- Resident Evil £4,211,819 – NE
Took £1.51m 35.86% Friday; £1.59m 37.76% Saturday; £1.11m 26.38% Sunday.
416th biggest opening between Hitch and A Bug’s Life (close to Ghostbusters Afterlife, Venom: The Last Dance, Godzilla (1998), and Rampage)
18th biggest opening over the last 52 weeks between Backrooms and Scary Movie (close to The Housemaid, Minions & Monsters, Scream 7 and 28 Years Later: The Bone Temple) and 614th biggest inflated opening between The Naked Gun 2 ½: The Smell Of Fear and Ghostbusters: Frozen Empire (close to The Others, The Day the Earth Stood Still, Mars Attacks and Alien3).
Opened close to Final Destination: Bloodlines (£4,009,856); World War Z (£4,535,899); 28 Years Later (£4,780,374); The Nun (£4,098,198); Alien: Romulus (£3,741,287); Warcraft: The Beginning (£3,623,725)
Resident Evil reboot received strong buzz that built into positive reviews; directed by Zach Cregger is his follow-up to last year’s Weapons (opened £2,818,535; Friday £857k 30.41%; Saturday £944k 33.5%. Sunday £1.02m 36.1% taking £11,231,965) also directed 2022’s Barbarian performed far stronger in the US than internationally, taking $40.82m and $45.35m worldwide; it opened £380,812 from 423 screens, taking £1,082,037; he also directed possibly the worst film ever made 2009’s Miss March.
It is the second reboot of the Resident Evil film series, based 28 Years Later on Capcom’s Resident Evil video game franchise, based on events featured in 1998’s Resident Evil 2 video game.
After the disappointing performance of the seventh film of the franchise 2021’s of Resident Evil: Welcome to Raccoon City (opened £253,199 #8 from 329 screens) and the 2022 Netflix TV series.
2002’s Resident Evil opened £801,628 taking £2.68m
2004’s Resident Evil: Apocalypse opened £801,171 taking £1.82m
2007’s Resident Evil: Extinction opened £931,991 taking £2.37m
2010’s Resident Evil: Afterlife opened £1.69m taking £4.12m
2012’s Resident Evil: Retribution opened £792,265 taking £1.79m
2017’s Resident Evil: The Final Chapter opened #8 £463,691
Paul W. S. Anderson directed many of the original films and they starred Milla Jovovich and all poorly received critically and struggled to play beyond its fanbase.
Resident Evil was boosted by IMAX/PLF screens for its first weekend as will lose them in its second weekend with Avengers Endgame Encore and Scent & Sensibility opening. It will likely be front-loaded seen by it not having a big increase on Saturday and its drop off on Sunday and of course with Avengers Endgame Encore opening.
The film had had a strong fresh original marketing campaign that included a docking slip that has the address of Raccoon City but doesn’t mention the film feels like its targetting passionate fanbase rather than going for a more generic style horror as the other films have should revitalise Resident Evil franchise, that said Zach Cregger has said he was only going to make one Resident Evil film.
- 2. Practical Magic 2 £1,502,113 – £5,570,029
£434k 28.9% (-57% £1.01m) Fri; £636k 42.3% (-37.7% £1.02m) Sat; £432k 28.8% (-43.8% £768k) Sun.
Dropped 46.3% in its second weekend.
721st biggest second weekend between Early Man and Wimbledon (close to What Happens in Vegas, Australia, The Iron Lady and The Proposal) and 1,168th biggest inflated second weekend between Paul Blart: Mall Cop and Hoodwinked (close to When Harry Met Sally, The Roses, Far and Away and As Good As It Gets).
24th biggest second weekend over the last 52 weeks between Moana and Scary Movie (close to The Drama, Disclosure Day, Scary Movie and The Sheep Detectives)
The first six months of the year was very strong for films targetting female audiences, but they were from films that organically found their audiences Practical Magic 2 feel like the complete opposite cynically created to cash in on this nostalgia. The problem is the original Practical Magic film never connected to audiences as other female targetting films like The Devil Wears Prada or Freaky Friday and built on that audience over the years since on home video and streaming.
Sandra Bullock starring in The Lost City and Ocean’s Eight over the last 13 years since the massive success of Gravity. When Practical Magic opened in 1999 Sandra Bullock had recently starred in several disappointing films including In Love and War, Speed 2: Cruise Control and Hope Floats. After Practical Magic came one of her biggest hits Miss Congeniality.
Nicole Kidman has starred in Babygirl, Aquaman and the Lost City and Bombshell but as with Sandra Bullock has sadly been a long time since she had a big box office hit in the cinema apart from the AMC advert her biggest successes have been on TV and steaming over recent years.
Practical Magic 2 is directed by Susanne Bier, a filmmaker whose recent career tells the story of the film’s fundamental contradiction. Bier’s biggest successes have been in television and streaming, The Night Manager (2016), The Undoing (2020), and The Perfect Couple (2024), the latter two starring Nicole Kidman. Her most-watched film, Bird Box (2018), was a Netflix release that became the platform’s most-watched film within 28 days, but it was never a theatrical proposition.
Her theatrical films have been less successful. Serena (2014), starring Bradley Cooper and Jennifer Lawrence, was a flop. Bird Box worked because it was made for a streaming audience, a different proposition entirely.
