- Spider-Man: Brand New Day £6,148,221 – £78,755,985
Dropped 49% in its third weekend.
£1.81k 29.6% (-52.2% £3.79m) Fri; £2.27m 37.1% (-48.2% £4.4m) Sat; £2.04m 33.3% (-46.9% £3.8m) Sun)
14th biggest third weekend between Toy Story 2 and Spider-Man: No Way Home (close to Beauty and the Beast (2017), LOTR: Return of the King, Rogue One: A Star Wars Story and Avatar) and 43rd biggest third weekend between Toy Story 4 and Shrek 2 (close to Avenger Infinity War, The Dark Knight, Star Wars: Phantom Menace and Top Gun: Maverick).
Spider-Man is not just a hero; he is a symbol of resilience. He is the everyman who, through courage and determination, overcame impossible odds. That is why he is so huge in the US. He reminds them of how they moved on with their lives 25 years ago. He was that all-American regular boy who was able to do it. And that is why they embrace him far more than any other MCU or DC character, because they all think they could be Spider-Man.
2017’s Spider-Man: Homecoming dropped 41% £2,183,542 #4 and £21,072,253 69.4%% of £30,380,216/£32,489,390; #1 Dunkirk £10,023,720; Despicable Me 3 #2 £3,082,983; War for the Planet of the Apes #3 £2,714,119
It shows how Spider-Man films have supersized themselves over the last three films, as Homecoming performed similar to Sam Raimi’s Spider-Man films and despite Spider-Man appearing in Captain America Civil War a year earlier and Tony Sark/Iron Man appearing in Homecoming. Sony must have surely thought was it worth sharing Spider-Man with Marvel as did not take that much more than 2012’s The Amazing Spider-Man worldwide $880.9m Vs $758.7m.
After Spider-Man: Far From Home performed similar to Homecoming after opening only 10 weeks after Avengers: Endgame, again few would have expected No Way Home to perform as strongly, but the different of course Far From Home was overshadowed by The Lion King, Toy Story 4, and Avengers: Endgame
2019’s Spider-Man: Far From Home dropped 47.2% £2,325,794 and £27,220,581 73.5% of £37,037,828/£41,090,444; The Lion King £16,671,765 #1 and Toy Story 4 £2,704,238 #15th weekend
It was very different with No Way Home as its lead in was No Time To Die, being the first MCU fans have wanted to see since Far From Home, the pent-up energy and including all three Spider-Man so had the huge nostalgia factor whilst being the only major film playing. While Sony finally got what they had expected from 2017 to get a real bounce from being part of the MCU, as up to then it was Disney that benefited the most from Spider-Man being in the MCU.
2021’s Spider-Man No Way Home up 31.1% £6,055,345 (NYE) and £69,849,930 72.8% of £96,903,566; interestingly while No Way Home took three times more than the other two films, it was slightly more front loaded than the first two films.
The MCU Spider-Man films have been Avengers lit films as they include other MCU characters and move on the story from the earlier MCU films, Spider-Man: Homecoming was set up by Captain America: Civil War featuring Spider-Man and Black Panther. Spider-Man: Homecoming featured Tony Stark/Iron Man.
2019’s Avengers: Endgame dropped 69.2% £4,414,015/£4,896,989 #2 and £80,439,499 90.7% of £88,692,771/£98,397,382; Pokemon Detective Pikachu #1 £4,951,838
2018’s Avenger Infinity War dropped 43.8% £5,706,170/£6,330,529 and £60,353,842 85.2% of £70,804,892/£78,552,242
2012’s Avengers Assemble dropped 48.6% £4,169,087/£5,242,447 and £40,279,282 77.6% of £51,910,045/£65,274,641
There are three eras, moving from the Raimi/Maguire launch in 2002, through the Webb/Garfield reboot in 2012, and into the MCU-driven Tom Holland since 2016.
12th biggest between Titanic and Avatar: The Way of Water (close to Top Gun: Maverick, Star Wars: The Last Jedi, The Lion King and Toy Story 3) and 46th biggest inflated between Harry Potter and the Order of the Phoenix and Quantum of Solace (close to Independence Day, Flash Gordon, The Dark Knight and Moonraker).
The problem I had with Brand New Day was when the audience found out before Spider-Man the baddie was Jean Grey you knew that the real baddie was who you thought were good as it was a similar plot to the X Men films and why Magneto saw humans as the enemies.
As seen at D23 Brand New Day was the soft launch for the new X-Men film that will be released in 2028, which will surely be similar to MCU’s reboot of Fantastic Four a completely pointless additional film telling the backstory of the X-Men that was told in the 2000 20th Century Fox film.
- 2. The Odyssey £3,761,881 – £69,086,595
Dropped 28.6% in its fifth weekend.
£1.06m 28.4% (-31.2% £1.5m) Fri; £1.41m 37.8% (-27.7% £1.9m) Sat; £1.26m 33.8% (-29.2% £1.8m) Sun
5th biggest fifth weekend between Wonka and Titanic (close to Avatar: The Way of Water, Skyfall, No Time To Die and Top Gun: Maverick) and 13th biggest inflated fifth weekend between Wonka and No Time To Die (close to LOTR: Return of the King, The Full Monty, The Lion, the Witch and the Wardrobe and The Kings Speech).
Its hard to make any real direct comparison analysis for The Odyssey without knowing the percentage of IMAX box office as it must be increasing week after week, so while it is the fifth biggest fifth weekend, the only comparison title is Tenet as no other film has kept IMAX screens for more than fur weeks.
Its completely madness to look at BFI IMAX and the Science Museum to see IMAX shows sold out mid-September, as it also means the box office is frozen as its like Barbenheimer all the films opening since are fighting over scraps with Spider-Man: Brand New Day and The Odyssey taking two third of the top 10 box office.
