1. Hoppers £2,288,827 – £7,724,157

Done 52.2% in its second weekend (31% without previews)

£309k 13.5% (-29.1% £436k) Fri; £981k 42.9% (-37.5% £1.57m) Sat; £998k 43.6% (-50.8% £1.31m) Sun.

413^th biggest second weekend between The Blair Witch Project and 300 (close to Pitch Perfect 3, Batman and Robin, The Matrix and Free Guy) and 699^th biggest inflated second weekend between Cliffhanger and Pokemon: The First Movie (close to National Treasure 2, Back To The Future Part III, Starship Troopers and Arachnophobia).

21^st biggest second weekend over the last 52 weeks between Thunderbolts and Downton Abbey 3 (close to Sinners, 28 Years Later, Snow White and Weapons).

20^th biggest Pixar second weekend between Lightyear and Wall-E (close to Toy Story, Brave, Wall-e and Cars 2) and 23^rd biggest Pixar inflated second weekend between Lightyear and The Good Dinosaur (close to Coco, Elemental, Cars 2 and Cars 3)

After Hopper’s Pixar release Toy Story 5 in June, but it has Minions & Monsters opening only three weeks after it opens, it’s the first time two massive Pixar and Illumination animations are opening.

2023’s Elemental dropped 18.7% £2,477,972 and £6,630,843 35.8% of £18,151,466

2025’s Elio dropped 21.2% £765,540 and £2,075,160 43.9% of £4,731,082

2018’s Coco dropped £2,315,450 and £8,165,400 45.3% of £18,013,336

1,009^th biggest between Tomb Raider and Hotel Transylvania (close to Edge of Tomorrow, The Naked Gun (1989), The Borrowers and My Girl) and 1,566^th biggest inflated between Free Willy 2 and Spies In Disguise (close to The Boss Baby 2, Scream (2022), Pitch Perfect and Mannequin).

159^th biggest animated film between SpongeBob Movie: Sponge out of Water and Hotel Transylvania (close to The Boxtrolls, Captain Underpants, Onward (COVID) and Encanto) and 193^rd biggest inflated animated film between Encanto and Spies In Disguise (close to Cloudy with a Chance of Meatballs, Team America: World Police, The Nightmare Before Christmas and Ice Age: Collision Course).

Hoppers will drop about 25%-30% in its third weekend and fourth weekend before The Super Mario Galaxy Movie at the start of the Easter holidays.

• 2. Reminders of Him £1,081,952 – NE

Took £394k 36.45% Friday; £395k 36.54% Saturday; £292k 27.01% Sunday.

1,688^th biggest opening between Renaissance: A Film By Beyonce and Born on the Fourth of July (close to Game Night, Sleepless in Seattle, Scream (1997), and Shall We Dance?) and 2,338^th biggest inflated opening between Amelie and Hostel 2 (close to O’ Brother, Where Art Thou, The Nice Guys, Consenting Adults and Definitely, Maybe).

52^nd biggest opening weekend over the last 52 weeks between The Black Phone 2 and Peppa Meets The Baby Cinema Experience (close to Materialists, Regretting You, The Penguin Lessons and Bugonia).

Opened similar to last year’s Colleen Hoover adaptation, Regretting You opened £1,275,979, taking £6,186,391; took £369k 29.03% Friday; £404k 31.79% Saturday; £416k 39.18% Sunday; £412k Monday.

2024’s It Ends With Us opened £4,516,760, taking £21,241,321.

2025’s Materialists opened £1,287,220 taking £3,688,491

2022’s Where the Crawdads Sing opened £1,395,704, taking £8,115,231

After a strong run of female-focused films over the last six months, starting with Taylor Swift / The Official Release Party Of A Showgirl, followed by Regretting You, Wicked: For Good, The Housemaid, Hamnet, Send Help, Wuthering Heights, Scream 7, and The Bride, surely we would have expected Reminders of Him to open much bigger. Especially as its trailers have been playing in cinemas since the opening of Regretting You in October. So, it’s surprising that Reminders of Him opened bigger than Regretting You in the US, but it opened lower in the UK.

After the success of 2024’s It Ends with Us studios have been quick to adapt other Colleen Hoover novels this is similar to a decade ago when there were many John Green adaptations (The Fault in Our Stars, Paper Towns and Let It Snow) and Nicholas Sparks (The Notebook, A Walk to Remember, The Longest Ride, Dear John, Safe Haven, The Lucky Ones, Nights in Rodanthe and A Walk to Remember and Message in a Bottle).

Over the years that followed, Netflix became the home of these female-targeted films, including Jenny Han’s To All the Boys trilogy, Emily Henry’s People We Meet on Vacation, and Amazon made Anne Hathaway star in The Idea of You. Anna Todd’s After We Collided performed well in autumn 2020 as it was one of a few new releases after cinemas reopened after COVID, but the sequels struggled to find an audience.

The next adaptation is Verity, opening in October, starring Anne Hathaway, Dakota Johnson and Josh Hartnett for MGM.

