1. Avengers: Endgame Encore £4,123,123 – NE

Took £1.42m 34.44% Friday; £1.52m 36.87% Saturday; £1.18m 28.69% Sunday.

428^th biggest opening between Roald Dahl’s Matilda The Musical and Johnny English Strikes Back (close to The Flash, Fantastic Four: Rise of the Silver Surfer, Ghostbusters: Frozen Empire and Shazam!) and 631^st biggest inflated opening between There’s Something About Mary and Meet the Parents (close to Mars Attacks, The Italian Job, Alien3 and The Fugitive). 

18th biggest opening over the last 52 weeks between Backrooms and Scary Movie (close to The Housemaid, Minions & Monsters, Scream 7 and 28 Years Later: The Bone Temple).

Re-released in cinemas with an extra footage setting up Avengers: Doomsday. They have also tweaked the dialogue those seeing it in Infinity Vision will see 4 minutes (new running time 186m 14s) while those watching it in standard will be only 2 minutes (running time 183m 3s). Avengers: Endgame Encore was released in IMAX cinemas, while Doomsday will not play in IMAX for the first three weeks of release.

In 2022 Disney re-releasing Avatar for a week ahead of the release of Avatar: The Way of Water opening £1,218,692 #3 from 525 screens behind Ticket To Paradise and Don’t Worry Darling. Also re-released Avatar: The Way Of Water in October opening £254,394 #10 from 418 screen ahead of the release of Avatar: Fire And Ash.

There are currently 75 Infinity Vision cinemas in the US and 300 internationally, interestingly Disney since announced the two Star Wars films they will release next year will be in 70mm IMAX with no mention of Infinity Vision which makes it feel like it’s been a spite format “created” by Disney as they couldn’t twist IMAX hands and get IMAX screens for Doomsday.

Disney expected Warner Bros to move Dune Part 3 when they moved Avengers Doomsday in June 2025 from May to December (Avengers Doomsday had been originally set for release in May 2026), but Warner Bros had locked in three weeks of IMAX screens for Dune Part 3 in May 2024; Warner couldn’t move Dune Part 3 at risk of angering both the director Denis Villeneuve and Legendary Pictures who produced the film.

Avengers: Endgame Encore began the biggest opening for re-release overtaking 1997’s Star Wars Special Edition £3,770,206/£7,419,988 from 354 screens taking £16.4m/£32.2m; but average ticket price since is up almost 100% while Endgame was re-released in IMAX/PLF/4DX/Infinity Vision. Disney will re-release Star Wars next year for its 50^th anniversary in 70mm IMAX (has been no mention yet if it will also be Infinity Vision, highlighting again that it was a created spite format made by Disney.

Advance bookings for Avengers Doomsday started with people crazily booking to see both Avengers Doomsday and Dune Part 3 or Dunesday. As both will be over three hours long it will be different to Barbenheimer as Barbie was the light relief to the three-hour Oppenheimer, with both films playing to different audiences, Avengers Doomsday and Dune Part 3 will play to the same audience. There has been the normal fan craziness to book immediately for “infinity Vision” screens as there was a few weeks ago for Dune Part 3 IMAX shows.

Unlike over re-release that had one-week limited releases Avengers: Endgame plays wide for a second weekend, but as seen by its drop off from Saturday and Sunday and losing IMAX screens to Digger it will drop heavily in its second weekend.

• 2. Resident Evil £2,233,845 – £8,629,328

Dropped 46.9% in its second weekend.

£631k 28.3% (-58% £1.5m) Fri; £910k 40.7% (-43% £1.6m) Sat; £692k 31% (-74% £1.1m) Sun

444^th biggest second weekend between The Addams Family and X-Men Origins: Wolverine (close to Lara Croft: Tomb Raider, Terminator 3: Rise of the Machines, Unbreakable and Tintin: Secret of the Unicorn) and 731^st biggest inflated second weekend between My Best Friend’s Wedding and Road Trip (close to Alien Resurrection, Arachnophobia, Prince of Persia and The Fast and the Furious).

19th biggest second weekend over the last 52 weeks between Backrooms and The Magic Faraway Tree (close to Marty Supreme, The Mandalorian & Grogu, The Drama and Disclosure Day)

Last year Zach Cregger’s Weapons dropped 44.7% £1,557,828 and £6,254,095 55.7% of £11,231,965

All of the other Resident Evil films were very front-loaded lasting only a couple of weeks in cinemas, the reboot has held far stronger and will stay in cinemas for far longer.  

