- Lilo & Stitch £3,528,384 – £31,150,258
Down 42.5% in its third weekend
£542k 15.36% (-73.3% £2.03m) Fri; £1.74m 49.32% (-16.8% £2.09m) Sat; £1.25m 35.32% (-38.3% £2.02m) Sun; £164k Monday.
6th biggest Disney reimagination third weekend, between Aladdin and Mufasa: The Lion King (close to Dumbo, The Little Mermaid, Maleficent: Mistress Of Evil and Cinderella); 20 Disney reimaginations since 2010 have taken £500m and £550m+ inflated.
Lilo & Stitch is the first reimagination of an original Disney animated film. The 2002 animated film wasn’t as popular as all of the other animated films. Reimaginations were based on but became a bigger hit on home video over the last 23 years. Making it impossible to compare Lilo & Stitch’s reimagination with the others Disney have made over the last 15 years since Alice in Wonderland.
2002’s Lilo & Stitch dropped 18.8% £1,523,277/£2,829,958 and £5,738,440, 44.5% of £12,892,631/£23,801,780. There were three straight-to-video sequels, including 2003’s Stitch! The Movie and 2005’s Lilo & Stitch 2: Stitch Has a Glitch, several TV animated series and several video games.
Many called Lilo & Stitch BO a surprise, but these reimaginations are never surprises for Disney, as last year Lilo merchandising increased by over 300% in the UK, as it’s never about the film for Disney, with these reimaginations, it’s the merchandising that will be sold ahead and after its release. The original film has gained over 500m hours of viewing on Disney+, so many of those who are seeing the reimagination have probably recently watched the original animated film again.
Global sales for the films had taken $2.6bn, up from $200m in 2019. As Yoghurt says in Spaceballs, “Merchandising, merchandising, where the real money from the movie is made. Spaceballs-the T-shirt, Spaceballs-the Colouring Book, Spaceballs-the Lunch box, Spaceballs-the Breakfast Cereal, Spaceballs-the Flame Thrower.
Lilo & Stitch is seen as an original animated film, but the plot of an alien befriending a lonely child is remarkably similar to films like E.T., Bumblebee, The Iron Giant and many others, and the plot will be repeated in Pixar’s Elio opening next month. Disney have repeated the same plot many times, Meet The Robinsons, Treasure Planet, Big Hero 6, Atlantis: The Lost Empire and Brother Bear, and recently seen in The Wild Robot. Why audiences predictably came out to see Lilo & Stitch.
Disney has exploited their animated films for decades. Originally, they would re-release a classic animated film every few years in cinemas, so each generation could experience them in the cinema. In the 80s and 90s, their cinema release would be followed by the film being available on home video for a limited time. In the 90s and 00s, Disney would make straight-to-video sequels of many of their animated films, and many of them were hugely popular, selling millions of videos and DVDs.
147th biggest between Gladiator and Shrek Forever After (close to Sing 2, Incredibles, The BFG and War of the Worlds) and 304th inflated between Furious 8 and Mission: Impossible II (close to Twister, Stuart Little, A Fish Called Wanda and Monsters vs. Aliens).
7th biggest Disney reimagination between Mufasa: The Lion King and The Little Mermaid; with the opening of the reimagination of How to Train Your Dragon on Monday, and Elio in two weeks, Lilo & Stitch will likely take similar BO as Aladdin. Moana is the next Disney reimagination to be released in July 2026, and after Moana 2 last year, will surely take £50m+ next summer.
Disney seems to be running short of reimaginations, with The Aristocrats, Hercules, and Bambi the only ones that are currently being developed; many others have been cancelled, including an Aladdin prequel, The Sword in the Stone, Robin Hood, The Princess and the Frog, The Hunchback of Notre Dame and Tangled, while they wouldn’t make a Pocahontas reimagination due to obvious reasons.
- 2. Mission: Impossible – The Final Reckoning £2,312,435 – £21,557,704
Down 33.1% in its third weekend
£532k 23% (-48.8% £1.04m) Fri; £1.08m 46.71% (-15.6% £1.28m) Sat; £700k 30.3% (-38% £1.13m) Sun; £223k Mon; £214k Tues; was #1 Tues- Thurs last week taking £445k Tues; £449k Weds; £453k Thurs.
194th biggest third weekend between POTC: At World’s End and The Golden Compass (close to The World Is Not Enough, Incredibles, Johnny English and Taken 2) and 357th biggest inflated third weekend between Kung Fu Panda and The Princess And The Frog (close to Scooby Do, I, Robot, Speed and Crocodile Dundee II).
The 2nd biggest Tom Cruise third weekend between Top Gun: Maverick and War of the Worlds, ahead of Mission: Impossible- Fallout £2,042,327; The Minority Report £2,010,518; Mission: Impossible III £1,840,168; Mission: Impossible – Dead Reckoning Part One £1,831,384; 7th inflated Tom Cruise third weekend between Mission: Impossible II and Mission: Impossible (close to Interview with the Vampire, The Last Samurai, A Few Good Men and Rain Man)
5th biggest Tom Cruise film between Mission: Impossible Fallout and Mission: Impossible- Rogue Nation Mission: Impossible- Ghost Protocol, and Mission: Impossible II (close to Minority Report and Mission: Impossible), and the 14th inflation-inflated biggest between MI Dead Reckoning P1 and Jerry Maguire (close to A Few Good Men, The Last Samurai and Cocktail). Tom Cruise has had 7 films taking £20m+ in the UK and 26 inflation-adjusted over the last 39 years. (17 Inflation inflated showing how his films have been such strong BO performers for almost 40 years.