While the industry gets excited that these two films have taken almost £150m combined its not healthy for the box office with so few films, its why I look at Disney’s D23 announcement of sequel heavy slate and exhausting. hat’s the underrated crisis. The industry is consolidating around mega-titles while the middle class of cinema vanishes. Records will be broken, but they will be hollow, fewer admissions, fewer films, fewer voices. And that is not a recovery. That is a managed decline.
Barbenheimer
2023’s Oppenheimer dropped 35.4% £2,045,953 and £50,054,877 of £58.5m; £708k 34.6% Friday; £767k 37.5% Saturday; £571k 27.9% Sunday; stayed behind Barbie for six weeks; Oppenheimer remained in the top five for seven weeks and the top ten for ten weeks. After 5 weeks IMAX took 20.3% (£10.2m) of 52 cinemas overtaking Avatar: The Way of Water the second biggest IMAX film in the UK after Star Wars: The Force Awakens.
Stayed second behind Barbie dropping 44.1% £4,428,044 and £78,216,766 of £95,671,481; £1.4m Friday; £1.63m Saturday; £1.39m Sunday.
The Odyssey is expected to have a 100-day theatrical window, followed by PVOD in November and Sky Cinema in April 2027.
The BFI IMAX Impact
BFI IMAX has had over 101k admissions taking £2,683,987 with 95% occupancy rate across all showtimes.
The top 10 biggest films at the BFI IMAX are what you would expect: The Odyssey, Avatar, Oppenheimer, Star Wara: The Force Awakens, The Dark Knight, The Dark Knight Rises, Dune Part 2, Dunkirk, Interstellar and Avatar: The Way of Water. So will be interesting to see how Dune Part 3 performs in December.
If BFI IMAX has taken £2.68m over 5 weeks the Science Museum and Vue Manchester Printworks are likely to have taken similar between them as both have also had a similar occupancy rate. It has also played in 50+ ore IMAX cinemas in the UK so total must be close to £15m from all IMAX screens in the UK.
Nolan comparisons fifth weekends
2010’s Inception dropped 25% £1,681,130 #2 from 472 screens and £29,204,120 82.8% of £35,264,403; dropped 35% in the sixth weekend £1,076,106; held #1 for 1 week and in the top 5 for 5 weeks and top 10 for 8 weeks.
2020’s Tenet dropped 18% £648,517 #1 from 569 screens and £14,995,041 85.8% of £17,479,421; dropped 3% in the sixth weekend taking £628,247 held #1 for 8 weeks and in the top 5 for 9 weeks and top 10 for 10 weeks
2017’s Dunkirk dropped 26% £1,938,125 #2 from 647 screens and £49,101,623 86.4% of £56,797,955; dropped 48% in the sixth weekend taking £998,531 held #1 for 4 weeks and in the top 5 for 8 weeks and top 10 for 10 weeks.
2014’s Interstellar dropped 47% £610,289 #6 from 348 screens and £19,150,662 91.8% of £20,852,599; dropped 64% in the sixth weekend taking £213,953 held #1 for 2 weeks and in the top 5 for 4 weeks and top 10 for 6 weeks.
2005’s Batman Begins dropped 45% £422,489 #4 from 382 screens and £14,806,311 88.5% of £16,733,960: #1 for 2 weeks, top 5 for 5 weeks and top 10 for 8 weeks.
2008’s The Dark Knight dropped 36% £1,454,847 #4 from 440 screens and £43,498,315 88.1% of £49,411,323: #1 for 2 weeks, top 5 for 6 weeks and top 10 for 8 weeks.
2012’s The Dark Knight Rises dropped 31% £1,506,178 #5 from 440 screens and £49,776,391 88.2% of £56,446,768: #1 for 2 weeks, top 5 for 6 weeks and top 10 for 8 weeks.
Homer and the First Comic Books
Homer composed The Iliad and The Odyssey around the 8th century BCE, roughly 500 years after the Trojan War is believed to have taken place (around 1200 BCE). In that half-millennium, before writing was common, the story was passed down orally from generation to generation, like a game of Chinese whispers. By the time Homer wrote it down, the events would have been hugely exaggerated and transformed.
Homer was not writing history as we understand it. He was creating an exaggerated, mythologised narrative from the raw material of distant memory. He took those scattered stories and crafted them into the foundational myth of Western literature.
19th biggest between Avengers: Infinity War and Mamma Mia! (close to Toy Story 3, Beauty and the Beast, SW: Rogue One and Jurassic World) and 63rd biggest inflated between Star Wars: Attack of the Clones and Four Weddings and a Funeral (close to Men In Black, The Dark Knight Rises, Die Another Day and Ghost).
- 3.The End of Oak Street £2,112,782 – NE
Took £703k Friday; £691k 34.19% Saturday; £608k 30.52% Sunday.
907th biggest opening between The Addams Family and Arthur Christmas (The World’s End, Mars Attacks, True Lies and Constantine) and 1,372nd biggest inflated opening between Get Him to the Greek and 13 Going On 30 (close to Hot Shots: Part Deux, Dick Tracy, Scream (1997) and Die Hard)
38th biggest opening over the last 52 weeks between The Drama and Gabby’s Dollhouse: The Movie (close to The Running Man, Predator: Badlands, Tron: Ares and Mortal Kombat 2).
Opened much bigger than David Robert Mitchell than his previous biggest opener 2014’s It Follows with £371k taking £1.22m.
The End of Oak Street is similar to late summer monster movies like Eight-Legged Freaks, Arachnophobia and The Meg over the last 35+ years.