Colleen Hoover has been authoring novels since 2012, writing 26 novels and selling 35m copies, but it was only in 2020 that she became a massive success after she became the obsession of BookTok, a TikTok subset that’s devoted to reading.

Sony has wanted to make the sequel to It Ends with Us, It Starts With Us, but the legal battle between Blake Lively and Justin Baldoni, ever since the film opened, has delayed any potential sequel until the result of the court case.

Upcoming female-focused films for the rest of the year include The Devil Wears Prada 2, Supergirl: Woman of Tomorrow, Moana, Practical Magic 2, Sense And Sensibility, Verity, Narnia: The Magician’s Nephew and The Hunger Games: Sunrise On The Reaping, Focker-In-Law. A mix of legacy sequels, reimaginations, comic-book, fantasy and comedy.

• 3. How To Make A Killing £884,598 – NE

Including £270k from previews Weds/Thurs

Took £209k 24.76% Friday; £226k 26.78% Saturday; £134k 39.04% Sunday.

1,974^th biggest opening between White Chicks and Where The Wild Things Are (close to Red Eye, The X-Files: I Want to Believe, Revolver and Failure to Launch) and 2,606^th biggest inflated opening between I Love Trouble and The Walk (close to To Die For, The Negotiator, The Ides Of March and Peter’s Friends).

62^nd biggest opening over the last 52 weekends between The Accountant 2 and The Phoenician Scheme (close to Shelter, Black Bag, Warfare and The Bride!).

Black comedy thriller Glen Powell is inspired by the 1949 film Kind Hearts and Coronets. The screenplay was on the 2014 Blacklist with the title Rothchild, and in 2019, Jon S. Baird was going to direct with Shia LaBeouf and Mel Gibson. It was retitled Huntington in 2023, and Glen Powell was attached in 2024.

Over the years, there have been several attempts to remake Ealing comedies, but while 2007’s St Trinian’s was successful, others like 2004’s The Ladykillers and 2017’s Whisky Galore! Struggled as these remakes often fail to capture the specific alchemy of tone, context, and character that made the originals timeless. The other issue with How To Make A Killing, The Ladykillers and Whisky Galore!

They lost their Britishness along the way and their cultural sensibility. As soon as critics saw they were remakes of classic British films, they saw the films differently. It’s like when they made Carry On Columbus in 1992, 30 years after the last Carry-On film, and it was poorly received critically and at the box office. It highlights the problem studios have when they go through their huge libraries and try to find films they can remake, and they could work in a modern setting, as these studios have thousands of films, but most of them wouldn’t work today, and are classics of their era.

Since starring in Top Gun: Maverick, studios have been trying to make Glen Powell a megastar, but while he is a very watchable actor, starring in Set It Up, Anyone But You, Hitman and Twisters, he has struggled to be a leading man as seen with last year’s The Running Man remake. Glen Powell stars next in J.J. Abrams-directed sci-fi The Great Beyond, starring with Jenna Ortega, Emma Mackey, Sophie Okonedo, Merritt Wever, and Samuel L. Jackson.

Glen Powell’s previous films include The Running Man (opening £2.38m), Twisters (£4.15m) and Anyone But You (£1.26m).

• 4. Mother’s Pride £602,187 – £2,032,264

Down 14.9% in its second weekend

£179k 29.73% (-12.68% £205k) Fri; £168k 31.2% (-31.64% £275k) Sat; £235k 39.04% (+3.52% £227k) Sun

1,775^th biggest second weekend between Diary of a Wimpy Kid: Dog Days and Madame Web (close to Boogie Nights, Dead Poets Society, Never Been Kissed and Shooting Fish) and 2,356^th biggest inflated second weekend between The Avengers (1998) and Pompeii (close to I, Tonya, Very Bad Things, The Wedding Planner and The Truth About Cats and Dogs).

48^th biggest second weekend over the last 52 weeks between The Black Phone 2 and Ballerina (close to Black Bag, The Running Man, Bugonia and The Accountant 2).

In 2019, Fisherman’s Friends had a similar second weekend drop, 15.7% £972,996 and £3,361,336 45.5% of £7,380,488 (6.4x opening).

2013’s Sunshine on Leith dropped 4.9% £732,296/£898,268 and £2,165,216 47.2% of £4,550,851.

It highlights how the market has dropped out of these feel-good British films that were a mainstay of cinema for decades; they don’t get the chance to find the audiences they used to get only a few years ago. It was similar to 2023’s Rye Lane, a British film that received positive reviews and strong buzz but only opened to £258,997 from 369 screens. It lost 100+ screens in its second weekend to 238 but only dropped 42%, £150,824 #10 and £599,189 48.6% of £1,232,456.

There are many other similar British films exhibitors should be nurturing helping find an audience in cinemas as they previously used to 20+ years ago but now they bookings are controlled by algorithms rather than industry understanding that there are films audiences rush out to see over opening weekend and then there are others that are build by word of mouth why distributors used to run extensive talker screenings for these films to build real buzz and not just a tweet.

Are films that still managed to do this even in the current marketplace, like 2025’s The Ballad Of Wallis Island, opening £142,542 #12 from 129 screens, taking £2,494,486, and The Salt Path opening £1,479,569 #4, taking £7,988,515; but that was the grey pound and boosted by all the media coverage it received.