The plot of Tom Cruise’s next film, Untitled Alejandro G. Iñárritu, feels perfectly timed: “The most powerful man in the world embarks on a frantic mission to prove he is humanity’s saviour before the disaster he’s unleashed destroys everything.” It will be his first original film since 2017’s American Made. Tom Cruise will surely be hoping to replicate the success of Alejandro G. Iñárritu’s previous film, 2015’s The Revenant, which won Leonardo DiCaprio the Best Actor Oscar after several attempts.
Tom Cruise has been nominated three times, twice for Best Actor. Born on the Fourth of July, Jerry Maguire was once the Best Supporting Actor in Magnolia. After being an ambassador for cinema post-COVID, he surely deserves the Academy to reward him with an Oscar. Tom Cruise is also attached to a supernatural thriller, Deeper, reteaming up with director Doug Liman (Edge of Tomorrow). Tom Cruise has also talked about Top Gun 3, a Days of Thunder sequel, Edge of Tomorrow 2 and a Les Grossman film.
Previous instalments’ third weekends
1996’s Mission: Impossible dropped 47.6% £1,159,872/£2,271,297 and £11,040,816 60.2% of £18,351,333/£35,936,148
2000’s Mission: Impossible II dropped 46.4% £1,336,195/£2,505,759 and £11,068,642 64% of £17,291,606/£32,426,847
2006’s Mission: Impossible III dropped 33.1% £1,840,168/£3,011,528 and £12,618,529 82.3% of £15,342,575/£25,108,896
2011’s MI: Ghost Protocol dropped 38.2% £1,373,539/£1,806,453 and £15,373,252 87.7% of £17,536,984/£23,064,317
2015’s MI: Rogue Nation dropped 34.2% £1,585,062/£1,752,142 and £14,739,612 69.9% of £21,074,999
2018’s MI: Fallout dropped 17.3% £2,042,327/£2,254,480 and £17,455,734 71.62% of £24,373,443
2023’s MI: Dead Reckoning Part 1 dropped 36.7% £1,831,384 and £20,314,208, 76.4% of £26,579,966
The 8 Mission: Impossible films have taken £160m+ at the UK BO and £280m+ inflation-adjusted since 1996; While Tom Cruise films since 1986’s Top Gun have taken £480m+ and £755m inflation-adjusted. His next film is currently untitled, from director Alejandro G. Iñárritu (The Revenant), due for release in October 2026, it will be his first original film since 2017’s American Made.
375th biggest between John Wick: Chapter 4 and Taken 3 (close to I, Robot, Tenet, The Matrix and Iron Man) and 662nd biggest inflated between Flushed Away and Lost in Translation (close to Ready Player One, The Rock, F9 and Rocky IV).
It was surprising The Running Man trailer wasn’t attached to Mission: Impossible, as the trailer was screened at CinemaCon in April, and Tom Cruise runs a lot in the Mission: Impossible films.
- 3. From The World of John Wick: Ballerina £1,418,815 – NE
Took £439k 30.96% Friday; £601k Saturday; £380k 26.66% Sunday.
1,280th biggest opening between Ghostbusters 2 and Holmes & Watson (close to The Rock, Ride Along, 47 Ronin, and Under Siege) and 1,892nd biggest inflated opening between I Love You Phillip Morris and A Time To Kill (close to White House Down, Shanghai Noon, Street Fighter and The Devil’s Own).
41st biggest opening over the last 52 weeks between Speak No Evil and Longlegs (close to Heretic, Transformers One, Trap and The Amateur); 17th biggest in 2025 between The Salt Road and The Amateur.
Ballerina embargo ended on June 4th, but its social media embargo ended on May 22, if giving positive reviews. This likely saw critics give Ballerina far harsher reviews than it might have done. This has been the case previously when studios didn’t screen films for critics, they would be slated by critics who had to pay to see it to review it. In 1998, Warner Bros famously didn’t screen the film version of the TV show The Avengers to critics and received full-page articles slating the decision in the papers where the review would have been. The Avengers opened £937,166/£1,841,775 349 screens taking £2,076,969/£4,081,785
Ana de Armas previously starred with Keanu Reeves in 2015’s Knock Knock and also starred in 2019’s Knives Out, 2021’s No Time To Die and Netflix films The Gray Man and Blonde.
Lionsgate said they will turn a profit from Ballerina due to presales in many international territories, as they only self-distribute in the US, Latin America and the UK.
2015’s John Wick opened £539,602/£592,739, taking £1,439,149/£1,580,868
2017’s John Wick: Chapter Two opened £2,232,055/£2,360,197, taking £5,766,633/£6,097,695
The first two John Wick films were released by Warner Bros in the UK The first was released almost 6 months after the US opening, close to the Furious 7 opening, so it struggled to find an audience in the UK until its home video release.
2019’s John Wick: Chapter 3 Parabellum opened £3,562,524/£3,907,921, taking £9,587,828/£10,517,396
2023’s John Wick: Chapter 4 opened £5,321,533, taking £17,508,038
Female action films have mixed success, including.