Bier’s connection to both Nicole Kidman (The Undoing, The Perfect Couple) and Sandra Bullock (Bird Box) is likely why the film exists at all. It is a relationship-driven project, not a demand-driven one. Both actresses have found their biggest recent successes on streaming and TV, Kidman in Big Little Lies and The Undoing, Bullock in Bird Box. They are not making Practical Magic 2 because audiences demanded it. They are making it because Bier has relationships with both of them, and it is one of the few theatrical projects available to actresses of their age and stature.
This is the “actress of a certain age” problem in action. Hollywood does not make many films for women over 50, especially not theatrical ones. So, when a project like Practical Magic 2 comes along, with a director both actresses have worked with and trust, it gets made. Not because there’s demand, but because it is one of the few options available.
The trailer feels like it was made by paint by numbers, we need all the stereotypical elements, we must show that they are still as they were 25 years ago, then their children turn up, having done something crazy, then their grand mums turn up and make things worse, and then they fix the mess and end the film with a dance. There is the argument. There is the kids. There is the meddling grandma. There is the dance. I have seen this trailer before in Hocus Pocus 2, Freakier Friday, Coming 2 America, and many others.
1999’s Practical Magic dropped 42% £580,537/£1,104,537 and £2,009,910 67.3% of £2,987,705/£5,684,446
This was similar to 2003’s Freaky Friday dropped 40.8% £719,154/£1,297,393 and £2,681,882 42% of £6,393,998/£11,535,118.
2025’s Freakier Friday dropped 44.7% £1,557,828 and £6,254,095 54% of £11,586,878
Legacy sequels like Practical Magic 2 are trying to be memberberries are not just about nostalgia, they are about nostalgia as a substitute for critical thought. In South Park Randy Marsh explains it directly: the Memberberries “make us feel like kids again but make us grow complacent.”
- 3. Shaun The Sheep: The Beast Of Mossy Bottom £1,494,259 – NE
Includes £454,080 from previews last weekend Sat/Sun
1,283rd biggest opening between Peter Jackson & The Olympians: The Lightning Thief and Dumb and Dumber (close to Who Framed Roger Rabbit, Ghost, Hotel for Dogs and Spies In Disguise) and 1,873rd biggest inflated opening between Fool’s Gold and Hustlers (close to Beverly Hills Chihuahua, Journey 2: The Mysterious Island, Smurfs: The Lost Village and Sinbad: Legend of the Seven Seas).
48th biggest opening over the last 52 weeks between Send Help and Crime 101 (close to Paw Patrol: The Dino Movie, Mortal Kombat 2, Marty Supreme and Obsession)
Opened similar to 2019’s A Shaun The Sheep Movie: Farmageddon opened £1,305,511 (including £188,243 previews) #3 taking £7,081,393.
2015’s Shaun The Sheep Movie opened £2,095,061 taking £13,675,389
The first two films opened ahead of half-term but The Beast Of Mossy Bottom 6 weeks before half-term.
Shaun The Sheep: The Beast Of Mossy Bottom likely to open between £1.5m-£2m including previews.
Based on the TV series which was a spinoff 1995’s Wallace & Gromit short film A Close Shave and is the third film in the series after 2015’s Shaun the Sheep Movie and 2019’s A Shaun the Sheep Movie: Farmageddon.
Made by Aardman Animations as the first two films its released in the UK by Studiocanal, but this third film, was acquired by Sky Cinema and Studiocanal are releasing it on behalf of Sky Cinema in the UK as they have done with many other films Sky Cinema acquired for the UK and it was probably given a September cinema release so it will be on Sky Cinema late October ahead of Halloween.
It was surprising Sky Cinema acquired UK rights for the film as Studiocanal are releasing the film in many international countries and selling the film worldwide especially as the UK is the biggest territory for the films.
2025 was the 30th anniversary of Wallace and Gromit: A Close Shave, the first time Shaun The Sheep made an appearance.
Aardman Animations previously made.
2000’s Chicken Run opened £3,848,755/£6,315,457 taking £29,514,237/£48,430,180
2005’s Wallace & Gromit: The Curse of the Were-Rabbit opened £9,374,932/£14,370,915 taking £32,007,310/£49,064,284
2006’s Flushed Away opened £3,106,874/£4,606,084 taking £10,749,860/£15,937,164
2011’s Arthur Christmas opened £2,112,516 taking £20,994,673
2012’s The Pirates! In an Adventure with Scientists! opened £2,176,195 taking £16,539,738
2018’s Early Man opened £2,020,653 taking £11,205,643
While Shaun The Sheep is a beloved character, the films haven’t been as successful as other Aardman Animations films as they play strongest to a younger audience, but its 7 years since the last film opened the fanbase are now teenagers, that said a seventh series of Shaun The Sheep was shown on the BBC last summer and Aardman Animations TV shows are broadcast across 170 territories around the world.
As with the other two films The Beast Of Mossy Bottom received excellent reviews and strong word of mouth so will hold strongly over the next few weeks as it is the only family film in cinemas until Forgotten Island and Wildwood in a months’ time. It will play strongest over the weekend, that said Shaun The Sheep plays strongly to toddlers and preschoolers and to the parents who take them.
