- Superman £6,992,902 – NE
Took £2.65m 37.90% Friday; £2.340m 33.47% Saturday; £2.01m 28.63% Sunday; took £1.22m Mon; £1.23m Tues
201st biggest opening between Independence Day and The Girl on the Train (close to Mission: Impossible: Fallout, Indiana Jones And The Dial Of Destiny, King Kong and Taken 3) and 301st biggest inflated opening between Hobbs & Shaw and Back to the Future Part II (close to Tomorrow Never Dies, The Martian, The Pirates of the Caribbean and Solo: A Star Wars Story).
16th biggest opening over the last 52 weeks between F1 and Captain America: Brave New World (close to How To Train Your Dragon, Beetlejuice 2, Thunderbolts and Joker: Folie à Deux); 8th biggest 2025 opening.
46th biggest comic-book opening between X-Men 2 and Black Widow (close to X-Men: Apocalypse, Justice League, Guardians of the Galaxy Vol 1 and Wonder Woman) and 60th biggest inflated comic-book opening between Batman and Batman Returns (close to Batman Begins, Superman Returns, The Hulk and Fantastic Four (2005).
42nd widest opening (700 cinemas); 42nd since 2018’s Mamma Mia! Here We Go Again, but as Jurassic World Rebirth last week probably played in 1,500+ screens.
Superman Tops the UK Box Office — But Audiences Aren’t Buying the Hype Anymore
Many will point to the unseasonably hot weather as the reason for Superman’s soft opening at the UK box office. But in truth, it’s part of a broader trend: audiences are simply fatigued by yet another superhero reboot. Its performance mirrors the lukewarm UK openings of recent comic-book tentpoles like Captain America: Brave New World, Thunderbolts, and even Joker: Folie à Deux. The problem isn’t the weather — it’s waning interest.
Surely, Superman not opening with $150m+ in the US shows its soft opening in the UK wasn’t to do with the hot weather, as despite industry reaction to Superman’s US opening being very positive, with almost 50% from IMAX/PLF surely it should have opened much bigger, it’s surprising how industry heralds Superman opening as strong in the US when a $100m+ opening is the default opening now as is £10m in the UK for films of this size.
Releasing just a week after Jurassic World: Rebirth certainly didn’t help. The two films cannibalised the same core demographic — largely younger males — a group increasingly harder to mobilise for big-screen spectacle unless it’s tied to cultural urgency or emotional nostalgia. And while Jurassic World: Rebirth and Superman may be branded as new entries, let’s be honest: for audiences, these are Jurassic Park 7 and Superman 7. The magic is gone.
Seeing dinosaurs on screen was thrilling in 1993. But after a string of Jurassic World films that promised everything and delivered little beyond noise and CGI, the spectacle has dulled. The same applies to Superman. In 1978, Richard Donner and Christopher Reeve made audiences believe a man could fly. That belief hasn’t held through Superman Returns, Man of Steel, Batman v Superman, or Justice League — four attempts at cinematic reinvention that failed to capture the sincerity, awe, or optimism that made the original a classic.
Audiences haven’t just grown weary of Superman — they’ve grown cautious. At £20 a ticket, casual moviegoers are increasingly choosing to wait a few months and watch these films at home. Or, like I did over the weekend, revisit the 1978 original on Sky Cinema — a film I’ve seen countless times and still enjoy, in stark contrast to the DCEU-era Superman films, which I’ve struggled to rewatch even once.
This latest Superman marks the first entry in James Gunn’s rebooted DC Universe (DCU), replacing the 15-film DC Extended Universe (DCEU), which began with Man of Steel in 2013 and ended with Aquaman and the Lost Kingdom in 2023. But this is also the third reboot of Superman in the last two decades, arriving in a summer already packed with brand relaunches.
Jurassic World: Rebirth is technically the second reboot of the Jurassic Park series. Fantastic Four: The First Steps will be the fourth iteration of that franchise in 20 years. Add in live-action reimaginings of Lilo & Stitch, How To Train Your Dragon, The Naked Gun, I Know What You Did Last Summer, and Freakier Friday, and it’s hard not to feel a creative drought under the flood of nostalgia IP.
These are films designed to capitalise on memory rather than build new myths. They are front-loaded, hype-driven, and emotionally hollow for many who loved the originals. The truth is, Superman — like Disney’s remakes — isn’t made for the generation who grew up with Donner’s version. It’s targeting a new audience entirely. The problem? That audience is already overwhelmed by content, surrounded by instant gratification, and no longer wowed by effects they can replicate with free AI filters on their phones.
When Superman first hit cinemas in 1978, it was a revelation. As with Jurassic Park in 1993 or Star Wars in 1977, there was genuine wonder in seeing something we’d never seen before. Now, we’re left with carefully managed marketing campaigns, algorithm-optimised trailers, and instant Twitter verdicts from influencer premieres — but very little wonder.
Audiences haven’t stopped loving movies. They’ve just stopped pretending that bigger means better, or that nostalgia alone is enough to make them believe again.
2006’s Superman Returns opened £4,337,637/£7,098,761, taking £15,727,425/£25,738,722
2013’s Man Of Steel opened £11,198,786/£13,668,350, taking £29,764,997/£36,328,794
2016’s Batman V Superman opened £14,621,007/£15,725,968, taking £36,495,828/£39,253,947
1987’s Superman IV opened £508,468/£2,342,795, taking £3,457,959/£12,818,574
1983’s Superman III opened £1,103,312/£4,623,403, taking £6,710,000/£28,118,095
1980s Superman II took £10,752,997/£54,244,418; 1978’s Superman took £10,046,159/£86,484,325.
James Gunn previously directed the Guardians Of The Galaxy trilogy and 2021’s The Suicide Squad, a reboot of 2016’s The Suicide Squad.
As with many recent DC films, Superman has been surrounded by speculation — from rumours of underwhelming test screenings to reports of internal concerns at Warner Bros. and significant reshoots. The final cut reportedly runs about 25 minutes shorter than earlier versions, with insiders suggesting that these edits, along with the reshoots, have helped bolster the studio’s confidence in the finished product.
The film had its world premiere on Monday, and initial reactions were broadly positive. However, as we’ve seen time and again, premiere-night responses are rarely reliable indicators of a film’s lasting critical reception. These early reactions often come from fans, influencers, and critics caught up in the atmosphere of the event — a blend of red-carpet buzz and curated hype that tends to produce glowing, if not inflated, praise. It’s a cycle that increasingly functions as social media clickbait rather than critical analysis.
