- Hoppers £4,789,170 – NE
Includes £1,459,260 (30.5%) from previews Sat/Sun
Took £436k 9.14% Friday; £1.57m 32.92% Saturday; £1.31m 27.53% Sunday.
349th biggest opening between The Sixth Sense and Teenage Mutant Ninja Turtles (2014) (close to Batman and Robin, Karate Kid, The Greatest Showman and Uncharted) and 516th biggest inflated opening between Ocean’s Thirteen and The Proposal (close to Peter Rabbit 2, Ghostbusters 2, Jumanji and The Beach).
16th biggest opening over the last 52 weeks between 28 Years Later and The Housemaid (close to Thunderbolts, Downton Abbey 3, Final Destination: Bloodlines and Snow White).
14th biggest Pixar opening between Coco and Ratatouille (close to Brave, Wall-e, A Bug’s Life and Lightyear) and 18th biggest Pixar inflated opening between Coco and Cars 2 (close to Cars, Monsters University, Lightyear and The Good Dinosaur)
Opened in 637 cinemas, 184th widest opening similar to EPiC: Elvis Presley In Concert, Star Wars Revenge Of The Sith (Re: 2025) and Jumanji: The Next Level; 299th 600+ cinema opening since 2015’s Jurassic World.
Opening was 10.56% of the US opening, including previews, but 7.34% without previews, showing how weekend previews had a massive impact on its opening weekend.
Hoppers is Pixar’s 30th film since 1995’s Toy Story and their best reviewed film since 2020’s Onward (opened £3,419,500 taking £7,308,920/£8,108,649 (COVID) Since 2020 Pixar has released 7 films releasing Soul, Luca and Turning Red straight to Disney+, Toy Story prequel Lightyear that disappointed both critically and at the BO, 2023’s Elemental performed better (opened £3,049,002 taking £18,151,466) and then had the predictable huge success from 2024’s Inside Out 2 before 2025’s Elio was a disappointment both critically and at the BO (opened £971,168 taking £4,731,082)
Hoppers is a return to original form for Pixar, as 2017’s Coco was the last original Pixar success.
Hoppers had previews last weekend, taking £1.45m and should have opened similar to 2009’s Up (£6,411,836), 2012’s Brave (£5,269,402) and 2017’s Coco (£5,209,214) and ahead of 2007’s Ratatouille (£4,444,384) and 2008’s WALL-E (£4,253,736).
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 anim2020’s Onward opened £3,419,500, taking £7,308,920/£8,108,649 (COVID)
2023’s Elemental opened £3,049,002 taking £18,151,466
2025’s Elio opened £971,168 taking £4,731,082
- 2. Scream 7 – £1,161,628 – £6,142,533
Dropped 69.7% in its second weekend.
£356k 30.7% (-72% £1.27m) Friday; £506k 43.6% (-59.2% £1.24m) Sat; £299k 25.8% (-61.8% £782k) Sun
965th biggest second weekend between Runaway Bride and Bad Moms (close to Mary Shelley’s Frankenstein, Red Sparrow, Alien Resurrection, and Now You See Me) and 1,512th biggest inflated second weekend between The Godfather Part III and The Hills Have Eyes (close to Cruel Intentions, Beetlejuice, X-Men: Dark Phoenix and Snakes on a Plane).
31st biggest second weekend over the last 52 weeks between The SpongeBob Movie: Search for Squarepants, and Now You See Me: Now You Don’t (close to Mickey 17, 28 Years Later: The Bone Temple, The Naked Gun and Karate Kid: Legends).
55th biggest horror second weekend between The Exorcist (1998 RE) and Nope (close to Final Destination, My Bloody Valentine, Jeepers Creepers and 28 Days Later) and 95th biggest inflated horror second weekend between The Boogeyman and The Hills Have Eyes (close to Piranha 3-D, The Texas Chainsaw Massacre, Jeepers Creepers 2 and Silent Hill)
While Scream 7 opened similarly to 28 Years Later and Final Destination: Bloodlines, its second weekend was similar to Five Nights At Freddy’s 2 and 28 Years Later: The Bone Temple.
While its opening weekend and its second weekend were similar to 2019’s X-Men: Dark Phoenix
2023’s Scream VI dropped 67.6% £987,312 (£324k 60% drop Friday; £436k 55% drop Saturday; £221k Sunday and £5,137,371 of £7,595,558.
The Scream series has taken over £50m to date and £85m inflation-adjusted.