Entertainment Films has regularly invested in making British films alongside acquiring films, and is the one British independent distributor that has managed to outlast so many others over the last 40 years. So many companies have opened UK operations over the years, often spending huge amounts on acquiring a film in the hope they can crack the UK market, but there have been so many casualties over the years.

Over the years, early March has been a time when distributors have released British films, as it’s often the calm before Easter, and there are fewer US releases, and Entertainment Films is releasing The Magic Faraway Tree at the end of the month.

Films like Mother’s Pride are very predictable, but that has been a mainstay of cinema; these films have struggled to find their audience over recent years, as seen by Fisherman’s Friends: One And All, taking much less than the first film.

Mother’s Pride features Mark Addy, who starred in 1997’s The Full Monty. 29 years ago, the film ran in cinemas for over 6 months and was in the top 10 for most of that time, taking £1m+ for over 10 weeks. Would exhibitor AI allow The Full Monty to be a similar success in cinemas over the last decade?

• 5. Wuthering Heights £533,605 – £24,272,528

Down 50.5% in its fifth weekend

£187k 35.08% (-40.1% £312k) Fri; £192k 36.02% (-56.56% £442kk) Sat; £154k 28.9% (-52.32% £323k) Sun

477^th biggest fifth weekend between The Imitation Game and Ice Age: Continental Drift (close to Knives Out, Indecent Proposal, Crouching Tiger Hidden Dragon and Parasite) and 712^th biggest inflated fifth weekend between Clear And Present Danger and The Polar Express (close to 50 Shades of Grey, Groundhog Day, The Great Gatsby and Much Ado About Nothing)

Wuthering Heights fourth weekend was similar to 50 Shades of Grey (£1,066,813), Black Swan (£1,070,174), It Ends With Us (£1,142,288), American Beauty (£1,178,047), and Sex and the City (£1,210,550).

1997’s Romeo + Juliet dropped 1.8% £510,560/£1,004,813 and £5,004,816 67.2% of £7,438,055/£14,638,531

2013’s The Great Gatsby dropped 34.2% £433,188/£531,368 and £14,724,537 95.3% of £15,446,265/£18,947,103

Emerald Fennell’s previous films, 2020’s Promising Young Woman, didn’t have a UK cinema release due to COVID and were released on Sky Cinema; 2023’s Saltburn took £5,577,963.

2015’s 50 Shades of Grey dropped 54.3% £487,635/£541,742 and £33,829,335 97.6% of £34,662,255/£38,508,275

2017’s Fifty Shades Darker dropped 57.3% £302,808 and £22,694,878 of £22,694,878/£24,270,490

2018’s Fifty Shades Freed dropped 46.5% £185,324 and £18,060,783/£20,036,963

While last year, Bridget Jones: Mad About The Boy dropped 41.9% £1,196,487 and £42,934,166, 92.6% £46,367,473.

Modern versions include.

2019’s Little Women dropped 32.1% £1,004,904/£1,114,859 and £18,498,695 86.9% of £21,283,939/£23,612,791

2005’s Pride And Prejudice dropped 24.4% £594,792/£1,011,525 and £12,651,399 86.9% of £14,562,448/£24,765,437

1996’s Sense and Sensibility dropped 12.1% £723,875/£1,424,629 and £6,457,449 47.4% of £13,605,627/£26,776,676

225^th biggest between Mission Impossible: Fallout and How to Train Your Dragon 2 (close to Sherlock Holmes, The Sixth Sense, Murder on the Orient Express and Darkest Hour) and 448^th biggest inflated between Fast Five and Total Recall (1990) (close to What Lies Beneath, Sleeping With The Enemy, Interview with the Vampire and Fifty Shades Darker)

10^th biggest over the last 52 weeks between Mission Impossible 8 and The Fantastic Four (close to How To Train Your Dragon, F1, Hamnet and Sinners).

Charli XCX’s soundtrack album is the #1 with singles Chains of Love #26, Dying for You #40, Always Everywhere #98, while Kate Bush’s Wuthering Heights song returned to the charts #69.

Other Box Office News

The Bride dropped 75% in its second weekend £176,700 #9 from 590 screens taking £1,240,962.

While Oscar winners Sinners took £57,367 #14 in its 48-week 209 screens taking £16,717,554

And Hamnet took £51,537 #15 in its 10^th week, 182 screens taking £18,755,279; its BO was close to 1999’s Shakespeare In Love (£20,814,996)

——————–

BO is currently up 3% from 2025.

The weekend’s top 10 box office took £6,566,972, down 31.9% from last weekend’s £9,633,727: 650,406 admissions, down 45.2% from 1,188,878 admissions.