- 4. Pressure £1,076,106 – £4,318,212
£307k 28.5% (-23.3% £400k) Fri; £471k 43.8% (-19.8% £587k) Sat; £298k 27.7% (-41.7% £511k) Sun.
Dropped 47.7% in its second weekend (26% without previews)
1,069th biggest second weekend between Insidious 2 and Hustlers (close to Bridge of Spies, Road to Perdition, 28 Days Later and Green Book) and 1,647th biggest second weekend inflated between Dr. Seuss’ The Lorax and The Guernsey Literary and Potato (close to Fisherman’s Friends, Eat Pray Love, Hidden Figures and A League of Their Own).
33rd biggest second weekend over the last 52 weeks between Now You See Me: Now You Do not and Five Nights at Freddy’s 2 (close to Obsession, Scream 7, The End Of Oak Street and Regretting You).
The film has been expanded to make it more cinematic which likely lost some of its intensity and claustrophobic elements being set in single room.
If Pressure had been one of the British films The Daily Telegraph called Waitrose films (nostalgic, middle class oriented British films aimed at the older audience) would have held far stronger in its second weekend similar to 2018’s The Guernsey Literary and Potato Peel Society dropped 17.3% £968,681/£1,074,672 and £3,034,623 51.1% of £5,937,280, but dropped higher than would have expected especially as its target audience wouldn’t have been interested in Resident Evil or Bad Apples and Pressure received strong word of mouth, and with Sense & Sensibility opening this weekend along with Heart of the Beast and Avengers Endgame it will likely drop screens so won’t find its target demographic who don ‘t rush out to see films over their opening weekends.
- 5. The Odyssey £587,430 – £85,841,424
Dropped 33.98% in its tenth weekend.
17th biggest tenth weekend between Casino Royale and Mufasa: The Lion King (close to LOTR: The Fellowship of the Rings and Spider-Man: No Way Home (close to The Kings Speech, Bohemian Rhapsody, The Sixth Sense and Avatar: The Way of Water) and 52nd biggest inflated tenth weekend between Independence Day and Mufasa: The Lion King (close to Indiana Jones and the Last Crusade, Basic Instinct, Schindler’s List and The Mask).
Only £16,105 separated The Odyssey with Spider-Man: Brand New Day in #6 (£571,325) as last weekend it was IMAX which squeezed The Odyssey ahead of it still had over half a dozen sold out shows at both BFI IMAX and Vue Manchester over the weekend despite Resident Evil taking all other IMAX cinemas. It still has both cinemas this weekend with BFI IMAX all sold out, The Odyssey likely ends its run at the BFI IMAX on October 2nd when Digger opens.
The Odyssey will be released on PVOD and DVD on November 17th and Sky Cinema in April 2027.
10th biggest between Avengers: Endgame and Top Gun: Maverick (close to Spectre, Avatar, Star Wars: The Last Jedi and Titanic) and 35th biggest inflated between One Flew Over the Cuckoo’s Nest and Shrek 2 (close to Superman, Top Gun: Maverick, The Lion King and Harry Potter and the Goblet of Fire).
A few weeks ago, most surely expected The Odyssey to take £90m+ but its likely to take about £88m, as surely with Avengers Endgame Encore, Sense & Sensibility and Heart of the Beast opening this weekend and Verity and Digger the week after it will drop down the chart especially after it finally loses IMAX screens.
Also opened
- Bad Apples – Paramount Pictures
Opened £486,690 #8 446 screens (incudes £50,629 previews)
Comedy thriller starring Saoirse Ronan, Eddie Waller, and Kerry Howard and directed by Jonatan Etzler based on Rasmus Lindgren’s novel De Oönskade.
Was acquired by Paramount Pictures in 2024; premiered at the Toronto Film Festival last year and UK premiere at the London Film Festival receiving positive review.
There have been many different versions of this plot over the years with films including Ruthless People and The Ref, but Bad Apples is a darker version of it similar to Promising Your Woman and Fargo. The problem is that its not as dark as it should be until the end of the film so is not the satire it is trying to be,
—
2026 BO is currently up 21% from 2025.
The weekend’s top 10 box office took £11,045,049 0.9% from last weekend’s £10,943,051, 1,378,907 admissions, up 0.9% from 1,366,174 admissions.