The only difference is that its nostalgic 80s-set with a family drama at its core, with the stereotypical characters the wife who is desperate to leave having written a book and has a suitcase ready to leave, the stressful husband whose drinking whiskey and their stereotypical children behaviour,
It is trying to ground the story as Stephen Spielberg did with his 80s film as many have compared it to Amblin films bit it has a darker edge to it than those films did. This was evident in the early social media reactions to the film.
It feels like Anne Hathaway and Ewan McGregor are in two different films and Anne’s performance is what hold the film together (just)
It opened 15 months after it was originally set to be released, was originally called Flowervale Street, but they changed its title to The End of Oak Street for a retro Twilight Zone vibe. The title does not appear in the opening credits, but on the end, credits being the End of Oak Street.
The End of Oak Street was always likely to struggle in the current market as its hard for any new films to be seen with Spider-Man: Brand New Day and The Odyssey taking control of the BO and conversation for the last three weeks. It did not help it also opened the week after Netlix’s The Last House with a very similar plot.
The film was shot for IMAX but with The Odyssey holding IMAX screens audiences will not get to see the film in IMAX in the UK.
From the trailers it felt like a Cloverfield film but as its made by Warner Bros it cannot be as that was made by Paramount with J. J. Abrams.
2016’s 10 Cloverfield Lane opened £1,601,161 taking £5,029,725
2008’s Cloverfield opened £3,485,956 taking £9,120,932
The B-Movie Tradition
Film What It Did Why It Worked
Eight-Legged Freaks Giant spiders It knew it was ridiculous.
Arachnophobia Killer spiders It had a sense of humour.
The Meg Giant shark It embraced its B-movie roots.
Deep Blue Sea Smart sharks It was fun.
Anaconda Giant snake It was silly.
These films are not masterpieces. They are entertainment. They are the kind of films you watch on a hot summer night when you do not want to think too hard, they are purely popcorn brainless films.
If it tried to be Jurassic Park, it would have failed. If it tries to be a B-movie, it found an audience. This of course why it was released in August as had it been released in May it would have been seen as aa very different film.
It will of course drop heavily in its second weekend seeing how it dropped off from Friday to Sunday as they will move on to Insidious: Out Of The Further opening this weekend.
- 4. Katseye: Wild Hearts £725,419 – NE
Included £356,532 from previews.
Opened ahead of Burn The Stage: The Movie £644k; Pink Floyd At Pompeii – MCMLXXII £684k and behind Coldplay Music Of The Spheres Live Broadcast From Buenos Aires £749k.
It is surprising KATSEYE: WILD HEARTS opened fourth as normally box office taken before Friday for Event Cinema screenings is not included in its opening weekend, and it would have been eighth for the weekend taking £368.499 below Paw Patrol: The Dino Movie £695,003; Toy Story 5 £527,794; Minions & Monsters £403,734 and Tony £402,471
KATSEYE are the most listened to Korea pop group overtaking BTS in monthly listeners, selling out their arena world tour. Gabriela has now been charting for over 52 weeks on Spotify charts.
The pop group KATSEYE were formed after appearing on the Korean TV talent show The Debut: Dream Academy in 2023. They appeared in 2024’s Netflix documentary Popstar Academy: Katseye.
KATSEYE popularity is growing in the UK with their new single Animal #16
In April BTS ‘ARIRANG’ Tour in Goyang and Tokyo Live Viewing opened #6 £336,474.
Previous BTS concerts 2022’s BTS – Permission to Dance on Stage Live opened £899,126 #3; 2019’s Love Yourself In Seoul – BTS World Tour 2019 #10 £518,810 519 screens and 2018’s Burn the Stage: Movie #6 opened £644,308 from 212 screens.
- 5. Paw Patrol: The Dino Movie £695,003 – £3,218,818
Dropped 58.5% in its second weekend.
£195k 30.3% (-36.3% £306k) Fri; £194k 30.2% (-51% £396k) Sat; £254k 39.5% -36.5% £400k) Sun
1,615th biggest second weekend between Son of the Mask and Bedazzled (close to Fantastic Four (2015), Miss Congeniality 2, Toy Story 2 (Digital 3-D) and The Angry Birds Movie 2 and 2,186th biggest inflated second weekend between The Boy in the Striped Pyjamas and Van Wilder (close to Outrageous Fortune, Dirty Rotten Scoundrels, Race to Witch Mountain and My Stepmother is an Alien).
42nd biggest second weekend over the last 52 weeks between Crime 101 and Reminders Of Him (close to Gabby’s Dollhouse: The Movie, Supergirl, The Running Man and The Black Phone 2).
UK Box Office History
2019’s Paw Patrol Mighty Pups dropped 67.7% £168,605 and £784,659 of £1,154,936
2020’s Paw Patrol: Ready, Race, Rescue dropped 27% £352,800 and £929,378 of £1,772,296
2023’s Paw Patrol: The Mighty Movie dropped 76% £801,725 and £4,512,913 of £8,020,233
With Toy Story 5 and Minions & Monsters dropping off would have expected Paw Patrol: The Dino Movie held better given then limited options for younger audiences in cinemas in August, but while Paw Patrol is the biggest global children’s TV show, far bigger than Bluey, broadcast in over 160 countries. Paw Patrol merchandise has sold over $15bn worldwide. An estimated 97% of the franchise’s total earnings come from merchandise, and there are over 100,000 different Paw Patrol products. The show is, effectively, a 22-minute TV advert.
Also opened
- Tony – A24
Opened £402,471 #8 from 101 screens including £138,454 previews.
It was surprising Tony charted in the top 10 and exhibitors saw it as a higher profile release than Sunny Dancer, but probably has more to do with a24’s recent successes Marty Supreme, The Drama and Backrooms, this makes exhibitors more willing to take a risk on a film like Tony, as American chef Anthony Bourdain was well known in the US but did not have the similar media coverage in the UK as other celebrity chefs in the UK, his TV appearances in the UK are limited to shows on Netflix and Discovery and 2014 Channel 4 cooking competition show The Taste.