2022’s Scream dropped 49.3% £1,251,812 from 606 screens and £4,753,247 63.9% of £7,438,313
2011’s Scream 4 dropped 64.5% £730,963/£974,617 and £4,046,069 72.5% £5,581,902 (£7,442,536 inflated)
2000’s Scream 3 dropped 63.7% £889,543/£1,676,527 and £4,267,334 76.4% of £5,585,267 (£10,256,581 inflated)
1998’s Scream 2 dropped 51.3% £1,213,184/£2,411,316 taking £4,962,546 (£9.3m inflated) and £8,280,725 (£14.68m inflated)
1997’s Scream dropped 10.2% £961,645/£1,909,113 and £2,852,698 34.6% of £8,247,094 (£16,372,609 inflated)
What was incredible about the first Scream film it opened in May 1997 six months after the US was it had very strong legs (was in the top 15 in the UK for over 3 months) as it was a horror film for people who don’t like horror films, but the sequel is far more of a straight horror, while tries to be too clever for itself.
1,257th biggest between Stepbrothers and After Earth (close to Friends with Benefits, Regretting You, Pitch Perfect and The Exorcist: Believer) and 1,833rd biggest between Argylle and The Muppets Christmas Carol (close to The Craft (1996), John Wick: Chapter Two, Planes, Trains and Automobiles and Speed 2: Cruise Control).
- 3. Wuthering Heights £1,877,687 – £23,094,991
Down 51.9% in its fourth weekend
£312k 29% (-55.9% £707k) Fri; £442k 41% -49.9% £883k) Sat; £323k 30% (-50.15% £648k) Sun
319th biggest fourth weekend between Monsters Vs. Aliens and Django Unchained (close to Once Upon a Time… in Hollywood, Anyone But You, Angels and Demons and Black Swan) and 556th biggest inflated fourth weekend between Mission: Impossible – Ghost Protocol and Hotel Transylvania 3: A Monster Vacation (close to Sinners, Belfast, Juno and Miss Congeniality).
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 11.7% £519,933/£1,023,259 and £4,015,954 54% of £7,438,055/£14,638,531
2013’s The Great Gatsby dropped 49.4% £658,225/£807,409 and £13,592,156 88% of £15,446,265/£18,947,103
Wuthering Heights is what The Bride! could have been if Netflix hadn’t passed, if the studio hadn’t panicked, if the director’s cut had been released, if the opening had been strong enough to overcome the mixed reviews.
Instead, The Bride! became the cautionary tale. Wuthering Heights became the “mixed but profitable” example.
The difference isn’t the films. It’s the narratives that were built around them and who controlled those narratives. Fennell had Warner Bros. fighting for her film. Gyllenhaal had anonymous executives explaining why it failed.
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 52.5% £1,066,813/£1,185,183 and £32,706,648 94.4% of £34,662,255/£38,508,275
2017’s Fifty Shades Darker dropped 52.7% £709,840 and £21,935,589 96.6% of £22,694,878/£24,270,490
2018’s Fifty Shades Freed dropped 70.9% £346,818 and £17,012,631 97.1% of £18,060,783/£20,036,963
While last year, Bridget Jones: Mad About The Boy dropped 50.1% £2,059,532 and £40,398,810, 87.1% of £46,367,473
Modern versions include.
2019’s Little Women dropped 26.7% £1,480,139/£1,642,093 and £16,355,697 76.8% of £21,283,939/£23,612,791
2005’s Pride And Prejudice dropped 38.4% £906,679/£1,541,932 and £11,366,489 78% of £14,562,448/£24,765,437
1996’s Sense and Sensibility dropped 15.4% £823,591/£1,620,876 and £5,023,890 36.9% of £13,605,627/£26,776,676
248th biggest between Doctor Strange and Austin Powers in Goldmember (close to The Girl on the Train, Ghost, Fifty Shades Darker and Gone Girl) and 487th biggest inflated between The Hunchback of Notre Dame and Sleepless in Seattle (close to Little Women (2019), Cinderella, Maleficent and The Others)
11th biggest over the last 52 weeks between The Fantastic Four and How To Train Your Dragon (close to Mission Impossible 8, F1, Hamnet and The Conjuring: Last Rites).
Charli XCX’s soundtrack album is the #1 with singles Chains of Love #21, Dying for You #31, Always Everywhere #69, while Kate Bush’s Wuthering Heights song returned to the charts #54.
- 4. The Bride! £715,009 – NE
Took £225k 32.03% Friday; £282k 39.44% Saturday; £204k 28.53% Sunday.
2,295th biggest opening between Crouching Tiger Hidden Dragon and My Super Ex-Girlfriend (close to The Devil’s Own, Backdraft, I Know What You Did Last Summer and The Game) and 2,854th biggest inflated opening between Bad Company and The Holdovers (close to A Wrinkle In Time, The Vanishing, Jaws – The Revenge and The Lost Boys).
65th biggest opening over the last 52 weeks between Warfare and Mothers Pride (close to Black Bag, The Phoenician Scheme, Roofman and A Working Man)
Opened in 630 cinemas, 199th widest opening, similar to Moana 2 and In The Heights: 299th 600+ cinema opening since 2015’s Jurassic World.