31st biggest weekend of the last 52 weeks between 28 August 2026 #1 Spider-Man Brand New Day £2,787,943 (24.59%) and 27 March 2026 #1 Project Hail Mary £4,776,660 (43.35%)
122nd biggest since cinemas reopened out of 305 weeks between 20 December 2024 #1 Mufasa: The Lion King £4,415,961 (39.65%) and 27 March 2026 #1 Project Hail Mary £4,776,660 (43.35%)
577th biggest top 10 of the last 25 years (out of 1,275) between 20 January 2012 #1 War Horse £3,202,493 (28.97%) and 27 March 2026 #1 Project Hail Mary £4,776,660 (43.35%) and 951st biggest inflated between 29 February 2008 #1 The Bank Job £951,013 (14.24%) and 27 September 2019 #1 Downton Abbey £2,682,080 (29.41%)
The top 3 took £7,208,191 (65.3%) of the top 10; Resident Evil 38.1% (£4,211,819); Practical Magic 2 13.6% (£1,502,113); Shaun The Sheep: The Beast Of Mossy Bottom 13.5% (£1,494,259)
529th biggest percentage share #1 (38.13%) between 03 October 2025 #1 Taylor Swift: Party Of A Showgirl £3,471,544 (38.14%) and 21 April 2017 #1 Fast & Furious 8 £3,593,733 (38.12%)
701st biggest admissions (525,820) between 13 January 2023 #1 Avatar: The Way of Water £4,172,161 (526,788) and 22 March 2024 #1 Ghostbusters: Frozen Empire £4,056,097 (524,721)
Up 49% from 2025; (£7,412,219); A Big Bold Beautiful Journey (£533,931); The Sound Of Music (60th Anniversary) (£178,556); Andrea Bocelli: Because I Believe (£88,284); #1 Downton Abbey: The Grand Finale £2,267,004 2nd week 48% drop 760 screens (30.58% of top 10)
Up 78.9% from 2024; (£6,171,771); The Substance (£591,247); Interstellar (10th Anniversary) (£453,921); 200% Wolf (£237,038); Miss Saigon: 25th Anniversary (Re: 2024) (£176,314); The Dark Knight (Re: 2024) (£117,463); Batman Begins (Re: 2024) (£54,472); The Dark Knight Rises (Re: 2024) (£33,733); The Batman (Re: 2024) (£8,950); #1 Beetlejuice 2 £2,458,216 3rd week dropped 42% 729 screens (39.83% of top 10).
Up 114% from 2023; (£5,160,786); Expend4bles (£761,444); Dumb Money (£506,095); Beauty And The Beast (1991) (Re: 2012) (£145,428); The Canterville Ghost (£137,137); The Lesson (£55,050); #1 A Haunting in Venice £1,472,237 2nd week 33% drop 727 screens (28.53% of top 10)
Up 27.8% 2022 (£8,643,800); Ticket to Paradise (£2,805,615); Do not Worry Darling (£2,771,935); Avatar (Re: 2022) (£1,218,693); #1 Ticket to Paradise £2,805,615 1st week 687 screens (32.46% of top 10)
Up 142.3% 2021 (£4,559,204); The Many Saints of Newark (£945,319); Oasis Knebworth 1996 (£344,833); The Green Knight (£166,118); Dune (1984) (Re: 2021) (£39,582); #1 Shangi-Chi £1,558,002 4th week (34.2% of top 10)
Up 324.2% 2020; (£2,603,624); Bill and Ted Face the Music (£462,051); Andre Rieu’s Magical Maastricht: Together In Music (£124,101); Rocks (£75,478); #1 Tenet £796,309 616 screens 45% drop 4th week 30.6% of top 10)
Up 4.2% 2019; (£10,591,749); Ad Astra (£2,265,387); Rambo: Last Blood (£1,075,071); The Farewell (£207,356); The Kitchen (£107,929); #1 Downton Abbey £3,280,442 2nd week down 37% 736 screens (31% of the top 10)
Up 1.2% 2018: (£10,913,234); The House with a Clock in its Walls (£3,370,591); A Simple Favour (£1,621,900); Mile 22 (£795,888); The Little Stranger (£300,089); #1 The House with a Clock in its Walls £3,370,591 1st week 541 screens (30.8% of top 10)
Down 23.4% 2017: (£14,426,113); Kingsman: The Golden Circle (£8,525,664); Maze (£123,985); Borg vs. McEnroe (£101,918); Lawrence of Arabia – 70mm (Re: 2017) (£9,359); #1 Kingsman: The Golden Circle £8,525,664 1st week 602 down (59.1% of the top 10)
Down 1% 2016: (£11,647,518); The Magnificent Seven (£2,132,609); The Girl with All the Gifts (£432,529); The Rolling Stones: Havana Moon (£56,666); #1 Bridget Jones’s Baby £6,453,799 2nd week 648 screens 20% drop (55.4% of the top 10)
Up 29.5% 2015; (£9,319,305); Everest (£3,160,154); A Walk in the Woods (£252,175); The Battle Of Britain At 75 (Concert) (£225,942); Bill (£221,807); The D Train (£8,516); #1 Everest £3,160,154 1st week 567 screens (37.06% of top 10)
Up 80.8% 2014: (£6,109,464); A Walk Among the Tombstones (£1,317,948); The Riot Club (£496,647); 20,000 Days on Earth (£356,467); Magic in the Moonlight (£273,998); The Giver (£186,989); Think Like a Man too (£131,138); Wish I Was Here (£27,739); #1 The Boxtrolls £1,333,137 2nd week 509 screens (33% drop (21.8% of top 10)
Up 67.7% 2013: (£6,586,232); Diana (£623,051); R.I.P.D. (£506,521); The Call (£409,975); Cold Comes the Night (£4,833); #1 Rush £2,099,308 2nd week (1st #1) 464 screens (31.87% of top 10)