The real test comes when the review embargo lifts. That’s when full-length, measured reviews emerge, often painting a much more balanced and sometimes contradictory picture. In this case, once the embargo lifted just hours after the premiere, the tone shifted from euphoric tweets to a more mixed, cautious consensus.
The problem is that many fans form lasting impressions based on those early social media reactions, which are, by their very nature, selective and incomplete. This disconnect between first impressions and full reviews has become a recurring challenge in blockbuster marketing, especially for franchise films with vocal online fan bases.
The journey to this Superman film has been long and winding. A direct sequel to 2013’s Man of Steel was once in development, but plans shifted after the underwhelming reception of Batman v Superman: Dawn of Justice and Justice League. Ultimately, DC Studios underwent a creative reboot under James Gunn, who stepped in as co-head and began developing a fresh take on the character.
Originally titled Superman: Legacy, this film now serves as the official launch of the DC Universe’s “Chapter One: Gods and Monsters” — a new era for the studio’s cinematic ambitions. It will be followed by Supergirl: Woman of Tomorrow and Clayface, both set for release next year.
While Superman carries the weight of rebooting not just a character, but an entire franchise, it also faces the challenge of winning back audiences in a post-hype, post-multiverse world. And that will depend not on premiere tweets, but on whether the film can truly rekindle belief in the character for a new generation.
2014’s Guardians of the Galaxy Vol 1 opened £6,363,110, taking £28,536,999
2017’s Guardians of the Galaxy Vol 2 opened £13,092,657, taking £40,839,462
2023’s Guardians of the Galaxy Vol 3 opened £12,079,820, taking £36,650,055
2021’s The Suicide Squad opened £3,252,028, taking £14,142,378
- 2. Jurassic World Rebirth £3,236,505 – £19,383,471
Down 74.1% in the second weekend
£779k 24.1% (-63.8% £2.15m) Fri; £1..3m 41.1% (-65.1% £3.8m) Sat; £1.13m 34.8% (-65.5% £3.26m) Sun.
227th biggest second weekend between Tomorrow Never Dies and Austin Powers in Goldmember (close to Mission: Impossible – The Final Reckoning, Guardians of the Galaxy Vol 1, The Day After Tomorrow and Prometheus) and 406th inflated second weekend between King Kong and The Others (close to The Fifth Element, Robin Hood: Prince Of Thieves, Godzilla (2014) and Rise of the Planet of the Apes)
13th biggest second weekend over the last 52 weeks between Mission: Impossible 8 and F1 (close to Gladiator 2, Beetlejuice 2, Captain America: Brave New World, and It Ends with Us); 6th biggest 2025..
Second weekends
1993’s Jurassic Park dropped 11.8% £4,301,647/£10,680,413 and £13,500,467 28.2% of £47,886,423/£118,895,574
1997’s Jurassic Park: The Lost World dropped 24% £4,537,210/£8,884,905 and £13,763,113, 53.3% of £25,799,961/£50,522,282
2001’s Jurassic Park 3 dropped 62.1% £1,802,580/£3,470,184 and £9,183,228, 50.1% of £18,307,718/£35,244,568
2015’s Jurassic World dropped 42.5% £11,133,912/£12,307,528 and £38,522,331 60.5% of £63,674,773/£70,386,677
2018’s Jurassic World: Fallen Kingdom dropped 49.6% £7,220,952/£7,971,051 and £25,571,845, 61.5% of £41,573,492/£45,892,068
2022’s Jurassic World Dominion dropped 52.8% £5,717,881/£5,926,074 and £21,759,280, 62% of £36,379,686
In Jurassic World: Fallen Kingdom, Claire asks, “Do you remember the first time you saw a dinosaur? First time you see them, it’s like… a miracle. You read about them in books, you see the bones in museums, but you don’t really believe it. They’re like myths. And then you see… the first one alive.” This was how cinema audiences responded to 1993’s Jurassic Park.
Jurassic Park took 9.82x opening compared with 3.29x for Jurassic World; 2.9x for Jurassic World: Fallen Kingdom, 4.53x for The Lost World: Jurassic Park; 3.84x for Jurassic Park 3. Dominion was 2.9x, and Rebirth will be similar.
325th biggest between Solo: A Star Wars Story and How to Train Your Dragon (2025) (close to Night at the Museum 2, Seven, Captain America: The Winter Soldier and 2012) and 596th biggest inflated between Atonement and Jerry Maguire (close to Fantastic Four (2005), The Truman Show, Tenet and Waterworld).
2014’s Godzilla dropped 57.2% £2,731,355/£2,937,773 and 11,828,213 69.3% of £17,074,621
2016’s Rogue One: A Star Wars Story dropped 48.1% £3,147,338/£3,474,278 and £13,907,406 71.6% of £66,013,076/£71,001,918
2023’s The Creator dropped 53.8% £1,041,276 and £4,195,331 59.2% of £7,084,748).
Scarlett Johansson called Jurassic World Rebirth a ‘Love Letter’ to the original film, saying, “Fans of the Jurassic universe can expect to really feel the DNA of the original ‘Jurassic Park’ in this film.”
While there are so many memorable quotes in the original, as with all the other sequels, they are lacking in Jurassic World: Rebirth. “The problem with the scientific power that you’re using here is that it didn’t require any discipline to attain it. You read what others had done, and you took the next step. You didn’t earn the knowledge for yourselves, so you don’t take any responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you even knew what you had, you patented it, packaged it, and slapped it on a plastic lunchbox.” It could be compared to what Hollywood has done over the last decade and more, the one positive being that if The Pirates of the Caribbean breaks down, the pirates don’t eat the tourists.
- 3. F1 The Movie £1,170,338 – £15,882,658
Down 61.9% in its third weekend
£332k 28.4% (-58.6% £802k) Friday; £468k 40% (-63.7% £1.29m) Sat; £370k 31.6% (-62.3% £982k) Sun.
541st biggest third weekend between Sleepy Hollow and Ant-Man and The Wasp (close to Looper, Starsky & Hutch, Mission Impossible and The Matrix Revolutions) and 840th biggest inflated third weekend between Just Friends and Highlander 2: The Quickening (close to Twisters, Police Academy 4: Citizens On Patrol, Jumper and Fast & Furious 9).
After the first two weeks, performing similarly to 2023’s Indiana Jones And The Dial of Destiny dropped much heavier in its third weekend; Dial of Destiny dropped 42% £1,765,710 #3 and £16,347,999 of £20,311,195; Elemental #1 £3,049,002; third week dropped 42% £1,765,710 #3 £16,347,999; Mission: Impossible – Dead Reckoning Part One £10,391,016 #1.