The Bride opened with 10.14% of the US opening, which is the standard guide for UK opening, but it rarely happens that it’s exactly 10% its normally either as Hoppers 7%-9% or 11%-14%
As always, when a big budget film underwhelms and questions are asked why it opened so poorly, but normally the reason dates back before the film started shooting, as after the poor performance of most of Universal Pictures’ recent Dark Universe films, Warner Bros believed there was an audience for The Bride. Universal Pictures has had several attempts to build a Monsters Universe, but they only worked as solo films, 2020’s The Invisible Man (opened £2,163,797, taking £6,841,147) and Brendan Fraser’s The Mummy. (Universal Pictures are making a fourth one for release next year)
And not 2014’s Dracula Untold (opened £1,713,283, taking £4,454,648)
2017’s The Mummy opened £3,343,650, taking £8,744,766
2023’s Renfield (opened £680,661 taking £1,629,813)
2025’s Wolfman (opened £654,326 taking £990,694)
1993’s Bram Stoker’s Dracula opened £2,640,584/£6,589,121 taking £11,548,429/£28,817,108
1994’s Mary Shelley’s Frankenstein opened £1,256,330/£3,096,370 taking £6,035,000/£14,873,954
The “brain trapped in the body of a game show hostess” line from Say Anything captures exactly what’s happening with films like The Bride!, mother!, The Smashing Machine, Die My Love and A Big Bold Beautiful Journey. They’re intellectually ambitious, formally adventurous, often challenging works, brains housed in the body of something that looks like mainstream entertainment: studio budgets, recognisable stars, wide releases.
The Brain/Game Show Hostess Dynamic
Aronofsky made a deeply personal, allegorical film about humanity’s destruction of the Earth, using the structure of the Bible as its narrative skeleton. It’s dense, uncomfortable, and designed to provoke. Aronofsky himself wasn’t surprised by the F CinemaScore, saying, “How, if you walk out of this movie, are you not going to give it an ‘F’?” He knew what he’d made.
The game show hostess’ body: But the film was dressed in Jennifer Lawrence’s star power, given a $30 million budget, and released widely by a major studio. Audiences saw Lawrence on the poster and bought tickets for a tense psychological thriller. What they got was something closer to experimental theatre with increasingly disturbing imagery.
The result? A film that satisfied almost no one at the moment. Art-house audiences found it too grotesque. Mainstream audiences found it incomprehensible. The brain alienated the body’s audience, and the body’s presence made the brain’s work feel like a betrayal.
Connecting to The Bride!
This is exactly what Maggie Gyllenhaal was facing. The Bride! an art-house musical reimagining of Frankenstein with poetic ambitions, is a brain. But it was dressed in a $100 million body, with reshoots ordered precisely because the studio realised the body and brain weren’t matching.
The Warner Bros. executive who looked at test screening data had the same thought as the audience member walking out of Mother!: This isn’t what I signed up for. But here’s the cruel twist—that reaction was baked into the premise from the start.
Guillermo del Toro’s Wisdom
Guillermo del Toro tweeted during the Crimson Peak release, which faced a similar identity crisis: “When 1 movie gets made, 3 get released: The one the audience wants. The one the studio sells. The one that was made. Sometimes they coincide”.
For mother! Those three versions were galaxies apart:
The one the audience wanted: A Jennifer Lawrence thriller with horror elements.
The one the studio sold: A provocative, daring film from an acclaimed director (though the marketing still leaned on Lawrence’s presence)
The one that was made: An avant-garde biblical allegory about eco-grief and artistic narcissism.
For The Bride!, we now know the same three-way collision occurred, with the added tragedy that the studio tried to force the first two versions to align by ordering reshoots and voiceover, pulling Jenga blocks from the original structure until the whole thing wobbled.
In 2023, the film was set at Netflix but moved to Warner Bros in 2024 due to budget concerns, and Warner Bros were eager to show themselves after the public falling out with Christopher Nolan. They wanted to make director-driven films like Joker: Folie à Deux, Mickey 17, Sinners, Weapons and One Battle After Another. In those films, Maggie Gyllenhaal had the final cut.
The Bride! Was originally due to be released in October 2025, but after having poor test screenings in early 2025, the $100m film was delayed to March 2026. There were reports that it was too arthouse and not enough horror. The film has been described as an R-rated “punk-rock” Bonnie & Clyde musical/thriller set in 1930s Chicago, which made me think of films like Suckerpunch.
Had The Bride opened in October, it would have received its premiere at Venice/Toronto Film Festival, moving it to March would have expected it to premiere at the Berlin Film Festival if Warner had faith in the film; instead, it has a UK premiere on February 26th.
Jessie Buckley could follow in the footsteps of Halle Berry, Natalie Portman, Jamie Foxx and Sandra Bullock, winning Best Actress for Hamnet, 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.
