1. The Devil Wears Prada 2 £5,203,067 – £21,121,431

Down 44.2% in its second weekend

£1.55m 29.8% (-46.9% £2.92m) Fri; £2.12m 40.8% (-31.6% £3.1m) Sat; £1.79m 35.2% (-37% £3.2m) Sun

96^th biggest second weekend between Jumanji: Welcome to the Jungle and Harry Potter and the Half-Blood Prince (close to The Hunger Games: Catching Fire, Twilight: Breaking Dawn – Part 2, Bridget Jones: The Edge of Reason and The Da Vinci Code) and 179^th biggest inflated second weekend between Terminator 2: Judgement Day and Captain America: Civil War (close to Les Miserables, Life of Pi, Fifty Shades of Grey and Back to the Future Part II).

6^th biggest second weekend over the last 52 weeks between The Super Mario Galaxy Movie and Superman (close to Project Hail Mary, Zootropolis 2, Wuthering Heights and The Housemaid).

It was the first weekend since the fourth weekend in January, five films were taking over £1m as each film played to different demographics. The Chinese New Year Principle, when there are films that play to different demographics, the market grows as audiences see a wider mix of films, but when a tentpole opens, it cannibalises the market.

This is why 2026 started so strongly, as there have been few sure-thing tentpoles and those that there were took less than expected, while the others have taken up the slack. The problem is in two weeks, The Mandalorian & Grogu opens, and we go back to tentpole to tentpole opening. These films get the hype, media coverage and industry excitement, but they all perform as they are expected to do, so they don’t grow the market.

The 20^th Century tried many times to make a sequel to The Devil Wears Prada, but Anne Hathaway and Meryl Streep kept rejecting offers. Anne Hathaway said that she would love to work with the cast and director again, while Meryl Streep doesn’t do sequels; she is like Ryan Gosling, “one and done”. Meryl Streep probably agreed to make the sequel for Anne Hathaway and Stanley Tucci rather than herself, since agreeing to do the sequel, both have had many more high-profile projects offered to them. Anne Hathaway has since starred in The Odyssey and Verity, starring in 5 films in 2026, while Disney picked up Tucci in Italy.

Meryl Streep was offered $15m, with Anne Hathaway and Emily Blunt $12.5m offered and backend box office bonuses; it was similar to all other Disney legacy sequels, and sequels were just nostalgia porn. While the original film was a passion project developed over three years by Elizabeth Gabler, President of Fox 2000, Wendy Finerman produced, and Aline Brosh McKenna wrote the screenplay based on Lauren Weisberger’s book.

As with so many of Disney’s sequels, reimaginations and reboots, it has these touches like the opening scene of Andy wiping the mirror clean as in the original film and her walk to the awards when she walks past a market stall selling two belts that look identical, to the influencers taking selfies outside an event.   

The teaser trailer released in December received 185m views in the first 24 hours. It was the most viewed trailer on Instagram last year. The second trailer received 222m views in 24 hours, and the final trailer 67m views in the first 24 hours.

I’ve overthought The Devil Wears Prada 2 because I see my own life in the original. 30+ years ago, I was like Andy junior, overworked, desperate for recognition. I watched colleagues climb the ladder by playing the system, becoming the boss, replacing their own Mirandas.

But the sequel shows Andy and Emily, after two decades of success, falling back into the same dynamics as 23-year-olds. No growth. Still seeking Miranda’s approval, still terrified. That’s not relatable. It’s depressing.

Miranda hasn’t changed either. #MeToo, digital media, HR, the world transformed. Yet she’s frozen in 1986, after spending her formative years under a boss like Katharine Parker from Working Girl. No one can control her, but that’s not power. It’s irrelevance.

Bosses like Miranda don’t last. They adapt, retire, or get pushed out. The Scrubs reboot understood this: Dr Cox couldn’t cope with holding his tongue, so he retired. People who were once assistants become leaders, ideally with more empathy.

I’m just pointing out this particular “fun movie” isn’t even memorable. It’s a sugar rush. A Big Mac. Enjoyable in the moment, 20 minutes later, hungry again, they were just empty calories, making you crave the original film again. To quote Mark Kermode, “I’m not angry, but disappointed”.

As with all of Disney’s reimaginations, sequels, and reboots, once the hype and pixel dust fade away, audiences see them for what they are, as South Park said in 2015, Star Wars: The Force Awakens was a memberberries. Randy said, “Star Wars: The Force Awakens was ‘not as good as everyone thought it was ‘”. “It may be fun to go back and recycle the past we loved, but we end up with no sustenance”

2006’s The Devil Wears Prada dropped 42.7% £1,870,080/£3,075,840 and £6,751,301 49.35% of £13,681,185/£22,502,319

As with all legacy sequels, The Devil Wears Prada 2 was always going to open much bigger than the original and was expected to open closer to Wicked (£13,696,056); Bridget Jones: Mad About The Boy (£12,298,966).

The Devil Wears Prada 2 has overtaken Hamnet (£19.05m) and is behind Wuthering Heights (£25.30m), and is currently the fifth biggest film in the UK in 2026; it’s also the director David Frankel’s biggest film to date, overtaking Marley And Me (£15.36m)

Early in the year, Wuthering Heights 49.4% £3,878,031 and £16,282,903 64.35% of £25,302,404

2008’s Sex and the City dropped 64.6% £3,085,231/£4,752,442 and £16,062,366 61.23% of £26,232,557/£40,408,227

2010’s Sex and the City 2 dropped 59.7% £2,473,043/£3,329,256 and £13,652,052 63.18% of £21,606,766/£29,087,428

Dropped similar to 2003’s Freaky Friday, dropping 40.8% and 2025’s Freakier Friday, dropping 47.9%.

While the original Devil Wears Prada has been beloved by audiences over the last 20 years found its bigger audience on video as it dropped off after 5 weeks, and Devil 2 will surely have a faster drop-off, as while immediate fan reaction was stronger, unless it plays younger, it will struggle to find a wider audience. But as with Sex and the City, younger audiences grew up with many similar TV shows, from The Bold Type, Younger and Unreal. As with the Sex and the City spinoff show, And Just Like That, which didn’t connect with fans who didn’t grow up with the Sex and the City TV show, it’s unlikely Devil 2 will.

The Devil Wears Prada 2 has been helped by a successful run of films targeting female audiences over the last 6 months, including Wicked Part 2, The Housemaid, Hamnet, Wuthering Heights, and Reminders Of Him, which has meant cinemagoers have seen the trailer many times, and success leads to success.

