- The Super Mario Galaxy Movie £5,540,836 – £28,283,672
Dropped 63.1% in its second weekend (42% without previews)
£1.85m 33.4% (-55.2% £4.3m) Fri; £2m 36.6% (-38.1% £3.3m) Sat; £1.66m 29.96% (-18.2% £2.03m) Sun; Mon £579k; Tues £469k
82nd biggest second weekend between Spider-Man 3 and Indiana Jones …The Crystal Skull (close to Jurassic World Dominion, Fantastic Beasts 2, Guardians of the Galaxy Vol. 3 and Jumanji: Welcome to the Jungle) and 165th biggest inflated second weekend between X-Men 2 and American Pie 2 (close to Batman Forever, Inception, Toy Story and Jumanji (1996).
4th biggest second weekend over the last 52 weeks between Avatar: Fire And Ash and Superman (close to Project Hail Mary, Zootropolis 2, Wuthering Heights and The Housemaid).
Second weekends
2023’s Super Mario Bros dropped 51.8% (14% without previews) £7,568,523 and £35,855,948 of £54,578,335/£55,198,543; Took £2.88m Friday (-24.4%); £2.63m Saturday (-13.5%) and £2.05m (+13.9%); but with schools returning Monday £525k (-87.2%) and Tuesday £340k (-82%)
2025’s A Minecraft Movie dropped 52% £7,201,922 and £31,056,475 of £55,508,185; £2.06m (-55.7%) Friday; £2.58m (-56.3%) Saturday; £2.56m (-42.6%) Sunday; £2.13m Monday; £2.5m Tuesday (up 13%)
Other films that targeted a similar audience include.
2014’s The Lego Movie dropped 25.7% £5,978,904 /£6,430,751 and £21,880,053 66.53% of £32,887,286/£38,760,016
2017’s Jumanji: Welcome to the Jungle dropped 36.1% £5,210,725 and £17,835,902, 47.03% of £36,968,605
2022’s Uncharted dropped 19.8% £3,775,360 and £12,163,778 50.5% of £24,091,881
The Super Mario video game 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 it’s not in the video games world as Mario related YouTube videos exceeded 100bn views as of April 2023.
Ahead of opening, The Super Mario Galaxy Movie was expected to take more than Super Mario Brothers and A Minecraft Movie, especially after its £15m opening. As often with these films, the extended five-day opening hid that it was likely to be far more front-loaded than the last film, despite playing to the same audience as Super Mario Brothers and A Minecraft Movie. The £55m+ total was looking at £47m by Sunday, and a week later it looks closer to £42m.
This is the problem with these films: they are built on hype and FOMO, and with a film like Mario, it’s fan-led, which gives the film a massive opening. Industry reaction is predictable despite its opening being very predictable since the last film. This has happened many times with “eagerly awaited” sequels like last year’s Bridget Jones: Mad About The Boy, which stumbled past £46m. It was similarly the case with Wicked: For Good, after a massive opening was expected to have long legs, taking £47m instead of the £60m+ expected. Hype and FOMO give these films huge openings, but audiences are very fickle and quickly move on to the next shiny new film, especially when it’s targeting under-25s.
So, despite industry’s reaction about the upcoming summer slate and Fandango’s most anticipated movies of the summer, all of these films will follow in the footsteps of previous summer expectations with huge openings, but as so often they don’t live up to the hype. This summer also has to deal with the longer World Cup Finals in the US and the 250th anniversary celebrations in the US in July.
183rd biggest between Guardians of the Galaxy and The World Is Not Enough (close to Twilight Saga: Eclipse, Ice Age: Continental Drift, Transformers: Dark of the Moon and The Grinch) and 363rd biggest inflated between 2012 and Arthur Christmas (close to Batman and Robin, Look Who’s Talking, Dumbo and Ice Age).
Schools returned on Monday, and The Super Mario Galaxy Movie had 80% drop from last Monday (£ 579k vs £2.72m) and will drop about 55%+ in its third weekend compared to 44%. The Super Mario Bros. Movie dropped in its third weekend in 2023 (£4,271,315, taking £41,605,147)
- 2, Project Hail Mary £2,469,890 – £27,144,326
Down 28.1% in its fourth weekend
£733k 29.68% (-42.3% £1.27m) Fri; £1.1m 40.9% (-17.2% £1.22m) Sat; £727k 29.4% (-21.74% £929k) Sun; Mon £332k; Tues £370k
73rd biggest fourth weekend between A Minecraft Movie and Jumanji: Welcome to the Jungle (close to Big Hero 6, Alice in Wonderland, Men In Black and Life of Pi) and 151st biggest inflated fourth weekend between Avengers: Endgame and Tomorrow Never Dies (close to The Sixth Sense, Signs, The Fugitive and Crocodile Dundee II).
Project Hail Mary has generated immense media coverage over the last few weeks, but occasionally, real-life events have an effect on a film. Ahead of the UK release of Independence Day, NASA discovered potential evidence of ancient alien life on Mars. Ahead of The Martian, NASA confirmed evidence of liquid water flowing on present-day Mars. And during the release of Project Hail Mary, NASA launched Artemis II, with four astronauts on a flyby around the Moon—the first crewed lunar mission in over 50 years.
That coincidence has turned Project Hail Mary into something more than a film. It has become part of the global conversation, discussed on media channels that would never normally talk about a movie. To quote the Castrol GTX tagline: “It’s reaching parts other oils cannot reach.”
The Artemis II crew watched the film in quarantine before their launch. During their lunar flyby, a NASA controller radioed them with the film’s catchphrase: “Amaze, amaze, amaze.” The moment went viral. The film is now forever linked to a historic achievement in human space exploration. It has become a symbol of what humanity can do when it works together, a stark contrast to the headlines of division, conflict, and political chaos. The headlines reached their peak over the weekend as the Artemis II crew returned to Earth on Saturday, or from a Hollywood soundstage, depending on who you ask.
Artemis is also the title of another Andy Weir novel. A film adaptation has been in development since 2017 at 20th Century Fox, with Phil Lord and Christopher Miller attached to direct originally, before they were fired from Solo: A Star Wars Story in 2018. After the huge success of Project Hail Mary, 20th Century Studios will certainly try to revive Artemis, with Lord and Miller still attached.
Stanley Kubrick’s 2001: A Space Odyssey depicted astronauts walking on the moon about a year before it actually happened. Art has always anticipated science. But rarely has science amplified art so perfectly as with Project Hail Mary and Artemis II.
