (61.34% of top 10)
US Box Office
- Scary Movie – Paramount Pictures
Opened $54.33m; received poor reviews (29% Rotten Tomatoes) and C+ CinemaScore.
Took $7.7m from Thursday previews; Scream 7 $8.7m; Five Nights at Freddy’s 2 $7.2m; Scream VI $5.7m; The Naked Gun (2025) $1.6m
Scary Movie B-; Scary Movie 2 B; Scary Movie 3 B; Scary Movie 4 C+; Scary Movie 5 C-
287th biggest opening between Pokémon: Detective Pikachu and The Martian (close to Men in Black 3, Ted, The Nun and Green Lantern).
Took 26% from PLF screens.
The headlines are Scary Movie had the biggest opening for Scary Movie, but as the original film opened 26 years ago, you can’t make a direct comparison. Similarly, it was heralded as the biggest comedy opening since 2014’s 22 Jump Street, $57.07m, but that would be almost $90m today.
2000’s Scary Movie opened $42.34m/$98.2m taking $157.1m/$363.9m and $278.1m/$645m WW
2001’s Scary Movie 2 opened $20.5m/$45.3m taking $71.3m/$157.3m and $141.2m/$311.7m WW
2004’s Sary Movie 3 opened $48.1m/$96.8m taking $110m/$221.3m and $220.7m/$443.9m WW
2006’s Scary Movie 4 opened $40.22m/$76.7m taking $90.7m/$173m and $178.3m/$340m WW
2013’s Scary Movie 5 opened $14.1m/$21.8m taking $32.1m/$49.2m and $78.4m/$120.5m WW
Social media across TikTok, YouTube, Instagram, Facebook and X was 653m with a heavy push on TikTok; Marlon Wayans 23.3 m; Regina Hall 6.7m; Anna Faris 5.3m.
Opened $50.5m internationally from 53 territories and $105.5m worldwide; Mexico $6.7m; Germany $5.5m; UK $5.5m, and Brazil $5.1m
- Masters of the Universe – Amazon/MGM
Opened $29.43m; received mixed reviews (69% Rotten Tomatoes) and a B CinemaScore.
Took $4.4m from Thursday previews; Dungeons & Dragons $5.7m; Tron: Ares $4.8m; Clash of the Titans $4.2m; TRON: Legacy $3.8m; Ghostbusters: Afterlife $4.5m
IMAX/PLF screens took 44.
35+ was 57%; 45+ 36%; 68% male; male under 12s 82%, and girls 18%; only 4% of the audience was under 12 as the film played on the nostalgia of the 80s TV show rather than attacking new audiences.
IMAX took $4.2m worldwide.
703rd biggest opening between Ghostbusters II and Scooby-Doo 2: Monsters Unleashed (close to Hercules, Dark Shadows, Now You See Me and The Lone Ranger)
2023’s Dungeons & Dragons opened $37.2m, taking $93.54m and $205.46m worldwide
2025’s Tron: Ares opened $33.24m, taking $73.16m and $142.24m worldwide
Opened $25m internationally and $4.3m worldwide; Brazil $4.5m; UK $3.6m; Mexico $2.8m
- Backrooms – A24
Down 67.7% in its second weekend, $26.25m and $35.37m
EntTelligence’s average price was $13.56; 81% of the audience was still under 35.
It was originally launched on 4chan and spread on Reddit about a man lost in myriad banal rooms filled with nightmarish people morphing into Roblox and Minecraft games. It was transformed into a found-footage YouTube series created via Blender and Unreal Engine with over 190 million views. Making a fanatical fanbase, the question is, will it play beyond the existing fanbase, and will that be a more polarised response, making it very front-loaded?
Rival studio executives will look at Backrooms and Obsession and say: “Get me ten more of these.” They will assign junior producers to trawl Reddit for the next creepypasta. They will hire young directors who have watched too many YouTube breakdowns. They will rush scripts into production with six-week shoots and pray for a TikTok miracle.
Some will break even. A few will hit. Most will vanish into streaming catalogues, unwatched and unloved. The audience will learn to be sceptical of “internet horror” the same way they learned to be sceptical of “found footage” after 2005.