Tony is the complete opposite to Sunny Dancer a British coming of age comedy drama that has received positive reviews since premiering at the Berlin Film Festival in February. First Showing said it was “a near perfect summer camp comedy that is as unique and refreshing as it is funny and endearing” and “a gem of a film that should be sought out by all”.
August has been historical a very strong month for British comedy films over the last 30+ years as there is often a gap in the schedule as US studios are slowing down for the autumn film festivals while UK schools have two more weeks of holidays. 31 years ago, saw the release of the hugely successful The Full Monty, but also The Inbetweener Films and Alan Partridge: Alpha Papa amongst many others.
20 years ago, Sunny Dancer is the type of feel-good British comedy audiences would connect with, but now it will struggle to find an audience, that said I Swear managed to do that last October opening £1,185,756 taking £5,572,229.
It would be good for True Brit to have a real box office hit as their biggest to date was 2025’s Marching Powder opening £1,079,492 taking £2,106,354. True Brit was launched in 2023 focusing on British films but their films to date have highlighted the struggle of British films for the last decade.
Distributors of original films often have to gamble do the open wide in 600+ screens or do they open on a more limited release of 200 and then expand, the problem of course is if the film doesn’t immediately find its audience in the opening weekend it will lose screens and shows in its second weekend.
It is not just independent distributors who struggle with this as Disney released Rye Lane in March 2023 after receiving critical acclaim opened £258,997 #7 from 369 screens dropped 42% in its second weekend £150,824 #10 losing a third of its screens.
Films like Sunny Dancer have been the lifeblood of British cinema for decades, but as exhibitors bookings are now controlled by AI algorithms, the AI sees keeping Spider-Man: Brand New Day and The Odyssey in the same screens for another week is the most logical option. What it fails to understand is humans are far more emotional with their choices.
Exhibitors 20+ years ago would give films a chance to find their audience, as of course while audiences rush out over opening weekend to see Spider-Man they will take time to see films like Sunny Dancer, that was why it had previews in July in 120 independent UK cinemas this week via the Escapes cinema initiative to build word of mouth.
So, why did exhibitors dump it and not give it a chance to find an audience as that did with, I Swear last year.
The cynic would say its exhibitors getting back at Zygi Kamasa (now boss of True Brit) after he said in 2014 then when head of Lionsgate UK, prices at the box office should reflect film budgets. An independent British film should cost £4 and a Hollywood blockbuster £10.”Something drastic” was needed to reverse falling admissions, In most other industries, retail price is related to the cost of production, but not in the film business,”
This is of course general practice for pop concerts Ariana Grande at O2 is vastly more expensive than an upcoming pop artist in a smaller venue and Arsenal vs Man City tickets will be more expensive than against Coventry City.
The UKCA’s response was predictable “Cinemas are essentially businesses,” “They look to maximise revenue however they can and “I think we need to be careful of ghettoising particular films.” This is exactly what has happened with almost 85% of July BO from 3 films while admissions grew 1% over the following 5 years.
Exhibitors have very short memories for the important issues, but they have very long memories if someone dares to question their actions.
—
2026 BO is currently up 21% from 2025.
The weekend’s top 10 box office took £15,383,513 down 29.3% from last weekend’s £21,767,838, 1,871,427 admissions, down 30.3% from 2,683,748 admissions.
15th biggest weekend of the last 52 weeks between 13 February 2026 #1 Wuthering Heights £7,665,295 (49.73%) and 24 April 2026 #1 Micheal £11,574,192 (76.08%)
48th biggest since cinemas reopened out of 300 weeks between 13 February 2026 #1 Wuthering Heights £7,665,295 (49.73%) and 24 April 2026 #1 Micheal £11,574,192 (76.08%)
235th biggest top 10 of the last 25 years (out of 1,270) between 01 January 2010 #1 Avatar £5,940,479 (38.6%) and 08 August 2008 #1 The Mummy: Tomb of the Dragon Emperor £4,434,650 (28.88%) and 573rd biggest inflated between 01 April 2016 #1 Batman v Superman: Dawn of Justice £4,661,959 (35.2%) and 02 February 2018 #1 The Greatest Showman £2,201,523 (17.1%)
The top 3 took £12,022,884 (78.2%) of the top 10; Spider-Man: Brand New Day 39.97% (£6,148,221); The Odyssey 24.45% (£3,761,881); The End Of Oak Street 13.73% (£2,112,782)
481st biggest percentage share #1 (39.97%) between 12 October 2012 #1 Taken 2 £3,743,046 (40.01%) and 02 November 2018 #1 Bohemian Rhapsody £5,750,267 (39.95%)
440th biggest admissions (767,568) between 26 February 2016 #1 Deadpool £5,694,280 (768,459) and 30 May 2025 #1 Lilo & Stitch £6,139,573 (766,489)
Up 93.59% from 2025; (£7,946,311); Materialists (£1,287,221); Coolie (£939,508); Together (£504,490); War 2 (£503,416); Nobody 2 (£475,724); #1 Weapons £1,557,828 2nd weekend down 45% 653 screens (19.60% of top 10).