2014’s Lucy opened £3,076,997 taking £14,129,734/£16,652,901
2008’s Wanted opened £3,814,055/£5,809,099, taking £9,586,363/£14,600,768
Other Ballerina assassin films include
2018’s Red Sparrow opened £1,843,124/£2,021,820, taking £6,395,074/£7,015,095
2021’s Black Widow opened £6,889,187/£7,255,633, taking £18,841,549/£19,843,759
Other female assassin films include
2017’s Atomic Blonde opened £1,686,430, taking £3,063,918
1993’s The Assassin/Point of No Return opened £352,965/£870,867, taking £2,581,458/£6,369,205
1996’s The Long Kiss Goodnight opened £1,195,105/£2,558,171, taking £4,484,333/£9,598,897
2010’s Salt opened £2,166,715/£2,884,098, taking £6,737,499/£8,968,234
2022’s The 355 opened £367,148 #7 taking £854,519
2011’s Hanna opened £1,135,782/£1,484,388 taking £3,645,789/£4,764,794
2021’s Gunpowder Milkshake opened £35,578 #17 159 screens also on Sky Cinema
Ballerina was directed by Len Wiseman previously directed the first two Underworld films female vampire assassin; 2003’s Underworld opened £1,487,839/£2,653,983, taking £4,391,553/£7,833,581 and 2006’s Underworld: Evolution opened £1,146,779/£1,864,988, taking £2,875,957/£4,677,121
As well as 2007’s Live Free or Die Hard opened £5,084,641/£7,974,328, taking £13,644,640/£21,399,119
And 2012’s Total Recall opened £2,493,230/£3,099,903, taking £5,421,536/£6,740,748
At CinemaCon, Lionsgate announced plans for a fifth John Wick film, along with an animated prequel and spinoff featuring Caine. They will try to expand the universe as much as possible, as they have done with The Hunger Games.
- 4. The Salt Path £1,364,923 – £4,346,842
Dropped 7.7% in its second weekend (down 3% without previews)
£388k 28.4% (-14.3% £453k) Friday; £591k 43.3% (+23.4% £445k) Sat; £390k 28.2% (-12.5% £440k) Sun; £260k Mon; £260k Tues.
774th biggest second weekend between Straight Outta Compton and Free Willy (close to Atonement, Shakespeare In Love, Ghost and Death on the Nile) and 1,818th biggest inflated opening between Unfriended and The Young Victoria (close to Fool’s Gold, Patch Adams, The Other Boleyn Girl and Salmon Fishing in the Yemen).
32nd biggest second weekend over the last 52 weeks, between Red One and We Live In Time (close to A Quiet Place: Day One, Twisters, Longlegs and Heretic); 13th biggest 2025 opening between Final Destination: Bloodlines and We Live In Time.
Took £1.5m Mon-Thurs slightly more than £1.47m taken Fri- Sun; £313k #3 Mon; £387k #3 Tues; £391k #2 Weds; £393k #2 Thurs; had it not been for MI8 IMAX/PLF BO The Salt Path would have been #1 Tues-Thurs.
Added 75 screens in its second weekend, playing in 603 cinemas from 518 cinemas last weekend; that said, had shows reduced in many of those cinemas.
While the industry gets caught up in the hype of tentpoles that attract the expected audiences, The Salt Path is far more important as it has likely attracted an audience who haven’t been to the cinema for many months and probably some returning to the cinema for the first time since lockdown. They will likely return to see Downton Abbey: The Grand Finale in September but could have returned sooner if The Thursday Murder Club had been given a UK cinema release alongside being released on Netflix.
The Salt Path is based on the real-life 2018 memoir by Raynor Winn. The book spent 85 weeks on the Sunday Times bestseller chart. The Salt Path is also known as the Southwest Coast Path, England’s longest footpath. It was the trail used by coastguards watching out for smugglers.
2024’s Wicked Little Lies dropped 28.6% £1,172,890 and £4,259,564 of £9,626,572.
2012’s The Best Exotic Marigold Hotel took £2,342,095 up 5.4% and £7,014,101 34.5% of £7,014,101; took £4.79m in its opening 7 days including £2.57m Mon-Thurs
2015’s The Lady in the Van took £1,609,943 down 28.6% and £6,437,140 50.8% of £12,660,028; took £4.82m in its opening week taking £2.58m Mon-Thurs.
2015’s The Second-Best Marigold Hotel took £1,957,256 down 48.1% and £8,640,646 55.47% of £15,575,797; took £6.69m in its opening 7 days taking £3m Mon-Thurs.
Other recent British grey-pound films’ second weekends include.
2022’s Living down 26.3% £493,618 and £1,735,421 of £3,804,018.
The Lost King dropped 46.8% £195,942 and £880,109 of £1,281,757.
Mrs Harris Goes To Paris dropped 36.2% £514,977 and £2,245,532 of £4,982,330.
The Duke dropped 31.3% £682,096 and £2,740,233 of £5,283,515.
The Great Escaper dropped 10% £536,243 #6 631 screens and £1,959,847 of £5,318,899.
2022’s See How They Run dropped 15% £984,779 #1 717 screens and £2,831,230 of £4,858,629.
2018’s The Guernsey Literary and Potato up 18% £968,681 #2 544 screens and £3,034,623 of £5,937,280.
1,629th biggest between Surf’s Up and See No Evil, Hear No Evil (close to Layer Cake, Saving Mr Banks, A Passage to India, and Eat Pray Love) and 2,186th biggest inflated between Evil Dead II and Alexander (close to No Way Out, Regarding Henry, Family Business and Jaws – The Revenge).
The Salt Path had Black Bear’s biggest second weekend in the UK, ahead of Longlegs and Conclave. Black Bear has had a strong first two years since taking over the struggling STX with a steady slate of films, including The Son, Immaculate, Dumb Money, The Monkey, Conclave, Ferrari and Longlegs. With upcoming films including Relay, 77 Blackout, I Want Your Sex, Motor City, Train Dreams, Untitled Guy Ritchie Movie and Wife and Dog.
They are going for midrange films rather than overstretching themselves as so often happens with a new independent UK distributor. Many independent UK distributors try to run before they can walk, acquiring high-profile films that underperform at the box office. Over the last 30 years, so many have attempted to compete directly with US studios; those who have had success, like Electric, Optimum and Redbus, were acquired by international companies; Electric was acquired by Momentum, then merged with eOne before being acquired by Lionsgate. Redbus was acquired by Helkon and then Lionsgate, while Optimum was acquired by Studiocanal in 2006.