2002’s Resident Evil dropped 35.3% £518,624/£968,340 and £1,790,156 66.6% of £2,686,57/£5,016,194

2004’s Resident Evil: Apocalypse dropped 48% £416,252/£742,579 and £1,541,007 of £1,823,778/£3,253,555

2007’s Resident Evil: Extinction dropped 53.9% £429,935/£681,937 and £1,782,264 69.5% of £2,564,723/£4,068,006

2010’s Resident Evil: Afterlife dropped 56.9% £727,908/£979,923 and £3,330,840 80.7% of £4,124,777/£5,552,851

2012’s Resident Evil: Retribution dropped 63.9% £286,350/£360,073 and £1,519,851 84.9% of £1,790,303/£2,251,229

While 2017’s Resident Evil: The Final Chapter and 2021’s Resident Evil: Welcome to Raccoon City barely last a week in cinemas.

After the strong performance of Resident Evil Sony Pictures will surely be trying to get Zach Cregger to change his mind over making only one film as they will be wanting a sequel asap.

• 3. Heart Of The Beast £2,070,025 – NE

Includes £523,979 from previews (Wednesday/Thursday)

Took £375k 18.12% Friday; £636k 30.72% Saturday; £609k 29.42% Sunday.

933^rd biggest opening between Paper Towns and Evita (close to Gangster Squad, Green Zone, Pressure and The Panic Room) and 1,398^th biggest inflated opening between Junior and Hercules (close to The Green Mile, Predator, The Mexican and The Equalizer).

40th biggest opening over the last 52 weeks between The End Of Oak Street and Pressure (close to Predator: Badlands, The Drama, EPiC: Elvis Presley In Concert and Tron: Ares).

David Ayer (who had his ups and downs) was attached to direct in 2024, and a year later, Brad Pitt was signed to star and produce via his Plan B company. Paramount acquired it through their first-look deal with Damien Chazelle’s production company.

There have been many “man and his dog” survival films over the years including I Am Legend, The Call of the Wild, White Fang, Alpha, and Dog. Heart of the Beast opening as it has done is all about Brad Pitt’s star power and man’s best friend, and that from the opening scene we know the dog survives, unlike in The Odyssey. Audiences connect strongly with films about the relationship between humans and dogs as seen by the huge success of 2008’s Marley & Me (spoiler the dog dies).

While Brad Pitt starred in F1 and Bullet Train, Heart of the Beast is a much different film similar to 2022’s Channing Tatum Dog, 2017’s The Mountain Between Us, 2022’s Beast and 2026’s Send Help. /it was expected to open similar to 2019’s Ad Astra (£2,265,387 including £560,517 previews taking £6,079,432)

12 years ago, Brad Pitt starred in David Ayer’s Fury opening £2,692,786/£3,209,705 taking £8,135,654/£9,697,409. More recently had mixed success directing genre action films The Beekeeper and A Working Man, but Heart of the Beast is the first film starring Brad Pitt since 2025’s F1 which performed strongly opening £7,071,647 taking £22,335,543. He next stars in standalone sequel and spin-off to 2019’s Once Upon a Time in Hollywood, The Further Misadventures of Cliff Booth directed by David Fincher and written by Quentin Tarantino opening in November.

Its 35 years since Brad Pitt had his breakout role as J.D in Thelma & Louise and has starred om a wide range of films since of all genres which has meant he hasn’t had the huge box office success as his Interview with the Vampire Tom Cruise has had since (apart from Ocean’s trilogy), But many have been far more memorable including Legends of the Fall, Seven, 12 Monkeys, Fight Club and Inglorious Basterds, while he has also has huge success producing many films, including several Oscar winners.

• 4. Sense And Sensibility £1,536,410 -NE

Took £455k 29.62% Friday; £541k 35.22% Saturday; £540k 35.16% Sunday.

1,253^rd biggest opening between Diary of a Wimpy Kid: Dog Days and King of Thieves (close to Intolerable Cruelty, Billy Elliot, The Personal History Of David Copperfield and Hail Caesar!) and 1,849^th biggest inflated opening between French Kiss and Chain Reaction (close to Gosford Park, Shirley Valentine, Mermaids and Muriel’s Wedding).

49^th biggest opening over the last 52 weeks between Send Help and Shaun The Sheep: The Beast Of Mossy Bottom (close to Paw Patrol: The Dino Movie, Mortal Kombat 2, Crime 101 and Marty Supreme).

The Gen Z Sense and Sensibility follows Wuthering Heights earlier this year, as well as Emma, Little Women, and the upcoming Pride and Prejudice, as these versions attempt to do for a new generation what the 90s versions did for their parents.