Up 15.87% from 2024; (£13,276,771); Alien: Romulus (£3,741,287); Coraline (15th Anniversary) (£1,260,124); Spider-Man 3 RE (£156,781); Lone Star (4K Restoration) (£9,731); #1 Alien: Romulus £3,741,287 1st week 672 screens 28.18% of top 10)
Up 58.5% from 2023; (£9,706,381); Blue Beetle (£1,189,812); Strays (£598,619); Metallica: M72 World Tour Live From TX #1 (£201,115); Serpico (50th Anniversary (£21,060); #1 Barbie £2,697,820 5th week 39% drop 778 screens (27.79%)
Up 159.86% 2022 (£5,920,000); Dragon Ball Super: SUPERHERO (£663,290); Fisherman’s Friends: One and All (£656,293); Orphan: First Kill (£434,601); Star Trek: The Motion Picture (Director’s Edition 4K) (£58,858); The World Is Not Enough (Re: 2022) (£6,933); #1 Nope £1,147,638 2nd week 38% drop 685 screens (19.4% of top 10)
Up 105.48% 2021 (£7,486,527); People Just Do Nothing: Big in Japan (£896,992); Snake Eyes (£542,265); The Night House (£315,610); Reminiscence (£260,272); Around the World In 80 Days (£120,726); Pig (£47,976); #1 Free Guy £2,267,660 2nd week 11% drop 652 screens (30.3% of top 10)
Up 1,441% from 2020: (£997,837); Inception: 10th Anniversary (£207,675); Pinocchio (£108,626); Broken Law (£52,748); Babyteeth (£38,977); The Fast And The Furious (Re: 2020) (£8,306); #1 Inception: 10th Anniversary £207,675 1st week 313 screens (20.81%)
Down 4.3% from 2019; (£16,071,094); Once Upon a Time in Hollywood (£7,544,445); Dora & The Lost City of Gold (£1,165,865); Good Boys (£844,169); Uglydolls (£266,074); #1 Once Upon a Time in Hollywood £7,544,445 1st week 663 screens (46.7% of top 10)
Up 1.59% from 2018: (£15,143,203); Disney’s Christopher Robin (£2,553,810); The Equalizer 2 (£1,980,754); The Festival (£1,423,410); #1 Disney’s Christopher Robin £2,553,810 1st week 649 screen 16.9% of top 10)
Up 60.2% from 2017: (£9,602,351); The Hitman’s Bodyguard (£1,982,951); The Dark Tower (£910,529); Everything, Everything (£453,401); An Inconvenient Sequel: Truth to Power (£201,130); #1 The Hitman’s Bodyguard £1,982,951 1st week 467 screens (20.6% of the top 10)
Up 18.4% from 2016: (£13,012,003); David Brent: Life on the Road (£1,460,290); Lights Out (£1,126,543); Swallows and Amazons (£676,175); Nine Lives (£636,804); Tickled (£25,602); #1 Finding Dory £2,868,459 4th week (2nd #1) 627 screens up 12% (22.1% of the top 10)
Up 36.5% from 2015; (£11,265,417); Pixels (£2,660,772); The Man from U.N.C.L.E. (£1,448,298); Trainwreck (£931,981); Absolutely Anything (£487,147); Mistress America (£164,691); Precinct Seven Five (£21,441); #1 Pixels £2,660,772 1st week 511 screens (23.6% of top 10)
Up 32.1% from 2014: (£11,641,259); The Expendables 3 (£1,689,927); Hector and the Search for Happiness (£240,222); The Rover (£73,696); Blood Ties (£20,258); #1 The Inbetweeners 2 £4,309,832 2nd week 509 screens 66% drop (37.1% of top 10)
Up 29% from 2013: (£11,919,587); Kick-Ass 2 (£2,482,187); Planes (£1,735,940); 2 Guns (£1,423,738); Bachelorette (£19,396); #1 Kick-Ass 2 £2,482,187 1st week 483 screens (20.8% of top 10)
Down 12% from 2012 (£17,483,535); Brave (UK expansion) (£5,269,402); The Bourne Legacy (£4,620,289); The Expendables 2 (£1,985,082); The Wedding Video (£333,079); Take this Waltz (£70,358); #1 Brave £5,269,402 3rd week (1st #1) 553 screens 818% increase (30.1% of top 10)
Down 30.3% from 2011; (£22,058,353); The Inbetweeners Movie (£13,216,736); Cowboys & Aliens (£1,777,320); Spy Kids: All the Time in the World 4D (£703,078); Glee: The 3D Concert Movie (£356,271); The Guard (UK release) (£163,751); #1 The Inbetweeners Movie £13,216,736 1st week 453 (59.9% of top 10)
Up 8.1% from 2010: (£14,228,206); The Expendables (£3,935,700); Piranha 3-D (£1,325,324); Marmaduke (£1,243,789); The Illusionist (£164,950); The Human Centipede (£6,145); #1 The Expendables £3,935,700 1st week 453 screens (27.6% of top 10)
Up 86.5% from 2009; (£8,247,544); The Time Traveller’s Wife (£1,410,333); Aliens in the Attic (£1,323,575); Bandslam (£628,957); A Perfect Getaway (£418,703); Imagine That (£109,722); #1 The Time Traveller’s Wife £1,410,333 1st week 425 screens (17.1% of top 10)
Up 40.4% from 2008; (£10,950,396); You Do not Mess with the Zohan (£1,520,637); Wild Child (£1,177,472); Star Wars: The Clone Wars (£895,300); Miss Pettigrew Lives for a Day (£90,878); #1 The Dark Knight £2,302,866 4th week 499 screens (3rd week #1) 44% drop (21.1% of top 10)
Up 5.8% from 2007: (£14,527,913); The Bourne Ultimatum (£6,553,704); Bratz: The Movie (£1,247,588); Eagle vs. Shark (£47,845); #1 The Bourne Ultimatum £6,553,704 1st week 458 screens (45.11%)
Up 128.7% from 2006; (£6,725,494); Snakes on a Plane (£1,069,608); John Tucker Must Die (£845,633); Harsh Times (£281,609); A Scanner Darkly (£242,990); #1 Snakes on a Plane £1,069,608 1st week 354 screens (15.9% of top 10)
Up 133.4% from 2005: (£6,589,529); Bewitched (£1,053,432); Unleashed (£498,058); The Perfect Man (£186,460); #1 Charlie and the Chocolate Factory £1,691,431 4th week 516 screens 41% drop (25.6% of top 10)
Up 67.1% from 2004 (£9,205,066); The Bourne Supremacy (£2,720,016); Catwoman (£557,583); Yu-Gi-Oh (£112,980); #1 The Bourne Supremacy £2,720,016 1st week 418 screens (29.55% of top 10)
Up 46.1% from 2003 (£10,523,339); American Pie: The Wedding (£4,151,788); Freddy vs. Jason (£785,870); #1 American Pie: The Wedding £4,151,788 1st week 426 screens (39.45% of top 10)
Up 139.5% from 2002 (£6,423,296); #1 Men In Black 2 £1,403,344 3rd week 49% drop 512 screens (21.85% of top 10)
Up38.7% from 2001 (£11,086,365); Planet of the Apes (£5,445,983); #1 Planet of the Apes £5,445,983 1st week 446 screens (49.1% of top 10)
Next week: (£5,095,939); The Life Of Chuck (£486,294); Eddington (£247,442); The Rocky Horror Picture Show (50th Anniversary) (£161,523); Spinal Tap (Re-Issue 2025) (£32,180); #1 Weapons £1,147,166 3rd week 628 screens down 26% (22.51% of top 10).