But Project Hail Mary has become something rare: a film that transcends its genre and its marketing. It has become part of the story of human exploration. And that, more than any box office number, is its true legacy.
Project Hail Mary is reaching parts of the cultural conversation that other films cannot reach. It’s being discussed on science channels, news programmes, and social media feeds that would never normally talk about a Hollywood blockbuster. It has become part of the story of human exploration. It has become a symbol of what humanity can achieve when it works together, at a time when the headlines are dominated by division, conflict, and chaos.
This is not something that can be manufactured. It’s not something that marketing can buy. It’s a rare and precious alchemy of art, timing, and collective need.
Ryan Gosling’s last film, 2024’s The Fall Guy, took £12,126,013; next year, he returns to space in Star Wars: Starfighter. Ryan Gosling’s previous sci-fi films include 2018’s First Man took £7,360,906, and 2017’s took £18,918,361.
Fourth weekends
2024’s Dune Part 2 dropped 35.1% £2,626,763 and £30,717,100 of £39,466,555
Took £664k (-36.7%) Friday: £1.09m (-34.73%) Saturday; £508k (-61.69%) Sunday.
2021’s Dune dropped 24% £1,172,873 #3 651 screens and £18,942,227 86.3% of £21,947,056;
2010’s Inception dropped 30% £2,259,595 #3 468 screens and £25,719,644 73.5% of £34,976,999 (£46,851,543 inflated); took 5.92x opening
2013’s Gravity dropped 27% £1,741,279 #2 479 screens and £22,522,241 68.7% of £32,756,514; 5.24x opening
2014’s Interstellar dropped 38% £1,157,875 #5 413 screens and £18,001,495 85% of £21,173,601; 3.73x opening
2015’s The Martian dropped 28% £1,732,329 #2 561 screens and £20,391,517 86.4% of £23,589,854; 3.61x opening
2017’s Blade Runner 2049 dropped 61% £692,999 #5 421 screens £17,416,826 92.1% of £18,918,361; 3.1x opening
2023’s Oppenheimer dropped 42% £3,167,967 #2 757 screens and £45,794,079 76.9% of £59,550,750; took 5.37x opening
2007’s I Am Legend dropped 47% £1,082,585 #4 464 screens and £23,779,153 93.8% of £25,348,532 (£39,754,529 inflated); 2.3x opening
2005’s War of the Worlds dropped 21% £1,753,266 #4 454 screens and £25,286,713 83.2% of £30,367,791 (£51,386,687 inflated); 3.43x opening
2009’s Avatar dropped 19% £4,770,980 #1 493 screens and £40,991,797 43.8% of £93,442,625 (£136,900,316 inflated); 14.1x opening
2017’s Dunkirk down 43% £2,634,839 #1 677 screens and £44,794,468 78.9% of £56,797,955; 5.65x opening
Phil Lord and Christopher Miller previously directed.
2012’s 21 Jump Street taking £9,863,555/£12,402,995; 2014’s 22 Jump Street £18,322,998/£21,840,359. also directed 2009’s Cloudy with a Chance of Meatballs.
2014’s The Lego Movie dropped 50% £1,633,265/£1,765,513 and £28,801,707 87.6% of £32,887,286/£39,200,470
9th biggest film over the last 52 weeks between Superman and Mission Impossible 8 (close to Wuthering Heights, The Fantastic Four, How To Train Your Dragon and F1).
194th biggest between The Little Mermaid (2023) and The Twilight Saga: New Moon (close to Guardians of the Galaxy, The World Is Not Enough, X-Men: Days of Future Past and Mission: Impossible – Dead Reckoning Part 1) and 390th biggest inflated between Rise of the Planet of the Apes and Catch Me If You Can (close to Top Gun, Men in Black 3, Clash of the Titans and Speed).
The titles tell a story. The Little Mermaid is about sacrifice. New Moon is about loss. Guardians of the Galaxy is about found family. The World Is Not Enough is about limits. Days of Future Past is about memory. Dead Reckoning is about navigating blind. Rise of the Planet of the Apes is about unintended consequences. Catch Me If You Can is about running from yourself. Top Gun is about ego. Men in Black 3 is about time travel and partnership. Clash of the Titans is about heroism. Speed is about urgency.
Project Hail Mary is all of these things. It’s a film about a man who sacrificed his life to save humanity, who lost his memory and had to find himself again, who found a family in an alien spider, who pushed himself to the limits of human endurance, who navigated blind through space, who faced the unintended consequences of his own actions, who ran from his own past, who set aside his ego, who time-travelled through memory, who clashed with the limits of his own knowledge, and who raced against the clock to save the world.
- 3. The Drama £1,765,189 – £5,738,839
Dropped 17.7% in its second weekend.
£561k 31.78% (-32.89% £836k) Fri; £580k 32.86% (-18.6% £713k) Sat; £624k 35.3% (+10.6% £564k) Sun; Mon £270k; Tues £286k
579th biggest second weekend between Liar Liar and Hook (close to St. Trinian’s, Birds of Prey, Vanilla Sky and Billy Elliot) and 963rd biggest inflated second weekend between How to Lose a Guy in 10 Days and The Man in the Iron Mask (close to Three Billboards Outside Ebbing, Missouri, Shirley Valentine, It’s Complicated and War of the Roses)).
25th biggest second weekend over the last 52 weeks between The Magic Faraway Tree and Final Destination: Bloodlines (close to Hoppers, Downton Abbey 3, Weapons and The Roses).
What was interesting to see with The Drama after the twist was revealed was how audiences would respond, would men and women react differently to someone having a thought and someone who still chooses to go through with their actions.
Are the reactions with men and women different, as it’s Zendaya and Robert Pattinson, to those who have dealt with the betrayal, finding out their partner had an affair? The film has sparked a lot of debate; the dividing line isn’t between men and women. The split is between those who see The Drama as a valuable, provocative thought experiment about guilt, forgiveness, and moral judgment, and those who see it as an exploitative misfire that uses a horrific real-world issue as a cheap plot twist in a cringe-comedy.
Thinking about doing something as seen in the film Minority Report doesn’t mean that it is their future, as Doc Brown says to Jennifer in Back to the Future 3, after the note she brought back from the future was erased, “It means your future hasn’t been written yet. No one’s has. Your future is whatever you make it”.