At the end of the film, there is a tribute to the film Working Girl, where you see Andy in an office, and the screen pans out. Working Girl has been seen as the inspiration for The Devil Wears Prada. Katherin Parker tells Tess, “So, Tess, a few ground rules. The way I look at it, you are my link with the outside world. People’s impression of me starts with you. You’re tough when it’s warranted, accommodating when you can be, accurate, punctual, and never make a promise you can’t keep. I’m never on another line. I’m in a meeting. I consider us a team. As such, we have a uniform: simple, elegant, impeccable. “Dress shabbily, and they notice the dress. Dress impeccably, they notice the woman.” Coco Chanel.” Is very similar to what Miranda Priestly says to Andy Sachs; Katharine Parker could have been Miranda Priestly’s former boss, as Working Girl was set in 1988, when Miranda was an assistant.

The predecessor to Working Girl was films like 9 to 5 and there are similar older films including 1959’s The Best of Everything which would have been the inspiration of Katharine Parker

• 2. Michael £5,083,005 – £33,479,568

Down 27.5% in its third weekend

£1.27m 25% (-15.9% £1.5m) Fri; £2.02m 39.7% (-22.9% £2.6m) Sat; £1.79m 35.2% (-36.9% £2.84m) Sun;

35^th biggest third weekend between Incredibles 2 and Alice in Wonderland (close to Joker, Wicked, Dunkirk and Bohemian Rhapsody) and 67^th biggest inflated third weekend between Bridget Jones’s Baby and Bohemian Rhapsody (close to Shrek, The Dark Knight Rises, Mary Poppins Returns and Les Misérables).

Michael has now overtaken both Elvis (£27.84m) and Rocketman (£23.50m) for the biggest musician biopics in the UK, with only Bohemian Rhapsody £55.43m ahead of it. Michael is currently pacing ahead of Bohemian Rhapsody but with high profile films opening including The Mandalorian & Grogu opening in two weeks will it have the legs, as so many films over recent months have opened so strongly and held for the first few weeks but ran out of steam far quicker than they were expected to, it surely depends on how many times fans want to watch it on repeat.

Michael has a direct comparison with Bohemian Rhapsody, receiving similar reviews saying the biopic was sanitised. The difference with Michael Jackson is that since his death, there have been court cases, conspiracies and controversies that have kept him being talked about for the last 17 years far more than Queen.

While Michael Jackson fans are far more obsessive with a siege mentality, and the film focuses on the Michael Jackson they believe he is, as they don’t believe the allegations that surrounded him and just want to see him again as they did 30 years ago and as they hoped they would have seen him at the 02 concerts in 2009.

The last Michael Jackson film was 2009’s Michael Jackson’s This Is It, still the biggest concert film globally, taking $267.9m ahead of 2023’s Taylor Swift: The Eras Tour ($261.65m).

Showing how hugely popular in the UK Michael Jackson is despite the massive controversy surrounding his life, 2009’s Michael Jackson’s This Is It opened £4,877,255/£7,181,399 taking £9,732,593/£14,330,528.

This Is It was a documentary about his preparation for his This Is It 50 concerts at O2 Arena from July 2009 to March 2010, 10 were planned but another 40 added due to tickets selling out so quickly with over 1 million tickets sold (11 per second in 4 hours 750,000 tickets were sold), but none of the concerts happened due to his death in June 2009 two weeks before his first concert was to happen. Ahead of his death, over $85m was sold in ticket sales (£50m+). Michael Jackson hadn’t toured since 1997.

The Michael Jackson biopic comes 17 years later, after the huge success of Bohemian Rhapsody.

And Michael Jackson’s 1988 Moonwalker took £3,401,538/£11,846,226.

Michael is the latest Biographical musician drama after Bohemian Rhapsody (Queen), Walk the Line (Johnny Cash), Ray (Ray Charles), Elvis, Straight Outta Compton (N.W.A), A Complete Unknown (Bob Dylan), Springsteen: Deliver Me From Nowhere and Rocketman (Elton John); Upcoming musician biopics include Sam Mendes’s four Beatles films, and Ridley Scott directed Bee Gees biopic.

Over recent years, musician biopics have had mixed success, most recently Springsteen: Deliver Me From Nowhere, which underwhelmed, taking £3,632,978.

As seen with other biopics, the third weekend is a weekend where the BO settles with often low drops. Michael held even stronger, 11% more than Bohemian Rhapsody, which is similar to the ticket inflation since it was released 8 years ago and has currently taken 15.8% more.

2025’s A Complete Unknown dropped 25.8% £1,236,908 and £8,316,754 of £11,887,982

2024’s Bob Marley: One Love dropped 43% £1,351,557 #2 669 screens and £13,760,796 of £17,126,572

2006’s Walk the Line dropped 16% £958,306 #4 and £4,864,122 of £9,737,493

2022’s Elvis dropped 55% £1,325,853 #3 and £13,802,061 of £27,492,430; it had long legs, staying in the top 5 for 7 weeks and top 10 for 11 weeks.

2019’s Rocketman dropped 12% £2,166,839 #3 and £16,051,346 of £23,502,881: top 5 for 5 weeks and top 10 for 7 weeks

2018’s Bohemian Rhapsody dropped 20% £4,559,647 #2 and £28,907,411 of £55,376,188.

8^th biggest film over the last 52 weeks between Jurassic World Rebirth and The Housemaid (close to Zootropolis 2, Project Hail Mary, Superman and Mission: Impossible 8).

136^th biggest between The Hunger Games: Catching Fire and Spider-Man 3 (close to Inception, Fantastic Beasts 2, Suicide Squad and The Lego Movie) and 285^th biggest inflated between Three Men And A Baby and Billy Elliot (close to Home Alone, Pretty Woman, Rain-Man and The BFG).

Micheal Jacksom songs have climbed into the singles chart this week’ Billie Jean #4; Beat It #10; Don’t Stop Til You Get Enough #15; I Want You Back Jackson 5 #33; with; Micheal Jack The Essentials #1; Thriller #6; Bad #8; The Essentials #1; Off The Wall #47; Soundtrack album #76; Dangerous #80; soundtrack album #1 on soundtrack album chart.

Would expect Michael to have a similar fourth weekend drop as Bohemian Rhapsody, 33.7% £3,021,648/£3,352,272 and £34,854,038 could see Michael return to #1 as The Devil Wears Prada 2 will likely drop slightly more in its third weekend.