US Box Office
- Spider-Man: Brand New Day — Sony Pictures
Dropped 51% in its third weekend $70.71m and $786.54m
2d biggest third weekend between Star Wars: The Force Awakens $90.24m and Avatar $68.49m (close to Avatar: The Way of Water, Black Panther, Avengers: Endgame and Avengers: Infinity War).
Took $53.2m from IMAX worldwide total from the US, China, Japan, and South Korea
8th biggest film worldwide between Avengers: Infinity War and Spider-Man: No Way Home (close to Zootopia 2, Inside Out 2, Star Wars: The Force Awakens and Titanic).
Avengers third weekends
2012’s Avengers dropped 46% $55.64m/$85.5m and $457.66m/$703.1m of $623.35m/$958m and $1.51bn/$2.4bn worldwide
2015’s Avengers: Age of Ultron dropped 50% $38.85m/$57.6m and $372.03m/$553.5m of $459m/$681m and $1.4bn/$2.1bn worldwide
2018’s Avengers Infinity War 45.9% $62.07m/$85.2m and $595.81m/$817m of $678,8m/$930.1m and $2.048bn/$2.8bn/$3.9bn WW
2019’s Avengers Endgame dropped 57.1% $63/29m/$6.2m and $723/74m/$985m of $858.37m$1.18bn and $2.79bn worldwide
2021’s Spider-Man No Way Home dropped 33.7% $5.02m and $613.6m of $814.86m; took $5.5m (6.5%) from IMAX in the US $38m total and $9.6m worldwide and $61.5m worldwide
Its now impossible to compare Brand New Day with earlier films of this series and all other Spider-Man films made since 2002 as the only films they can be compared to are Avengers films and Spider-Man No Way Home.
As Homecoming and Far From Home feel likely they are now part of a completely different film series, but it shows how Spider-Man finally started benefitting from being part of the MCU since No Way Home. While Marvel benefited from the addition of Spider-Man since 2016’s Captain America: Civil War as Spider-Man as Black Panther changed the dynamics of the MCU series.
Spider-Man: Homecoming dropped 49.9% taking $22.15m and $251.85m of $334.2m and $545.96m and $880.16m WW).
Spider-Man: Far From Home dropped 53.3% taking $21.2m and $319.86m of $390.53m and $747.39m and $1.13bn WW)
It was strange that Far From Home did not benefit from opening three months after Avengers: Endgame as it just performed similar to Homecoming.
Rentrak said summer is currently $4.2bn 24% ahead of last summer and 2% behind the record summer of 2013 $4.755bn; but its impossible make that compassion as its 13 years ago. While the total for the year is $6.86bn +19% ahead of 2025 and 7% behind 2019 which at this point in time stood at $7.4bn, but its impossible to compare like for like as inflation since and the huge growth of IMAX/PLF would be about 40% difference.
International
Spider-Man: No Way Home dropped 64.4% $121.4m from 61 territories (32,600+ screens) $587.1m total and $1.05bn worldwide; UK $68.9m; Mexico $52.8m; South Korea $41.1m; France $35.8m; Brazil $31.7m; Australia $31.4m; India $29.7m; Russia $28.5m; Italy $21.2m; Germany $20m; Spain $16.5m; it was then 21st biggest film worldwide between Iron Man 3 and Minions and then the 46th film to take over $1bn worldwide since Jurassic Park in 1993 Brand New Day is the 65th
Spider-Man: Brand New Day took 17 days to take $2bn; Avengers: Endgame did it in 11 days and Avengers Doomsday will do it in 9 days in December.
Brand New Day took $118.7m from 67 territories taking $1.236bn total international and $2.022bn worldwide; China $210m; France $63.7m; UK $106.0m; Brazil $59.5m; Mexico $78m; Australia $48.8m; South Korea $53.2m; Germany $48.8m; Japan $27m; India $59.6m; Spain $35.2m; Italy $36.4m.
- The Odyssey – Universal Pictures
Dropped 26% in its fifth weekend $23.6m and $505.08m.
9h biggest fifth weekend between Star Wars: The Force Awakens and The Sixth Sense (close to Top Gun: Maverick, Black Panther, Barbie, and Project Hail Mary).