In The Drama, Emma’s school shooting plan was detailed and developed. She had the weapon, she had the video manifesto ready, and she had lost hearing in one ear from practising. But then a classmate died in a real shooting at a local mall, and Emma stopped. She threw the rifle into a river and became a gun control activist. The movie argues that this choice, to walk away, is what matters, not the plan itself.
Minority Report makes the same argument, even more explicitly. John Anderton is told by the precogs that he will kill a man named Leo Crow. He tracks Crow down, gun in hand. Crow seems to confess to kidnapping and murdering Anderton’s son. But at the last moment, Anderton sees the truth: Crow is an innocent man, set up to be killed by the system Anderton helped create. Anderton chooses not to pull the trigger.
The film’s key line is when Anderton is confronted by his former mentor, Lamar Burgess. Anderton says, “You know your own future, which means you can change it if you want to. You still have a choice, Lamar. Like I did.”
That’s the philosophy of both films. Knowing the future means you can change it. Planning something doesn’t mean you have to do it. Walking away is always an option.
Emma walked away. Anderton walked away. The moral of both stories is the same: what defines you is not your darkest thought or your most detailed plan, but the choice you make in the moment of truth. The choice to stop. The choice to be better. The choice to walk away.
Thirty years ago, Indecent Proposal asked a similar question about trust, fantasy, and the price of a night. A young couple accepts a million dollars from Robert Redford for one night with Demi Moore. The deal is made. The act is done. But the damage is not in the act itself, it’s in the suspicion, the jealousy, the unshakeable thought that something irreplaceable has been lost. The film understood that sometimes the thought of betrayal is more corrosive than the deed.
The Drama inverts that: it insists that a past thought is as damaging as a present action, but it refuses to interrogate why the audience forgives the handsome man’s affair while condemning the beautiful woman’s confession. Borgli’s clinical detachment may have been meant to expose hypocrisy, but instead it merely replicates it. The real drama, as you’ve shown, is not on the screen. It’s in the culture that watches.
Comparisons to The Drama have been made to films including Closer, The Lobster, Triangle of Sadness and Marriage Story; they all explore the dark underbelly of relationships, but approach the gap between thought and action in very different ways.
But The Drama feels so different. It’s not just about betrayal or power or social pressure. It’s about the stories we tell ourselves about who is worthy of forgiveness and who is not.
Japanese saying is that we all have 3 different faces “The first one you show to the world, the second you show to your family, and the last you never show to anyone” This is similar to what Colombian novelist and Nobel laureate Gabriel García Márquez said we have three parts to our personality, the public side (the one we are in the outside world), the private side (the one we are with family and loved ones) and the secret side (we don’t share with anyone, our private thoughts we keep I our head, now we often share these fears and desires with AI rather than botting them up.
1,343rd biggest between The Magic Roundabout and Hidden Figures (close to How To Be Single, The Thomas Crown Affair, Death Becomes Her and Free Willy) and 1,920th biggest inflated between Magic Mike’s Last Dance and The End of The Affair (close to Side Effects, The Age of Innocence, American Psycho and The Man Without A Face).
It’s interesting to see those film titles that The Drama has taken similar to and how they seem to be all connected to The Drama.
The Magic Roundabout
The relationship between Emma and Charlie. They keep going around and around, never quite getting off, stuck in a cycle of confession, betrayal, and attempted reconciliation. The twist is the ride, not the destination.
Hidden Figures
Emma’s secret. The part of her past she kept hidden, the thoughts she never shared, the version of herself that only existed in her head. Charlie thought he knew her. He didn’t.
How To Be Single
Charlie’s actions. He cheats. He sabotages the relationship. He is, in effect, writing his own manual on how to be single again. The irony is that he’s doing it while standing at the altar.
The Thomas Crown Affair
The game of cat and mouse. The heist. Who is deceiving whom? Emma confesses. Charlie cheats. Both are hiding something. Both are trying to get away with it. The question is: who is the thief and who is the detective?
Death Becomes Her
The obsession with youth, beauty, and the desperate attempt to hold onto a perfect image. The wedding, the glamour, the Instagram-perfect couple—all of it is a facade. The truth is uglier. And death, in a sense, becomes her: the death of the relationship, the death of trust, the death of the fantasy.
Free Willy
Emma’s secret. The thought she kept caged. The confession that, once released, swims away and cannot be recaptured. She wanted to be free of the burden of secrecy. But freedom has a cost. And the cost was the relationship. (also simply Charlie thought only about his “free willy”)
The End of The Affair
The title is almost too on the nose. The film is about the end of an affair—both Charlie’s physical affair with his best friend, and the metaphorical affair of trust between Emma and Charlie. Once the secret is out, the affair (the relationship, the trust, the love) is over. The film is the autopsy.
Side Effects
The consequences. Emma’s confession has side effects. Charlie’s cheating has side effects. The film is about the ripple effects of actions and words. The side effect of telling the truth is losing your partner. The side effect of lying is losing yourself.
The Age of Innocence
The before. The time when Emma was innocent, before the thought. The time when Charlie was innocent, before the betrayal. The film is about the loss of that innocence, and the impossibility of returning to it. The wedding was supposed to be a celebration of that innocence. It became the funeral.
American Psycho
The darkest parallel. The thought. The fantasy of violence. The line between thinking and doing. Patrick Bateman acts. Emma does not. But the film asks: Is the thought itself a kind of violence? Is the person who imagines a shooting the same as the person who commits one? The title is a question the film refuses to answer.
The Man Without A Face
Charlie, after the betrayal. He has lost his identity, his integrity, his sense of self. He is the man without a face because the face he showed Emma was a mask. The real Charlie is the one who cheats. And that man has no face she can recognise.
- 4. The Magic Faraway Tree £1,655,531 – £11,612,916
Down 21.8% in its third weekend
£571k 34.5% (-37.7% £916k) Fri; £589k 35.6% (-21.1% £746k) Sat; £495k 29.9% (+10.2% £449k) Sun; Mon £235k; Tues £206k
337th biggest third weekend between Nanny McPhee and Last Christmas (close to The BFG, Johnny English Strikes Again, Babe and Free Guy) and 776th biggest inflated second weekend between Jack Reacher and Step Up 2 (close to Angry Birds, Treasure Planet, Gulliver’s Travels and The Polar Express).