Third weekends
Car racing films have had mixed success at the box office, including.
2019’s Le Mans ’66 dropped 58.1% £492,097/£543,215 and £5,279,043 89.2% of £5,919,482/£6,493,393
2023’s Ferrari dropped 59% £242,776 and £3,850,021
2013’s Rush dropped 26.1% £987,549/£1,205,324 and £6,537,752 64.6% of £10,052,403/£12,192,195
1990’s Days of Thunder dropped £225,992/£783,111 and £2,325,679 67.8% of £3,430,086/£9,667,716
Brad Pitt is coming off recent successes. 2022’s Bullet Train dropped 7.9% £837,799 and £6,876,142, 63.9% of £10,766,199, and 2019’s Once Upon a Time in Hollywood dropped 12.7% £1,841,873/£2,033,203 and £16,395,349, 78.6% of £20,851,025.
Brad Pitt: The Last Great Charismatic Movie Star
How Hollywood’s most enduring leading man rewrote the rules of stardom — in front of the camera and behind it.
While Tom Cruise may be Hollywood’s “Last Action Hero,” Brad Pitt has steadily carved out a different — and arguably more enduring — role: that of the Last Great Charismatic Movie Star. Since his breakout in the early ’90s, Pitt has stood apart from his contemporaries by refusing to play it safe. Instead of chasing long-running franchises or superhero roles, he’s consistently chosen bold, original projects that showcase both his charm and range.
From Thelma & Louise to Fight Club, and from Inglourious Basterds to Once Upon a Time in Hollywood, Pitt has balanced mass appeal with artistic credibility in a way few others have. And behind the scenes, as co-founder of Plan B Entertainment, he’s produced some of the most acclaimed, Oscar-winning films of the 21st century.
ACTING HIGHLIGHTS: A Career of Bold, Iconic Roles
| Year | Film | Notes |
| 1991 | Thelma & Louise | Breakout role — instant icon. |
| 1994 | Interview with the Vampire | Gothic star power opposite Tom Cruise. |
| 1995 | Se7en, 12 Monkeys | Critical acclaim, Golden Globe win, Oscar nom. |
| 1999 | Fight Club | Cult classic, career-defining performance. |
| 2001–07 | Ocean’s Eleven Trilogy | Box office success, effortless star charisma. |
| 2004 | Troy | Epic scale and mythic leading man presence. |
| 2008 | The Curious Case of Benjamin Button | Oscar-nominated performance. |
| 2009 | Inglourious Basterds | Memorable Tarantino role. |
| 2011 | Moneyball | Critical Lead, also a producer. |
| 2019 | Once Upon a Time in Hollywood | Won Oscar for Best Supporting Actor. |
| 2022 | Bullet Train, Babylon | Risk-taking and stylised modern roles. |
Pitt’s filmography showcases a rare mix of movie star magnetism and restless creative ambition. He can headline blockbusters, but has never been defined by them. He embraces roles with texture, contradiction, and unpredictability — often preferring character-driven stories and auteur filmmakers over formula.
PLAN B ENTERTAINMENT: Producing Prestige & Purpose
| Year | Film | Accolades |
| 2006 | The Departed (co-producer) | Won Best Picture (2007). |
| 2013 | 12 Years a Slave | Won Best Picture; a cultural landmark. |
| 2015 | The Big Short | Best Picture nominee: Pitt also starred. |
| 2016 | Moonlight | Won Best Picture; historic and groundbreaking. |
| 2018 | If Beale Street Could Talk | Acclaimed adaptation of James Baldwin’s novel. |
| 2020 | Minari | Best Picture nominee; celebrated indie success. |
| 2022 | Women Talking, She Said, Blonde | Award-season contenders and issue-driven stories. |
Through Plan B Entertainment, Pitt has emerged as one of the most respected producers in Hollywood. The company is known for backing bold, socially resonant films that elevate underrepresented voices and challenge mainstream narratives, not simply as vanity projects, but as meaningful contributions to cinema.
Final Word: A Star on His Terms
Brad Pitt isn’t just a movie star — he’s a cultural barometer. While many of his peers followed the path of franchises and safe studio bets, Pitt has spent over three decades making substance-driven choices both on-screen and off. He’s collaborated with the industry’s most daring directors, avoided genre fatigue, and helped reshape modern prestige cinema through Plan B.
In an era where studios chase algorithms and nostalgia IP, Brad Pitt remains a rarity: a star who makes films we remember, not just consume. He doesn’t follow trends — he helps define them.
Joseph Kosinski developed the smallest movable 6k IMAX camera ever designed to take the viewer into the cockpit, as he did with Top Gun: Maverick; it had never been used before in a film.
2022’s Top Gun: Maverick dropped 46.1% £5,562,637 and £50,085,905 60.1% of £83,575,590
2013’s Oblivion dropped 58.6% £682,543/ £833,058 and £9,453,544 90.1% of £10,486,465/£12,718,653
2010’s Tron Legacy up 118% £1,059,569/£1,419,288 and £7,371,361 73.2% of £10,069,754/£13,403,773
434th biggest between Tintin: Secret of the Unicorn and Alvin and the Chipmunks: The Road Chip (close to Cars, Indiana Jones and the Last Crusade, Django Unchained and Who Framed Roger Rabbit) and 737th biggest inflated between The Lion King 3D and Thunderbolts* (close to Alien3, the Perfect Storm, Walk the Line and Dick Tracy).
- 4. How To Train Your Dragon with £582,038 – £19,319,953
Down 60.9% in its fifth weekend.
£105k 18.1% (-56.4% £241k) Fri; £192k 33.1% (-69.7% £634k) Sat; £283k 48.8% (-53.9% £614k) Sun
424th biggest fifth weekend between Brave and War Horse (close to Gulliver’s Travels, Ice Age II, Angry Birds and The Boxtrolls) and 654th biggest inflated fifth weekend between The Karate Kid Part 3 and Mary Shelley’s Frankenstein (close to Fantastic Four (2005), Superman IV, Jurassic World Dominion and Dungeons & Dragons: Honour Among Thieves)
It’s the 5th biggest 2025 film between
It’s 15 years since the first Dreamworks Animation film opened, which means it doesn’t have the same nostalgic element as Disney’s reimaginations have done those preteens who saw the first film are now in their early 20s and their children if they have any will be far too young to go to the cinema to watch it and likely prefer the animated film.