• 3. The Sheep Detectives £3,319,496- NE

Includes £1,620,437 from previews last Sat/Sun/Mon, taking £1.61m

Took £325k 9.79% Friday; £717k 21.60% Saturday; £667k 20.10% Sunday

543^rd biggest opening between One Life and Maleficent: Mistress Of Evil (close to Sherlock Holmes, Toy Story, The Devil Wears Prada and Dog Man) and 810^th biggest inflated opening between America’s Sweethearts and Creed 2 (close to Honey, I Shrunk the Kids, The Muppets, Antz and Knives Out).

25^th biggest opening over the last 52 weeks between 28 Years Later: The Bone Temple and Five Nights at Freddy’s 2 (close to Scream 7, Goat, The SpongeBob Movie: Search for Squarepants and The Magic Faraway Tree).

The Sheep Detectives is a comedy based on Leonie Swann’s 2005 bestseller Three Bags Full, featuring an ensemble cast led by Hugh Jackman, Nicholas Braun, Molly Gordon and Emma Thompson, with voices of Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Patrick Stewart, Bella Ramsey and Brett Goldstein. The film is directed by Minions and Despicable Me veteran Kyle Balda.

The screenplay was written by Craig Mazin. Most recently, he has written screenplays for The Last of Us and the award-winning mini-series Chernobyl. Before that, I wrote screenplays for many comedies, including Scary Movie 3 and 4 and The Hangover Parts 2 and 3.

Like Project Hail Mary, MGM had previews the weekend before full release to build early word of mouth. There is a hint of Babe in the premise and tone, no bad thing given that family favourite became one of 1995’s great surprise success stories, opening to £1.36m/£3.13m before taking £19.36m/£44.6m in the UK, having very long legs.

The Sheep Detectives has shades of Babe, the ensemble wit of Chicken Run, and the quiet family-word-of-mouth potential of Paddington if it lands with audiences. But more likely similar to films like Shaun the Sheep Movie and The Bad Guys, it feels like The Thursday Murder Club with sheep and could be the feel-good counterprogramming to louder FOMO tentpoles. Think The Thursday Murder Club… only woollier.

The Sheep Detectives has the kind of quirky title and warm, gently offbeat trailer that will appeal to families looking for an alternative to louder tentpole fare. The screening I saw was an audience of 8-80, as with the best children’s film, it plays as strongly to children as it does adults.

While The Sheep Detective has a PG certificate, there are some scary moments, including when the sheep meet the flock in the next field and stumble into a building, seeing the farmer teaming up with a local butcher. Up to that point, the sheep think that when they die, they become clouds. That scene probably passes children in a similar way as the Watership Down scenes passed me when I saw it when I was a child, but it has much more impact on me as an adult.

I went to see The Sheep Detectives at my local Everyman Muswell Hill for two adults and a child, it was £56, with the industry average of £8.01. My cinema trip added 7 to the monthly and annual figures, as most people are paying vastly more than the industry average, which means the real average is much less than the industry claims. As Adam Aron, CEO of AMC Theatres, recently admitted, “The good news is we’re making more money per patron than we made before Covid. But it’s not a good thing that patronage is down as much as it has been.”

I will say Everyman Cinemas customer service is excellent and you get what you pay for while Everyman Cinemas do admit that their average is £12.51, if other exhibitors and the rest of the industry were more honest at the true cost of going to the cinema there could be real talk about having real growth, the UKCA had their annual conference this week and I’m sure it was full of the normal hyperbole that doesn’t help the industry as its all talk no action as it has been for over 20 years. It’s not a COVID thing, or Netflix or theatrical windows it’s an industry failing to understand how its customers have changed, and to nor monitor success as they did 30+ years ago when £10m/£20m was the sign of success, £25m is the equivalent of £10m in the 90s and £35m is the equivalent of £20m in the 90s.

The other issue with cinema today is the state of the advertising, I remember the 90s when advertising I cinema was unique and cinematic (apart from the local adverts and the Chinese Restaurant behind the Odeon Leicester Square) but now its averts you see on terrestrial TV and have BBC iPlayer adverting their T V shows, its made cinema and TV interchangeable, and as my nephew said on his first trip to the cinema “it’s a big TV screen” as they now have a 100 inch TV there are many screens in smaller screens that are smaller than their TV and don’t have people talking on their phones and eating noisy food.

While The Sheep Detective will drop 50%+ next weekend due to half of its box office from previews, it should have a minimal drop without previews as it has excellent word of mouth and should play strongly Sat/Sun till half term in two weeks.

• 4. Billie Eilish: Hit Me Hard And Soft: The Tour Live In 3D £1,782,931 – NE

Included £408,298 from previews

Took £576k 32.32% Friday; £465k 26.09% Saturday; £331k 18.57% Sunday

1,058^th biggest opening between Wall Street: Money Never Sleeps and A Bad Moms Christmas (close to The Boat that Rocked, Me Before You, Hamilton (10th Anniversary) and Freakier Friday) and 1,608^th biggest inflated opening between The Gift and The Great Wall (close to Déjà Vu, Piranha 3-D, Crazy Rich Asians and The Wedding Planner)

42^nd biggest opening over the last 52 weeks between Tron: Ares and Freakier Friday (close to EPiC: Elvis Presley In Concert, The Naked Gun, The Bad Guys 2, and Send Help).

Opened ahead of Renaissance: A Film By Beyonce (£1.08m), but behind Taylor Swift: The Eras Tour (£5.73m)

Hit Me Hard And Soft: The Tour Live In 3D had Event Cinema pricing similar to 2023’s Taylor Swift: The Eras Tour, which opened £5,729,998, taking £12,164,375, and 2025’s Taylor Swift / The Official Release Party Of A Showgirl, which opened £3,471,544, taking £3,471,544.

Unlike Taylor Swift: The Eras Tour, Hit Me Hard And Soft was shot at Billie Eilish sold out Manchester concerts last year so should have far bigger interest from her UK fanbase, as the Era Tour film was released in cinemas 9 months before Taylor Swift’s UK concerts and after fans had spent hundreds buying tickets to see her live they would surely of wanted to experience her concert the first time live. This is probably why the Era Tour wasn’t as successful internationally as in the US, taking only 30% of its global BO internationally despite her massive fanbase worldwide. With Billie Eilish, it would be a chance to rewatch the concert a year later.