46^th biggest weekend of the last 52 weeks between 06 February 2026 #1 Send Help £1,593,703 (22.94%) and 28 March 2025 #1 Snow White £2,015,179 (30.84%)

216^th biggest since cinemas reopened out of 278 weeks between 31 May 2024 #1 IF £1,570,568 (23.64%) and 28 March 2025 #1 Snow White £2,015,179 (30.84%)

1,069^th biggest top 10 of the last 25 years (out of 1,249) between 15 April 2005 #1 The Interpreter £1,589,829 (24.18%) and 07 March 2008 #1 Vantage Point £1,454,636 (22.21%) and 1,176^th biggest inflated between 06 February 2026 #1 Send Help £1,593,703 (22.94%) and 19 April 2024 #1 Back To Black £1,897,014 (30.07%)  

The top 3 took £4,255,377 (64.8%) of the top 10; Hoppers 34.8% (£2,288,827); Reminders Of Him 16.48% (£1,081,952); How To Make A Killing 13.47% (£884,598).

602^nd biggest percentage share #1 (34.85%) between 06 April 2007 #1 Mr Beans Holiday £2,451,283 (34.89%) and 23 January 2004 #1 Scary Movie 3 £3,490,585 (34.74%)

1,061^st biggest admissions (285,746) between 21 August 2015 #1 Paper Towns £2,072,789 (287,488) and 29 September 2023 #1 The Creator £2,255,034 (284,727)

Up 23.02% from 2025; (£5,338,324); Black Bag (£915,377); Last Breath (£328,301); Fidelio – Met Opera 2025 (£98,920); Opus (£91,851); In The Lost Lands (£86,439); Where Art Thou (25th Anniversary) O Brother (£4,603); #1 Mickey 17 £1,246,946 2nd week 700 screens down 42% (23.36% of top 10)

Down 3.61% from 2024; (£6,812,873); Drive-Away Dolls (£278,082); Monster (£128,569); Fight Club (Re: 2024) (£82,580); #1 Dune Part 2 £4,046,492 3rd week dropped 32% 735 screens (59.39% of top 10)

Down 11.48% from 2023; (£7,418,583); Shazam! Fury Of The Gods (£2,397,953); Allelujah (£715,783); Rye Lane (£258,997); Pearl (£192,504); #1 Shazam! Fury Of The Gods £2,397,953 657 screens 1st week (32.32%)

Down 3.76% 2022 (£6,823,697); Jujutsu Kaisen 0 (£825,529); The Nan Movie (£565,340); The Phantom Of The Open (£456,829); X (£227,502); #1 The Batman £3,351,288 third weekend 55% drop 703 screens (49.1% of top 10)

2021 Lockdown

Up 30.15% 2020; (£5,045,549); The Hunt (£542,475); Bloodshot (£444,917); Misbehaviour (£347,643); My Spy (£345,575); #1 Onward £1,272,748 2nd week 636 screens 63% drop (25.2% of top 10)

Down 43.08% from 2019: (£11,537,481); Fisherman’s Friends (£1,154,865); What Men Want (£836,612); The Prodigy (£96,905); Ben Is Back (£82,204); #1 Captain Marvel £6,643,217 2nd week 652 screens 48% drop (57.6% of top 10)

Down 57.78% from 2018; (£15,554,372); Peter Rabbit (£7,273,207); Tomb Raider (£3,081,916); My Generation (£259,990); Mary Magdalene (£238,924); The Square (£221,256); #1 Peter Rabbit £7,273,207 1st week 599 screens (46.8% of top 10)

Down 76.43% 2017: (£27,866,587); Beauty and the Beast (£19,700,000); Get Out (£2,160,099); Personal Shopper (£116,265); The Salesman (£89,348); Wolves at the Door (£3,542) #1 Beauty and the Beast £19,700,000 1st week.

Down 15.29% 2016: (£7,752,500); 10 Cloverfield Lane (£1,601,161); The Boy (£726,003); High-Rise (£542,788); Sing Street (£166,226); Michael Collins (Re: 2016) (£11,650); Risen (£69,909); Rock the Kasbah (£3,804); #1 Kung Fu Panda 3 £1,740,695 2nd week down 64% (22.45%)

Up 12.43% 2015; (£5,840,701); Run All Night (£823,833); Suite Francaise (£503,928); X+Y (£154,374); The Sound Of Music 50th Anniversary (Re 2015) (£25,089); #1 The Second-Best Exotic Marigold Hotel £1,409,311 3rd week 592 screens 29% drop (24.1% of top 10)

Down 16.76% 2014: (£7,889,493); Need for Speed (£2,011,249); Under the Skin (£238,694); The Zero Theorem (£50,860); Veronica Mars (£33,769); Ironclad 2: Battle for Blood (£887); #1 Need for Speed £2,011,249 1st week 469 screens (25.5% of top 10)

Up 13.81% 2013: (£5,770,139); Welcome to the Punch (£460,250); Red Dawn (£255,448); The Paperboy (£141,881); The Spirit of ’45 (£75,146); #1 Oz: The Great and Powerful £2,609,475 2nd week 530 screens 30% drop (45.2% of top 10)

Down 28.74% 2012: (£9,214,984); The Devil Inside (£1,988,461); 21 Jump Street (£1,556,039); We Bought A Zoo (£850,651); Contraband (£683,654); In Darkness (£90,558); #1 The Devil Inside £1,988,461 1st week.