Up 70.5% 2012: (£6,476,971); Killing Them Softly (£955,506); The House at the End of the Street (£796,041); Savages (£379,898); Now is Good (£317,451); Intouchables (£109,328); Raiders of the Lost Ark (Re: 2012) (£73,558); Tower Block (£36,371); Hysteria (£9,903); #1 ParaNorman £1,219,194 2nd week (1st #1) 484 screens 12% drop (18.8% of top 10)
Up 48.6% 2011; (£7,431,246); Crazy, Stupid, Love (£860,112); Warrior (£808,410); Drive (£607,454); Killer Elite (£481,143); Jurassic Park (Re: 2011) (£245,422); Soul Surfer (£47,293); Page One: Inside the New York Times (£6,757); #1 Tinker, Tailor, Soldier, Spy £2,104,762 2nd week 422 screens 25% drop (28.3% of top 10)
Up 67% 2010: (£6,120,627); The Other Guys (£1,980,601); Devil (£807,292); Just Wright (£82,513); I am Still Here (£22,730); Grease Sing-along (£15,701); #1 The Other Guys £1,980,601 1st week 441 screens (32.5% of top 10)
Up 91.5% 2009; (£5,767,172); Cloudy with a Chance of Meatballs (£1,583,544); Gamer (£641,568); The Firm (£310,060); Away We Go (£250,211); #1 Cloudy with a Chance of Meatballs £1,583,544 1st week 438 screens (27.4% of top 10)
Up 66% 2008; (£6,654,546); Tropic Thunder (£2,483,271); Linha De Passe (£34,156); The Wave (£27,981); #1 Tropic Thunder £2,483,271 1st week 460 screens (37.3% of top 10)
Up 70.7% 2007: (£6,468,802); I Now Pronounce You Chuck and Larry (£1,090,831); Death Proof (£407,525); A Mighty Heart (£153,028); As You Like It (£9,444); Evening (£20,836); Clubland (£1,808); #1 Run, Fat Boy, Run £1,206,177 3rd week 401 screens 22% drop (18.6% of top 10)
Up 111.4% 2006; (£5,225,385); The Children of Men (£1,284,254); Trust the Man (£280,929); Dirty Sanchez (£257,034); Clerks II (£223,046); #1 The Children of Men £1,284,254 1st week 370 screens (24.5% of top 10)
Up 80.3% 2005: (£6,125,984); Revolver (£882,814); Land of the Dead (870,285); Howl’s Moving Castle (212,628); #1 Pride and Prejudice £1,934,083 2nd week 402 screens 24% drop (31.5% of top 10)
Up 76% 2004; (£6,276,762); Collateral (£2,238,200); Trauma (£144,148); Ae Fond Kiss (£106,366); #1 Collateral £2,238,200 1st week 450 screens (35.6% of top 10)
Up 43.2% 2003 ((7,710,363); The Italian Job (£2,294,027); Underworld (£1,487,839); Le Divorce (£93,061); Raising Victor Vargas (£50,672); #1 The Italian Job £2,294,027 1st week 428 screens (29.7% of top 10)
Up 59.3% from 2002: (£6,934,104); My Big Fat Greek Wedding (£1,503,436); Swimfan (£396,425); Road To Perdition (platform) (£256,035); #1 Signs £2,657,379 2nd week 440 screens 29% drop (38.3% of top 10)
Up 60.2% from 2001 (£6,893,581); A.I. (£2,285,786); Crazy/Beautiful (£137,017); #1 A.I. £2,285,786 1st
Next week: 2025 (£8,395,089); One Battle After Another (£2,471,783); Hamilton (10th Anniversary) (£1,769,826); The Strangers: Chapter 2 (£331,535); Spider-Man 2.1 (Re: 2025) (£97,993); Spider-Man 2.1 (Re: 2025) (£97,993); BTS 2016 & 2017 Concert Marathon (£32,973); #1 One Battle After Another £2,471,783 1st week 649 screens (29.44% of top 10).
US Box Office
- Resident Evil – Sony Pictures
Opened $60.150m; received positive reviews (96% Rotten Tomatoes) but audience reactions were more mixed B+ CinemaScore; Weapons A- all Resident Evil films were between B and C+ the last film in 2021.
Took $8.8m from Thursday previews; Scream 7 $7.8m; The Conjuring: Last Rites $8.5m; Five Nights at Freddy’s $10.5m; Weapons $5.7m
234th biggest opening between Straight Outta Compton and Cars (close to Clash of the Titans, Kong: Skull Island, Sonic the Hedgehog 3, and Jumanji: The Next Level).
Took $14.5m worldwide from IMAX; $9.1m US and $5.4m international.
IMAX/PLF took 53%; IMAX 16% and PLF 37%
2025’s Weapons opened $43.5m taking $151.57m and $270.07m worldwide
2022’s Barbarian opened $10.54m, taking $40.84m and $45.35m worldwide
Ahead of opening Resident Evil was expected to open with $40-$60m but that was before embargo ended and reviews were far stronger than expected.
Ad a similar opening as Scream 7 $63.61m taking $121.93m and $207.99m; Scream 7 was very front-loaded all other Resident Evil films have been front-loaded will the reboot, as it will have competition from Heart of the Beast, Primetime, Forgotten Island and Avengers Endgame Encore taking the IMAX/PLF screens. Of course, not all of them are playing to the same audience as Resident Evil.
All of the previous Resident Evil films have struggled to find an audience in the US and are far more successful internationally.
The eight Resident Evil films took $301m in the US and $1.28bn worldwide.