There was Austenmania in the 90s, especially 1995, with the BBC’s Pride and Prejudice starring Colin Firth, which inspired Helen Fielding to create Bridget Jones’s Diary as fan fiction—a phenomenon that became four books and films. That same year saw the Oscar-winning Sense and Sensibility, the BBC adaptation of Persuasion, the modern-day Emma became Clueless. Also in 1995 was a remake of Little Women, based on Louisa May Alcott’s novel 1996 saw the period-set Emma starring Gwyneth Paltrow and Jeremy Northam, and 1999 brought Mansfield Park.

Remaking the classics feels similar to what Disney is doing with its live-action reimagining’s, bringing beloved stories to the next generation. The problem, of course, is that those who lived through the previous incarnations see these as sacrilege. But as with the recent Star Wars films, Disney would say they are not for the children who saw the originals or the prequels, they are for their grandchildren. These adaptations are of classic novels, after all.

We have seen this in the reviews for Sense And Sensibility, saying it is a lovely adaptation but completely unnecessary, as surely was the case with recent Wuthering Heights, Emma, Little Women, and the upcoming Pride and Prejudice.

Wuthering Heights opened £7,665,295; £2.2m 29% Friday; £3.29m 43% Saturday; £2.1m 27.7% Sunday taking £25,224,499.

After the first 6 months of the year was very strong for films targetting female audiences, Sense and Sensibility and the upcoming Pride and Prejudice on Netflix will be a big draw for audiences especially as Practical Magic 2 did not connect with younger female audiences as expected and Sense and Sensibility likely had similar issues despite targetting GenZ but it failed to excite it, maybe after the sexualised Wuthering Height’s GenZ were turned off with this vanilla U version.

2019’s Little Women opened £3,578,877 (including £847,467 previews) taking £21,283,939.

1996’s Sense and Sensibility opened £629,152/£1,362,029 from 102 screens taking £13,605,627/£29,454,344

1996’s Little Women opened one-week platform £37,326 and then #1 with £423,563/£974,925 taking £3,143,960/£7,236,529

2020’s Emma opened £1,635,797/£1,850,669 taking £7,455,943/£8,435,325 (COVID affected)

1996’s Emma opened £402,155/£1,400,549 taking £5,012,831/£17,457,729

2005’s Pride And Prejudice opened £2,529,947/£4,302,521 taking £14,562,448/£24,765,437

30 years ago, Baz Luhrmann directed Romeo and Juliet, starring Leonardo DiCaprio and Claire Danes. It was set in modern times but kept all the key elements of the film and the Shakespearean text, and it has beloved audiences ever since.

1997’s Romeo + Juliet opened £662,546/£1,303,930 179 screens taking £7,438,055/£14,638,531

Romeo + Juliet was made for 14-year-old girls studying the play for English Literature, and as Leonardo DiCaprio was 21 and Clare Danes was 17, they were close to the age of Romeo and Juliet, and the film played strongly to the 14-year-old girl.

Daisy Edgar-Jones recently starred in the 2022 adaptation of Where the Crawdads Sing opening £1,395,704 taking £8,115,231 and 2024’s Twisters but is best known for playing Marianne Sheridan in the lockdown BBC hit Normal People, next stars in Netflix’s Here Comes the Flood alongside Denzel Washington and Robert Pattinson released next year directed by Fernando Meirelles.

• 5. Shaun The Sheep: The Beast Of Mossy Bottom £816,652- £2,528,302

Dropped 45.3% in its second weekend (22% without previews)

Took £79k 9.67% Friday; £344k 42.11% Saturday; £394k 48.23% Sunday.

1,420^th biggest second weekend between Alien vs Predator and The Horse Whisperer (close to The Tigger Movie, The Borrowers, South Park: Bigger, Longer & Uncut and Back To The Future Part III) and 1,985^th biggest inflated second weekend between Training Day and Poltergeist (2015) (close to The Little Rascals, Willow, Clifford The Big Red Dog and Street Fighter).

38^th biggest second weekend over the last 52 weeks between Gabby’s Dollhouse: The Movie and Send Help (close to Regretting You, Masters Of The Universe, Paw Patrol: The Dino Movie and Reminders Of Him)

2019’s A Shaun The Sheep Movie: Farmageddon dropped 19.4% £1,052,238 and £3,346,248               46.9% of £7,081,393.

2015’s Shaun The Sheep Movie dropped 17.1% £1,736,986 and £4,370,805 31.8% of £13,675,389

The first two films opened ahead of half-term but The Beast Of Mossy Bottom 6 weeks before half-term.