- 5. Karate Kid: Legends £1,045,817 – £4,200,757
Down 59.7% in its second weekend (down 37% without previews)
£209k 20.41% (-60.79% £533k) Friday; £501k 48.93% (-14.8% £588k) Saturday; £330k 32.6% (-40.4%) Sun
1,056th biggest second weekend between Joy and X-Men: Dark Phoenix (close to The Scorpion King, Dumb and Dumber, The Man from U.N.C.L.E and Sleepless in Seattle) and 1,623rd biggest inflated second weekend between Carlito’s Way and The Wild (close to A League of Their Own, Stakeout, Sneakers and The Dukes of Hazzard).
37th biggest second weekend over the last 52 weeks between Heretic and Smile 2 (close to Longlegs, Mickey 17, Smile 2 and Better Man); the 16th biggest 2025 second weekend between Mickey 17 and The Amateur.
Second weekends
2010’s Karate Kid dropped 71.1% £1,411,486/£1,890,680 and £8,566,079 73.8% of £11,613,244/£15,458,301
1986’s The Karate Kid Part 2 dropped 9.5% £376,047/£1,584,198 and £921,623 26.89% of £3,427,577/£14,439,580
1989’s The Karate Kid Part 3 dropped 35.2% £342,166/£1,163,071 and £1,339,576 39.42% of £3,398,000/£11,550,283
1,669th biggest between Allied and The Faculty (close to The Great Wall, The Last Airbender, Madame Web and Dredd) and 2,228th biggest inflated between Angel Heart and Hannibal Rising (close to Young Guns, Roadhouse, Big Trouble In Little China and The Last Boy Scout).
Also opened.
Showgirls (30th Anniversary) #49 £2,383 from 68 screens
As always, these anniversary re-releases are many months before their official anniversary; it would be January 2026. Showgirls opened £406,671/£870,496 on 266 screens, taking £921,565/£1,972,647.
Showgirls was panned by critics, but over the last 30 years has received a cult following as it’s a hilariously bad film. Some critics now say it was misunderstood satire.
UK box office in detail
The weekend’s top 10 box office took £11,682,908, down 31.2% from last weekend’s £16,985,780: 1,569,311 admissions, down 31.2% from 2,312,862 admissions.
The 22nd biggest weekend of the last 52 weeks was between 18 April 2025 #1 A Minecraft Movie £5,307,316 (44.89%) and 11 April 2025 #1 A Minecraft Movie £7,201,921 (63.01%)
72nd biggest since cinemas reopened out of 238 weeks between 08 April 2022 #1 Fantastic Beasts 3 £5,884,934 (50.26%) and 18 February 2022 #1 Uncharted £3,775,360 (32.37%)
477th biggest top 10 of the last 24 years (out of 1,209) between 14 November 2014 #1 Interstellar £3,777,804 (32.28%) and 18 February 2022 #1 Uncharted £3,775,360 (32.37%) and 791st inflated between 25 February 2005 #1 Hide and Seek £1,594,508 (23.08%) and 06 June 2003 #1 The Matrix Reloaded £2,485,938 (38.25%)
The top 3 took (£7,259,634) 62.1% of the top 10; Lilo & Stitch 30.2% (£3,528,384); Mission: Impossible – The Final Reckoning 19.8% (£2,312,435); Ballerina 12.1% (£1,418,815)
736th biggest percentage share #1 (30.2%) between 09 November 2018 #1 The Grinch £5,019,677 (30.28%) and 04 November 2016 #1 Doctor Strange £3,445,203 (30.14%)
771st biggest admissions #1 (445,503) between 22 June 2007 #1 Fantastic Four: Rise of the Silver Surfer £2,254,179 (446,372) and 06 January 2006 #1 King Kong £2,160,421 (443,618)
Up 56.48% 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 8.67% 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 38.4% 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 144.83% 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
Down 30.3% 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 37.33% 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)
Down 4.46% 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 62.55% 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 34.95% 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)
Down 5.53% 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 49.67% 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 2.28% 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)
Down 19.93% 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 115.27% 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)
Down 17.2% 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 37% 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 69.56% 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 118.29% 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 46.41% 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 59.84% 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 79.75% 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 102.37% 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)
2024 Next week: (£15,127,051); Inside Out 2 (£11,321,387); Wilding (£127,191); Freud’s Last Session (£72,989); Star Trek III: The Search For Spock (40th Anniversary 4K Re-Issue) (£63,802); The Texas Chainsaw Massacre (4K Restoration) (£36,983); The Adventures Of Priscilla, Queen Of The Desert (30th Anniversary) (£7,634); #1 Inside Out 2 £11,321,387 1st week 685 screens (74.84% of top 10)
May UK BO
May BO was up 50% from last year, taking £109.1m compared to £72.7m from last May 2024, with total BO for the first five months of 2025 £455.5m, up 20% from 2024’s £380.4m; up 8% also from 2023.
Top 10 May films
#1 Lilo & Stitch £27.6m
#2 Mission: Impossible – The Final Reckoning £19.2m
#3 Thunderbolts* £16m
#4 Final Destination: Bloodlines £10m
#5 Sinners £7m
#6 A Minecraft Movie £4.4m
#7 Karate Kid: Legends £3.2m
#8 The Salt Path £3m
#9 The Phoenician Scheme £2.3m
#10 Ocean With David Attenborough £1.5m
It’s impossible to compare May 2024 with May 2025 as the delay of Deadpool & Wolverine left a massive hole that The Fall Guy, Kingdom Of The Planet Of The Apes, and Furiosa: A Mad Max Saga were never going to fill.