Fifth weekends
2010’s How to Train Your Dragon up 2.7% £843,663/£1,130,083 and £15,272,853 89% of £17,168,517/£22,997,156
2014’s How to Train Your Dragon 2 dropped 18.5% £893,792/£961,339 and £19,498,676 79% of £24,690,123/£26,556,043
2019’s How to Train Your Dragon: The Hidden World dropped 37.1% £1,048,106/£1,156,981 and £17,274,691 87.6% of £19,714,201/£21,762,075
There is a Lilo & Stitch connection with HTTYD as directors, Dean DeBlois and Chris Sanders also made the original 2002 animated film. Both films also had the same actors repeating their roles, Chris Sanders voices Stitch again, and Gerard Butler voices Stoick the Vast. Studios will keep remaking these films as audiences keep going to see them. Universal Pictures has already dated HTTYD2.
326th biggest between Jurassic World: Rebirth and Johnny English (close to Despicable Me, Kung Fu Panda, How to Train Your Dragon 3 and Sonic The Hedgehog) and 598th biggest inflated between Jerry Maguire and Ant-Man And The Wasp: Quantumania (close to Pokemon: The First Movie, Cars 2, Ralph Breaks The Internet and Over the Hedge).
- 5. 28 Years Later £498,015 – £13,729,504
Down 64.5% in its fourth weekend
£159k 31.9% (-59.4% £392k) Fri; £246k 49.4% (-57.7% £581k) Sat; £93k 18.7% (-78.7% £436k) Sun
804th biggest fourth weekend between Everest and Patriot Games (close to Goosebumps, Napoleon, Licence to Kill and The Conjuring) and 1,092nd biggest inflated fourth weekend between Corpse Bride and The SpongeBob SquarePants Movie (close to Black Rain, Creed 2, Layer Cake and Final Destination 2).
It’s the biggest horror in 2025, ahead of Nosferatu (£12.9m)
Alex Garland talked about the deceptive power of nostalgia: “The thing about looking back is how selective memory is” .. “It cherry picks and it has amnesia, and crucially, it also misremembers. We are living in a time right now which is absolutely dominated by a misremembered past.”
1996’s Trainspotting dropped 24.5% £566,672/£1,109,675 and £7,284,801 58.6% of £12,431,663/£24,344,067
2017’s T2 Trainspotting dropped 44.1% £794,791/£845,726 and £15,334,283 90.4% of £16,956,434/£18,043,095
2002’s 28 Days Later dropped 51.7% £371,139/£689,505 and £5,392,174 86.4% of £6,238,016/£11,589,041
2007’s 28 Weeks Later dropped 65.6% £186,888/£294,950 and £4,938,925 93.03% of £5,309,160/£8,379,011
520th biggest between True Lies and The Devil Wears Prada (close to What Lies Beneath, Yesterday, Sense and Sensibility and Jumanji) and 870th biggest inflated between The Italian Job and Highlander 2: The Quickening (close to Reservoir Dogs, Inglourious Basterds, The Grudge and Under Siege).
28 Years Later is the 4th biggest Danny Boyle film, ahead of 127 Hours (£7.7m) and 28 Days Later (£6.3m).
Danny Boyle has directed 15 films and famously dropped out of directing Alien: Resurrection in 1997 and Bond 25 in 2018 due to “creative differences”, opting to direct Yesterday instead. In interviews for 28 Years Later id his one regret of walking away from directing the film was that it had a great script.
Danny Boyle also directed.
1995’s Shallow Grave took £5,075,847/£11,551,928; 1997’s A Life Less Ordinary £3,376,442/£6,570,374
2000’s The Beach dropped 35.2% £937,982/£1,758,992 and £10,281,128 77.1% of £13,332,236/£25,505,147
2005’s Millions took £1,453,171/£2,443,549
2007’s Sunshine dropped 66.5% £79,358/£125,244 and £3,007,892 94.7% of £3,163,317/£4,961,083
2009’s Slumdog Millionaire dropped 15.9% £2,359,854/£3,457,360 and £14,216,466 44.9% of £31,660,043/£46,093,298
2011’s 127 Hours dropped 49.2% £409,363/£538,387 and £6,605,229 84.9% of £7,705,020/£10,069,927
2013’s Trance took £4,374,590/£5,305,781 and 2015’s Steve Jobs took £2,282,033/£2,506,755
2019’s Yesterday dropped 28.6% £774,895/£855,390 and £9,918,435 73.3% of £13,813,168
Danny Boyle also directed the 30-minute short Alien Love Triangle in 1999. It was meant to be one of a set of three short films that were going to be released one film, but the other two films were made as separate films (Mimic and Imposter), and Alien Love Triangle was left unreleased.
28 Years Later: The Bone Temple opens in January, while it might open between two horrors, SOULM8TE and Return To Silent Hill, it’s the most high-profile film opening in January. This was the problem opening 28 Year Later in June, Sony Pictures might have promoted it as the most anticipated film of the year, but the massive hype and positive reviews it wasn’t strong enough to open in June. It should have opened in Sept/Oct. This was also the issue with M3GAN 2.0 last weekend. The first 28 Days Later opened in November and performed well, so why didn’t the sequel open at the same time as Sony did with Trainspotting 2 in February 2017?
While the big question is whether Sony will finance 28 Years Later 3, it will take about $150m worldwide with a $65m budget, twice as much as 2007’s 28 Weeks Later took $72.3m worldwide and $75m 28 Days Later, but with much lower budgets and marketing costs.
———-
The weekend’s top 10 box office took £13,044,565, down 35.5% from last weekend’s £20,218,867: 1,685,344 admissions, down 35.5% from 2,612,257 admissions.