Up 5.65% 2011; (£6,215,594); Chalet Girl (£677,716); The Lincoln Lawyer (£571,836); Anuvahood (£536,818); Submarine (£244,476); You Will Meet a Tall Dark Stranger (£112,168); #1 Rango £1,045,326 1st week (3rd week) 32% drop (16.82%)

Down 48.14% 2010: (£12,663,580); Bounty Hunter (£2,055,021); I Love You Phillip Morris (£1,066,092); The Spy Next Door (£698,155); Old Dogs (£130,384); My Last Five Girlfriends (£29,030); The Scouting Book for Boys (£11,343); Staten Island (£518); #1 Alice in Wonderland £4,847,129 3rd week 34% drop (51.88%)

Down 33.36% 2009; (£9,854,831); Marley & Me (£4,414,169); Bronson (£258,360); The Burning Plain (£4,038); #1 Marley & Me £4,414,169 £4,414,169 1st week 467 screens (44.8% of top 10)

Up 8.36% 2008; (£6,060,351); 10,000B.C. (£1,932,539); The Cottage (£303,072); Hannah Montana 3-D (£241,119); #1 10,000B.C. £1,932,539 1st week 431 screens (31.9% of top 10)

Up 31.99% 2007: (£4,975,450); Premonition (£1,021,882); Stomp the Yard (£191,716); Factory Girl (£156,779); #1 Norbit £1,069,030 2nd week 371 screens 46% drop (21.5% of top 10)

Up 3.58% 2006; (£6,339,940): The Pink Panther (£1,944,581); V for Vendetta (£1,188,058); Tsotsi (£200,359); In My Country (£276) #1 The Pink Panther £1,944,581 1st week (30.67%)

Down 20.87% 2005: (£8,299,197); Robots (£2,622,253); Constantine (£2,098,074); Pooh’s Heffalump Movie (£160,736); Darkness (£102,154); #1 Robots £2,622,253 1st week (31.6%)

Up 18.38% 2004; (£5,547,158); Mona Lisa Smile (£1,190,923); Honey (£1,064,398); Starsky & Hutch (limited) (£412,326); The Passion of the Christ (limited) (£229,426); #1 Mona Lisa Smile £1,190,923 1st week 414 screens (21.5% of top 10)

Up 28.63% 2003 (£5,105,380); The Life of David Gale (£725,698); Equilibrium (£548,043); Confessions of a Dangerous Mind (£356,623); Barbershop (£145,741); #1 Maid In Manhattan £1,281,755 2nd week 422 screens 47% drop (25.1% of top 10)

Up 6.35% from 2002: (£6,175,130); 13 Ghosts (£738,210); The Royal Tenenbaums (£700,025); #1 Ocean’s Eleven £1,357,063 4-week #1 split 5th week 439 screens 27% drop (22% of top 10)

2025 Next week: (£8,619,360); Snow White (£3,856,173); Ne Zha 2 (£1,235,546); Flow (£411,675); The Alto Knights (£388,530); London 2025 Romeo & Juliet ROH (£98,318); Hans Zimmer & Friends: Diamond In The Desert (£92,742); Y2K (£26,999); Bad Boys (30th Anniversary) (£12,691); #1 Snow White £3,856,173 1^st week 654 screens 44.74% of top 10)

US Box Office

• Hoppers – Disney

Dropped 37% in its second weekend, $28.66m and $86.96m

IMAX took $1.5m

260^th biggest second weekend between How to Train Your Dragon (2010) and Home Alone 2: Lost in New York (close to Megamind, Ratatouille, Madagascar and Coco)

Hoppers has overtaken Pixar’s Onward* $61.55m; Elio $72.98m, and will shortly overtake Lightyear $118.3m and The Good Dinosaur $123m; (Onward only had two weeks due to COVID lockdown)

2020’s Onward dropped 72.9% (COVID) $10.6m and $60.36m of $61.55m and $141.91m worldwide (COVID affected)

2023’s Elemental dropped 37.7% $18.44m and $65.49m of $154.42m and $496.44m worldwide

2024’s The Wild Robot dropped 47.2% $18.89m and $64.18m of $143.9m and $334.53m worldwide

2025’s Dog Man dropped 61.6% $13.8m and $54.2m from $97.97 m and $146.04m worldwide

2017’s Coco dropped 45.8% $27.53m and $110.1m from $210.46 m and $814.64m worldwide

Took $31m internationally from 45 territories and $164.7m worldwide; UK $10.1m; Mexico $7.6m; Germany $7.3m; France $6.1m; Spain $4.8m; Italy $3.9m; Korea $3.6m; Brazil $3.5m; Japan $2.4m.

• Reminders of Him – Universal Pictures

Opened $17.97m; received mixed reviews (59% Rotte Tomatoes) and a B CinemaScore

Took $1.9m from Thursday previews, more than Regretting You $1m; Materialists $1.5m, but much less than It Ends With Us $7m.

Took 17% from PLFs

It was tracking to open between $10m-$15m, but tracking always underestimates female-focused films, and surely it was always going to open closer to Regretting You.