2002’s Resident Evil opened $17.7m taking $40.11m and $102.98m worldwide
2004’s Resident Evil: Apocalypse opened $23.03m taking $51.2m and $129.34m worldwide
2007’s Resident Evil: Extinction opened $23.67m taking $50.64m and $147.71m worldwide
2010’s Resident Evil: Afterlife opened $26.65m taking $60.12m and $300.22m worldwide
2012’s Resident Evil: Retribution opened $21.05m taking $42.34m and $240.15m worldwide
2017’s Resident Evil: The Final Chapter opened $13.6m taking $26.84m and $312.24m worldwide
2021’s Resident Evil: Welcome to Raccoon City opened $5.31m taking $17m and $41.91m worldwide
Resident Evil: Welcome to Raccoon City opened $5.1m from 15 territories.
Horror films have taken $1.166bn to date in 2026 more than $1.163bn in 2017, the first billion-dollar year for horror, and 82% of $1.426bn in 2025.
Last year Weapons opened $28.3m from 72 territories and $71.8m worldwide; UK $3.6m; Mexico $2.7m; France $2m; Australia $1.8m; Spain $1.6m
Opened $48.3m international and $108.3m worldwide; UK $5.8m; Mexico $5.6m; Australia $2.6m; France $2.6m; Germany $2.5m; Spain $2.3m.
- Practical Magic 2 – Warner Bros
Dropped 59% in its second weekend $12.15m and $50.03m
1998’s Practical Magic dropped 32.9% $8.79m and $25.87m of $46.7m/$115m and $94.3m/$232.2m worldwide
2003’s Freaky Friday dropped 39.5% $13.43m and $58.41m of $110.2m/$228.3m and $160.8m/$333.2m worldwide
2025’s Freakier Friday dropped 50% $14.28m and $54.56m of $94.2m and $153.2m worldwide
Warner Bros have yet to have a $100m US BO film in 2026, all of the other studios have had at least one, it’s the first time in 25 years they haven’t had a $100m US BO film, the last time then went a year without $100m film was between Contact and Lethal Weapon 4.
Warner Bros have at least two $100m+ sure things later in the year with The Cat in the Hat and Dune Part 3, and the DC horror Clayface should also, Digger starring Tom Cruise should also be a sure thing but buzz has been soft and it could be a bit to quirky and political to take $100m. Of course, $100m BO used to mean a film was a hit 30 years ago but now with budgets for films like Practical Magic $75m it needs to take much more.
While Practical Magic became a bigger hit on home video and DVD it wasn’t a big hit in the cinema so didn’t have the foundation fanbase other legacy sequels like Freaky Friday and The Devil Wears Prada had, you can’t create excitement for a legacy sequel if there wasn’t anything for the original film, why it always felt strange to make a sequel to Practical Magic as it’s a film has disappeared from consciousness.
Susanne Bier directed Practical Magic 2; she previously directed 2018’s Bird Box starring Sandra Bullock despite mixed reviews became Netflix’s most watched film within 28 days.
Internationally 2025’s Freakier Friday took $9.3m from 47 territories $31.5m total, and $86.3m worldwide; Mexico $5.7m; UK $5.5m; Australia $2.6m; Argentina $1.8m; Colombia $1.4m.
Took $7m from 77 territories $26.8m total and $76.8m worldwide; including UK $7.5m; Australia $3.6m; Mexico $2.4m; Germany $1.3m; Spain $1.2m.
UK $3.9m; Australis $2.2m and Mexico $1.2m
- Spider-Man: Brand New Day — Sony Pictures
Dropped 24% in its eighth weekend $6.41m and $944.41m
62nd biggest eighth weekend between As Good as It Gets and The Super Mario Bros. Movie (close to The Hangover, The Greatest Showman, Black Hawk Down and Jumanji: The Next Level).
3rd biggest film worldwide between Avengers: Endgame and Avatar: The Way of Water (close to Titanic, Star Wars: The Force Awakens, Avengers: Infinity War and Spider-Man: No Way Home).
International
Brand New Day took $10.8m in 67 territories in 17,500 screens taking $1.534bn total international and $2.478bn WW; China $233m; UK $132.7m; Mexico $90.7m; France $86.5m; Brazil $76.7m.
- The Odyssey – Universal Pictures
Dropped 35% in its tenth weekend $4.95m and $609.81m
Still playing in 35 70mm IMAX cinemas; EntTelligence said average ticket for 70MM IMAX $27.77
44th biggest tenth weekend between The Imitation Game and La La Land (close to Back to the Future, Good Morning, Vietnam, Fatal Attraction and Jerry Maguire).
Premium-format impact
70mm IMAX has taken $66m worldwide from 41 cinemas averaging $1.6m per cinema; IMAX has taken over $457m worldwide.
This weekend took $7.7m worldwide from IMAX; $4.5m US and $10.2m international including $3.3m from 70mm IMAX $78.8m total and $521.3m total; $301.3m international and $220m from the US.
Internationally
The Odyssey took $16.2m from 85 territories $1.111bn total and $1.7213bn worldwide UK $115.4m; China $107.7m; Korea $91.6m; France $90.8m; Germany $64m.
UK Box Office Top 10
Box Office Preview
The Gen Z Sense and Sensibility follows Wuthering Heights earlier this year, as well as Emma, Little Women, and the upcoming Pride and Prejudice, as these versions attempt to do for a new generation what the 90s versions did for their parents.