Ahead of the opening was hard to make comparisons with The Magic Faraway Tree, as despite there being many films based on classic British children’s books they there haven’t been many larger budget films made from a purely British perspective. Films like Paddington, made by Studiocanal and The BFG, made by Dreamworks, are seen as British films but are also made for a global audience. A film like The Magic Faraway Tree might has well-known actors like Andrew Garfield, Claire Foy and Rebecca Ferguson but they won’t bring audiences to see the films as seen recently with H For Hawk, After The Hunt and Mercy, it’s the book that will do the heavy lifting and the supporting British cast from TV shows like Nicola Coughlan who don’t have global appeal.
This is of course the problem with the state of the British film industry over the last 30 years, it’s been hard to make a higher British film if it doesn’t also play to global audiences, without the infostructure of a British owned Production company as Working Title before it was acquired by Polygram and then Universal/Studiocanal they were able to make films just for UK audience, the problem of course was their budgets were much lower which was also the case with many British films Entertainment or eOne would make like Nativity.
Films like Paddington might be hugely successful in the UK and seen as British, but it was fully financed by Studiocanal, a French company, so it is as British as a Bond or Harry Potter film.
The Magic Faraway Tree is surely the kind of film that would be made in the UK if they had a self-sufficient film industry. This could have happened if the National Lottery franchises, which were launched 30 years ago, were properly managed and weren’t just white elephants. The one British film distributor that refused a franchise was Entertainment Films, the only British company still operating as it was 30 years ago and still investing in British films. As most British films are too quaint and old-fashioned to play to a wide audience, they are more like the Nativity films.
Entertainment Films has a long history of acquiring British films, promoting them heavily with many successful films, including Shooting Fish, The Inbetweeners Movie, St Trinian’s, Fisherman’s Friends, Sunshine on Leith and Run Fatboy Run and also films like Sex Lives of the Potato Men.
Next year will be the 50th anniversary of Entertainment Films; they have outlasted so many other independent UK distributors, either closed or sold, like Redbus and Optimum. Electric and Rank over the last 30 years.
After a quiet last few years, Entertainment Films has had a strong start to 2026 with two films from their long-term partnership with A24 (Marty Supreme and The Drama) and two British films, Mother’s Pride and The Magic Faraway Tree. Upcoming releases include the Cliffhanger reboot and I Play Rocky, about the making of the original Rocky film that was released 50 years ago.
16th biggest film over the last 52 weeks between Goat and One Battle After Another (close to Hoppers, Downton Abbey 3, Weapons and The Roses).
641st biggest between Karate Kid and Chronicles of Narnia: Prince Caspian (close to Space Jam, Bumblebee, Ghostbusters Afterlife and Streetdance) and 1,069th biggest inflated between Snow White (1992 re-release) and Ocean’s Eight (close to Shallow Grave, The Karate Kid Part 3, Far and Away and Dark Crystal).
With Easter holidays, The Magic Faraway Tree will drop off next weekend, down 40%+ and could overtake Hoppers by next weekend.
- 5. Hoppers £401,434 -£13,495,319
£141k 35.2% (-38.7% £230k) Fri; £141k 35.2% (-26.2% £191k) Sat; £119k 29.7% (0% £119k) Sunday
Dropped 26% in its sixth weekend.
400th biggest sixth weekend between Cast Away and Doctor Strange In The Multiverse Of Madness (close to Sherlock Gnomes, American Pie: The Wedding, Gulliver’s Travels and The Muppets) and 591st biggest inflated sixth weekend between Hairspray and The Imitation Game (close to Dirty Dancing, Dr Dolittle 2, Die Hard and Garfield 2).
20th biggest Pixar sixth weekend between Cars and Incredibles (close to Wall-E, Brave, The Good Dinosaur and Cars 2).
Performing similarly to recent Pixar’s sixth weekend, including
2008’s Wall-e dropped 41.3% £459,574/£707,921 and £20,511,945 91.8% of £22,340,631/£34,413,164
2023’s Elemental dropped 46.9% £441,808 and £15,222,726 82.3% of £18,151,466
20006’s Cars up 12.1% £489,013/£804,311 and £15,444,700 95.9% of £16,099,943/£26,480,604
2012’s Brave dropped 19.8% £468,182/£588,719 and £20,714,530 94.1% of £22,005,585/£27,671,073
544th biggest between Fast & Furious and The Bad Guys (close to The Devil Wears Prada, Dungeons & Dragons, Jumanji and Crocodile Dundee II) and 908th biggest inflated between Under Siege and Rocky Balboa (close to Bedtime Stories, Tron Legacy, The Pursuit of Happyness and Mousehunt).
102nd biggest animated film between Mr Peabody and Sherman and The Bad Guys (close to Kung Fu Panda 3, Shaun the Sheep Movie, Dog Man and Chicken Little) and 134th biggest inflated animated film between Fantastic Mr Fox and Turbo (close to Bee Movie, The Jungle Book (re-release), The Cat in the Hat and Megamind).
Next from Pixar is Toy Story 5 in June, Gatto opening in March 2027 (weeks after How To Train Your Dragon 2, as Elio was with the first film) and then Incredibles 3 in June 2028, with Coco 2 undated, November 2029.
Also opened
There were five new wide releases, all of which struggled to find a wide audience.
- BTS ‘ARIRANG’ Tour in Goyang and Tokyo Live Viewing opened #6 £336,474
Took much less than recent BTS concerts 2022’s BTS – Permission to Dance on Stage Live opened £899,126 #3; 2019’s Love Yourself In Seoul – BTS World Tour 2019 #10 £518,810 519 screens and 2018’s Burn the Stage: Movie #6 opened £644,308 from 212 screens.
But over 1.57m watched their comeback concert last month on Netflix, so why would you pay another £20 to see it in the cinema early on Saturday morning?
A second BTS Concert is showing in cinemas in Japan on Saturday.
You, Me & Tuscany opened £301,204 #7 from 500 cinemas.
On paper sounded like a BO draw with the star of Disney’s The Little Mermaid reimagination, Halle Bailey and Netflix’s Bridgerton Regé-Jean Page and put them in a gorgeous location, making you think of romcoms like Anyone But You.
Ahead of opening, BoxofficePro predicted it would open with more than double £500k-£800k, taking £1.5m-£2.5m, but it was never going to take anything close.
You, Me & Tuscany opening was closer to Rye Lane than Ticket To Paradise, Anyone But You, and What’s Love Got to Do With It?
When Regé-Jean Page was in Bridgerton, he was on the shortlist for the next James Bond, but leaving the show after one series, the films he has starred in since haven’t been big hits.
- Undertone opened £271,342 #8 from 350 cinemas.