Audience was 81% female; over 25, 57%; under 25, 25%; males 15% over 25, and 4% under 25.

Social media 349m across TikTok, YouTube, X, Instagram and Facebook, ahead of It Ends With Us (337.4m). YouTube 94.6m is ahead of It Ends With Us (56m). It Ends With Us had bigger Instagram views, 157.1m to 117m; Rudy Pankow had 8m fans, Lauren Graham at 2.1m, Hoover 4.4m, Withers at 466k and Monroe at 406K.

The third Colleen Hoover adaptation after

2025’s Regretting You opened $13.68m, taking $48.85m and $90.45m worldwide

2024’s It Ends with Us opened $50.01m, taking $148.51m and $351.44m worldwide

2022’s Ticket to Paradise opened $16.5m, taking $68.27m and $168.77m worldwide

2022’s Don’t Worry Darling opened $19.35m, taking $45.3m and $87.6m worldwide

2025’s Materialist opened $11.33m, taking $36m.52m and $107.94m worldwide

2022’s Where the Crawdads Sing opened $17.25m, taking $90.23m and $144.35m worldwide

After the success of 2024’s It Ends with Us studios have been quick to adapt other Colleen Hoover novels this is similar to a decade ago when there were many John Green adaptations (The Fault in Our Stars, Paper Towns and Let It Snow) and Nicholas Sparks (The Notebook, A Walk to Remember, The Longest Ride, Dear John, Safe Haven, The Lucky Ones, Nights in Rodanthe and A Walk to Remember and Message in a Bottle).

Over the years that followed, Netflix became the home of these female-targeted films, including Jenny Han’s To All the Boys trilogy, Emily Henry’s People We Meet on Vacation, and Amazon made Anne Hathaway star in The Idea of You. Anna Todd’s After We Collided performed well in autumn 2020 as it was one of a few new releases after cinemas reopened after COVID, but the sequels struggled to find an audience.

The next adaptation is Verity, opening in October, starring Anne Hathaway, Dakota Johnson and Josh Hartnett for MGM.

Colleen Hoover has been authoring novels since 2012, writing 26 novels and selling 35m copies, but it was only in 2020 that she became a massive success after she became the obsession of BookTok, a TikTok subset that’s devoted to reading.

Sony has wanted to make the sequel to It Ends with Us, It Starts With Us, but the legal battle between Blake Lively and Justin Baldoni, ever since the film opened, has delayed any potential sequel until the result of the court case.

Days before the opening of the film, Universal Pictures announced they were extending the theatrical run for all films, including Remainders of Him, to 6 weeks this year and 7 from next year. While films like The Super Mario Galaxy Movie, Minions & Monsters and The Odyssey will have long playing time, films like Remainders of Him don’t normally have the same legs and are often played out after 4 weeks. So, it was more likely for PR to happen exactly 6 years to the date when Universal Pictures was threatened by a ban from Universal Pictures when they announced Trolls World Tour would be released straight to PVOD after cinemas closed due to COVID.

Regretting You opened internationally with $10m from 43 territories; UK $1.75m; Germany $1.65m; Australia $1.4m; Mexico $1.3m; Brazil $745k.

Opened $10m internationally from 51 territories and $28.2m worldwide; Germany $2.5m; UK $1.5m; Australia $1.3m

• Scream 7 – Paramount Pictures

Dropped 50% in its third weekend, $8.51m and $106.71m

909^th biggest third weekend between Shallow Hal and John Q (close to The Others, The Nun II, Contagion and Scream VI).

Third weekends

1996’s Scream increased 10.4% #3, taking $10.01m and $39.08m, taking $103.04m and $173.04m worldwide (#5 behind Michael and Jerry Maguire). It had a very strong word of mouth and held very strongly, staying in the top 10 for 9 weeks.

1997’s Scream 2 dropped 34.7% by $9.08m #6 and $71.1m, taking $101.36m and $172.36m WW

2000s Scream 3 dropped 42.7% $8.61m #1 and $34.71m, taking $89.14m and $161.83m WW.

2011’s Scream 4 dropped 69% by $2.17m #13 and $35.49m, taking $38.18m and $97.23m WW

2022’s Scream dropped 40.8% by $7.22m #2 and $62.01m, taking $81.64m and $137.74m WW

2023’s Scream VI dropped 52% $8.33m and $89.82m of $108.39m and $166.57m WW

Internationally

2022’s Scream took $6.5m in the third weekend from 55 territories and $44.1m total international and $106.2m worldwide; UK$8.3m; Australia $3.8m; France $3.7m.

2023’s Scream VI dropped 47% with $5.9m internationally from 53 territories, $49.37m total and $139.2m worldwide.

Took $9.4m from 55 territories, $70.4m to date and $176.9m worldwide; France $8.5m; Germany $5.1m; Mexico $6.5m; Brazil $5.6m.

• The Undertone – A24

Opened $9.33m; received positive reviews (75% Rotten Tomatoes) and a C CinemaScore

Took $1m from Thursday previews, close to Heretic $1.2m, and ahead of Bring Her Back $850k.

22% from PLFs

The film premiered at the Fantasia International Film Festival, and A24 acquired world rights.