So it will be interesting to see if the UK BO is still 20% ahead of 2024 after June and July; as last year Inside Out 2 took £59.2m; Deadpool & Wolverine £57.6m; Despicable Me 4 £48.3m; Twisters £14.4m; Bad Boys: Ride or Die £12m and A Quiet Place: Day One £9.6m; those 6 films took £200m+
Will, How To Train Your Dragon (£30m), Elio (£15m), 28 Years Later (£20m), F1 (£25m), Jurassic World Rebirth (£35m), Superman (£30m) and The Fantastic Four (£35m) take more?
US BO is up 25% from last year, but still 27% down from 2019
US Box Office
- Lilo & Stitch – Disney
Down 48% in its third weekend $32.36m and $335.66m
53rd biggest third weekend between Guardians of the Galaxy Vol. 3 and Doctor Strange in the Multiverse of Madness (close to The Hunger Games, Sinners, Frozen and Up); Alice in Wonderland #45 $34.2m, Moana 2 #96 $36.5m, Aladdin #111 $24.68m, Mufasa: The Lion King #119 $23.46m, The Little Mermaid #123 $23.15m.
81st biggest between Minions and Joker; 298th inflated biggest between Speed and A Beautiful Mind; 2nd biggest 2025 behind A Minecraft Movie $423.67m and ahead of Sinners $272.54m; 36th biggest Disney film between Zootopia and Alice in Wonderland.
Third weekends
2002’s Lilo & Stitch dropped 41.3% $12.63m/$25.1m and $103.2m/$204.1m of $145.79m/$288.9m and $273.14m/$542m WW
2010’s Alice in Wonderland dropped 45.5% $34.18m/$49.9m and $265.43m/$387.2m of $33.19m/$487.52m and $1.025bn/$1.495bn worldwide
2016’s The Jungle Book dropped 29% $43.71m/$58.2m and $253.37m/$337.2m of $364m/$484.4m and $966.55m/$1.286bn worldwide
2019’s Aladdin dropped 42.4% $24.68m/$31m and $232.56m/$291.6m of $355.55m and $1.050bn worldwide
2023’s The Little Mermaid dropped 44.1% $23.15m, and $229.17m of $298.17m and $569.62m worldwide
Similar to last year’s Moana 2 dropped 48.3% $26.49m and $337.39m of $460.4m and $1.059bn worldwide, which is the real reason why Lilo & Stitch opened as it did as the audience who saw Moana 2 returned to see Lilo & Stitch and will return in November to see Zootopia 2, but many of them won’t see Elio opening in three weeks despite having a similar plot to Lilo % Stitch and made by Pixar.
While 2019’s The Lion King dropped 49.7% $38.52m/$48.3m and $431.16m/$540.6m of $543.63m and $1.662bn worldwide
2017’s Beauty and the Beast dropped 49.8% $45.4m/$58.3m and $393.3m/$504.7m of $504.5m/$670.7m $1.266bn/$1.68bn worldwide
Took $67.7m and $436.8m from 52 territories and $772.6m worldwide; Mexico $56.8m; UK $42.2m; France $30.4m; Brazil $28.2m; Germany $23.7m; China $22.4m; Italy $20.7m; Spain $19.4m; Australia $14.6m; Argentina $14.4m and opened in Japan $4m.
118th biggest worldwide between Star Wars Ep. IV: A New Hope and Guardians of the Galaxy; the 3rd biggest 2025 worldwide behind Ne Zha 2 $1.98bn, and A Minecraft Movie $951.2m; 41st biggest Disney between Pirates of the Caribbean: Dead Men Tell No Tales and Guardians of the Galaxy.
- Ballerina – Lionsgate
Opened $24.5m; received mixed reviews (74% Rotten Tomatoes) and A- CinemaScore
It was expected to open between $25m-$35m
Took $3.75m Thursday previews; John Wick: Chapter 3 – Parabellum $5.9m; Lucy $2.74m; John Wick: Chapter 2 $2.7m
Took 40% from 1,000 PLF screens
858th biggest opening between Pet Sematary and Act of Valour (close to Taken, A Good Day to Die Hard, Mean Girls (2004) and Failure to Launch).
2014’s John Wick opened $14.41m, taking $43.03m and $86.08m worldwide
2017’s John Wick: Chapter 2 opened $30.43m, taking $92.02m and $174.34m worldwide
2019’s John Wick: Chapter 3 – Parabellum opened $56.81m, taking $171.01m and $328.34m worldwide
2023’s John Wick: Chapter 4 opened $73.81m, taking $187.13m and $440.18m worldwide
Other Ballerina assassin films include
2018’s Red Sparrow opened $16.85m, taking $46.87m and $151.57m worldwide
2021’s Black Widow opened $80.36m, taking $183.65m and $379.75m worldwide
Other female assassin films include
2017’s Atomic Blonde opened $18.28m, taking $51.68m and $100.01m worldwide
1993’s Point of No Return opened $7.16m/$19.9m, taking $3003m/$83.5m
2011’s Colombiana opened $10.4m, taking $36.66m and $71.5m worldwide
Other female action films
2024’s Furiosa: A Mad Max Saga opened $26.32m, taking $67.47m and $174.17m worldwide
2019’s Alita: Battle Angel opened $28.52m, taking $85.83m and $404.98m worldwide
2014’s Lucy opened $43.89m, taking $126.66m and $469.05m worldwide
2008’s Wanted opened $50.92m, taking $134.5m and $342.46m worldwide
Also, Netflix’s Heart of Stone, so as with Karate Kid: Legends, which had Cobra Kai for fans to watch on Netflix, there was little to get non-John Wick fans interested in seeing Ballerina in cinemas, it will likely do much better when released on VOD.