Some analysts will point to Backrooms and Obsession as proof that the market has changed. They’re not wrong, but they’re not entirely right, either. These were unique films that caught specific cultural moments. There will be others like them. But the problem is what comes next. The studios will now seek them out. They will chase the formula. And there will be a lot of crap, just as there was after The Blair Witch Project (dozens of awful found footage films) and after Cloverfield (shaky-cam monster movies nobody asked for).
The cycle is predictable. The only question is whether anyone learns from it. They won’t, as William Goldman famously said, “Not one person in the entire motion picture field knows for a certainty what’s going to work. Every time out it’s a guess and, if you’re lucky, an educated one”.
Took $50.1m internationally from 52 territories, $77.6m total, and $212.6 worldwide; UK $11.6m; Australia $7.9m; South Korea $5.7m; Italy $2m.
- Obsession – Focus Features
Down 10% in its fourth weekend, $25.38m and $151.925m
27th biggest fourth weekend between Star Wars: The Phantom Menace and Wonder Woman (close to The Dark Knight, The Jungle Book, The Blair Witch Project and Project Hail Mary).
Comparisons include.
2017’s Get Out dropped 35.2% $13.43m and $133.3m of $176.04m and $255.4m worldwide
2025’s Weapons dropped 32% $10.47m and $132.658m of $151.57m and $270m worldwide
2022’s Smile dropped 32.6% $8.47m and $84.43m of $105.93m and $217.4m worldwide
Impossible to compare with The Invisible Man’s third weekend, as it was days before the first COVID lockdown in March 2020; it took $70.41m and $144.49m worldwide.
Took $17.7m from 46 territories, $72.7m total, and $224.8m worldwide; UK $9m; Mexico $3.3m; Australia $ $5.5m; France $4.3m.
- Star Wars: The Mandalorian And Grogu – Disney
Dropped 59.3% in its third weekend, $9.96m and $155.78m
742nd biggest third weekend between The Nun and RV (close to The Garfield Movie, Encanto, X-Men: Apocalypse and G-Force)
EntTelligence said the average ticket price was $16.01 and PLF $19.43.
There is a thought that The Mandalorian and Grogu could have been seen as a palate cleanser for Disney’s Star Wars to remove all the toxicity surrounding the films since 2019’s The Rise of Skywalker, and Lucasfilm could start afresh with the re-release of the original film for its 50th anniversary, and then audiences will see Star Wars: Starfighter as they saw The Force Awakens in 2015.
Taken $40.1m worldwide from IMAX; $19.1m from the US and $14.7m international.
Took $19m internationally from 62 territories, $147.8m total and $293.6m worldwide; UK $15m; Germany $11.2m; Japan $9.6m; China $9.2m; Australia $7.7m; France $7.1m; Mexico $5.9m; Spain $3.9m; Italy $2.9m; Poland $2.1m.
- Michael – Lionsgate
Dropped 35.6% in its seventh weekend, $7.63m and $354.21m
EntTelligence Michael’s basic price was $15.01.
69th biggest seventh weekend between Happy Feet and The Hunger Games: Mockingjay – Part 1 (close to Jumanji: The Next Level, The Greatest Showman, Aladdin and Incredibles 2).
77th biggest between Superman and Furious 7 (close to Aladdin, Despicable Me 4, Project Hail Mary and Wicked: For Good)
It was released on VOD on June 9th,
After seven weeks, it’s impossible to compare Michael with any musician biopics, as it’s a unique film, and despite many making the comparison with Bohemian Rhapsody, they are very different films, as the fanbase of the two films is very different.
2018’s Bohemian Rhapsody dropped 28.9% $4.31m and $180.611m of $216.66m and $910.81m WW.
Has taken $63.3m worldwide from IMAX worldwide; $30.1m US and $30.3m internationally.
85th biggest worldwide between The Lord of the Rings: The Fellowship of the Ring and Spider-Man 3 (close to Bohemian Rhapsody, Shrek 2, Spectre and The Hunger Games: Catching Fire).
Took $20..1m from 83 territories, $543.7m total, and $898m worldwide; UK $68.1m; Germany $34.3m; Australia $30.7m; Brazil $32,2m; France $54.3m; Mexico $30.6m; as had they presold international rights separately, they would have a share of international BO.