The film cost only $500k to make. Director Ian Tuason already has plans to make a trilogy of films.

Ian Tuason was signed last year to direct Paranormal Activity 8. 2015’s Paranormal Activity: The Ghost Dimension was the last film to have a theatrical release, but that was limited due to many exhibitors refusing to book it as it was one of two films Paramount Pictures used to test out a shorter theatrical window. This would have seen it released on PVOD the week after it played below a certain number of screens. It was one of several ideas’ studios had, all of which were rejected until studios had to force them in when COVID happened in 2020.

• Wuthering Heights – Warner Bros

Down 55% in its fifth weekend, $1.67m and $81.93m

11 years ago, Fifty Shades of Grey dropped 47.7% $5.52m and $156.36m of $166.16m and $569.65m worldwide.

2017’s Fifty Shades Darker dropped 54.3% $3.55m and $109.98m of $114.58m and $381.54m worldwide

2018’s Fifty Shades Freed dropped 52.4% $3.4m and $95.68m of $100.4m and $371.98m worldwide.

Promising Young Woman received critical acclaim, was nominated for five Oscars, winning Best Original Screenplay and received six BAFTA nominations, winning Best Original Screenplay and Best British Film.

1996’s Romeo + Juliet dropped 41.1% $3.19m and $35.81m of $46.4m/$117m and $147.6m/$370m WW

2013’s The Great Gatsby dropped 51.9% $6.51m and $128.5m of $144.8m/$205.1m and $353.7m/$501m WW

Took $8.7m internationally from 79 territories, $134.9m total and $213.7m worldwide; UK $28.3m; Italy $11.5m; Australis $11.1m, and Mexico $8m.

Other Box Office News

Predictably, The Bride dropped 70.4% in its second weekend, $2.08m, taking $11.31m and $20.83m worldwide.

Jessie Buckley has followed in the footsteps of Halle Berry, Natalie Portman, Jamie Foxx and Sandra Bullock, winning a Best Actress Oscar for Hamnet on Sunday, and her next film was a flop. Halle Berry won for Monster’s Ball and next film: Catwoman, Natalie Portman won for Black Swan and then flop Your Highness, Jamie Foxx won for Ray, and then flop Stealth, and Sandra Bullock won for Blind Side and then won Razzie for All About Steve.

It will be out of most cinemas on Thursday, but still has to play out its 45-day theatrical window.

UK Box Office Top 10

Box Office Preview

Buzz has been building for months for Project Hail Mary, and from critical and audience reactions, it lives up to the buzz received. The first trailer was released in June and had over 400m views; the second trailer was released in November, and the final trailer was shown during the Super Bowl in February.

Project Hail Mary is shaping up to be the spiritual successor to The Martian in every way: same author, same screenwriter, same “sci-fi problem-solving” DNA, but the comparisons to Interstellar, Arrival, and Contact are inevitable given the scale and themes.

Starring Ryan Gosling and directed by Phil Lord and Christopher Miller, based on the 2021 novel by Andy Weir. It’s Ryan Gosling’s first film since 2024’s The Fall Guy, and next year he returns to space in Star Wars: Starfighter. Ryan Gosling’s previous sci-fi films include 2018’s First Man and 2017’s Blade Runner 2049. Despite starring in the massive Barbie, he hasn’t opened a film on his own until now.

It’s Phil Lord and Christopher Miller’s first film they have directed officially since 2012’s 21 Jump Street, 2014’s The Lego Movie and 22 Jump Street. Phil Lord and Christopher Miller directed 2018’s Solo: A Star Wars Story but were replaced by Ron Howard due to “creative differences”.

2015’s The Martian opened £6,531,734/£7,256,476 (including £1,630,490 previews) taking £23,578,878/£26,195,120

2013’s Gravity opened £6,238,375 #1 539 screens taking £32,756,514

2014’s Interstellar opened £5,378,220 #1 574 screens taking £21,173,601

2017’s Blade Runner 2049 opened £6,071,625 #1 634 screens taking £18,918,361

2016’s Arrival opened £2,924,059 #1 561 screens taking £9,144,719

2007’s I am Legend opened £11,009,365/£17,462,379 taking £25,348,532/£40,206,285

After taking £2.1m from previews last Sat/Sun and having previews on Thursday it could open similar to 2024’s Dune Part 2 £9,279,080; £2.81m (19% IMAX) 30.28% Friday; £3.51m 37.83% Saturday; £2.959m 31.89% Sunday; it took 17.95% from 53 IMAX cinemas with a screen average of £31,346.

After taking £2.1m Sat/Sun last weekend, it has its official opening, it would have opened #1 and would have had three full weeks having IMAX/PLF and other premium formats before The Super Mario Galaxy Movie opens, taking all of those screens.

Having IMAX screens is vital for films’ opening, as seen with Dune Part 3 holding its December release date despite Avengers: Doomsday moving to December. Everyone has expected Warner to move Dune part 3, but if they did, they wouldn’t get IMAX screens and be in a similar situation to Mission: Impossible – Dead Reckoning Part One, which was opening ahead of Oppenheimer.