The 22nd biggest weekend of the last 52 weeks was between 19 July 2024 #1 Despicable Me 4 £4,925,773 (37.5%) and 18 April 2025 #1 A Minecraft Movie £5,307,316 (44.89%)
59th biggest since cinemas reopened out of 243 weeks between 19 July 2024 #1 Despicable Me 4 £4,925,773 (37.5%) and 22 December 2023 #1 Wonka £7,214,019 (55.58%)
377th biggest top 10 of the last 24 years (out of 1,214) between 16 February 2007 #1 Hot Fuzz £5,918,149 (45.27%) and 19 August 2016 #1 Finding Dory £2,868,459 (22.09%) and 662nd inflated between 22 December 2006 #1 Happy Feet £2,048,266 (25.53%) and 26 June 2009 #1 Transformers: Revenge of the Fallen £4,368,024 (44.67%)
The top 3 took £11,399,743 (87.4%) of the top 10; Superman 53.61% (£6,992,902); Jurassic World: Rebirth 24.81%% (£3,236,504); F1 8.97% (£1,170,337)
243rd biggest percentage share #1 (53.61%) between 29 July 2005 #1 Charlie and the Chocolate Factory £7,972,168 (53.69%) and 01 January 2016 #1 Star Wars: The Force Awakens £10,304,562 (53.48%)
329th biggest admissions #1 (903,476) between 02 October 2015 #1 The Martian £6,531,734 (905,927) and 30 June 2023 #1 Indiana Jones And The Dial Of Destiny £7,144,441 (902,076)
Down 12.46% from 2024; (£14,900,553); Despicable Me 4 (£8,856,183); Longlegs (£1,371,352); Fly Me To The Moon (£862,358); Indian 2 (£213,245); In A Violent Nature (£101,730); The Commandant’s Shadow (£18,798); #1 Despicable Me 4 £8,856,183 1st week (59.44% of top 10)
Down 28.28% from 2023; (£18,187,968); Mission: Impossible – Dead Reckoning Part One (£10,391,016); Oklahoma! Starring Hugh Jackman (£124,103); #1 Mission: Impossible – Dead Reckoning Part One £10,391,016 1st week 718 screens (57.13%)
Up 34.26% 2022 (£9,715,916); The Railway Children Return (£365,481); #1 Thor: Love and Thunder £4,063,773 2nd week 67% drop (56% without previews) 701 screens (41.83% of top 10)
Up 132.22% 2021 (£9,713,818); Black Widow (£6,889,187); The Truffle Hunters (£14,300); #1 Black Widow £6,889,187 1st week 644 screens (70.92% of the top 10).
Up 3,817.26% 2020: (£264,643) Star Wars: The Empire Strikes Back (40th Anniversary) (£50,406); Black Water: Abyss 10.6% (£28,053); #1 Star Wars: The Empire Strikes Back (40th Anniversary) £50,406 1st week.
Down 1.39% from 2019; (£13,229,066); Annabelle Comes Home (£2,223,482); Stuber (£211,274); The Dead Don’t Die (£192,917) The Matrix: 20th Anniversary (4K Restoration) (£163,812); Jaws (Re: 2019) (£34,094); The Matrix Reloaded (4K Restoration) (£876); The Matrix Revolutions (4K Restoration) (£583); #1 Spider-Man: Far from Home £4,396,516 2nd week 647 screens (33.2% of top 10)
Down 8.13% from 2018: (£14,198,894); Incredibles 2 (£9,650,000); Skyscraper (£1,829,830); The Secret of Marrowbone (£171,161); First Reformed (£73,233); Vertigo (60th Anniversary) (£10,845); #1 Incredibles 2 £9,650,000 1st week 664 screens (67.9% of top 10)
Down 32.08% from 2017: (£19,205,602); War for the Planet of the Apes (£7,195,773); Cars 3 (£2,625,000); The Beguiled (£414,924); #1 War for the Planet of the Apes £7,195,773 1st week 597 screens (37.4% of top 10)
Down 14.53% from 2016: (£16,046,904); Ghostbusters (£4,388,944); Ice Age: Collision Course (£3,780,694); Dirty Dancing (Secret Cinema) (£946,086); Keanu (£13,736); #1 Ghostbusters £4,388,944 1st week 581 screens (27.3% of the top 10)
Down 3.80% from 2015; (£13,559,349); Ted 2 (£3,867,723); Love & Mercy (£105,718); Song Of The Sea (£72,172); The Human Centipede 3 (£938); #1 Minions £4,154,359 3rd week 605 screens 33% drop (30.6% of top 10)
Down 43.31% from 2014: (£22,934,264); Transformers: Age of Extinction (£11,751,427); How to Train Your Dragon 2 (£7,779,040); Begin Again (£456,438); Boyhood (£332,834); #1 Transformers: Age of Extinction £11,751,427 1st week 533 screens (51.2% of top 10)
Up 25.05% from 2013: (£10,431,833); Monsters University (£3,463,917); Pacific Rim (£2,193,500); We Steal Secrets: The Story of Wikileaks (£19,309); Trap for Cinderella (£2,845); #1 Monsters University £3,463,917 1st week 525 screens (33.2% of top 10)
Down 28.61% from 2012 (£18,271,575); Ice Age: Continental Drift (£10,087,052); Magic Mike (£2,651,015); Seeking a Friend for the End of the World (£357,200); Chariots of Fire (Re: 2012) (£63,857); #1 Ice Age: Continental Drift £10,087,052 1st week 522 screens (55.21% of top 10)
Down 11.19% from 2009; (£14,688,163); Bruno (£5,000,229); Fired Up (£30,691); #1 Bruno £5,000,229 1st week 456 screens (34.1% of top 10)
Down 21.52% from 2008; (£16,622,538); Mamma Mia! (£6,594,058); Journey to the Centre of the Earth (£953,878); Forbidden Kingdom (£676,217); #1 Mamma Mia! £6,594,058 1st week 496 screens (39.6% of top 10)
Down 40.99% from 2007: (£22,106,427); Harry Potter and the Order of the Phoenix (£16,493,305); Moliere (£76,061); Macbeth (£2,093); #1 Harry Potter and the Order of the Phoenix £16,493,305 1st week 567 screens (74.6% of top 10)
Up 9.29% from 2006; (£11,936,216); Superman Returns (£4,337,637); Atomised (£25,823); #1 Pirates of the Caribbean 2: Dead Man’s Chest £6,048,087 2nd week 514 screens 56% drop (50.6% of top 10)
Up 16.52% from 2005: (£11,195,244); Madagascar (£5,431,639); Wedding Crashers (£2,182,597); Festival (£34,010); #1 Madagascar £5,431,639 1st week 505 screens (48.5% of top 10)
Down 3.23% from 2004 (£12,636,832); Around the World in 80 Days (£1,631,963); Fahrenheit 9/11 (£1,304,115); Walking Tall (£356,193); Twisted (£108,235); #1 Shrek 2 £7,097,154 2nd week 512 screens 56% drop (56.1% of top 10)
Up 166.81% from 2003 (£4,889,023); Daddy Day Care (£796,259); Veronica Guerin (£271,996); Whale Rider (£121,610); The In-Laws (£108,031); #1 Charlie’s Angels: Full Throttle £1,581,273 2nd week 475 screens 52% drop (32.3% of top 10)
Up 25.36% from 2002 (£10,406,087); Scooby-Doo (£5,129,109); Resident Evil (£801,628); Bad Company (£382,949); Nine Queens (£49,438); #1 Scooby-Doo £5,129,109 1st week 472 screens (49.2% of top 10)
2024 Next week: (£13,134,444); Twisters (£4,149,210); Bad Newz (£165,464); blur: To The End (£147,981); Present Laughter – NT Live 2019 (Re: 2024) (£108,736); Thelma (£65,175); Crossing (£42,583); Forrest Gump (30th Anniversary 4K Re-Issue) (£39,751); #1 Despicable Me 4 £4,925,773 2nd week 45% drop 703 screens (37.50% of top 10)
UK BO Update
June 2025 was up 7% from last June, taking £76.7m, up from £71.8m; BO for the first 6 months is up 18% from 2024 to £532.2m; 2024 was £451.6m and 2023 £486.6m; if average ticket price is still around £7.72 admissions for the first 6 months will be the highest since 2022.