There was Austenmania in the 90s, especially 1995, with the BBC’s Pride and Prejudice starring Colin Firth, which inspired Helen Fielding to create Bridget Jones’s Diary as fan fiction—a phenomenon that became four books and films. That same year saw the Oscar-winning Sense and Sensibility, the BBC adaptation of Persuasion, the modern-day Emma became Clueless. Also in 1995 was a remake of Little Women, based on Louisa May Alcott’s novel 1996 saw the period-set Emma starring Gwyneth Paltrow and Jeremy Northam, and 1999 brought Mansfield Park.
Remaking the classics feels similar to what Disney is doing with its live-action reimagining’s, bringing beloved stories to the next generation. The problem, of course, is that those who lived through the previous incarnations see these as sacrilege. But as with the recent Star Wars films, Disney would say they are not for the children who saw the originals or the prequels, they are for their grandchildren. These adaptations are of classic novels, after all.
We have seen this in the reviews for Sense And Sensibility, saying it is a lovely adaptation but completely unnecessary, as surely was the case with recent Wuthering Heights, Emma, Little Women, and the upcoming Pride and Prejudice.
Wuthering Heights opened £7,665,295; £2.2m 29% Friday; £3.29m 43% Saturday; £2.1m 27.7% Sunday taking £25,224,499.
After the first 6 months of the year was very strong for films targetting female audiences, Sense and Sensibility and the upcoming Pride and Prejudice on Netflix will be a big draw for audiences especially as Practical Magic 2 didn’t connect with younger female audiences as expected and likely to open similar to 2019’s Little Women opened £3,578,877 (including £847,467 previews) taking £21,283,939.
1996’s Sense and Sensibility opened £629,152/£1,362,029 from 102 screens taking £13,605,627/£29,454,344
1996’s Little Women opened one-week platform £37,326 and then #1 with £423,563/£974,925 taking £3,143,960/£7,236,529
2020’s Emma opened £1,635,797/£1,850,669 taking £7,455,943/£8,435,325 (COVID affected)
1996’s Emma opened £402,155/£1,400,549 taking £5,012,831/£17,457,729
2005’s Pride And Prejudice opened £2,529,947/£4,302,521 taking £14,562,448/£24,765,437
30 years ago, Baz Luhrmann directed Romeo and Juliet, starring Leonardo DiCaprio and Claire Danes. It was set in modern times but kept all the key elements of the film and the Shakespearean text, and it has beloved audiences ever since.
1997’s Romeo + Juliet opened £662,546/£1,303,930 179 screens taking £7,438,055/£14,638,531
Romeo + Juliet was made for 14-year-old girls studying the play for English Literature, and as Leonardo DiCaprio was 21 and Clare Danes was 17, they were close to the age of Romeo and Juliet, and the film played strongly to the 14-year-old girl.
Daisy Edgar-Jones recently starred in the 2022 adaptation of Where the Crawdads Sing opening £1,395,704 taking £8,115,231 and 2024’s Twisters but is best known for playing Marianne Sheridan in the lockdown BBC hit Normal People, next stars in Netflix’s Here Comes the Flood alongside Denzel Washington and Robert Pattinson released next year directed by Fernando Meirelles.
Resident Evil will drop to #2 down 50% in its second weekend taking £1.8m-£2.2m
Opening #3 Avengers: Endgame Encore is re-released in cinemas with an extra four minutes of footage setting up Doomsday. They have also tweaked the dialogue those seeing it in Infinity Vision will see 4 minutes while those watching it in standard will be only 2 minutes. Avengers: Endgame Encore will plat in IMAX cinemas, while Doomsday will not play in IMAX for the first three weeks of release. Its been revealed than some cinemas will only get 2 minutes of additional footage as the new running time is 183m 3s long, the original running time was 180m 57s and Infinity Vision 186m 14s.
In 2022 Disney re-releasing Avatar for a week ahead of the release of Avatar: The Way of Water opening £1,218,692#3 from 525 screens behind Ticket To Paradise and Don’t Worry Darling. Also re-released Avatar: The Way Of Water in October opening £254,394 #10 from 418 screen ahead of the release of Avatar: Fire And Ash.
This will surely mean only the biggest fans will see Avengers: Endgame Encore in cinemas and they will favour the Infinity Vision screens rather than standard. There are currently 75 Infinity Vision cinemas in the US and 300 internationally, interestingly Disney since announced the two Star Wars films they will release next year will be in 70mm IMAX with no mention of Infinity Vision which makes it feel like its been a spite format “created” by Disney as they couldn’t twist IMAX hands and get IMAX for Doomsday.
Avengers: Endgame will open between £1.5m-£2m
Opening #4 Heart of the Beast starring Brad Pitt and directed by David Ayer, while Brad Pitt starred in F1 and Bullet Train, Heart of the Beast is a much different film similar to 2022’s Channing Tatum Dog, 2017’s The Mountain Between Us, 2022’s Beast and 2026’s Send Help.
Heart of the Beast is all about Brad Pitt and having two days of previews which could see it open similar to 2019’s Ad Astra (£2,265,387 including £560,517 previews taking £6,079,432) depending on reviews, but the market is far more crowded with Avengers: Endgame Encore and Resident Evil which are more formidable than Downton Abbey, It: Chapter Two and Rambo: Last Blood.