IMAX books its slots a long time in advance, and with Narnia: The Magician’s Nephew having IMAX screens in November, Warner would have to move Dune Part 3 into 2027.

Strongly holding #2 Hoppers in its third weekend down 25%-30% taking £1.5m-£1.7m

Ready or Not 2: Here I Come, a sequel to 2019’s Ready or Not, has received a lot of media coverage over the last week after having its premiere at SXSW and Sarah Michelle Gellar found out just before the premiere that Hulu had cancelled Buffy the Vampire Slayer: New Sunnydale without any warning.

2019’s Ready Or Not opened £947,958, taking £1,637,064/£1,816,189

Ready or Not feels similar to films like Saltburn and The Menu, trying to parody privilege, trying to be too clever, but they’re not clever enough to justify their own cleverness. These modern versions are often clever without being angry. They perform critique without commitment. They want credit for saying something without actually saying it, but sometimes social horrors connect with audiences like Get Out.

Ready or Not 2: Here I Come will open similarly to the original film and be front-loaded.

Dhurandhar: The Revenge also opens on Thursday, 2025’s Dhurandhar opened £306,678 #7 136 screens.

Coming Soon

• The Super Mario Galaxy Movie (Wednesday) – Universal Pictures

Animated adventure comedy sequel of the 2023 film based on the 2007 video game Super Mario Galaxy made by Illumination Studios; featuring the voices of Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Benny Safdie, Brie Larson and Donald Glover and directed by Aaron Horvath.

The first trailer was released in November, and the second trailer was released last week.

2023’s Super Mario Bros opened £15,691,810; including £6,943,163 from previews (£3.9m Weds and £3.02m on Thurs); £3.81m Fri; £3.04m Sat; £1.8m Sunday; its biggest day on Easter Monday £4.1m; taking £54,578,335/£55,198,543

2025’s A Minecraft Movie opened £15,013,136; £4.65m Fri; £5.9m Sat £4.46m Sun and £2.49m Monday: £2.2m Tues; taking £55,508,185.

As with Super Mario Bros, the sequel opens at the start of the Easter holidays and the weekend of Easter.

The Super Mario series has sold over 450m copies of the video games up to last year; including spin-offs like Mario Kart and Mario Part its over 950m copies generating over $50bn worldwide, this of course puts 2023’s Super Mario Bros global BO into perspective while $1.36bn is huge for cinema its not in the video games world as Mario related YouTube videos exceeded 100bn views as of April 2023.

The only real surprise is why the Nintendo Extended Universe hasn’t happened yet, as they have been talking about it for many years, but the problem is, as with Marvel, Nintendo sold off rights to many of their most popular games to studios already. This was similar to when Marvel sold rights to many of their properties to studios and had to wait until their rights ended before they could make their films.

Films based on video games have had mixed success at the box office, but they should be hugely popular given that they have a huge established fanbase. Filmmakers often struggle to expand the story from game to screen. The difference between recent video game adaptations compared to films made a decade ago is that they are more family-friendly, playing to a younger audience, unlike 2010’s Prince of Persia: The Sands of Time, 2005’s Doom, 2016’s Assassin’s Creed, 1995’s Street Fighter and 1995’s Mortal Kombat.

Last year, there was a viral TikTok trend that saw Minecraft fans throw popcorn, shout out, swear and cheer when a character says, “Chicken jockey” and is filmed on their phones before posting it on TikTok. In one cinema in the US, the police were called. A similar thing happened three years ago with Minions: Rise of Gru, with fans dressed as Gentleminions and carrying bananas. Will there be one this year for either Super Mario Galaxy Movie or Minions & Monsters?

Super Mario Galaxy Movie will have the biggest opening in the UK since Wicked: For Good (£18,858,825). With no competition over the Easter holidays, it should take £60m+.

• The Drama – Entertainment Films

Black-comedy-drama starring Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, and Zoë Winters and directed by Kristoffer Borgli.

In the trailer, the friends are asked what’s the worst thing they have done, they reveal what they have done, but don’t hear what Zendaya says, but from the reactions, it’s something extreme.

• Fuze – Studiocanal UK/Sky Cinema

British crime thriller heist film starring Aaron Taylor-Johnson, Theo James, Gugu Mbatha-Raw, and Sam Worthington and directed by David Mackenzie.

Received its premiere at the Toronto Film Festival, compared to Guy Ritchie’s British gangster thrillers.

David Mackenzie previously directed 2024’s Relay, 2016’s Hell or High Water, 2013’s Starred Up and 2003’s Young Adam.

Sky Cinema launched their Originals films in 2016 with Monster Family at first they were shown on Sky Cinema same day and that saw major exhibitors refuse to book their films, but over the years they have acquired more high profile films like Ferrari, Lee, Nurenberg, The Beekeeper partnering with Studiocanal on many of them looking after UK cinema distribution and giving them a 4 week window which saw major exhibitors book the films and has seen them perform steadily in the UK.

These films are heavily marketed by Sky Cinema, and with these more high-profile films find an audience in cinemas before premiering on Sky Cinema a month later.