Of course, what didn’t help Ballerina was Mission: Impossible – The Final Reckoning holding well in its third weekend, holding on to IMAX screens as seen by the audience breakdown 62% 25+ to Ballerina‘s 45% 35+; 63%/37% male/female, and men 25+ (Ballerina at 49%, Mission at 52%) women 25+ (Ballerina 27% and Mission 32%).
Ballerina has $90m budget, but as Lionsgate presold the film in most international markets apart from the UK and the US, they cover about 70% of production costs.
Opened $26m from 82 territories and $51m worldwide; China $3m; UK $2.5m; Mexico $1.9m.
- Mission: Impossible – The Final Reckoning – Paramount Pictures
Down 46% in its third weekend $14.82m and $149.04m
336th biggest third weekend between 21 Jump Street and Pitch Perfect 2 (close to Casino Royale, Captain America: Brave New World, Mission: Impossible and The Day After Tomorrow)
439th biggest between Les Misérables and Knocked Up; 1,111th biggest inflated between Kiss the Girls and Captain Phillips; 6th biggest 2025 between Thunderbolts* and Final Destination: Bloodlines; 60th biggest Paramount Pictures between Puss in Boots and Megamind.
Tom Cruise has now had 23 films that have taken over $100m at the US box office. In the late 80s and 90s, Tom Cruise was the world’s biggest film star, starring in Top Gun, Rain Man, Days of Thunder, A Few Good Men, The Firm, Interview with a Vampire, Mission: Impossible, Jerry Maguire, Vanilla Sky, Minority Report. The Last Samurai, Collateral, War of the Worlds and Edge of Tomorrow.
When a film took $100m in the US, BO was the sign of a hit. Now, with films costing many times more than they did 40 years ago, ticket prices are similarly more expensive films can take $100m+ within a few days.
Tom Cruise used to bookend the Mission: Impossible films after making original films. Making Jerry Maguire, Eyes Wide Shut, and Magnolia between the first two films. Vanilla Sky, Minority Report, The Last Samurai, Collateral and War of the Worlds before the third film in 2006.
Lions for Lambs, Valkyrie, and Knight and Day, all three underperforming at the BO, then starring in MI: Ghost Protocol in 2010. Starring in Rock of Ages, Jack Reacher, Oblivion and Edge of Tomorrow before MI: Rogue Nation. Jack Reacher: Never Go Back, The Mummy and American Made before MI Fallout, and since Top Gun: Maverick and the two final Mission: Impossible films.
The Untitled Alejandro G. Inarritu film will be his first original film since 2017’s American Made (taking $51.34m and $135.56m WW). Edge of Tomorrow was Tom Cruise’s last $100m original film in the US, but it wasn’t seen as a hit, taking $367m worldwide. The sequel that has been talked about since 2014 has still not been made.
It was rumoured at the time that Tom Cruise requested Paramount to make the Jack Reacher film as part of the deal for Ghost Protocol, similarly, to make Jack Reacher 2 despite the first film underperforming as part of his deal to make another Mission: Impossible film.
Since making his acting debut in 1981’s Endless Love, Tom Cruise’s films have taken $5.46bn at the US box office and $13.1bn worldwide; eight Mission: Impossible films have taken $1.7bn in the US and $4.35bn worldwide.
Third weekends
2023’s Mission: Impossible- Dead Reckoning Part 1 dropped 45.1%, 510.62m and $139.12m of $172.64m and $571.12m worldwide
2018’s Mission: Impossible- Fallout dropped 45.2% $19.32m/$24.45m and $161.31m/$203.8m of $220.15m/$278.2m and $791.11m/$999.6m worldwide
2015’s Mission: Impossible- Rogue Nation dropped 39.7%, $17.18m/$23.5m and $138.32m/$188.9m of $195.04m/266.3m and $682.71m/$932.2m worldwide
2011’s Mission: Impossible- Ghost Protocol dropped 0.5% $29.42m/$42.54m and $132.4m/$191.5m of $209.39m/$302.8m and $594.71m/$1.001bn worldwide
2006’s Mission: Impossible III dropped 54.6% $11.3m/$19.9m and $103.5m/$182m of $134m/$235.5m and $398.47m/$700.3m worldwide
2000s Mission: Impossible II dropped 36.2% $17.23m/$35.1m and $158.1m/$321.5m of $215.4m/$438.1m and $546.38m/$1.111bn worldwide.
1996’s Mission: Impossible dropped 32.2% $14.66m/$38.2m and $130.82m/$340.7m of $180.98m/$471.3m
Mission: Impossible – The Final Reckoning had a reported budget of $400m; Paramount 50% of the budget, Skydance 25% and New Republic 25%, and it received 20% tax relief shooting in the UK.
Took $69.1m from IMAX worldwide; took $31m US and $38m internationally; IMAX had three weeks for The Final Reckoning compared to only one for Dead Reckoning Part 1.
Took $40.6m from 64 territories, taking $301.2m and $450.24m worldwide; the UK $27.8m; Japan $23.4m; Korea $20.5m; France $17.7m; it will likely take about $600m+ worldwide
307th biggest worldwide between Ocean’s Eleven and Django Unchained; 4th biggest in 2025 between Lilo & Stitch and Captain America: Brave New World; 113th biggest action film between Gladiator and Thor; 36th biggest Paramount Pictures between Mission: Impossible and Thor.
- Karate Kid: Legends – Sony Pictures
Dropped 58% in the second weekend $8.56m and $35.3m
1984’s The Karate Kid dropped 10.6% $4.5m/$15.5m and $12.41m/$35m of $91.07m/$311.99m
1986’s The Karate Kid Part II dropped 29.9% $8.87m/$26m and $28.88m/$91m of $115.1m/$357.1m
1989’s The Karate Kid Part III dropped 52.7% $4.9m/$15m, and $21.61m/$65m of $38.95m/$112.4m
The first three featured Ralph Macchio, while the fourth had a female lead. Sony Pictures killed its BO before it opened for some reason, delaying its US release from August to September, but still opening in Canada in August meant it was DOA; 1994’s The Next Karate Kid took $8.91m and $15.87m worldwide.