Impossible to make a direct comparison with June BO, as away from Inside Out 2 and Bad Boys: Ride or Die, it was a very soft lineup of films due to the Euro Championships and film release delays due to strikes; How will next years USA World Cup affect the BO as its over 6 weeks 11 June 2026 – 19 July as it will likely affect BO much more than the last USA World Cup in 1994.
This saw Inside Out 2 hold #1 for 4 weeks, taking £34.83m of the £61.83m the top 10 films took in June. This year, the BO was more evenly shared, but expected more from How to Train Your Dragon and 28 Years Later, the May holdovers (Lilo & Stitch and MI: The Final Reckoning), while both Elio and Karate Kid: Legends underperformed.
The key month is July, how will F1 The Movie, Jurassic World: Rebirth, Superman and The Fantastic Four: The First Steps do compared to last year’s Deadpool and Wolverine, Despicable Me 4 and Twisters?
US Box Office
- Superman – Warner Bros
Opened $125.02m; received positive reviews (82% Rotten Tomatoes) and an A- CinemaScore
Man of Steel (A-); Superman Returns (B+), Superman IV: The Quest for Peace (C).
Took $22.5m from Thursday previews; Batman v Superman: Dawn of Justice $27.7m; The Batman $21.6m; Guardians of the Galaxy Vol. 3 $17.5m; Man of Steel $9m.
52nd biggest opening between Deadpool 2 and Harry Potter and the Deathly Hallows: Part 1 (close to Iron Man 2, Top Gun: Maverick, Thor: Ragnarok and Guardians of the Galaxy Vol. 3; Warner Bros 8th biggest opening.
Almost 50% came from IMAX, Dolby Cinema and PLF screens.
The last comic-book film to open with $100m+ was last summer’s Deadpool & Wolverine. Will The Fantastic Four: The First Steps open with $100m+ in three weeks?
The trade press made its $125m opening sound impressive, but it was always expected to open with $120m, especially when you factor in that almost 50% came from IMAX/PLF. These films will always have $100m+ openings due to the fickle young male fanbase who are desperate to see it before spoilers leak online. What is key is the second weekend drop, will it be 50% or 60%+ drop?
It’s the third film this year to open with $100m+ after A Minecraft Movie $162.8m and Lilo & Stitch $146m.
68% of the audience was male, and two-thirds were between the ages of 18 and 34; 49% bought on the day, while 41% bought tickets on the first Friday for Deadpool & Wolverine and 57% for A Minecraft Movie. So would be interesting to see what the percentage was who booked weeks ago.
PostTrak said influences were social media (20%), cinema trailer (15%), online trailer (13%), friends and family (12%).
EntTelligence said it had 7.7m admissions average ticket price of $15.77, average PLF $18.95.
EntTelligence also said the cinema trailer was seen by 95.7m playing with A Minecraft Movie; showing the importance of the trailer before a film is still a major reason why people see films in the cinema.
Ahead of opening, Superman was tracking all over the place from $90m-$150m, closer to release, it was expected to open between $120m-$130m with Warner Bros estimating between $100m-$110m and open with $100m+ internationally.
Its opening can’t be compared with recent MCU disappointments, Thunderbolts* ($74.3m) and Captain America: Brave New World ($88.8m), as this is Superman, not a second-rate comic-book hero.
Took $30.4m worldwide from IMAX; $19.1m US and $11.3m internationally; 12% of the BO
1978’s Superman opened $7.46m/$36.8m taking $134.47m/$661.5m and $300.5m/$1.5bn WW
1981’s Superman II opened $14.1m/$58.4m taking $108.2m/$447.9m and $216.4m/$895.9m WW
1983’s Superman III opened $13.35m/$48.8m taking $59.95m/$219.1m and $80.25m/$293.3m WW
1987’s Superman IV opened $5.68m/$16.8m taking $15.68m/$46.2m and $30.28m/$89.2m WW
2006’s Superman Returns opened $52.53m/$92.4m taking $200.8m/$351.6m and $391.1m/$687.3m WW
2013’s Man of Steel opened $116.61m/$165.1m taking $291.1m/$412.1m and $670.14m/$948.8m WW
Opening $95m from 79 territories and $217m worldwide; UK $9.8m; Mexico $8.8m; China $6.6m; Brazil $5.9m; Australia $5.3m; France $4.2m; S. Korea $4.2m; India $3.8m; Spain $2.9m; Italy $2.5m; Japan $2.5m; Philippines $2.5m.
Hollywood Reporter said its soft international was expected due to Superman being an American superhero, but that wasn’t the case with the other Superman films and Man of Steel.
In 2013, Man of Steel opened with $71.6m from 9,710 screens in 24 territories, including $17.1m from the UK and $200.3m worldwide; it took $13.3m from 331 IMAX screens, 12% of the opening and 42% from 3D. It had a staggered international opening, unlike Superman’s global opening
- Jurassic World: Rebirth
Dropped 56% in its second weekend $40.33m and $232.44m
128th biggest second weekend between The Lion King and The Blind Side (close to Man of Steel, Skyfall, Jurassic Park and The Fate of the Furious).
Jurassic World: Dominion #49; Jurassic World: Fallen Kingdom #44; Jurassic World #5; The Lost World: Jurassic Park #173; Jurassic Park III #3909; Jurassic Park #136; #27 The Lost World: Jurassic Park; #40 Jurassic Park III.
182nd biggest between Doctor Strange and The Exorcist; 5th biggest in 2025 between How to Train Your Dragon and Captain America: Brave New World; 26th biggest Universal Pictures between Fast and Furious 6 and The Lost World: Jurassic Park; #1 Jurassic World; #5 Jurassic World: Fallen Kingdom; #6 Jurassic Park; #7 Jurassic World: Dominion.