The Bride! Will drop heavily, it’s its second weekend 70%, which also raises the question about theatrical windows, why should a film that flopped have to keep to the rigid 45-day theatrical window when it will be out of cinemas within 21 days? Also, ask that question with Mothers Pride and Peaky Blinders: The Immortal Man, three or four films that show that exhibitors are still living in the 90s with their antiquated theatrical windows.
- 5. Mother’s Pride £707,634 – NE
Took £205k 29% Friday; £275k 38.9% Saturday; £227k 32.1% Sunday.
2,312th biggest opening between Van Wilder and The Pope’s Exorcist (close to Great Expectations, Something Borrowed, Pulp Fiction and The Royal Tenenbaums) and 2,870th biggest inflated opening between Final Analysis and Iris (close to The Madness Of King George, Jackie, Beaches and Howard – A New Breed of Hero).
66th biggest opening over the last 52 weeks between The Bride! And Roofman (close to The Phoenician Scheme, Warfare, Mercy and Caught Stealing).
Opened similar to 2022’s Fisherman’s Friends: One And All, £656,293 #6 645 screens taking £3,048,308, and 2013’s Sunshine on Leith opened £770,239; down only 5% in its second weekend and took £4,550,851.
In 2019, Fisherman’s Friends opened #2 with £1,154,865 from 506 screens; holding strongly in its second weekend, taking £972,996 #3 down 16% from 537 screens and £3,361,336 45.4% of £7,380,488 (6.4x opening).
Opened in 517 cinemas, 650th widest between The Salt Path and Horrible Histories: The Movie – Rotten Romans, and 768th 500+ cinema opening since 2002’s Monsters, Inc.
Distributors of UK films will either open them very wide, as they fear that if they don’t immediately find an audience, they won’t go wider, or open them on 400-500 screens as The Salt Path and Mother’s Pride and then could expand them into more screens in their second weekend. Normally, the marketplace is crowded, and there is only a week gap, but there is a two-week window here. With Project Hail Mary having previews on Sat/Sun, the extra screens may only occur on weekdays for Mother’s Pride, as with Sunday being Mother’s Day, there could be a good holdover the weekend.
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?
The problem with AI systems is they always seem to be focussed on major releases, and the grass is greener with the net week releases, ignoring that people’s habits in how they choose to see these smaller films are very different; they don’t rush out to see them over opening weekend, it’s about word of mouth from friends, not social media.
Aa always with a film like Mothers Pride exhibitors AI has cut back on shows in its second weekend, despite Mothers Pride not being a film audiences rush out to see over the opening weekend. As with EPiC: Elvis Presley In Concert dropping 82% in its second weekend, Mother’s Pride has shown by its Sunday BO its building its audience, but that didn’t stop exhibitors’ cutback shows of EPiC after only a week.
Also opened
Netflix released Peaky Blinders: The Immortal Man in cinemas ahead of its streaming release date in two weeks. It played in about 60 cinemas, including Everyman, Curzon, Light, Picturehouse and Showcase, selling about 105,000 tickets. As the average ticket price is much higher than the UKCA £8.01, Everyman Cinema’s average is £12.51; it would have taken about £1.5m opening #2 ahead of Scream 7, £1,161,628 playing in over 600 cinemas in its second weekend.
Major exhibitors have refused to book Netflix films as they demand Netflix to stick to the theatrical window, but as a supplier the studio should be able to decide how long they want a film to play in cinemas as they are taking the risk, as major exhibitors want their cake and eat it too, as they want distributors to have fixed windows but then they can pull underperforming films from cinemas within a week, last weekend Mothers Pride opened with £707k but due to exhibitors AI its showtimes are dramatically cut in its second weekend this was similar with EPiC: Elvis Presley In Concert after opening with £1.8m two weeks ago it dropped 82% in its second weekend while it might technically been playing in 600+ cinemas in its second weekend its showtimes were cut back to one random show daily. There is of course, double standards as exhibitors want their cake and eat it too.
While Adam Aron might have recently said that AMC and Netflix are best friends after AMC generated $15m+ concession sales from the Stranger Things series finale on New Year’s Eve, attracting 753k admissions and also from the cinema release of KPop Demon Hunters
Major exhibitors keep saying they want to show Netflix films, but if major exhibitors twist their own rules when it suits them with Event Cinema, they are just cutting their nose to spite their face, as they will be the only ones losing out. As someone suggested Peaky Blinders: The Immortal Man could have taken £20m+ at the UK BO had it had a proper
are the only loser when they refuse to book Netflix films, as it means they watch the film on Netflix and don’t go to the cinema.700+ cinema wide release, but why should Netflix play to these antiquated rules if they don’t get anything back from exhibitors as seen with the hostility towards them by exhibitors and the likes of James Cameron saying “will be disastrous for the theatrical motion picture business,” about their planned merger with Warner Bros. Over the last 20 years, Netflix has seen huge growth with 325m subscribers worldwide. A large percentage of them are regular cinemagoers, so major exhibitors dismissing Netflix is just pushing subscribers to see more films at home.