Supernatural horror Undertone generated a lot of media coverage when it opened a few weeks ago in the US, but it failed to spark much interest, not helped by recent horrors Ready or Not 2: Here I Come, and They Will Kill You, disappointing.
- California Schemin’ opened £223,213 #9 388 cinemas.
Musical biographical directed by James McAvoy based on Gavin Bain’s 2010 memoir California Schemin’: How Two Lads from Scotland Conned the Music Industry. Had its world premiere at the Toronto Film Festival, receiving positive reviews, and had its UK premiere at the Glasgow Film Festival; it was acquired by Studiocanal in September 202
- Stand By Me (40th Anniversary 4K Restoration) opened £54,565 #20 197 cinemas.
Beloved coming-of-age drama starring Wil Wheaton, River Phoenix, Corey Feldman, Kiefer Sutherland, and directed by Rob Reiner, based on Stephen King’s 1982 novella The Body. The film’s title was changed to Stand by Me after Columbia Pictures was concerned about the original title, The Body, as it sounded like a sex film.
The 40th anniversary of Stand By Me was even more poignant as it came soon after the sad death of its director, Rob Reiner, in December.
Ben E. King’s 1961 song Stand by Me plays on the end credits. Like so many Stephen King film adaptations, it wasn’t a big hit when it was first released. In the UK, it only had a very limited cinema release in February 1987, despite being a big hit in the US in August 1986.
Michael Jackson was originally asked to record a cover of Stand By Me, but Rob Reiner decided to go with the original version.
Stand By Me was nominated for Best Motion Picture – Drama and Best Director at the Golden Globes. Despite directing The Sure Thing, The Princess Bride, Stand By Me, When Harry Met Sally, This Is Spinal Tap, A Few Good Men, Misery and The American President, Rob Reiner was never nominated for Best Director at either the BAFTAs or the Oscars. His only Oscar nomination was as a producer for A Few Good Men.
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BO is currently up 14% from 2025.
The weekend’s top 10 box office took £13,096,990, down 46.4% from last weekend’s £24,431,101: x admissions, down 47.1% from 3,048,451 admissions.
20th biggest weekend of the last 52 weeks between 05 December 2025 #1 Zootropolis 2 £4,235,672 (32.18%) and 11 July 2025 #1 Superman £6,992,902 (53.61%)
73rd biggest since cinemas reopened out of 282 weeks between 19 July 2024 #1 Despicable Me 4 £4,925,773 (37.50%) and 11 July 2025 #1 Superman £6,992,902 (53.61%)
389th biggest top 10 of the last 25 years (out of 1,253) between 19 July 2024 #1 Despicable Me 4 £4,925,773 (37.50%) and 28 November 2003 #1 Love Actually £4,660,595 (35.59%) and 685th biggest inflated between 20 March 2015 #1 Home £6,025,917 (51.09%) and 09 June 2017 #1 Wonder Woman £3,480,956 (28.47%)
The top 3 took £9,775,915 (74.6%) of the top 10; The Super Mario Galaxy Movie 42.31% (£5,540,836); Project Hail Mary 18.86% (£2,469,890); The Drama 13.48% (£1,765,189)
432nd biggest percentage share #1 (42.31%) between 10 June 2011 #1 Kung Fu Panda 2 £6,188,897 (42.42%) and 24 November 2023 #1 Napoleon £5,235,706 (42.19%)
507th biggest admissions (691,740) between 17 January 2014 #1 The Wolf of Wall Street £4,655,984 (692,855) and 12 May 2017 #1 Alien: Covenant £5,178,531 (691,393)
Up 14.59% from 2025; (£11,429,088); The Amateur (£1,101,452); Andre Rieu’s 75th Birthday Celebration: The Dream Continues (£596,897); Drop (£382,902); The Chosen: The Last Supper – Episodes 1 & 2 (£256,797); Babe (30th Anniversary) (£18,448); #1 A Minecraft Movie £7,201,921 2nd week down 52% 720 screens (63.01% of top 10)
Up 31.75% from 2024; (£9,940,796); Back To Black (£2,772,698); Civil War (£1,823,179); SUGA – Agust D TOUR ‘D-DAY’ THE MOVIE (£114,394); #1 Back To Black £2,772,698 1st week 719 screens (27.89% of top 10)
Up 6.11% from 2023; (£12,342,706); Renfield (£680,661); Suzume (£469,100); Der Rosenkavalier – Met Opera 2023 (£96,666); Assassin Club (£43,187); Raging Bull (4K Restoration) (£27,981); #1 Super Mario Bros £7,568,523 2nd week 51% drop 722 screens (61.32% of top 10)
Up 14.25% from 2022 (£11,463,631); The Lost City ( £2,743,211); The Northman (£897,737); Operation Mincemeat (£895,008); K.G.F: Chapter 2 (£357,038); Benedetta (£62,056); Dr. No (60th Anniversary) (£8,349); #1 The Lost City £2,743,211 1st week 617 screens (23.93% of top 10)
2021 Lockdown
2020 Lockdown
Up 20.20% from 2019: (£10,896,294) Wonder Park (£1,586,003); Hellboy (£989,562); Wild Rose (£772,060); Little (£540,579); Mid90s (£100,454); #1 Dumbo £2,345,046 down 33% 3rd-week 2nd-week #1 split over 3 weeks 697 screens (21.5% of top 10)
Up 3.04% from 2018: (£12,710,945); Rampage (£4,109,247); Truth or Dare (£931,250); Luisa Miller Met Opera 2018 (£231,297); #1 Rampage £4,109,247 55 screens 1st week.
Down 43.85% from 2017: (£23,324,163); Fast & Furious 8 (£14,026,301); The Handmaiden (£474,752); The Sense of an Ending (£329,948); #1 Fast & Furious 8 £14,026,301 1st week 572 screens (60.14%)
Down 16.48% from 2016: (£15,777,777); The Jungle Book (£9,901,921); Eye in the Sky (£1,110,959); Criminal (£248,376); 28 Days Later (Secret Cinema) (£160,185); #1 The Jungle Book £9,901,921 594 screens 1st week (62.7% of the top 10)
Up 5.57% from 2015; (£12,405,583); The DUFF (£891,691); John Wick (£539,602); Woman in Gold (£494,512); Paul Blart: Mall Cop 2 (£480,158); Hot Tub Time Machine 2 (£90,301); Force Majeure (£87,398); Lost River (£54,264); #1 Fast & Furious 7 £5,407,918 2nd week 57% drop 540 screens.