Second weekends
2015’s Jurassic World dropped 49% $106.58m/$145.6m and $402.3m/$550m of $653.4m/$892.2m; $1.018bn/$1.39bn internationally $1.671bn/$2.28bn WW
2018’s Jurassic World: Fallen Kingdom dropped 58.8% $60.91m/$77m and $265.7m/$335.7m of $417.71m/$527.8m; $892.74m/$1.13bn internationally and $1.31bn/$1.65bn WW.
2022’s Jurassic World Dominion dropped 59.2% $59.15m/$64.7m and $250.28m/$273.6m of $376.8m/$411.9m; $625.1m/$683.3m internationally and $1.01bn/$1.1bn worldwide
1993’s Jurassic Park dropped 16.2% $38.45m/$106.9m and $120.17m/$334.1m of $407.18m/$1.13bn; $697.1m/$1.93bn and $1.1bn/$3.1bn WW
1997’s The Lost World: Jurassic Park dropped 52.7% $34.11m/$85.6m and $141.51m/$355m of $229.1m/$574.5m; $389.5m/$976.9m internationally and $618.6m/$1.55bn WW
2001’s Jurassic Park 3 dropped 55.6% $22.54m/$45.84m and $124.82m/$253.9m of $181.17m/$368.4m; $187.6m/$381.5m internationally and $368.78m/$750m WW
Took $68.1m from 82 territories $300.25m total, and $529.5n worldwide; China $62.7m; UK $26.4m; Mexico $22.8m; Germany $15.5m; Australia $12.6m; France $12.4m; S. Korea $12.1m; Spain $11.8m; India $9.7m; Italy $8.2m.
231st biggest worldwide between The Revenant and WALL-E; #10 Jurassic World; #23 Jurassic World: Fallen Kingdom; #45 Jurassic Park; #56 Jurassic World: Dominion; #184 The Lost World: Jurassic Park; #434 Jurassic Park III; 6th biggest worldwide between How to Train Your Dragon and Captain America: Brave New World; 31st biggest Universal Pictures between Despicable Me and How to Train Your Dragon: The Hidden World; #1 Jurassic World; #4 Jurassic World: Fallen Kingdom; #7 Jurassic Park; #9 Jurassic World: Dominion; #23 The Lost World: Jurassic Park; #56 Jurassic Park III.
- F1 – Warner Bros
Dropped 49% in the third weekend $13.06m #3 and $136.25m
444th biggest third weekend between Four Christmases and Austin Powers: in Goldmember (close to Shutter Island, Ford v Ferrari, Captain America: The First Avenger, and Die Another Day)
Took $60m from IMAX worldwide; $27.4m US from 414 IMAX cinemas and $32.6m internationally.
517th biggest between Godzilla (1998) and 101 Dalmatians; 10th biggest 2025 biggest between Final Destination: Bloodlines and Dog Man; 89th biggest Warner Bros film between The Green Mile and Argo..
F1 isn’t as popular as it is internationally, as seen by 2013’s Rush, which took $26.94m and $95.22m worldwide; it was marketed as Top Gun on Earth. Many believed the 1990’s Days of Thunder was a Top Gun sequel.
Brad Pitt has had a long and successful career to date, starring in over 50 films since starring in 1991’s Thelma & Louise. Starring in a wide mix of films, taking $3.62bn in the US and $9.25bn worldwide. 15 films to date, taking $100m+ in the US. These films include his cameo in Deadpool 2.
Brad Pitt most recently starred in
2022’s Bullet Train dropped 40.1% $8.02m and $69.01m of $103.36m and $239.26m worldwide
2019’s Once Upon a Time… in Hollywood dropped 41.8% $11.65m and $100.38m of $142.5m and $392.1m worldwide
2013’s World War Z dropped 38.2% $18.4m and $158.98m of $202.8m and $540.45m worldwide
F1 is the first film directed by Joseph Kosinski since 2022’s Top Gun: Maverick; Apple Studios acquired the film in June 2022, produced by Jerry Bruckheimer. Joseph Kosinski previously directed.
2010’s TRON: Legacy dropped 2.1% $18.75m and $131.3m of $172.06m and $400.07m worldwide
Oblivion dropped 68.3% $5.64m and $75.81m of $89.1m and $286.16m worldwide.
2022’s Top Gun Maverick dropped 42.4% $51.85m and $395.19m of $718.73m and $1.495bn worldwide
Also directed 2022’s Spiderhead, released on Netflix
F1 has become Apple Studios’ highest-grossing film worldwide, overtaking Killers of the Flower Moon ($158m; Napoleon $221m; Fly Me to the Moon $42m; Argylle $96m.
2019’s Ford v. Ferrari dropped 16.3% $13.16m, taking $81.03m of $117.62m and $226.29m worldwide
F1 has a lot of similarities in plot to Tom Cruise’s 1990s Day of Thunder, taking $82.67m/$225.5m and $157.92m/$430.8m worldwide.
Took $38.5m from 78 territories and $257.2m and $393.4m worldwide; China $35.8m; UK $21.6m; France $17.7m; Mexico $15.4m; Australia $13.1m; S. Korea $11m; India $9.7m; Germany $9.6m; Japan -$9.1m; Taiwan $8.6m; U.A.E. $7.6m; Spain $6.6m.
604th biggest worldwide between Doctor Dolittle and The Boy and the Heron; 11th biggest in 2025 between Jurassic World Rebirth and Final Destination: Bloodlines; 106th biggest Warner Bros worldwide between Sex and the City 2 and The Green Mile.
- How To Train Your Dragon – Universal Pictures
Dropped 30% in its fifth weekend $7.9m #4 and $239.91m
259th biggest fifth weekend between Rise of the Planet of the Apes and Spider-Man: Far from Home (close to Oz the Great and Powerful, Iron Man 2, Uncharted and Kung Fu Panda 4).
169th biggest between Pirates of the Caribbean: On Stranger Tides and Shrek Forever After;4th biggest 2025 film between Sinners and Captain America: Brave New World; 24th biggest Universal Pictures film between Bruce Almighty and Fast and Furious 6.
Fifth weekends
2010’s How to Train Your Dragon dropped 21.8% $15.35m/$22.4m and $178.34m/$260.2m of $217.6m/$317.4m and $494.87m/$722m worldwide
2014’s How to Train Your Dragon 2 dropped 32.2% $6.07m/$8.6m and $152.27m/$214.5m of $217.6m/$317.4m and $621.53m/$906.7m worldwide
2019’s How to Train Your Dragon 3 dropped 29.7% $6.52m/$8.2m and $145.73m/$182.8m of $177m/$317.4m and $539.98m/$760.74m worldwide
The animated films have taken $1.6bn worldwide since 2010, and Universal Pictures has already dated How to Train Your Dragon 2 for 2027, which will surely be a reimagination of the second animated film; and then surely a third and fourth will follow.