As seen with Scream 7 dropping 70% in its second weekend, exhibitors need to get past these antiquated fixed theatrical windows of whatever length, as switching them back to 90 days won’t stop these films dropping 70% in in their second weekend. While a film like The Bride! Have a 45-day window when it’s going to drop 70%+. It’s its second weekend with exhibitors cutting screens and showtimes, and it being played out of cinemas within 21 days, why should it still have to playout the 45-day window?
Fixed windows of any length for all films doesn’t work; they need to be flexible windows dependent on film performance, so as seen with films like Zootropolis 2 and The Housemaid, their windows can be extended, but then for 28 Years Later: The Bone Temple, they can be reduced.
—-
BO is currently up 2% from 2025.
The weekend’s top 10 box office took £9,633,727, down 4.9% from last weekend’s £10,124,911: 1,188,878 admissions, down 4.5% from 1,244,269 admissions.
33rd biggest weekend of the last 52 weeks between 08 August 2025 #1 Weapons £2,818,535 (28.39%) and 14 November 2025 #1 Now You See Me: Now You Don’t £2,384,018 (25.33%)
132nd biggest since cinemas reopened out of 277 weeks between 18 August 2023 #1 Barbie £2,697,820 (27.79%) and 13 May 2022 #1 Doctor Strange In The Multiverse Of Madness £5,690,351 (59.29%)
710th biggest top 10 of the last 24 years (out of 1,248) between 14 September 2018 #1 The Predator £2,394,163 (24.82%) and 16 May 2014 #1 Godzilla £6,385,483 (66.32%) and 993rd biggest inflated between 03 October 2008 #1 How to Lose Friends and Alienate People £1,154,607 (18.42%) and 12 September 2003 #1 Calendar Girls £1,762,505 (33.02%)
The top 3 took £7,028,485 (72.9%) of the top 10; Hoppers 49.7% (£4,789,170); Scream 7 12.06% (£1,161,628); Wuthering Heights 11.19 % (£1,077,687).
293rd biggest percentage share #1 (49.71%) between 13 February 2026 #1 Wuthering Heights £7,665,295 (49.73%) and 31 December 2021 #1 Spider-Man No Way Home £6,055,345 (49.61%)
594th biggest admissions (597,899) between 08 June 2007 #1 Ocean’s Thirteen £3,021,302 (598,278) and 20 June 2025 #1 28 Years Later £4,780,374 (596,801)
Up 34.75% from 2025; (£7,149,384); Mickey 17 (£2,132,080); Marching Powder (£1,079,492); One Of Them Days (£203,136); Erin Brockovich (25th Anniversary) (£7,677); #1 Mickey 17 £2,132,080 1st week 685 screens (29.82% of top 10)
Up 2.03% from 2024; (£9,441,790); Imaginary (£652,808); Shaitaan (£114,929); Titanic – The Musical (£112,010); La Forza Del Destino – Met Opera 2023/24 (£87,642); Soul (£79,251); Origin (£41,156); #1 Dune: Part II £5,851,155 2nd week 37% drop 726 screens (61.97% of top 10)
Down 7.60% from 2023; (£10,426,415); Scream VI (£3,043,922); 65 (£1,270,409); Champions (£376,816); Winnie the Pooh: Blood and Honey (£10,115); #1 Scream VI £3,043,922 1st week 627 screen (29.2% of top 10)
Down 17.85% 2022 (£11,727,453); BTS Permission to Dance on Stage – Seoul: Live Viewing (£899,127); Red Rocket (£74,709); Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone (Re: 2022) (£22,184); #1 The Batman £7,406,390 2nd week 715 screens 45% drop (63.1% of top 10)
2021 Lockdown
Up 4.04% 2020; (£9,259,952); Onward (£3,419,500); Military Wives (£968,468); Blumhouse’s Fantasy Island (£392,857); Riverdance 25th Anniversary Show (£313,001); Baaghi 3 (£165,177); The Photograph (£29,579); #1 Onward £3,419,500 1st week 632 screens (36.93% of top 10)
Down 44.06% from 2019: (£17,220,357); Captain Marvel (£12,750,000); The Sleeping Beauty – Bolshoi Ballet 2019 (£176,849); Everybody Knows (£118,080); Miss Bala (£18,832); #1 Captain Marvel £12,750,000 1st week 655 screens (74.1% of top 10)
Up 0.20% from 2018; (£9,614,433); You Were Never Really Here (£288,344); Gringo (£215,029); Walk Like a Panther (£91,333); Wonder Wheel (£42,976); #1 Black Panther £2,931,682 4th week 585screens 22% drop (30.5% of top 10)