2010’s The Karate Kid dropped 46.3% $29.87m/$45m and $107.13m/$185m of $176.6m/$257.6m and $359.1m/$523.9m WW
Took $10m from 57 territories, taking $38.6m and $74m worldwide; opens in Spain, France and Japan in August.
- Final Destination: Bloodlines – Warner Bros
Down 41% in its fourth weekend $6.44m #5 and $123.51m
764th biggest fourth weekend between The Rookie and Elysium (close to Corpse Bride, I Know What You Did Last Summer, A Quiet Place: Day One and M3GAN)
602nd biggest between Aquaman and the Lost Kingdom and Traffic; 1,430th biggest inflated between Spy Game and Timecop; 7th biggest 2025 between Mission: Impossible—The Final Reckoning and Dog Man; 19th biggest horror between The Ring and Nope; 100th biggest Warner Bros between Aquaman and the Lost Kingdom and The Bodyguard.
Fourth weekends
2000’s Final Destination dropped 28.4% $3.83m and $33.98m of $53.33m/$113.9m and $112.88m WW
2003’s Final Destination 2 dropped 53.2% $2.9m and $40.8m of $46.96m/$89.7m and $90.94m WW
2006’s Final Destination 3 dropped 40.2% $3.2m, and $49.67m of $54.09m/$95.1m and $118.89m WW
2009’s The Final Destination dropped 56.7% $2.38m and $62.4m of $66.5m/$102.1m and $186.2m WW
2011’s Final Destination 5 dropped 41.4% $1.49m and $40.54m of $42.6m/$61.6m and $157.9m WW
2022’s Scream dropped 34.2% $4.75m and $68.96m of $81.64m and $137.74m worldwide
2023’s Scream VI dropped 35.9% $5.33m and $98.26m of $108.39m and $166.57m worldwide
Took $8.1 m from 75 territories $133.6m total, and $257.2m worldwide; UK $14.1m; Mexico $12.6m; India $8.2m; Philippines $7.3m; France $8.5m; Germany $7.2m; Spain $3.6m
693rd biggest worldwide between Blade Runner 2049 and Super 8; 9th biggest 2025 between Sinners and Disney’s Snow White; 21st biggest horror between A Quiet Place: Day One and Annabelle; 119th biggest Warner Bros film between Blade Runner 2049 and Annabelle.
- The Phoenician Scheme – Focus Features
Up 1,015% in its second weekend $6.27m #6, adding 1,672 screens and $7m; received positive reviews (77% Rotten Tomatoes); B- CinemaScore
Wes Anderson films often have a one-week platform release before having a wide release.
2023’s Asteroid City expanding the second weekend up 961% $9.05m, taking $28.15m and $53.85m worldwide
2021’s The French Despatch expanded to 1,205 screens after 2 weeks, taking $16.12m and $46.33m worldwide
2018’s Isle of Dogs opened #15 $1,620,294 from 27 screens and slowly expanded into 1,939 screens after 4 weeks, taking $32.01m and $64.24m worldwide
2014’s The Grand Budapest Hotel opened #17 $811,166 from 4 screens, slowly expanding into 1,467 screens over 6 weeks, taking $59.3m and $172.93m worldwide
2009’s Fantastic Mr Fox opened #24 $265,900 from 4 screens and expanded into 2,033 screens after 3 weeks, taking $21m, taking $46.47m worldwide
2012’s Moonrise Kingdom opened #15 at $522,996 from 4 screens and slowly expanded into 924 screens after 8 weeks, taking $45.51m, taking $68.26m worldwide
2007’s The Darjeeling Limited opened #37 $134,938 from 2 screens and slowly expanded into 698 screens after 5 weeks, taking $11.9m, taking $35.3m worldwide
Wes Anderson’s 10 directed films have taken almost $310m in the US and $600m worldwide.
Took $2.9m from 57 territories, taking $11m and $18m worldwide; UK $3.5m
- The Life of Chuck – Neon
Opened $224,585 from 6 cinemas.
Based on a novella by Stephen King premiered at the Toronto Film Festival last year, winning the People’s Choice Award, and receiving positive reviews (81% Rotten Tomatoes). Neon acquired the film soon after and has run many talker screenings, generating strong word of mouth.
There have been at least 65 film adaptations of Stephen King’s novels over the last 50 years, taking $1.8bn in the US and $3bn worldwide. It’s the second of four adaptations being released this year, with The Long Walk set for release in September and The Running Man in November.
Directed by Mike Flanagan, previously directed Oculus, Ouija: Origin of Evil and Doctor Sleep.
StudioCanal will release it in the UK in August.
Stephen King recently ended the copyright Warner Bros had for 1994’s The Shawshank Redemption, starting speculation that Stephen King could be announcing plans for a new adaptation.
UK Box Office Top 10
UK Box Office Preview
The live-action reimagination of How to Train Your Dragon has had previews Monday-Thursday, taking about £3m Monday £871k; Tuesday £562k. As it’s not school holidays, it was a surprising decision to open it on Monday.
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.
2010’s How to Train Your Dragon £4,846,532/£6,491,909 taking £17,168,517/£22,997,156
2014’s How to Train Your Dragon 2 opened £7,779,040/£8,366,930, taking £24,690,123/£26,556,043
2019’s How to Train Your Dragon: The Hidden World opened £5,323,448/£5,876,438, taking £19,714,201/£21,762,075
What is crazy is as with Lilo & Stitch, audiences will come out to see the reimagination even though it’s very similar to the animated film they already own, and as dragons aren’t real, there is still animation in the live-action film. While it received very positive reactions at CinemaCon in April, critics’ reactions have been much more mixed, saying it’s almost a shot-by-shot remake of the original.