PG-rated films, including A Minecraft Movie and Lilo & Stitch, have taken $1.53bn at the US BO, 41% of 2025 BO to date, with Smurfs and Bad Guys 2 still to be released this summer.
Took $21m from 82 territories $321.73m total, and $561.46m worldwide; China $37.8m; Mexico $35.1m; UK $26.2m; Brazil $19.1m; France $16.6m.
211th biggest film worldwide between The Smurfs and Monsters, Inc.; 5th biggest worldwide between Mission: Impossible—The Final Reckoning and Captain America: Brave New World; 26th biggest Universal Pictures film between Fifty Shades of Grey and King Kong.
UK Box Office Top 10
UK Box Office Preview
Superman will hold #1 for a second weekend after having a softer-than-expected opening, with many blaming the hot weather. If this is the case, and 90% positive PostTrack, then Superman would have a 40%+ second weekend drop similar to 2017’s Wonder Woman (after opening with £6,179,616, dropped 43.7% in its second weekend, £3,480,956).
But Superman’s second weekend drop is more likely to be similar to 2017’s Justice League, 58.84% £2,990,474 and 2013’s Man Of Steel, 54.7% £5,073,356, down 45%-55% taking £3.1m-£3.8m.
As if it’s a film audiences want to see (Superman targets young, fickle males who rush out to see it over the opening weekend), they will see it no matter the weather. I remember regularly going to packed cinemas, seeing films when the weather was in the 90s, and often when the air conditioning wasn’t working and the audience was melting watching it. This was the case with the 2003 Pirates of the Caribbean at the Odeon Leicester Square; the cinema was full, the air conditioning wasn’t working, and everyone had bottles of water.
Another week and we have two reboots of the fourth Smurfs film after three made for Sony Pictures, the new one is made by Paramount Pictures, desperate for more IPs.
2011’s The Smurfs opened £3,778,085/£4,968,868 (£1.47m from previews Weds/Thurs), taking £16,761,850/£22,044,875
2013’s The Smurfs 2 £3,220,911/£3,931,188 (£1.45m from previews) taking £11,477,946/£14,009,070
2017’s Smurfs: The Lost Village opened £1,383,059/£1,471,693 (£467k previews), taking £5,241,521
With family and children’s films, How To Train Your Dragon, Elio and Lilo & Stitch dropping off at the box office, being the start of the summer holidays and cooler, wetter weather, Smurfs is likely to open with about £2m.
Jurassic World: Rebirth will drop 45%-55% in its third weekend taking £1.4m-£1.7m
While grown-up horror films Nosferatu and 28 Years Later have performed well this year, teen horror films have struggled to find an audience, as seen most recently with M£GAN 2.0. That said, Final Destination: Bloodlines opened with a strong £4,009,856, taking £11,407,110.
I Know What You Did Last Summer is likely to be another teen horror that will struggle to find an audience 27 years after the release of the first film. Plans for a fourth film began in 2014, but was cancelled, and a TV series was made in 2021 instead; plans restarted for a fourth film in 2023. The sequel ignores events of the third film, 2006’s I’ll Always Know What You Did Last Summer (which was direct-to-video). Sarah Michelle Gellar was asked if she would return in the sequel, which would be hard as she died in the first film.
As with the original film, as original Final Destination and Scream films, the cast for the fourth film are young actors from popular TV shows.
Opening in three weeks
- Freakier Friday – Disney
Fantasy comedy starring Jamie Lee Curtis and Lindsay Lohan and directed by Nisha Ganatra, a sequel to 2003’s Freaky Friday, based on Mary Rodgers’s 1972 novel and is the seventh film of the franchise made by Disney since 1976, which includes three TV movie sequels.
2003’s Freaky Friday opened £1,214,559/£2,180,188, taking £6,393,998/£11,477,514
It could be compared with the two versions of Mean Girls
2004’s Mean Girls opened £1,393,494/£3,347,770, taking £5,411,323/£9,605,400
2024’s Mean Girls opened £3,251,159, taking £9,229,629
As Freakier Friday will likely play to tween girls and their mums, August is a good time for tween films.
Disney announced plans to reboot Freaky Friday in 2016; it was originally developed for Disney+, but then Jamie Lee Curtis and Lindsay Lohan were approached in 2022, and it was switched to be a cinema release.
While Jamie Lee Curtis has starred in several films recently, it’s Lindsay Lohan’s first major role for almost 20 years since 2006’s Just My Luck. She has had many bit parts and cameos in films and TV shows, many of which she has been playing herself.
When Lindsay Lohan starred in Freaky Friday, she had recently starred in Disney’s The Parent Trap and afterwards starred in the original Mean Girls. As many young actors who have had success at a young age have struggled to deal with fame and the press, it’s always much harder on young female actresses.
- Weapons – Warner Bros
Mystery horror starring Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Benedict Wong, and Amy Madigan and written and directed by Zach Cregger.
Zach Cregger previously directed 2022’s Barbarian, and he also wrote the screenplay along with the upcoming Resident Evil reboot. Many years earlier, he wrote the script for the dreadful Miss March in 2009, its probably one of the worst films ever made alongside Freddy Got Fingered.
Zach Cregger said he was inspired to write the Weapons script by 1999’s Paul Thomas Anderson’s film Magnolia. The script created a bidding war in 2023 between Netflix, New Line Cinema, TriStar Pictures and Universal Pictures; New Line acquired rights. Pedro Pascal was originally cast in the film, but had to drop out due to The Fantastic Four: First Steps and Josh Brolin replaced him.
After receiving positive test screenings, its release date was brought forward from January 2026 to August. It’s been compared with films like What Lies Beneath, The Ring and Sleepy Hollow.
- Sense And Sensibility (30th Anniversary) – Park Circus
Romantic drama based on Jane Austen’s 1811 novel starring Emma Thompson, Alan Rickman, Kate Winslet and Hugh Grant and directed by Ang Lee.
Received critical acclaim and award recognition, 7 Oscar nominations and 12 BAFTA nominations, winning Best Film, Best Actress and Best Supporting Actress.
Opened in February 1996 £629,152/£1,346,725 taking £13,605,627/£26,642,960
Working Title are developing a new adaptation of Sense and Sensibility starring Esmé Creed-Miles and Daisy Edgar-Jones, directed by Georgia Oakley. 20 years ago, Working Title adapted Jane Austen’s Pride & Prejudice starring Keira Knightley, Matthew Macfadyen and Rosamund Pike.