Shaun The Sheep: The Beast Of Mossy Bottom will have a small drop without previews, 40% and about 20% without previews taking about £800k-£1m.
With the re-release of Avengers: Endgame Encore, Spider-Man: Brand New Day could see a better hold than The Odyssey, that said it still holds IMAX shows at BFI IMAX and Vue Manchester for another weekend.
Coming Soon
- The Social Reckoning – Sony Pictures
Legal thriller and sequel to 2010’s The Social Network, starring Mikey Madison, Jeremy Allen White, and Jeremy Strong, written and directed by Aaron Sorkin.
Based on the 2021 Facebook leak by whistleblower Frances Haugen and reporting by Jeff Horwitz.
Since 2019, Aaron Sorkin had been planning a sequel: “A lot of very interesting, dramatic stuff has happened since the movie ends.” This is the problem with making a film about a story that is still live and changing. It was similar to 2021’s She Said, about the New York Times investigation that exposed Harvey Weinstein, which ended with the case still live. It was also similar to TV dramas like The Dropout, which ended before Elizabeth Holmes had gone to prison.
The problem with making a film or TV series from a live news story is that it is out of date before it is even released. A lot has happened since 2021. Since then, Sarah Wynn-Williams has published Careless People: A Story of Where I Used to Work.
The Social Network opened to £2,486,454 at #2 (including £382,605 previews) in 2010 (£3,347,310 inflated) taking £10,306,540/£13,874,855.
The Facebook story has only become bigger since The Social Network. Global governments have realised the dangers of social media, bringing in laws to control its use by children. It’s now seen as dangerous as smoking and alcohol, with similar medical and mental health issues from overuse.
It is Mikey Madison’s first film since winning Best Actress for Anora, while Jeremy Allen White and Jeremy Strong starred in last year’s Deliver Me from Nowhere. It is Aaron Sorkin’s first film since The Trial of the Chicago 7 and Being the Ricardos, both released on streaming platforms Netflix and Amazon. The Trial of the Chicago 7 was made by Paramount Pictures, but they sold it to Netflix as adult dramas were struggling at the box office after cinemas reopened post-COVID.
The problem with a news story that is all over the media is that it could make people feel they already know the story. It is about a whistleblower, which makes it far less cinematic. But 1999’s The Insider, 1983’s Silkwood, 1976’s All the President’s Men, 2000’s Erin Brockovich, 2017’s The Post, 2019’s Dark Waters, and 2016’s Spotlight managed to do both, but they were all made years after the events.
Factual adult dramas have struggled at the cinema in recent years. But the trailers have been seen by millions before The Odyssey and Spider-Man: Brand New Day.
- Other Mommy – Universal Pictures
Supernatural psychological horror starring Jessica Chastain, Jay Duplass and Karen Allen and directed by Rob Savage and produced by Blumhouse Production based on the 2024 novel Incidents Around the House by Josh Malerman.
The trailer played with The Odyssey receiving positive audience reactions and the film has been seen since as similar surprise horror as Obsession playing again to a wider audience beyond horror fans. The trailer is a real surprise for audiences; it starts off with a daughter having ice cream with her mum and then… not expecting what happens next. it was great for audiences to experience a film like this for the first time with an audience rather than alone on their phone as it made the scares more intense.
Buss has building for the film for months; it is a return for horror for Jessica Chastain after Mama and It: Chapter Two.
The director said the film relies just as heavily on dread and paranoia with the uncertainty over whether audiences are looking at Ursula or her supernatural counterpart, so its more of a social horror rather than a gory horror so that will help it play to a wide audience.
It has similarities to 2009’s Coraline, animated film has “Other Mother” who traps a young girl in a twisted parallel world.
- The Uprising – Entertainment Film Distributors
Action period drama starring Andrew Garfield, Jamie Bell, Stephen Dillane, Tom Hollander, Jonny Lee Miller, and Katherine Waterston and directed by Paul Greengrass.
Opened $3.31m; received mixed reviews (52% Rotten Tomatoes) and B+ CinemaScore.
Opened similar to the recent Death of Robin Hood, $2.8m taking $5.3m
The film was marketed for a short time in the US as The Uprising: The Rise of Robin Hood, even though Robin Hood is never mentioned in the film, Focus Features marketed I it as a Robi Hood origin story without permission from the producers, after the recent Death of Robin Hood recently flopped it was surprising they would have wanted to connect it to Robin Hood if it had nothing to do with it.
It started development in 2022 as The Hood with Benedict Cumberbatch attached, was retitled The Rage in 2025 with Matthew McConaughey attached he was replaced by Andrew Garfield and Focus Features acquired US rights for $11m and the title was changed to The Uprising.
The film was marketed as The Uprising up to three weeks before opening, then Focus Features released a new trailer changing its title to The Uprising: The Rise of Robin Hood with Garfield dressed in green wearing a mask.
In the UK Entertainment Films had a very different marketing campaign that did not mention Robin Hood and issued a statement saying that any refences to Robin Hood were not approved. It could have just been a publicity stunt as before this happened buzz was very soft, that said it opened softly and as with the Death of Robin Hood likely damaged its UK opening in a months’ time.
It is surprising that yet again a British film acquired by Focus Features opened in the US before the US and likely had an impact on its box office, as Pressure opened in the UK last weekend over three months after opening in the US to mixed success.