The Dark Knight #34 $16.37m; The Dark Knight Rises #114 $11.01m; Oppenheimer #129 $10.72m; Inception #88 $18.5m
Premium-format impact
EntTelligence said average ticket prices for Odyssey were general $15.32; 70MM $22.46 and 70MM IMAX $27.77
The Odyssey will play in IMAX cinemas until September 17th; took $37m worldwide over the weekend and $346.4m total $163.4m US and $183m internationally.
Oppenheimer comparison
2023’s Oppenheimer dropped 43% $10.72m and $285.35m of $330.07m and $975.81m worldwide; stayed in the top five for seven weeks and remained in the top ten for ten weeks, taking more than $1m every week during that run; took $1.3m from 32 IMAX screens (22 IMAX 70mm) and $80.8m total; $17m+ from 30 IMAX 70mm cinemas around the world; 19 in the US, 3 in the UK
Other Nolan benchmarks fifth weekends
2020’s Tenet dropped 20.4% $2.66m #1 taking $45.14m 77.2% of $58.5m and $365.3m WW; dropped 21.2% in the sixth weekend taking $2.1m; held #1 for 5 weeks and stayed in top 10 for 13 weeks.
2017’s Dunkirk dropped 39.2% $6.61m #4 taking $153.19m 81.5% of $188.045m and $525.24m WW; dropped 40.3% in the sixth weekend taking $3.94m held #1 for 2 weeks and stayed in the top 10 for 9 weeks.
2014’s Interstellar dropped 50.5% $7.78m #5 taking $158.44m 92.8% of $188.02m and $677.89m WW; Dropped 30% in the sixth weekend taking $5.45m stayed in the top 10 for 6 weeks.
2010’s Inception dropped 39% $11.28m #4 taking $248.46m 85% of $292.57m and $825.79m WW; dropping 30.5% in the sixth weekend $7.83m held #1 for 3 weeks and staying in the top 10 for 11 weeks.
2008’s The Dark Knight dropped 37.3% $16.37m #2 taking $471.08m 88.3% of $533.34m and $1.003bn WW; dropped 35.6% in the sixth weekend $10.54m held #1 for 4 weeks and stayed in the top 10 for 10 weeks.
2012’s The Dark Knight Rises dropped 42% $11.01m #6 taking $409.78m 91.4% of $448.13m and $1.081bn WW; dropped 34.4% in the sixth weekend $7.22m; held #1 for 3 weeks and stayed in the top 10 for 8 weeks.
Internationally
Oppenheimer took $32m from 80 territories $433.23m total and $717.8m worldwide; UK $63.9m; Germany $39.5m; France $31.2m; Australia $22.9m; India $18.4m; Spain $18.4m; Mexico $18m; Holland $16.1m; Korea $12.6m; Brazil $12.6m; took $65.6m internationally IMAX (15.3%) and $146.4m total
Took $98.8m from 83 territories $786.2m total and $1.290bn worldwide $84.2m; Korea $35.2m; UK $92.6m; France $69.3m; Germany $45.8m; Italy $55.6m; Australia $37m; Mexico $33.8m; Spain $34m.
Playing in 441 IMAX cinemas taking 16%, including seven 70mm IMAX internationally taking $44.7m US $22.1m from US taking 43% of its third weekend and $22.6m from international 26% of its third weekend) and $221m total worldwide; 70MM IMAX took $5.1m and $27.6m.
- The End of Oak Street – Warner Bros
Opened $21.01m; received positive reviews (84% Rotten Tomatoes) and B CinemaScore.
Took $2.5m from Thursday previews; Jurassic Park $3.13m; Meg 2: The Trench $3.2m; Longlegs $3m; The Lost World: Jurassic Park $2.56m;Free Guy $2.2m
Even though it could not be a Cloverfield sequel the trailers and J.J Abrams producing made many compare it to those films.
2016’s 10 Cloverfield Lane opened $24.72m taking $72.08m and $110.21m worldwide
2008’s Cloverfield opened $40.05m taking $80.04m and $172.39m worldwide
While it had a lot in common with other recent late summer B movies including Snakes on a Plane, Eight-Legged Freaks, Arachnophobia, Piranha 3D, The Meg, Deep Blue Sea, and Anaconda. Late summer has been the perfect time to release brainless popcorn movies, but the problem was the hold of the big two meant The End of Oak Street struggled to find its audience and it will be front-loaded with Insidious: Out of the Further opening this weekend.
Opened $26m internationally from 74 territories; UK $2.9m; Mexico $2.7m; France $2.3m; Japan $1.9m; Spain $1.2m; Germany $928k; and Italy $712k.
- Paw Patrol: The Dino Movie – Paramount Pictures
Opened $20.25m; received positive reviews (98% Rotten Tomatoes) and A CinemaScore.
Took $1.9m from Thursday previews (includes Saturday previews)
2023’s PAW Patrol: The Mighty Movie opened $22.76m taking $65.34m and $205.09m worldwide
2021’s PAW Patrol: The Movie opened $13.14m taking $40.12m and $144.23m worldwide
Took $15.5m internationally and $68.75m worldwide; France $8m; China $8.7m; Germany $4m.
UK Box Office Top 10
Box Office Preview
Spider-Man: Brand New Day and The Odyssey will old top two places for a fourth week as the new releases will struggle again to find a wide audience.
Spider-Man: Brand New Day will drop again about 50% in its fourth weekend taking £2.8m-£3.2m; after taking about £92k more than Spider-Man: No Way Home in its third weekend it will take about a third less than Spider-Man: No Way Home £4,477,415 and £79,321,181 82.6% £95,994,961
The Odyssey will again drop about 30% in its sixth weekend as it IMAX BO surely takes a bigger percentage of its box office week on week. As the three cinemas showing it in 70mm IMAX BFI IMAX. Science Museum and Vue Manchester must be taking almost £500k over the week and have done so for the last 4 weeks.