Michael will surely be bittersweet for Lionsgate as they sold international rights in 2023 to Universal Pictures, in 2023 as it become tier biggest film worldwide, overtaking 2013’s The Hunger Games: Catching Fire ($865m WW) and 2012’s Twilight Saga: Breaking Dawn – Part 2 ($868.5m WW)
Micheal finally opens in Japan on June 12; Japan was the biggest international territory for Bohemian Rhapsody, taking $115.6m, so Micheal will surely take similar, but Bohemian Rhapsody opened in Japan a week after the US, while Micheal opens 8 weeks afterwards and after it’s been released on VOD, with pirate copies widely available days before opening.
- Power Ballard – Lionsgate
Up 624% in its second weekend, adding 1,265 screens, taking $1.28m and $1.51m
John Carney’s previous films critical acclaim, all opened on limited release, never going wider than 1,500 screens after several weeks, despite great word of mouth, were never huge BO hits. That said, all with low budgets were very profitable and found a far bigger audience on video and streaming.
2016’s Sing Street Again opened on the platform expanded over several weeks, took $3.23m and $13.62m worldwide
2013’s Begin Again opened on a platform expanded over several weeks; took $16,17m and $63.5m worldwide
2007’s Once opened on platform and expanded over several weeks; took $9.43m and $20.93m worldwide
UK Box Office Top 10
Box Office Preview
Disclosure Day starring Emily Blunt, Colin Firth, Eve Hewson, and Colman Domingo, directed by Steven Spielberg from a screenplay by David Koepp. The film had its UK premiere last week, receiving positive reviews.
The film has been described as a spiritual successor to Close Encounters of the Third Kind, but with a darker, more paranoid tone.
Disclosure Day is Spielberg’s first film since 2022’s The Fabelmans and his first sci‑fi since 2018’s Ready Player One. It is also his first fully Universal‑financed film as director since 1997’s The Lost World: Jurassic Park (he has directed several films since that Universal released through distribution deals).
Like Project Hail Mary, Disclosure Day benefits from real‑world space news: ahead of its opening, the Pentagon has released declassified UFO files.
Growing up in the 80s, a Spielberg film was an event. Over the last decade, his films have been overshadowed by the likes of Christopher Nolan. Disclosure Day is the lead‑in for Universal’s summer slate, ahead of the more highly anticipated The Odyssey in July. But I have more interest in Disclosure Day.
It’s 21 years since Spielberg directed his biggest film this century, War of the Worlds, which opened to £8.64m/£14.7m and took £30.4m/£51.6m.
The film is targeting adults and older audiences, and will rely on IMAX and PLF screens, similar to Project Hail Mary. It’s a film to see on the biggest screens, but it will only have them for a week, with Toy Story 5 opening next Thursday.
Will probably have a £4m 5-day opening similar to 2002’s Minority Report £4,506,315
With Scary Movie likely to drop about 60% in its second weekend, taking £1.5m-£1.8m could be battling out second with the fifth weekend of Obsession likely to have a minimal drop.
Masters Of The Universe and Backrooms will likely have similar drops as they both compete for fourth.
Coming Soon
- Supergirl – Warner Bros
The second film of the DC Universe Universal after last year’s Superman starring Milly Alcock, Matthias Schoenaerts, Eve Ridley, Emily Beecham and Jason Momoa and directed by Craig Gillespie.
Supergirl is one of the shortest recent DC films, 108 mins.
DC started development of a Supergirl film in 2018 and was introduced in 2023’s The Flash. Supergirl has probably been DC’s most successful superhero over the last decade, after the Supergirl TV series ran for 6 series from 2015 to 2021. It was similarly the case with the 16-film DC Extended Universe between 2013-2023, their biggest success and most well-received critically was 2017’s Wonder Woman. While DC have struggled with their male superheroes since 2012’s The Dark Knight Rises.
So, it was then disappointing to see the final poster for Supergirl with Lobo overshadowing Supergirl, while Jason Momoa might be more well known than Milly Alcock, the film is called Supergirl, not Lobo. Marlon Brando and Jack Nicholson were the biggest actors and paid vastly more than Christopher Reeve and Michael Keaton in 1978’s Superman and 1989’s Batman, but neither took over the posters for the films.