The 3D concert film featured performances from Billie Eilish’s Hit Me Hard and Soft: The Tour concert last year in Manchester, and it was directed by James Cameron. He said it was “not a concert movie for streaming” Despite James Cameron’s claims, it surely has a very limited front-loaded appeal to her fans only and will find a bigger audience in 45 days on Paramount+ in a similar way Taylor Swift’s Eras Tour Concert was vastly more popular on Disney+ after its cinema release. When it comes to Paramount+ in 45 days, it will be Billie Eilish: Hit Me Hard And Soft: The Tour Live In 2D, as 3D is dead on streaming and TV.

Hit Me Hard and Soft was the fifth biggest-selling album in the UK in 2024; Don’t Smile at Me (2017) sold 85,000 copies; When We All Fall Asleep (2019) sold 212,500 copies; Happier Ever After (2021) sold 65,000 copies.

Albums have sold over 77.4m (2025), and her single ” Lovely. Has over 3.7bn streams on Spotify (2025).

2023’s Billie Eilish: Live At The O2 (Extended Cut) opened £329,407 #10 from 256 screens

There are a few concert films that can be compared to Hit Me Hard And Soft, with probably only 2011’s Justin Bieber: Never Say Never (3D) opened £820,592/£1,084,644 taking £1,993,888/£2,635,486.

As Era Tour, Hit Me Hard And Soft only has weekend shows and returns to cinemas next Friday bur will likely drop heavily in its second weekend as seen by its front-loaded opening with previews taking almost as much as its Friday opening.  

• 5. Mortal Kombat II £1,607,520 – NE 

Included £98,485 from Thursday previews

Took £542k 33.73% Friday; £573k 35.66% Saturday; £292k 18.17% Sunday

1,177^th biggest opening between Erin Brockovich and Challengers (close to Geostorm, The Scorpion King, Scott Pilgrim vs. The World and Shaun of the Dead) and 1,774^th biggest inflated opening between The Crazies and The Craft (1996) (close to Innerspace, The Man from U.N.C.L.E, The Saint and Honey, I Blew Up the Kid).

45^th biggest opening over the last 52 weeks between The Bad Guys 2 and Send Help (close to Tron: Ares, Freakier Friday, Send Help and The Salt Road).

Sequel to 2021’s Mortal Kombat, and the fourth film instalment based on the long-running video game franchise. The 2021 film opened the weekend cinemas opened the second time after COVID, having a muted UK theatrical launch as cinemas reopened in May that year. It opened to just £319,313 #6 from 340 sites, including £124,464 in previews.

UK exhibitors will probably blame Warner Bros’ Project Popcorn on Mortal Kombat opening far lower in the UK to its US, but the previous films, 1995’s Mortal Kombat (taking £2m) and 1998’s Mortal Kombat: Annihilation, also failed to make much impact at the UK box office. While of course Dune Part 1 was also part of Project Popcorn and the sequel took much more in the UK than the first film, showing it’s more a lack of interest in Mortal Kombat. It will be interesting to see if this repeats with Street Fighter opening in October.

The Mortal Kombat series has sold more than 100 million games worldwide, while 2023’s Mortal Kombat 1 has reportedly shifted around 8 million copies. UK sales were said to be down 38% on Mortal Kombat 11, suggesting a loyal audience, if not one on the scale of Super Mario Bros or Minecraft. In cinema terms, it may sit closer to Street Fighter, which itself is heading back to screens later this year.

Would have expected opening a month after The Super Mario Galaxy Movie and two weeks before Star Wars: The Mandalorian and Grogu, while titles such as Michael and The Devil Wears Prada 2 skew elsewhere demographically, Mortal Kombat II could have found the young male audience that aren’t interested in the other films currently released.

Mortal Kombat II will likely drop heavily in its second weekend as it’s a fan-led film that won’t pay beyond its fanbase. It’s another example of video games to films rarely working. There have been so many failures of film adaptations. This, of course, won’t stop studios from trying to adapt them, as they can be very lucrative if the adaptation connects with the video game loyal fanbase. For every Super Mario Bros. or Sonic, the Hedgehog, there are a dozen failures. The problem is not the filmmaking; it is the translation. The interactive experience of a game does not map neatly onto the passive experience of a film.

Box Office News

April 2026 box office took £102.5m, up 2% from April 2025’s £100.3m and up 68% from April 2024’s £60.8m. and 11.82m admissions

2026’s first four months took £365m, up 7% on 2025; with three of the four months ahead of 2025’s box office.

Top April 2026 films

1. The Super Mario Galaxy Movie £34.7m
2. Michael £16.1m
3. Project Hail Mary £13.9m
4. The Drama £9.6m
5. The Magic Faraway Tree £8.5m
6. Lee Cronin’s The Mummy £2m
7. Hoppers £2m
8. Akira £1.3m
9. All My Sons – NT Live 2026 £784,792
10. You, Me & Tuscany £754,496

Key to this has been that these films attract different audiences across all demographics; they build audiences and don’t cannibalise them, while tentpoles open bigger, but cannibalise the market. The Devil Wears Prada 2 demographic is very different to Micheal, they complement each other, then The Sheep Detectives and Mortal Kombat II this weekend, they play to two more demographics.

While it’s also these films that grow the market and build audiences, as films like The Housemaid, The Drama, Marty Supreme and The Magic Fairway Tree weren’t expected to attract such wide audiences, they received them, but The Super Mario Galaxy Movie, Project Hail Mary, Wuthering Heights, Hamnet, Michael and The Devil Wears Prada 2 were. The problem is that now the switch is to tentpoles that will open big, dropping big with the next tentpole opening big, and all of them performing exactly as expected.

Universal Pictures has started the year strongly with The Super Mario Galaxy Movie, Michael and Hamnet; Lionsgate with the 2026 holdover box office of The Housemaid. Entertainment Films have had their best BO performance since 2014’s The Inbetweeners Movie 2 with Mother’s Pride, The Drama and The Magic Faraway Tree. Disney have started the year slowly with Avatar: Fire And Ash and Hoppers coming short of expectations, but then of course have the likes of The Devil Wears Prada 2, The Mandalorian & Grogu, Toy Story 5, Moana and Avengers: Doomsday.