It could see The Odyssey getting very close to Brand New Day taking £2.6m-£2.8m; this could see The Odyssey going #1 over the following weekend. It would be a similar fifth weekend as Avatar: The Way of Water, Wicked, Top Gun: Maverick, Toy Story 4, and TLOR: Fellowship of The Rings.
Biggest new entry in third Insidious: Out Of The Further will likely opening slightly lower than the last film in the series. 2023’s Insidious: The Red Door opened £2,279,084; £816k Friday (38.5%); £837k Saturday (36.7%); £628k Sunday (27.5%) taking £7,858,051.
All five films have opened steadily over the last 15 years, that said the success this year has been from original horrors and not sequel horrors, as 28 Years Later: The Bone Temple, Scream 7 and Evil Dead Burn haven’t performed as strongly as Backrooms and Obsession, so Insidious: Out Of The Further will likely be front-loaded.
Opening fourth action thriller starring Jason Statham Munity; Jason Statham starred in action film Shelter (opened £964,903 taking £1,913,913) earlier this year and will star in The Beekeeper 2 and Jason Statham Stole My Bike next year.
2024’s The Beekeeper, £956,380 (£250k Friday; £409k Saturday and £262k Sunday), taking £3,830, 079.
2025’s A Working Man, £658,134 (£201k Friday; £273k Saturday; £384k Sunday), taking £1,362,371.
Munity opens almost exactly 28 years ago in August 1998 Lock, Stock and Two Smoking Barrels opened, with £941,638, taking £11,399,953 and will probably opening similar about £1m.
Opening fifth Spa Weekend could opening anything between 2016’s Bad Moms opened £1,471,466 taking £8,141,704 and 2017’s Rough Night (opened £244,462 #11 the same weekend in August) targetting the female audience that was strong for the first 6 months of the year, but films have been lacking over the last few months.
Opening sixth Coyote Vs. Acme, the live-action animated comedy based on 1990 The New Yorker magazine article Coyote v. Acme featuring Looney Tunes and Merrie Melodies. The film has a crazy history started development in 2018 was filmed in 2022 was due to be released in July 2023 (replaced by Barbie) and Warner Bros shelved the film (and Supergirl) as tax write off.
It was previewed at San Diego Comic-Con on July 25 receiving positive reactions calling it the best live-action animated film since Who Framed Roger Rabit and reviews have been very positive, but exhibitors seem to be limiting its shows with limited evening shows.
Paw Patrol: The Dino Movie, Toy Story 5 and Minions & Monsters will hold steadily as holdovers with 30% drops.
And opening tenth could be Stop! That! Train! action comedy has received positive reviews; Deadline said it played homage to Airplane and Naked Gun films.
Coming Soon
You look at the films that are set for release this weekend and you immediately know it must be the weekend of National Cinema Day
- Gail Daughtry and the Celebrity Sex Pass – Sony Pictures
Comedy starring Zoey Deutch, John Slattery and Jon Hamm and directed by David Wain. The film features many cameos including Jennifer Aniston, Elizabeth Banks, “Weird Al” Yankovic, Paul Rudd and Elizabeth Perkins.
Premiered at the Sundance Film Festival receiving positive reviews and Sony Pictures acquired world rights.
The film premiered at the Sundance Film Festival on January 25, 2026, and was theatrically released in the United States on July 10, by Sony Pictures Classics. The film received positive reviews from critics.
The celebrity version of a “hall pass” was inspired by the episode of Friends when Ross creates a list of five celebrities they could sleep with without violating their relationship. Ross’s list original list included Isabella Rossellini but then changed it to Winona Ryder and then bumps into Isabella Rossellini in Central Perk.
Reviews said Zoey Deutch’s charisma makes the film more than the dumb comedy it is this was similar to her performance in Netflix’s Voicemails For Isabelle earlier this year, 2018’s Set It Up with Glenn Powell and TV series The Politician.
Zoey Deutch has starred in many films over the last decade but never managed to cross over into leading actor as Glenn Powell has achieved, despite bring warmth and charm to all of her roles. She is the daughter of screenwriter Howard Deutch and actress Lea Thompson.
But Gail Daughtry and the Celebrity Sex Pass will struggle to find an audience having a limited release.
- The Incomer – Universal Pictures
British comedy starring Domhnall Gleeson, Gayle Rankin, Grant O’Rourke, Emun Elliott, Michelle Gomez, and John Hannah and directed by Louis Paxton.
Had world premiere at the Sundance Film Festival winning the NEXT Innovator Award. Focus Festure acquired international rights. Screendaily said it was tonally similar to The Ballad of Wallis Island meets The Wicker Man.
While it could find an audience in Ireland its unlikely to find an audience in the UK, but Domhnall Gleeson will be promoting the second series of The Paper that will be on Sky TV in September.
- The Death of Ronin Hood – True Brit
Thriller starring Hugh Jackman, Jodie Comer, and Bill Skarsgård and directed by Michael Sarnoski based on Robin Hood’s Death written in the 17th-century.
Opened in June in the US receiving mixed reviews and underwhelmed at the box office opening $2.86m taking $5.34m and $6.98m worldwide. Its unlikely to do much better in the UK despite the popularity of both Hugh Jackman and Jodie Comer in the UK. Its 35 years ago since the massive success of Robn Hood: Prince of Thieves but the most recent Ridley Scott Robin Hood flopped in 2010.
There are several re-releases this weekend including all five of The Hunger Games films, Star Trek IV: The Voyage Home (40th Anniversary 4K Re-Issue), Terminator 2: Judgment Day (35th Anniversary Reissue) and Shaun The Sheep: Farmageddon ahead of the release of the third film opening in a few wees time.