Up 49.26% from 2014: (£8,774,743); The Quiet Ones (£681,305); Calvary (£571,489); The Raid 2 (£454,150); The Last Days on Mars (£46,925); #1 Captain America: The Winter Soldier £1,782,201 2nd week split over 3 weeks (3rd week) #1 517 screens.
Up 19.37% from 2013: (£10,971,615); Oblivion (£4,959,386); Scary Movie 5 (£1,085,932); The Place Beyond the Pines (£671,119); #1 Oblivion £4,959,386 520 screens 1st week
Up 4.14% from 2012 (£12,576,386); Battleship (£3,763,348); Cabin in the Woods (£1,601,161); Delicacy (£81,683); A Night to Remember (Re) (£3,273); #1 Battleship £3,763,348 1st week 496 screens.
Up 63.25% from 2011; (£8,022,776); Scream 4 (£2,061,885); Your Highness (£926,338); Red Riding Hood (£842,398); Winnie the Pooh (£159,369); Little White Lies (£125,273); #1 Scream 4 £2,061,885 408 screens 1st week (25.7% of top 10)
Up 43.44% from 2010: (£9,130,568); Dear John (£1,995,3010; The Ghost (£853,679); Cemetery Junction (£641,218); Repo Men (£182,798); #1 Dear John £1,995,301 402 screens 1st week
Down 6.12% from 2009; (£13,950,469); Fast & Furious (£4,928,784); 17 Again (£2,564,102); Race to Witch Mountain (£581,250); Dragonball Evolution (£379,777); Let the Right One In (£224,154); 50 Dead Men Walking (£99,440); #1 Fast & Furious £4,928,784 364 screens 1st week.
Up 104.52% from 2008; (£6,403,618); 21 (£1,649,855); Leatherheads (£474,780); Shine a Light (£338,061); Pathology (£313,886); Rec (£92,545); Strange Wilderness (£13,360); #1 21 £1,649,855 1st weeks.
Up 91.40% from 2007: (£6,842,807); Wild Hogs (£1,691,797); Shooter (£716,202); Curse of the Golden Flower (£362,169); Perfect Stranger (£277,047); The Lives of Others (£223,586); #1 Wild Hogs (£1,691,797 1st week
Up 47.92% from 2006; (£8,853,843): Scary Movie 4 (£1,953,094); Take the Lead (£621,735); An American Haunting (£541,446); Glastonbury (£23,893); #1 Ice Age II £3,608,531 2nd week 67% drop.
Up 99.23% from 2005 (£6,573,859); The Interpreter (£1,589,829); The Amityville Horror (£1,339,417); #1 The Interpreter £1,589,829 1st week £1,589,829 1st week 370 screens (24.2% of top 10)
Up 34.42% from 2004 (£9,743,104); 50 First Dates (£1,651,544); Shaun of the Dead (£1,603,410); Capturing the Friedmans (£66,689); Blind Flight (£6,634); #1 Scooby-Doo Too £2,038,602 2nd week 43% drop 20.9% of top 10 (20.9% of top 10)
Up 83.08% from 2003 (£7,153,823); Johnny English (£3,435,342); The Jungle Book 2 (£1,436,730); S Club Seeing Double (£338,383); The Little Polar Bear (£71,408); #1 Johnny English £3,435,342 445 screens 1st week 48% of top 10)
Up 84.49% from 2002 (£7,099,174); Bend It Like Beckham (£2,001,795); The Queen of the Damned (£611,440); K-Pax (£567,349); The One (£493,491); Y Tu Mama Tambien (£182,166); #1 Bend It Like Beckham £2,001,795 1st week 384 screens 28.2% of top 10)
2025 Next week: (£11,824,074); Sinners (£2,424,594); The Penguin Lessons (£1,057,236); Warfare (£752,942); Wallace & Gromit: Curse Of The Were-Rabbit (Re: 2025) (£31,601); #1 A Minecraft Movie £5,307,316 3rd week 27% drop 724 screens (44.89% of top 10)
US Box Office
- The Super Mario Galaxy Movie – Universal Pictures
Dropped 48.3% in its second weekend, $68.08m and $307.2m.
30th biggest second weekend between Spider-Man and Captain Marvel (close to Finding Dory, Shrek 2, Rogue One: A Star Wars Story and Avatar: The Way of Water)
Took $33.3m IMAX worldwide.
2023’s Super Mario Bros dropped 37% $92.34m and $353.17m of $574.93m and $1.36bn worldwide
2025’s A Minecraft Movie dropped 55% 55% $80.6m and $310m of $424.08m and $960.38m worldwide
2019’s Pokémon Detective Pikachu dropped 53.8% to $25.1m and $94.25m from $144.17m and $450.06m worldwide
2020’s Sonic The Hedgehog dropped 54.9% to $26.19m and $106.49m of $148.97m and $319.71m worldwide
2022’s Uncharted dropped 47.7% $23m and $83.13m of $148.64m and $407.49m worldwide
2014’s The Lego Movie dropped 27.8% $49.84m and $130.14m of $257.96m and $470.75m worldwide
2017’s Jumanji: Welcome to the Jungle up 38.4% $50.05m and $169m of $404.54m and $962.54m WW
The trailers for The Super Mario Galaxy Movie were seen by over 1 billion times thanks in part to featuring in front of Wicked: For Good and Zootopia 2; but it again asks the question how many times do people need to see the trailer to get them to see the film as $190.5m US opening is about 15m admissions and the global opening $372.5m is about 31m, so does this me they need to see the trailer about 10 times before they go and see it in the cinema. As the Spider-Man: Brand New Day trailer had 1 billion views, surely these numbers are similar to the billions of minutes streamers now use to claim massive viewing numbers for TV shows and films.
RelishMix said social media of Super Mario Galaxy Movie was 775.6m across TikTok, YouTube, Facebook, X and Instagram; the film had a global promo tour including on the starting grid at the Japanese’s F1 Grand Prix; the voice cast is very active across social media with over 135m fans; Chris Pratt’s 63.2m; Jack Black at 48.7m; Anya Taylor-Joy 12.5m; Brie Larson 9.3m.
Second weekends
2023’s Super Mario Bros took $102.5m from 71 territories and $339.8m and $693.1m worldwide; Mexico $53.5m; UK $44.4m; Germany $30m; France $21.7m; Australia ($19.9m); $21.6m from IMAX worldwide, including $5m internationally.