When Warner Bros started development with Supergirl, they wanted to have a female director, as they had just had huge success the year before with Patty Jenkins directing Wonder Woman. Production was originally due to start in 2020 but was delayed due to COVID. In 2021, Sasha Calle was cast as Supergirl, and the film was set for release in 2023, but then Warner Bros merged with Discovery and the film got cancelled as Warner Bros had different plans for DC, with James Gunn brought in to run DC Studios and reboot the DC films. Milly Alcock was signed in 2024 to play Supergirl, and they wanted her to be different to the Supergirl Melissa Benoist had been in the TV series.
Supergirl featured in the final scene in last year’s Superman film as the dog Krypto is Supergirl.
After the huge success of the original 70s Superman films, the 1984 spinoff Supergirl was made, starring Helen Slater. The film was a box office and critical flop and saw Superman rights being sold to Cannon, who made the equally terrible Superman IV: The Quest for Peace.
The first teaser trailer was released in December, receiving positive reactions.
Supergirl had a test screening in December, receiving positive reactions and generating good buzz since.
Opening the weekend after Toy Story 5, even having a 4-day opening won’t likely be enough to open ahead of its second weekend, but Supergirl is the first comic-book film of the year; it opens a year after Superman opened £6,992,902 (including £2.65m opening day), taking £27,833,281.
While 2017’s Wonder Woman opened £6,179,616 (including £1,219,884 previews), taking £22,086,045; Wonder Woman opened far stronger in the US, its UK opening was overshadowed by the tragic terrorist attack at Ariana Grande’s Manchester concert, which saw the UK premiere cancelled and opening Sunday was the One Love Manchester Concert will millions of women seeing their real life Wonder Woman performing live on TV.
Supergirl’s early tracking in the US is $55m, which would mean roughly a similar opening of Wonder Woman in the UK over 4 days. Female-focused films have been hugely successful since The Housemaid.
Other female-led comic-book films include.
2021’s Black Widow opened £6,889,187 (including £2,250,092 previews) taking £18,841,549
2019’s Captain Marvel opened £12,750,000 (including £4.1m opening day) taking £39,234,293
2020’s Birds of Prey opened £2,833,297 (including £930k opening day) taking £8,705,688 (COVID)
2024’s Madame Web opened £2,273,544 (including £938,543 previews) taking £4,196,294
There have, of course, been some massive female comic-book flops like Catwoman, Elektra and Barb Wire, but there have also been many male comic-book flops too.
Supergirl is tracking to open with $55m+ in the US.
- Jackass: Best and Last – Paramount Pictures
Reality slapstick comedy starring Johnny Knoxville, Steve-O and Chris Pontius and directed by Jeff Tremaine. It’s the fifth and final instalment of the Jackass film series and a follow-up to 2022’s Jackass Forever. 2025 was the 25th anniversary of Jackass, which started as a TV series on MTV in 2000. The film was announced in January 2026 and was shot in February.
“Final” has meant different things to the Jackass team over the years. But with the cast now in their 50s, this one might actually stick.
The first trailer was released in April.
It has been rated 18 by the BBFC, as all the other films have been.
2003’s Jackass; The Movie opened £1,314,740 (£2,137,933 inflation inflated) taking £3,860,921 (£6,278,345 inflation inflated)
2006’s Jackass: Number Two opened £735,274, taking £1,684,673 (lasted only 2 weeks in the top 10)
2010’s Jackass 3D opened #2 £1,696,909 taking £5,576,683
2013’s Jackass Presents: Bad Grandpa opened £1,940,476 including £546,025 previews taking £6,343,622
2002’s Jackass Forever opened £2,091,017, taking £6,112,992
Slapstick toilet comedy never gets old for teens and 20-something males, so Jackass: Best and Last attracted the children of the parents who saw the original 20 years ago and will be very front-loaded.
And while younger teens will be claiming to be 14 to get cheaper 5% VAT tickets until September, they will also be claiming to be 18 to sneak into Jackass: Best and Last. The same teenager, the same weekend, two different ages. That is not hypocrisy. That is just surviving the system.
As with Scary Movie, Jackass: Best and Last will not reinvent the wheel. It will just set it on fire, jump over it on a tricycle, and land in a pile of something unspeakable. The fans know what they are paying for.