Year-to-date top 10 films (2026 BO only)

1. The Super Mario Galaxy Movie £34.7m
2. Project Hail Mary £32.4m
3. Wuthering Heights £25.3m
4. The Housemaid £23.5m
5. Hamnet £19m
6. Michael £16.1m
7. Avatar: Fire And Ash£15.5m
8. The Magic Faraway Tree £14m
9. Hoppers £14m
10. Goat £13.3m

The top 10 of the year so far highlights this with only two sequels, three films that play strongly to female audiences and older audiences and four very different family films, along with Project Hail Mary that played to all demographics, old and young.

The next 8 months will be much more predictable with many tentpoles opening week after week, all taking their expected box office despite box office analysts’ hyperbole claiming they have opened bigger than expected.

By the end of the year, probably only The Super Mario Galaxy Movie, Project Hail Mary and Michael will remain in the year’s top 10, with the rest filled with the usual suspects.

——————–

BO is currently up 16% from 2025.

The weekend’s top 10 box office took £18,366,289, down 5.82% from last weekend’s £19,501,414:  2,122,869 admissions, down 4.1% from 2,213,448 admissions.

7^th biggest weekend of the last 52 weeks between 26 December 2025 #1 Avatar: Fire And Ash £6,062,546 (31.54%) and 02 January 2026 #1 Avatar: Fire And Ash £4,427,062 (25.65%)

29^th biggest since cinemas reopened out of 286 weeks between 08 October 2021 #1 No Time To Die £15,235,947 (82.81% and 14 July 2023 #1 Mission Impossible 7 £10,391,016 (57.13%)

126^th biggest top 10 of the last 25 years (out of 1,257) between 21 June 2019 #1 Toy Story 4  £13,300,000 (72.37%) and 13 July 2012 #1 Ice Age: Continental Drift £10,087,052 (55.21%) and 364^th biggest inflated between 30 November 2018 #1 Ralph Breaks the Internet £4,032,775 (26.15%) and 25 January 2013 #1 Les Miserables £4,016,611 (28.84%)  

The top 3 took £13,605,568 (74.1%) of the top 10; The Devil Wears Prada 2 28.3% (£5,203,067); Micheal 27.68% (£5,083,005); The Sheep Detectives 18.1% (£3,319,496)

841^st biggest percentage share #1 (28.33%) between 27 November 2009 #1 The Twilight Saga: New Moon £4,303,257 (28.38%) and 06 August 2010 #1 Toy Story 3 £4,666,021 (28.33%)

596^th biggest admissions (604,305) between 21 August 2009 #1 Inglourious Basterds £3,596,415 (604,439) and 23 December 2005 #1 The Lion, the Witch and the Wardrobe £2,843,353 (603,6840)

Up 237.56% from 2025; (£5,440,835); Ocean With David Attenborough (£574,551); The Surfer (£132,274); The Wedding Banquet (£38,628); #1 Thunderbolts* £2,362,481 2nd weekend 60% drop 675 screens (43.42% of top 10)

Up 207.14% from 2024; (£5,979,754); Kingdom Of The Planet Of The Apes (£3,802,189); La Chimera (£99,985); Madama Butterfly – Met Opera 2023/24 (£96,727); Eurovision – Grand Final Live (£34,435); Shallow Grave (30th Anniversary) (£5,341); #1 Kingdom Of The Planet Of The Apes £3,802,189 1st week 658 screens (63.58% of top 10)

Up 129.98% from 2023; (£7,986,182); Love Again (£340,785); Book Club: The Next Chapter (£299,370); Eurovision – Grand Final Live (£237,787); Machine Gun Kelly: Mainstream Sellout Live From Cleveland (£57,625); #1 Guardians of the Galaxy Vol. 3 £5,349,346 2nd week 56% drop 710 screens (66.98%)

Up 91.37% from 2022 (£9,597,322); Everything Everywhere All at Once (£681,351); Little Mix Live – The Final Show (£361,909); Firestarter (£250,006); Father Stu (£60,844); Friday The 13th (1980) (Re: 2022) (£26,333); #1 Doctor Strange In The Multiverse of Madness £5,690,351 2nd week 71% drop 701 screens (59.3% of top 10)

2021 Lockdown

2020 Lockdown

Up 52.32% from 2019: (£12,057,386); Pokemon Detective Pikachu (£4,951,838); The Hustle (£1,037,478); Amazing Grace (£166,593); Dialogues Des Carmelites – Met Opera 2019 (£141,630); The Corrupted (£52,988); #1 Pokemon Detective Pikachu £4,951,838 1st week 579 screens (41.1% of top 10)

Up 38.33% from 2018: (£11,439,663); Sherlock Gnomes (£2,522,342); Life of the Party (£618,311); Breaking In (£424,675); Entebbe (£138,390); How to Talk to Girls at Parties (£23,311); Anon (£19,108); #1 Avengers: Infinity War £5,706,170 44% drop 3rd week 636 screens (49.8% of top 10)

Up 64.96% from 2017: (£11,133,770); Alien: Covenant (£5,178,531); Der Rosenkavalier – Met Opera 2017 (£313,653); Miss Sloane (£190,295); The Last Face (£46,414); #1 Alien: Covenant £5,178,531 626 screens 1st week (46.5% of top 10)

Up 104.13% from 2016: (£9,103,851): Angry Birds (£2,138,507); Our Kind of Traitor (£358,180); Everybody Wants Some!! (£169,764); Green Room (£144,517); Mustang (£65,038); Whiskey Tango Foxtrot (£58,798); The Darkness (£51,490); #1 Captain America: Civil War £2,789,985 42% drop 586 screens 3rd week (30.6% of top 10)

Up 111.23% from 2015; (£8,695,042); Spooks: The Greater Good (£1,010,363); The Age of Adaline (£570,386); Big Game (£535,905); Girlhood (£66,574); A Royal Night Out (£9,241); Top Five (£64,612); Rosewater (£11,838); #1 Avengers: The Age of Ultron £3,509,620 565 screens 3rd week 59% drop (40.3% of top 10)

Up 39.13% from 2014: (£13,200,641); Bad Neighbours (£8,446,240); Sabotage (£300,521); La Cenerentola – Met Opera 2014 (£285,597); Frank (£202,747); The Wind Rises (£199,598); Next Goal Wins (£17,145); #1 Bad Neighbours £8,446,240 506 screens 1st week (63.9% of top 10)

Up 30.36% from 2013: (£14,089,241); Star Trek: Into Darkness (£8,431,574); Mud (£239,037); Deadfall (£33,987); Vehicle 19 (£239); #1 Star Trek: Into Darkness £8,431,574 554 screens 1st week (59.8% of top 10)