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
27 years ago, Gus Van Sant directed a shot-by-shot remake of Psycho, and it was slated by critics and flopped at the box office, but critics and audiences have embraced most of Disney’s reimaginations since 2010. Gus Van Sant was asked why he wanted to remake Psycho. His response was “Why not? It’s a marketing scheme. Why does a studio ever remake a film? Because they have this little thing they’ve forgotten about that they could put in the marketplace and make money from”.
The same weekend last year, Inside Out 2 opened £11,321,387, taking £2.58m (22.8%) Friday, £4.95m (43.7%) Saturday, £3.77m (33.3%) Sunday
Having a 7-day opening weekend, How to Train Your Dragon should have a similar opening to Inside Out 2.
Much will depend on how much Lilo & Stitch drops in its fourth weekend, as would expect it to drop up to 60% in its fourth weekend, taking £1.4m-£1.8m.
With Mission: Impossible – The Final Reckoning losing IMAX/PLF screens, it will likely drop 50%+, taking £1m-£1.2m
With Ballerina also dropping 50% in its second weekend, The Salt Path will climb up to third in its third weekend, taking £800k-£1m.
Much will depend on the weather for the holdovers as its expected to have the hottest temperatures of the year on Sat/Sun before they increase further over the following weekend.
Opening in three weeks
- Jurassic World Rebirth – Universal Pictures (Wednesday)
Sci-fi action sequel to 2022’s Jurassic World Dominion, the fourth Jurassic World film and the seventh instalment in the Jurassic Park franchise starring Scarlett Johansson, Mahershala Ali and Jonathan Bailey, directed by Gareth Edwards and written by David Koepp (previously wrote the script for Jurassic Park); it was shot on 35mm to make it look similar to the original film.
The problem with Jurassic Park is that all the sequels are repeating the events of the original film, but on a different island, with something else having survived. According to Jurassic Park Wiki, John Hammond leased seven islands from Costa Rica for 99 years.
The plot of going back to the park to get an egg that could be the cure for a disease has a similar plot to Deep Blue Sea, with a likely similar outcome as was the case in Jurassic Park 3 when Billy stole T Rex’s eggs.
Development started soon after the release of Jurassic World Dominion. Gareth Edwards signed to direct in February 2024; previously directed 2014’s Godzilla (opened £6,385,483, taking £17,074,621); 2016’s Rogue One: A Star Wars Story (opened £17,305,011, taking £66,013,076/£71,001,918); 2023’s The Creator (opened £2,255,034, taking £7,084,748)
The first trailer was released in February; and was seen by 12.5m in its first 24 hours on YouTube, compared to The Fantastic Four: First Steps, 19.3m views on Marvel’s YouTube and Superman, 22.6m on DC’s YouTube. Jurassic World Rebirth had 5.6m views on the main Jurassic World Twitter account and 234,000 on Universal’s account. It currently has 40m views on YouTube compared to 93m for Jurassic World, 69m for Jurassic World: Fallen Kingdom, and 63m for Jurassic World Dominion.
This compares to Jurassic World Dominion Super Bowl trailer getting 86.82m views across YouTube, Facebook, Instagram, Twitter and TikTok within 24 hours; the second trailer was released in May.
2022’s Jurassic World Dominion opened £12,121,728, taking £36,379,686
2018’s Jurassic World: Fallen Kingdom opened £14,334,894, taking £41,573,492/£45,892,068
2015’s Jurassic World opened £19,350,727/£21,390,471, taking £63,674,773/£70,386,677
2001’s Jurassic Park 3 opened £4,762,155/£9,167,724, taking £18,307,718/£35,244,568
1997’s Jurassic Park: The Lost World opened £5,970,014/£11,690,666, taking £25,799,961/£50,522,282
1993’s Jurassic Park opened £4,875,137/£12,104,312, taking £47,886,423/£118,895,574
It feels too soon for a reboot, as it’s only three years since the release of Jurassic World Dominion, which was planned to be the final film of the series. Especially as Jurassic World Dominion was the worst-reviewed film of the series, receiving even worse reviews than Jurassic Park 3, now doesn’t seem that bad 24 years later, when compared to Jurassic World films. Of course, the casting of Scarlett Johansson, Universal Pictures, will be hoping her fan base will come out.
Jurassic World Rebirth has a budget of $265m and received 20% tax breaks for shooting some of the film at Sky Studios Elstree. Hollywood Reporter claimed it had $180m budget, which is probably with the tax breaks and up to $400m with marketing costs included.
In the trailers for Jurassic World: Fallen Kingdom, Clare says Do you remember the first time you saw a dinosaur? You won’t believe it, it’s a miracle. This was the case when audiences saw dinosaurs for the first time in Jurassic Park 32 years ago and in the sequel 4 years later. But with the Jurassic World trilogy they don’t feel as exciting, could be a metaphor for Hollywood and the tentpoles being released today having no sustenance anymore are all hype and no substance why do they open big and then drop big as audiences want more and different.
The first two Jurassic Park films had their biggest openings in 1993 and 1997, and Jurassic Park films have a much bigger appeal and wider audience than comic-book movies, as they play to all generations, those children who saw the original with their parents in 1993, and now their children, as it’s all about nostalgia why they brought back Jeff Goldblum in Fallen Kingdom and Dominion as well as Laura Dern and Sam Neil. While seeing the trailers for Rebirth has the kitchen scene with children hiding from dinosaurs as in the original film, there isn’t any tension as the children will never die.
“The problem with the scientific power that you’re using here is 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.”