2025’s A Minecraft Movie took $79.6m (down 42%) from 76 territories, $269.6m total and $550.6m worldwide; UK $39.8m; China $20.3m; Germany $18.9m; Mexico $18.7m; Australia $18.5m; has taken $9.6m from IMAX internationally and $26.6m worldwide.
Took $83.5% from 80 territories and $320.6m and 628.8m worldwide; Mexico $47.9m; UK $37.5m; Germany $29.2m. France $23.9m; Spain $16.9m; Australia $16m; China $14.8m; Italy $11.8m; Brazil – $9.4m.
- Project Hail Mary – MGM/Amazon
Dropped 23% in its fourth weekend, $24.6m and $256.6m.
31st biggest fourth weekend between The Blair Witch Project and Monsters, Inc. (close to Star Wars: Episode I The Phantom Menace, Wonder Woman, The Incredibles and Sinners)
Kept 15 screens in 70mm IMAX (including BFI IMAX), with all other IMAX/PLF to Mario 2.
EntTelligence average ticket prices $15.53 (standard) and $18.89 (PLF/IMAX).
Fourth weekend
2025’s Sinners dropped 33.2% $22.1m and $215.43m of $279.98m and $369.88m worldwide
2024’s Dune Part 2 dropped 38% $17.6m #2 and $233.36m. of $282.14m and $714.84m worldwide
2021’s Dune dropped 28.8% $5.54m and $93.16m of $108.89m and $433.79m worldwide
2010’s Inception dropped 35.7% $27.48m and $193.31m of $292.58m and $839.03m worldwide
2023’s Oppenheimer dropped 35.4% $18.81m and $264.28m of $329.01m and $957.59m worldwide
2013’s Gravity dropped 32.9% $20.13m and $199.64m of $274.09m and $773.03m worldwide
2014’s Interstellar up 2.6% $15.74m and $147.03m of $188.02m and $731.07m worldwide
2015’s The Martian dropped 26.1% $15.73m and $166.18m of $228.43m and $630.62m worldwide
2016’s Arrival dropped 36.6% $7.26m and $73.04m of $100.54m and $203.38m worldwide
2017’s Blade Runner 2049 dropped 44% $4.11m and $81.53m of $92.07m and $267.68m worldwide
2017’s Logan dropped 42% $10.33m and $201.64m of $226.27m and $619.02m worldwide
2009’s Avatar dropped 26.6% $50.3m and $430.84m of $749.76m and $2.743bn worldwide
Took $82m from IMAX worldwide: Dune Part 2 took $58.3m from IMAX in the US and $50.7m internationally, with an additional $15m from China from 1,600 IMAX cinemas.
Internationally Dune Part 2 fourth weekend $30.78m from 73 territories $341m total and $574.4m worldwide; China $43.9m; UK $38.8m; France $31.8m; Germany $29.3m; Australia $17.9m; Korea $15.5m; Spain $11.4m; Mexico $10.3m; Italy $9.9m; Poland $9m; Holland $8.3m; Brazil $6.5m
Took $30.6m internationally and $254m from 71 territories and $510.6m worldwide; UK $36m; China $33.2m; Australia $19.2m; Germany $16.1m; S. Korea $15.3m; Mexico $12.6m; France $8.7m; Japan $8.3m; Spain $7.6m; India $6.9m; Brazil $6.6m.
- The Drama – A24
Dropped 39.4% in its second weekend, $8.7m and $30.84m
2024’s Challengers dropped 49.4% $7.59m and $29.4m of $50.11m and $96.11m worldwide
It’s the first of three films starring Zendaya and Robert Pattinson this year, starring in Christopher Nolan’s The Odyssey in July and Denis Villeneuve’s Dune Part 3 in December. Zendaya also stars in Spider-Man: Brand New Day, also opening in July.
Much has been written about the film. In the trailer, friends are asked what’s the worst thing they have done, they reveal what they have done, but don’t hear what Zendaya says, and that has become one of the twists in the film. As with Marty Supreme was it the marketing that got audiences to see the film or the star power of Zendaya and Robert Pattinson?
As Zendaya has previously starred in mostly tentpole Spider-Man and Dune films, while Robert Pattinson has starred in Twilight, Dune and The Batman, but when he has led in films like Tenet, Mickey 17, and Die My Love with Jennifer Lawrence, they haven’t found such wide audiences. Similar to Ryan Gosling, do they open films, or is it the films and the marketing that get audiences to see them?
Opened $13.6m internationally and $28m worldwide.
- You, Me & Tuscany – Universal Pictures
Opened $7.75m; received mixed reviews (67% Rotten Tomatoes) and A- CinemaScore
Despite receiving positive word of mouth over the last decade, these original rom-coms struggle to find an audience unless they have a unique USP. The Drama did this by having the unknown secret teased in the trailer, but with films like You, Me & Tuscany, you know they won’t be any different to the dozens of similar romcoms Netflix have made over recent years.
As with those Netflix romcoms You, Me & Tuscany is surely pleasurable entertainment for the 1h 45min running time but as they have all these other romcoms available to them o steaming they won’t pay $15 to see it in the cinema, why Universal Pictures decision to extend theatrical window for all films makes no sense as within two weeks You, Me & Tuscany will be out of the top 10.
The problem is you can’t categorise all films on a similar level, as exhibitors are pricing Universal Pictures’ The Super Mario Galaxy Movie as the same category film as You, Me & Tuscany, it’s like Coachella 2026 ticket prices were $549, but other music festival tickets are vastly less, also have different tariffs for sporting events. Exhibitors talked about surge charging. The problem is that the starting point of the surge is the standard price.
This is why there will be many films like You, Me & Tuscany, Reminders of Him, Ready or Not 2: Here I Come, They Will Kill You and Undertone, failing to find the audiences they should be getting. Exhibitors have ghettoised cinemagoers on tentpoles. This is why when a film like The Drama holds better than expected, it’s seen as a surprise, but as also with the industry’s reaction to Project Hail Mary hold this was the norm for these films less than a decade ago.
The key audience who see films like You, Me & Tuscany in the cinema are probably those with subscription cinema like AMC Stubs, as they see 50+ films a year compared to the 5 most frequent cinemagoers who pay full price for.
Despite having Tuscany in the film’s title and starring Regé-Jean Page its was never going to play strongly internationally. Regé-Jean Page was seen as the next James Bond during the first series of Bridgerton in 2020, but his bubble burst after leaving after only one series. Bridgerton was as successful over the following years, but the films he starred in afterwards failed to spark the same media attention, and fans moved on to their next heart-throb.