Up 65.89% from 2012 (£11,071,152); Dark Shadows (£2,404,029); Piranha 3DD (£242,889); How I Spent My Summer Vacation (£152,728); Jeff Who Lives at Home (£92,472); All in Good Time (£76,111); Cafe De Flore (£43,719); #1 Avengers Assemble £4,169,087 3rd week 498 screens 49% drop (37.6% of top 10)

Up 142.72% from 2011; (£7,566,720); Attack the Block (£1,133,859); The Way (£104,397); Take Me Home Tonight (£45,859); Taxi Driver (35th Anniversary) (£15,161); #1 Thor £1,360,418 30% drop 3rd week 472 screens (17.9% of top 10)

Up 72.35% from 2010: (£10,656,307); Robin Hood (£5,750,332); Pandora and the Flying Dutchman (£5,623); #1 Robin Hood £5,750,332 1st week 537 screens (53.9% of top 10)

Up 28.82% from 2009; (£14,256,881); Star Trek (£5,950,203); Coraline (£2,427,244); Cheri (£120,234); #1 Star Trek £5,950,203 499 screens 1st week (41.7% of top 10)

Up 245.51% from 2008; (£5,315,678); What Happens in Vegas… (£1,263,093); Speed Racer (£362,102); Doomsday (£311,383); Where in the World is Osama Bin Laden? (£26,550)#1 Iron Man £1,976,721 2nd week 499 screens 64% drop (37.2% of top 10)

Up 90.23% from 2007: (£9,654,662); 28 Weeks Later (£1,575,620); My Best Friend (£117,440); Spider-Man 3 £5,596,612 2nd week 522 screens 53% drop (57.9% of top 10)

Up 219.21% from 2006; (£5,753,595); Prime (£851,322); When a Stranger Calls (£494,131); Brick (£142,878); #1 Mission: Impossible III £2,751,733 2nd week 511 screens 49% drop (47.8% of top 10)

Up 255.81% from 2005: (£5,161,794); Monster-in-Law (£1,312,679); The Jacket (£175,773); A Good Woman (£130,193); Seed of Chucky (£109,110); #1 Kingdom of Heaven £1,385,529 2nd week 450 screens (26.8% of top 10)

Up 102.94% from 2004 (£9,050,154); Van Helsing (£5,429,632); Laws of Attraction (£433,962); Confessions of a Teenage Drama Queen (£177,036); Van Helsing £5,429,632 1st week 458 screens (59.9% of top 10)

Up 168.08% from 2003 (£6,850,974); Old School (£742,478); Darkness Falls (£483,739); Hope Springs (£366,352); I Capture the Castle (£138,142); #1 X-Men 2 £3,079,985 2nd week 56% drop 454 screens (44.96%)

Up 235.10% from 2002 (£5,480,784); Dog Soldiers (£681,348); Slackers (£152,078); I Am Sam (£151,079); #1 About A Boy £2,239,288 444 screens 3rd week 32% drop (27.7% of top 10)

2025 Next week: (£7,108,411); Final Destination: Bloodlines (£4,009,856); Hurry Up Tomorrow (£164,832); Hallow Road (£81,954); ATEEZ WORLD TOUR [TOWARDS THE LIGHT: WILL TO POWER] (£59,812); The Chosen: Last Supper (Season 5) Part 2 (£58,908); Salome – Met Opera 2025 (£54,581); Eurovision – Grand Final Live (2025) (£32,878); #1 Final Destination: Bloodlines £4,009,856 1^st week 622 screens (56.41% of top 10)

US Box Office

• The Devil Wears Prada 2 – 20^th Century Studios

Dropped 46% in its second weekend, taking $41.6m and $143.44m

EntTelligence average price of $14.56 and an average PLF of $17.91;

127^th biggest second weekend between The Twilight Saga: Breaking Dawn – Part 1 and The Little Mermaid (close to Aladdin, Meet the Fockers, Oz the Great and Powerful and The Blind Side).

Sunday estimates had it taking slightly more over Mother’s Day, dropping 44%, but finals saw it drop 46%.

Box office analysts described The Devil Wears Prada 2 as the biggest female-led film since 2023’s Barbie, while it’s technically correct, it highlights how some box office analysts see female-targeted films as “surprises” despite them being steady earners for decades; they just don’t have the same hyperbole attached to them ahead of opening. Ahead of opening, The Devil Wears Prada 2 had that same hyperbole, while Barbie was expected to be overshadowed by Oppenheimer.

The budget for the sequel was over $100m before marketing, with over half of this from the cast salaries, compared to the original having a $40m budget. Again, much was made about Meryl Streep demanding $15m and similar high prices for Anne Hathaway and Emily Blunt, but no one questions the massive salaries that the male actors get, despite the budget to box office a film like The Devil Wears Prada 2 will likely be as profitable.

Many box office analysts seemed to be surprised that the female-targeted audience performed as strongly despite the massive media and promotional coverage the film has received. While it might not be an MCU film that normally opens over the first weekend of May, it was for female audiences, as they had been waiting for the sequel for almost 20 years. As seen by Nielsen, streaming viewership for the original film was up 428% from March 2026 to April 2026.

While the original film struggled to get the fashion industries involvement as they were scared of the wrath of Anna Wintour all fashion brands and other companies were desperate be part of the films promotional campaigns including Dior, Tiffany & Co, Diet Coke, Hilton (Waldorf), GE Cafe, Google, Grey Goose, Lancôme, L’Oréal Paris, Samsung, Starbucks, Zillow, TRESemmé, United Airlines and Mercedes Benz.

It was no wonder that social media reach across TikTok, YouTube, X, Instagram and Facebook was huge, over 500m. Wicked: For Good was 1.3bn.

There is always a double standard in the way some box office analysts treat women-targeting films, despite so many of them over recent years outperforming and having long legs like The Housemaid. Saying that because it’s a female audience, it will be front-loaded is surely misogynistic. As male-targeted films are often more front-loaded as they are fan-led, do they drop heavily in their second weekend?