Down 30.07% 2017: (£13,776,935); Kong: Skull Island (£6,230,997); La Traviata – Met Opera 2017 (Opera) (£323,284); Elle (£253,619); The Love Witch (£14,244); #1 Kong: Skull Island £6,230,997 1st week 567 screens (45.2% of top 10)
Down 19.82% 2016: (£12,014,397); Kung Fu Panda 3 (£4,771,131); The Divergent Series: Allegiant (£1,838,019); The Witch (£447,626); Anomalisa (£223,387); The Ones Below (£6,971); #1 Kung Fu Panda 3 £4,771,131 1st week 583 screens (39.7% of top 10)
Up 16.65% 2015; (£8,258,448); Chappie (£1,015,058); Still Alice (£401,565); Unfinished Business (£394,177); It Follows (£229,927); Romeo & Juliet – Bolshoi 2013 (£189,674); Kill the Messenger (£57,666); #1 The Second-Best Exotic Marigold Hotel (£1,957,256); 2nd week down 48% (23.7% of top 10)
Down 6.32% 2014: (£10,284,056); 300: Rise of an Empire (£2,761,612); The Grand Budapest Hotel (£1,532,239); Escape from Planet Earth (£395,392); #1 300: Rise of an Empire (£2,761,612) 1st week (26.85% of top 10)
Up 14.14% 2013: (£8,440,254); Oz: The Great and Powerful (£3,712,948); Side Effects (£904,746); Parker (£568,777); Guilt Trip (£432,068); Robot & Frank (£106,346); Broken (£68,423); Fire with Fire (£19,201); The Princess Bride (Re) (£11,273); #1 Oz: The Great and Powerful £3,712,948 1st week 530 screens (44% of top 10)
Up 12.57% 2012: (£8,558,124); John Carter (£1,960,414); The Raven (£299,254); Bel Ami (£296,341); Cleanskin (£27,405); #1 John Carter £1,960,414 1st week 456 screens (22.9% of top 10)
Up 12.81% 2011; (£8,539,922); Battle: Los Angeles (£1,792,913); Hall Pass (£900,936); Fair Game (£304,297); The Resident (£139,088); The Company Men (£36,785); #1 Battle: Los Angeles £1,792,913 1st week 420 screens (21% of top 10)
Down 31.94% 2010: (£14,154,973); Shutter Island (£2,250,178); Green Zone (£2,087,368); Hachi: A Dog’s Tale (£442,753); The Girl with the Dragon Tattoo (£378,434); #1 Alice in Wonderland £7,343,506 2nd week 533 screens (51.9% of top 10)
Down 10.64% 2009; (£10,781,295); Watchmen (£3,243,001); The Young Victoria (£1,016,053); The Secret of Kells (£25,657); #1 Watchmen £3,243,001 1st week 419 screens (30.1% of top 10)
Up 47.08% 2008; (£6,550,070); Vantage Point (£1,454,636); The Other Boleyn Girl (£954,994); The Game Plan (£767,143); In Bruges (£343,760); Diary of the Dead (£201,571); #1 Vantage Point £1,454,636 1st week 350 screens (22.2% of top 10)
Up 37.06% 2007: (£7,028,900); Norbit (£1,962,913); Becoming Jane (£649,323); Outlaw (£582,434); #1 Norbit (£1,962,913) 1st week (27.93% of top 10)
Up 67.19% 2006; (£5,762,109); The Hills Have Eyes (£1,126,575); The Proposition (£205,594); Two for the Money (£165,003); #1 The Hills Have Eyes £1,126,575 1st week 331 screens (19.5% of top 10)
Up 40.93% 2005: (£6,835,834); Hitch (expansion) (£4,230,857); Hostage (£807,171); The Chorus (£132,636); #1 Hitch £4,230,857 2nd week 1st #1 7,894% increase 448 screens (61.9% of top 10)
Up 71.60% 2004; (£5,614,199); 21 Grams (£582,951); Torque (£503,318); Uptown Girls (£304,525); Suzie Gold (£65,089); #1 Along Came Polly £1,572,126 2nd week 385 screens 30% drop (28% of top 10)
Up 24.68% 2003 (£7,726,649); Maid In Manhattan (£2,424,584); Far from Heaven (£452,369); #1 Maid In Manhattan £2,424,584 1st week 422 screens (31.4% of top 10)
Up 33.76% from 2002: (£7,202,296); We Were Soldiers (£ 757,760); Hearts in Atlantis (£110,793); #1 Ocean’s Eleven £1,850,350 3-week #1 split 4th week 437 screens 29% drop (25.6% of top 10)
2025 Next week: (£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)
US Box Office
- Hoppers – Disney
Opened $45.34m; received positive reviews (96% Rotten Tomatoes) and A CinemaScore
Took $3.2m from Thursday previews ($2m from Thursday and $1.2m from Saturday); 2020’s Onward $2.7m; 2023’s Elemental $2.5m; GOAT $1.5m; 2024’s The Wild Robot $2m; 2025’s Dog Man $1.4m.