It’s a very hard decision for actors to decide whether to stick or do they twist. They start in a successful TV show or film, do they play it safe and come back again and again in the next series or sequel, or do they build on it? It could be a one-hit wonder, or the TV show goes on for years afterwards, and it will be the actor who was in the show’s first series and was replaced in the second to tenth series. It’s similar to all those Disney female singers from Britney to Sabrina that were huge stars for Disney but took the leap and became global superstars; there are others that tried but were quickly forgotten about.
UK Box Office Top 10
Box Office Preview
The top 5 will remain similar this weekend, but with Easter holidays over, all of them, apart from Project Hail Mail, will drop over 50%. The Super Mario Galaxy Movie will drop 50%+ in its third weekend, taking £2.2m-£2.5m.
Project Hail Mary will drop about 40% in its fifth weekend, taking £1.5m-£1.8m, it may hold stronger as it gets IMAX screens back for a few days before Michael opens on Wednesday, and it will give audiences one last time to see it in IMAX.
Opening third Lee Cronin’s The Mummy, opening similar to his last film, 2023’s Evil Dead Rise (opened £1,477,840, taking £5,288,972).
It’s the third reboot of The Mummy after the 1999 reboot starring Brendan Fraser and Rachel Weisz (The Mummy 4 is set for release in May 2028) and the 2017 Tom Cruise reboot that was to be part of Universal’s Dark Universe. Test screenings have said the film is terrible and has pushed gore to the extreme with vile scenes, making it very different to previous Mummy films featuring in Universal’s monsters’ film; likely to open £1m-£1.5m.
With The Drama just behind dropped about 40% in its third weekend, taking £1.1m-£1.3m.
The Magic Faraway Tree will drop about 50% in its fifth weekend, taking £800k-£900k, losing most of its BO from Friday, as it will likely hold well over the weekend.
The only other new release that could enter the bottom of the top 10 as California Schemin’ (£223,212) did last weekend, Glenrothan, directed by Brian Cox, he called a “love letter to Scotland”, but as Variety review said, “the film itself is more like a bottom-shelf blend: easily drinkable, highly forgettable, bland. Worse still, it won’t get you even mildly buzzed.” It’s unlikely to spark much interest outside of Scotland.
But as there were five new releases in the top 10 last weekend, all of which will be out of the top 10 this weekend, it won’t need to take much to bed seventh.
This could see the 35th anniversary re-release of Akira in the top 10 as it plays in many IMAX cinemas. There is also a second BTS World Tour concert on Saturday, last Saturday BTS WORLD TOUR ‘ARIRANG’ IN GOYANG: LIVE VIEWING took £336,474, this second concert will take less, but with the Event Cinema surcharges will be enough to be in the bottom half of the top 10 over a quiet weekend.
Coming Soon
- The Devil Wears Prada 2 – Disney
Comedy drama legacy sequel to 2006’s The Devil Wears Prada starring Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Justin Theroux and Kenneth Branagh and directed by David Frankel.
Lauren Weisberger wrote Revenge Wears Prada: The Devil Returns in 2013 and after the huge success of the original film 20th Century Fox wanted to do a sequel, but Meryl Streep has never made a sequel (appeared as a ghost in 2018’s Mamma Mia 2) said 10 years after the film was released she wasn’t interested in telling that story, while Anne Hathaway said “I’m not sure if could is the right question,” Hathaway says. “Should there be? I’d love to make a movie with all the people again, that’s something totally different. But I think that one might have just hit the right note. It’s good to leave it as it is.” But then in 2024, Disney wanted to develop a sequel, and no one says no to Disney.
The Devil Wears Prada became a modern-day “Working Girl” for a generation of millennial women.
Over the years that followed there have been many Devil Wears Prada TV shows that feel like they could have been sequels including The Bold Type, Girl Boss, Emily in Paris, Dirt, Ugly Betty, Unreal, Zoey’s Extraordinary Playlist and Younger, while Anne Hathway starred in The Intern as the boss of a online clothes company that it could have been a sorta sequel to The Devil Wears Prada. This was similar to Anyone But You could have been a sorta sequel to My Best Friends Wedding and as The Devil Wears Prada 2 there is plsns for a sequel to My Best Friends Wedding part;ly sadly for the same reason as The Devil Wears Prada 2 Julia Roberts was the world’s biggest global star in the 90s but now films like After The Hunnt flop.
So, with all these newer versions of The Devil Wears Prada and Meryl Streep and Anne Hathaway not interested in making a sequel, how are we having a legacy sequel 20 years after the original film opened?
Because Disney wanted one. Because the IP is valuable. Because nostalgia sells. And because no amount of creative reluctance can stand in the way of a corporate balance sheet. That’s not art. That’s just business. Just like Freakier Friday, Hocus Pocus 2, and every other legacy sequel film and TV series Disney has pumped out over the last decade. The studio knows that millennials who grew up with the original are now in their 30s and 40s, with disposable income and a powerful craving for nostalgia. They will pay to see Miranda Priestly again, even if the story is unnecessary. The sequel even has a new mantra for Emily: “May the bridges I burn light my way”. That’s not a theme. It’s a t-shirt slogan designed for social media.
The trailer has already surpassed 30 million views in a matter of hours. The film will make money. It will probably open to $80-95 million, as tracking suggests. But it will also tarnish the memory of the original—just like every other unnecessary legacy sequel.
As with almost all other legacy sequels, The Devil Wears Prada 2 will come with a bad taste as audiences will blame themselves for falling for it again, as the fans of the original film want to see what happened next. The problem is being a legacysequel it means that 20 years later they might be older, but they are still doing similar jobs that they did previously, Miranda Priestly is still the editor of Runway despite being in her 70s and despite Andy Sachs walking out on Runway at the end of the original film to be a real journalist only to be back as Features Editor at Runway. While also with Disney legacy sequels and reboots, there is token diversity.
2006’s The Devil Wears Prada opened £3,267,580/£5,374,397 taking £13,681,185/£22,502,319
As with all legacy sequels, The Devil Wears Prada 2 will open to more than double the original film, and this is seen as a surprise
- Hokum – Black Bear
Supernatural horror starring Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Michael Patric, Will O’Connell, Brendan Conroy, and Austin Amelio and directed by Damian McCarthy.
Premiered at SXSW and received positive reviews, but several other films that premiered at SXSW over the last few weeks also received positive reviews but struggled to find audiences.