2006’s The Devil Wears Prada dropped 45.5% $15.01m and $63.11m of $124.74m/$237.9m and $326.72m/$623.1m worldwide

2008’s Sex and the City dropped 62.8% $21.21m and $99.17m of $152.64m/$265.6m and $418.76m/$728.5m worldwide

2010’s Sex and the City 2 dropped 60.2% $12.34m and $73.12m of $95.34m/$151m and $290.74m/$460.5m WW

2015’s Fifty Shades of Grey dropped 73.9% $22.25m and $129.16m of $166.2m/$246.2m and $570m/$844m WW

These were very different films, as they received poor reviews while The Devil Wears Prada 2 received far more positive reactions, again showing there are no comparisons, as other female-led legacy sequels haven’t had the same media attention and audience excitement, as it’s unlikely Practical Magic 2 will get this kind of excitement and media attention. So, the only film you can compare it to is 2023’s Barbie, dropping 42.6% $93.01m and $351.41m of $636.23m and $1.447bn.

Maybe the success of films like The Housemaid will make studios realise the female cinema audience is as big as the males its just that they have lacked the same choices, why they opt to watch films and TV shows on streaming instead, and Netflix have had huge success targeting female audiences over recent years. It’s, of course, a pipe dream, as you see the slate of films that are opening over the rest of the year, there are a few films that are made primarily for the female audience. It was reported that only 2% of the opening audience of The Devil Wears Prada 2 was male under 25.

Took $75.8m from 82 territories, $288.4m total, and $433.2m worldwide; Italy $28.2m; Brazil $22m; UK $28.5m; Mexico $20.1m; Australia $18.5m; China $13m; Germany $8.3m; France $14.6m; Japan $16.8m; Spain $8.3m; S. Korea $8.3m.

• Mortal Kombat II – Warner Bros

Opened $38.5m; received mixed reviews (66% Rotten Tomatoes) and a B CinemaScore

Took $5m from Thursday previews; Dungeons & Dragons $5.6m; Pokémon Detective Pikachu $5.7m; Tron: Ares 44.8m; Jumanji: The Next Level $47m; Uncharted $3.7m

477^th biggest opening between The Legend of Tarzan and Over the Hedge (close to Morbius, Get Smart, Alien vs. Predator and The Angry Birds Movie).

Took almost 50% from IMAX/PLFs

Ahead of opening, it was tracking to open between $40m-$49m; while Warner Bros were predicting $35m+ and to open between $65m-$80m worldwide; it was always going to have a US-heavy opening.

2021’s Mortal Kombat (COVID) opened $23.3m, taking $42.32m and $84.42m worldwide

1995’s Mortal Kombat opened $23.28m, taking $51.74m and $122.19m worldwide

1997’s Mortal Kombat: Annihilation opened $16.77m, taking $35.92m and $51.37m worldwide

Took $9.7m worldwide from IMAX; $6.8m US and $2.9m internationally.

Opened $23m internationally from 30,000 screens from 78 territories and $63m worldwide; UK $2.2m; Mexico $1.7m, and Australia $1.6m

Many will blame the soft international opening on 2021’s Mortal Kombat being one of the Project Popcorn films, but, as seen with Dune Part 2’s much bigger box office, it was due to a lack of interest in Mortal Kombat internationally. This was seen by how the previous films performed far stronger in the US than internationally.

• Michael – Lionsgate

Dropped 30% in its third weekend, $37.9m and $241.89m

EntTelligence Michael’s basic price was $15.01, and the average PLF price was $18.56

31^st biggest third weekend between Shrek 2 and Jumanji: Welcome to the Jungle (close to A Minecraft Movie, The Lion King, Zootopia and Wicked).

Michael’s audience was 61% female, and 66% were aged 25 or older. Its audience was also diverse across racial lines (38% Black, 26% Latino, 26% white). This was a multi-generational, multi-ethnic hit driven by fans of Jackson’s music. Why was it able to hold so strongly against The Devil Wears Prada 2, as the two films played to very different audiences, so the films didn’t cannibalise themselves? Both films won big by serving their natural, loyal audiences.

Third weekends

2018’s Bohemian Rhapsody dropped 48.6% $16.04m and $128.22m of $216.66m and $910.81m WW.

2015’s Straight Outta Compton dropped 50.2% $13.13m and $134.01m of $161.19m and $201.6m WW

 2024’s Bob Marley: One Love dropped 53% $13.45m and $71.14m of $96.98m and $181.02m worldwide

2019’s Rocketman dropped 31.8% $9.42m and $66.73m of $96.36m and $195.32m worldwide

While they are similar musician biopics none of them have the massive obsessive fanbase that Micheal Jackson has and the fanbase still see their icon as the singer he was in the 80s with Bad and Thriller, they don’t believe the allegations that followed him in the 90s to his death, they probably made them more passionate as they wanted to be seen as supporting him through what they see as fake news. As with Bohemian Rhapsody, Michael ends at the highest point of his career to date in 1985 why fans will watch it again and again.

The problem is, as with The Devil Wears Prada 2, there are no comparable titles analysts can really compare with either film. Bohemian Rhapsody is used for Michael, but Queen was never as big as Michael Jackson in the US, while there are so few tentpole female-targeted films to compare with The Devil Wears Prada 2, that analysts are using Barbie.

As with Bohemian Rhapsody, it was for Michael Jackson’s fans who just wanted to see him as they still do, as he was in 1996; they don’t believe the allegations or controversy that have surrounded him ever since, they just love him for his music and how it made them feel 30 years ago, which is how it makes them feel today.

Michael Jackson added 5m Spotify listeners during the film’s opening weekend; from 68m to 73m, and the Jackson 5 increased 8.7m to 9.7m; Jackson’s streams increased 95% from 16.3m combined streams to 31.7m. Jackson had an 85% increase from 1.3m streams to 2.4m. Billie Jean got 17m more streams and now has 2.652bn streams. Beat It 1m more streams and 1.7bn total, and Don’t Stop ‘Til You Get Enough 7.5m more streams and now 729m.

2009’s Micheal Jackson: This Is It dropped 61.4% $5.07m and $67.19m of $72.09m and $267.98m worldwide; the documentary was the biggest musician film in the US until 2023’s Taylor Swift: The Eras Tour dropped 53.2% $15.54m and $150.61m of $180.75m and $261.65m worldwide; This Is It was a documentary about the This Is It concerts that never happened after Micheal Jackson died two weeks before his first London concert was due to happen in June 2009.

Social media 417.9m Michael followers across TikTok, YouTube, X, Facebook, and Instagram; Elvis 278.6m; Bohemian Rhapsody 242.1m; Rocketman 113.5m; House of Gucci 407m; Jaafar Jackson 500k; Nia Long at 10m; Laura Harrier 1.5m; Coleman Domingo 1.5m; Juliano Krue Valdi 1.4m.