368th biggest opening between Ghost Rider and American Pie 2 (close to Ice Age, Megamind, Horton Hears a Who!, and Hotel Transylvania).
2020’s Onward opened $39.1m, taking $61.55m and $141.91m worldwide (COVID affected)
2023’s Elemental opened $29.6m, taking $154.42m and $496.44m worldwide
2024’s The Wild Robot opened $35.79m, taking $143.9m and $334.53m worldwide
2025’s Dog Man opened $36M, taking $97.97m and $146.04m worldwide
Opened $42m internationally and $88m worldwide; UK $6.4m; Mexico $3.7m; France $3.6m; Germany $3.5m; Spain $2.8m.
Had the biggest worldwide opening for a Pixar original film since 2017’s Coco ($104.7m); 2020’s Onward ($65.6m, COVID-affected), and 2023’s Elemental ($65.1m).
- Scream 7 – Paramount Pictures
Dropped 73.3% in its second weekend, $17.01m and $93.08m
EntTelligence said the average ticket price since 2023 for the pics has surged from $12.82 to $14.96 (standard) and higher for IMAX/PLF
628th biggest second weekend between Mulan and Migration (close to Scream VI, Birds of Prey, Wild Wild West and Independence Day: Resurgence).
Prerelease social media universe stats on Scream 7 at 264.5m, 11% above horror-franchise norms across TikTok, Facebook, X, YouTube and Instagram combined but behind Scream VI ‘s 360.5m social media reach by 27%. Neve Campbell is active on social, bringing 672,000 fans, while Courteney Cox stands by in pre-activation mode with her 20.7m fans.
2023’s Scream VI dropped 61% $17.33m and $75.86m of $108.39m and $166.57m WW
2022’s Scream dropped 61% by $12.21m and $51.16m of $81.64m and $137.74m WW
1996’s Scream increased 42.8% #5, taking $9.07m and $21.25m, taking $103.04m and $173.04m worldwide (#5 behind Michael, Jerry Maguire, 101 Dalmatians and Beavis and Butt-Head America). 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 57.7% by $13.92m #3 and $55.08m, taking $101.36m and $172.36m WW
2000s Scream 3 dropped 53% by $16.31m #1 and $56.97m, taking $89.14m and $161.83m WW.
2011’s Scream 4 dropped 62.4% by $7.03m #5 and $31.03m, taking $38.18m and $97.23m WW
Internationally
2022’s Scream dropped 43.3% internationally in its second weekend, taking $10.2m from 54 territories and $33.6m total international and $85m worldwide; UK$6.5m; France $2.9m; Australia $2.8m; Russia $1.3m; Mexico $2.3m; Germany $1.8m.
Scream VI dropped 46% with $11.3m internationally from 53 territories, $40m total and $116m worldwide; France $6m; UK $6.3m; Mexico $3.6m; Australia $3.4m; Brazil $3.2m.
Took $15.6m from 50 territories, $56.1m to date and $149.5m worldwide.
- The Bride! – Warner Bros
Opened $7.05m; received mixed reviews (62% Rotten Tomatoes) and C+ CinemaScore.
Took $1m from Thursday previews.
As always, after a film underperforms, there is a public inquest from analysts. In 2023, the film was set at Netflix but moved to Warner Bros in 2024 due to budget concerns. There was also the issue that Netflix were making another Frankenstein film directed by Guillermo del Toro, and the two films would have been released close together. Warner Bros were eager to acquire Maggie Gyllenhaal’s film as the studio wanted to show after the curfuffle caused by Christopher Nolan in 2020, which saw him move to Universal Pictures to make Oppenheimer. They made many director-driven films like Joker: Folie à Deux, Mickey 17, Sinners, Weapons and One Battle After Another.
The Bride! Was originally due to be released in October 2025, but after having poor test screenings in early 2025, the $100m film was delayed to March 2026. There were reports that it was too arthouse and not enough horror. The film has been described as an R-rated “punk-rock” Bonnie & Clyde musical/thriller set in 1930s Chicago. Moving the film from October also meant it was away from Guillermo del Toro’s Frankenstein, and it also avoided a repeat of Joker: Folie à Deux Toronto Film Festival disaster.
The Bride received glowing tweets from its UK premiere at the end of February, but they mean very little, as if the film were as good, it would surely have premiered at the Berlin Film Festival, and it wouldn’t have such a late embargo.