After Michael opened so strongly, talk of the sequel is back, but as this film ends at the high point of Michael Jackson’s career in the summer of 1998, the Bad Concert in London. The second film will surely be far more complicated with the allegations, legal action and would have to include his death, so it will have a much sadder end to his story and likely not play as widely.

Has taken $54.2m worldwide from IMAX worldwide

Took $58.5m from 82 territories, $336.9m total, and $577.4m worldwide; UK $46m; France $30.5m; Mexico $17.8m; Italy $15.7m; Brazil $20.8m; Spain $19m; Germany $19.6m; Australia $19.1m

• The Sheep Detectives- Amazon/MGM

Opened $15.08m; received positive reviews (93% Rotten Tomatoes) and A- CinemaScore

Took $1m from Thursday previews

Was expected to open between $12m-$15m

Opened similar to 2024’s Paddington in Peru $12.76m, taking $45.8m, taking $211m worldwide

21 years ago, Babe opened $8.74m/$25.1m taking and $63.65m/$182.8m and $254.1m/$729.7m WW

Opened with $12.1m internationally from 75 territories and $28m worldwide; UK $4.5m and Australia $1.2m

• Billie Eilish: Hit Me Hard And Soft: The Tour Live In 3D – Paramount Pictures

Opened $7.01m; received positive reviews (93% Rotten Tomatoes) and A CinemaScore

 Took $2.2m from Thursday previews

57% from 3D and 32% PLFs, including 16% from Dolby Cinemas

Was expected to open between $6m-$9m

It was never going to open anywhere near 2023’s Taylor Swift: The Eras Tour, $93.22m taking $180.75m and $261.65m worldwide; but instead, closer to 2011’s Justin Bieber: Never Say Never opening $29.51m taking $75.1m and $99.03m worldwide.

Paramount Pictures acquired the film for $200m.

Billie Eilish’s Hit Me Hard & Soft global tour took $226.1m with the film’s opening similar to what he concerts took over three nights at NYC’s Madison Square, showing it only attracted Billie Eilish’s biggest fans, as with Eras Tour, it will get a much bigger audience when its released-on Paramount+ next month.

Opened 412.6m from 56 territories; UK’s biggest international opened $2.3m

 UK Box Office Top 10

Box Office Preview

With no new releases this weekend, the calm before The Mandalorian & Grogu opens in two weeks, the top three will likely remain the same, with The Devil Wears Prada 2 having a similar 40% third weekend drop as its second weekend, and Michael dropping 30%-40%, which could see them switching places.

The Sheep Detectives will have a 60% second weekend drop, but that’s because almost of its opening came from previews, without previews it should have a small drop as word of mouth will continue to build as it’s a weekend-focused film until half-term in two weeks.

The other two holdovers, Billie Eilish: Hit Me Hard And Soft: The Tour Live In 3D and Mortal Kombat II, are likely to have bigger drops of 60%+, but might remain in the top 5 as all the new releases (mostly re-releases) are unlikely to take more than £600k.

 From Wednesday, Top Gun is re-released for its 40^th anniversary, is released in IMAX for the first time and will be playing with Top Gun: Maverick. There are two other anniversary re-releases: Space Jam (30th Anniversary) and Shrek (25^th Anniversary).

Also released is horror Obsession, Ben Wheatley’s new film Normal and Steven Soderbergh’s new film The Christophers; they are likely to open in the bottom half of the top 10.

Coming Soon

• Tuner – Black Bear

Crime thriller starring Leo Woodall, Havana Rose Liu, Lior Raz, Tovah Feldshuh, Jean Reno, and Dustin Hoffman and directed by Daniel Roher.

Had its world premiere at last year’s Telluride Film Festival, receiving positive reviews, and was the surprise film at last year’s London Film Festival. So surprising its UK release date is 8 months later, as it’s lost all of the momentum and buzz it received between September and October after Telluride, Toronto and London Film Festival screenings. Opening at the end of May, as with most of the film’s opening over this weekend, are seen as counterprograming alternatives to the summer releases, but with Masters Of The Universe, Scary Movie and Disclosure Day opening within 10 days of these films, they will surely struggle to keep screens and find audiences. That said, Tuner will play older than the tentpoles.

Tuner is Dustin Hoffman’s first major screen role since 2010’s Little Fockers, so probably one of his last leading film roles. Leo Woodall starred recently in Netflix’s Vladimir, but is probably known for playing Roxster in Bridget Jones: Mad About the Boy and Jack in The White Lotus TV series.

• Backrooms – A24

Supernatural sci-fi horror starring Chiwetel Ejiofor, Renate Reinsve, Mark Duplass and directed by Kane Parsons; based on Parsons’ web series and inspired by YouTube’s “Backrooms” creepypasta.

The trailer was received very positively when it was released in March.

It will spark some interest, but as with all horrors that have opened this year will struggle to find a wide audience.

• My Mother’s Wedding – Universal Pictures

Comedy drama starring Scarlett Johansson, Sienna Miller, Emily Beecham, Freida Pinto and Kristin Scott Thomas and directed by Kristin Scott Thomas (her directorial debut); the film premiered at the Toronto Film Festival in 2023, receiving mixed reviews, and it was released in the US in August 2025 (opened $433k, taking $911k and $1.1m worldwide.

It was originally titled North Star; it’s the third time Scarlett Johansson and Kristin Scott Thomas have played mother and daughter in a film after 1998’s The Horse Whisperer and 2008’s The Other Boleyn Girl.

It’s unlikely to find a wide audience in the UK, but being set in the UK with a strong female cast, it might spark some interest if its trailered with The Devil Wears Prada 2.

• Power Ballad – Lionsgate

Musical comedy drama starring Paul Rudd, Nick Jonas, Havana Rose Liu, and Jack Reynor and directed by John Carney.

Had its world premiere at the Dublin Film Festival in March and had its US premiere at SXSW, receiving positive reviews.

John Carney previously directed the fabulous Once in 2007 and followed it with 2013’s Begin Again, 2016’s Sing Street and 2023’s Flora and Son (released straight to Apple TV). All of his films have received positive reviews, but he struggled to find a wide audience.

Power Ballard trailers have been well-received and were trailed before Michael, starring Paul Rudd and Nick Jonas. It could find a bigger audience if it’s allowed to find it, as with most of the films opening this weekend, they are word-of-mouth films, audiences don’t rush out to see. The problem is, will these films get a chance?