Ahead of opening it was expected to open with under $10m in the US: as soon as a studio delays a high profile release the warning signs are shinning as there are very few films that become successes after very public delay announcements including Jupiter Ascending, Chaos Walking, Pan, Gangster Squad, Jack the Giant Slayer, The Lone Ranger and 47 Ronin, while Titanic, X-Men, The Great Gatsby and Moulin Rouge are a few exceptions.
In an interview, Maggie Gyllenhaal said, “The cut hitting theatres on Friday is not hers; what ended up in the final cut is ‘pulled back’ from her original vision.” She believes that it would have gotten a different reaction “had a man directed it.”
Jessie Buckley could follow in the footsteps of Halle Berry, Natalie Portman, Jamie Foxx and Sandra Bullock, winning Best Actress for Hamnet, 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.
Opened $6.3m internationally from 70 territories and $13.6m worldwide; UK $950k; Mexico $753k; China $538k; France $406k; Brazil $376k; Spain $304k; Italy ($292k; Australia $281k.
- Goat – Sony Pictures
Dropped 46% in its third weekend, $6.47m and $83.68m
2018’s Spider-Man: Into the Spider-Verse dropped 30.2% $13.12m and $133.97m of $190.24m and $375.58m worldwide
2022’s The Bad Guys dropped 26.5% $7.03m and $66.41m of $97.45m and $250.38m worldwide
2025’s Elio dropped 30.3% $4.03m and $63.8m of $72.98m and $154.29m worldwide.
2021’s Space Jam: A New Legacy dropped 43.7% $2.43m and $65.6m of $70.59m and $163.69m worldwide
2007’s Surf’s Up dropped 62.8% $2.44m and $53.76m of $58.86m and $152.01m worldwide
1996’s Space Jam dropped 66.5% $4.54m and $73.35m of $90.41m
Took $4.2m internationally in 54 territories, $62.5m total and $146.3m worldwide, including the UK $16.1m and France $4.5m.
- Wuthering Heights – Warner Bros
Down 44.5% in its fourth weekend, $3.72m and $78.73m
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.
UK Box Office Top 10
Box Office Preview
Hoppers will hold #1 for a second weekend, but after its opening, which included 31% from weekend previews, it will drop 45%-50%, taking £2.3m-£2.8m, but without previews, it will be a drop of about 20%, similar to Elemental, Monsters University, Up and Elio.
Scream 7 will drop 50% in its third weekend, taking £550k-£650k, and Wuthering Heights will drop similarly in its fifth weekend.
This will see Reminders Of Him, the latest Colleen Hoover adaptation open #2, similar to last year’s 2025’s Regretting You opened £1,275,979, taking £6,186,391.
The Bride! Will drop 70% in its second weekend, while Mother’s Pride should have a much smaller drop, at about 40%, building on word of mouth as seen by its good Sunday BO, taking a bigger percentage of the box office of the films above it. The only issue working against it is that its showtimes have been cut back from its opening weekend.
After underperforming in the US last month, the black comedy How To Make A Killing, starring Glen Powell, inspired by the 1949 film Kind Hearts and Coronets, opens Wednesday, which could see it opening fifth. The film has received mixed reviews, and 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.
Project Hail Mary has previews over the weekend ahead of its opening next Thursday, so the weekend will be the lowest since the first weekend of March, but with Project Hail Mary opening next weekend and The Super Mario Galaxy Movie the following weekend for Easter holidays, BO will increase a lot over the coming weeks.
Coming Soon
- The Magic Faraway Tree – Entertainment Films
Fantasy adventure starring Andrew Garfield, Claire Foy, Nonso Anozie, Nicola Coughlan, Jessica Gunning, Jennifer Saunders, Rebecca Ferguson and directed by Ben Gregor, based on the Enid Blyton book series. The film was set up at Studiocanal, but the project moved to Elysian Film Group.
The Magic Faraway Tree is a beloved Enid Blyton book, a portal fantasy where children discover a whole other world, like CS Lewis’s The Lion, the Witch and the Wardrobe. With a screenplay written by Simon Farnaby, who previously wrote the Wonka and Paddington 2 scripts, and TV shows Horrible Histories and Ghosts.
Enid Blyton books have sold over 600m copies worldwide and are one of the top 10 best-selling authors of all time, alongside Shakespeare, Agatha Christie, and J.K. Rowling
- Splitsville – Universal Pictures
Comedy starring Dakota Johnson, Adria Arjona, Michael Angelo Covino, Kyle Marvin, and directed by Michael Angelo Covino.
Premiered at the Cannes Film Festival, receiving positive reviews, and opened in the US in August, critics opened on limited release, expanding to 800 screens, taking $1.9m and $3.43m worldwide. It will have a limited release in the UK.
- They Will Kill You – Warner Bros
Action-comedy horror starring Zazie Beetz, Myha’la, Paterson Joseph, Tom Felton, Heather Graham and Patricia Arquette and directed by Kirill Sokolov.
Received its world premiere at the SXSW film festival.