Based on the TV series which was a spinoff 1995’s Wallace & Gromit short film A Close Shave and is the third film in the series after 2015’s Shaun the Sheep Movie and 2019’s A Shaun the Sheep Movie: Farmageddon.

Made by Aardman Animations as the first two films its released in the UK by Studiocanal, but this third film, was acquired by Sky Cinema and Studiocanal are releasing it on behalf of Sky Cinema in the UK as they have done with many other films Sky Cinema acquired for the UK and it was probably given a September cinema release so it will be on Sky Cinema late October ahead of Halloween.

It was surprising Sky Cinema acquired UK rights for the film as Studiocanal are releasing the film in many international countries and selling the film worldwide especially as the UK is the biggest territory for the films.

2025 was the 30th anniversary of Wallace and Gromit: A Close Shave, the first time Shaun The Sheep made an appearance.

Previous Aardman Animations films had very long legs, but despite positive reviews, strong word of mouth and no competition for family films for several weeks The Beast Of Mossy Bottom will be dropping down the chart over the coming weeks as it will surely be on Sky Cinema for half-term in a months’ time.

While Shaun The Sheep is a beloved character, the films haven’t been as successful as other Aardman Animations films as they play strongest to a younger audience, but its 7 years since the last film opened the fanbase are now teenagers, that said a seventh series of Shaun The Sheep was shown on the BBC last summer and Aardman Animations TV shows are broadcast across 170 territories around the world.

2026 BO is currently up 21% from 2025.

The weekend’s top 10 box office took £13,073,320 up 18.4% from last weekend’s £11,045,049 1,632,125 admissions, up 18.4% from 1,378,907 admissions.

25^th biggest weekend of the last 52 weeks between 10 April 2026 #1 The Super Mario Galaxy Movie £5,540,836 (42.31%) and 29 May 2026 #1 Backrooms £4,281,936 (33.47%)   

86^th biggest since cinemas reopened out of 306 weeks between 10 April 2026 #1 The Super Mario Galaxy Movie £5,540,836 (42.31%) and 11 July 2025 #1 Superman £6,992,902 (53.61%)   

404^th biggest top 10 of the last 25 years (out of 1,276) between 17 July 2015 #1 Ant-Man £4,011,345 (30.68%) and 16 February 2007 #1 Hot Fuzz £5,918,149 (45.27%) and 781^st biggest inflated between 09 November 2007 #1 Good Luck Chuck £1,316,325 (17.15%) and 06 October 2017 #1 Blade Runner 2049 £6,071,625 (53.40%)

The top 3 took £8,426,993 (64.5%) of the top 10; Avengers: Endgame Encore 31.5% (£4,123,123); Resident Evil 17.1% (£2,233,845); Heart Of The Beast 15.8% (£2,070,025)

727^th biggest percentage share #1 (31.54%) between 18 February 2011 #1 Paul £5,517,121 (31.54%) and 29 July 2011 #1 Harry Potter Deathly Hallows Part 2    £4,567,581 (31.50%)       

717^th biggest admissions (514,747) between 28 February 2025 #1 Bridget Jones: Mad About The Boy £4,130,747 (515,699) and 25 April 2003 #1 Johnny English £2,279,100 (513,311)        

Up 55.73% from 2025; (£8,395,089); One Battle After Another (£2,471,783); Hamilton (10th Anniversary) (£1,769,826); The Strangers: Chapter 2 (£331,535); Spider-Man 2.1 (Re: 2025) (£97,993); Spider-Man 2.1 (Re: 2025) (£97,993); BTS 2016 & 2017 Concert Marathon (£32,973); #1 One Battle After Another £2,471,783 1st week 649 screens (29.44% of top 10).

Up 137.4% from 2024; (£5,506,669); The Outrun (£449,591); Devara Part 1 (£440,626); Megalopolis (£357,191); Shaun Of The Dead (20th Anniversary) (£314,482); Never Let Go (£306,665); Dragonkeeper (£127,573); Terrifier & Terrifier 2 – Double Bill (£91,215); Mean Girls (20th Anniversary) (£22,385); #1 Beetlejuice 2 £1,822,715 4th weekend 703 screens down 26% (33.10% of top 10).

Up 79% from 2023; (£7,302,788); The Creator (£2,255,034); Saw X (£1,925,011); A Little Life (£317,703); Stop Making Sense Remastered (£317,632); The Exorcist (50th Anniversary) (£84,128); Hocus Pocus (30th Anniversary) (£66,713); #1 The Creator £2,255,034 1st week 651 screens (30.88% of top 10)

Up 58.5% 2022 (£6,887,976); Smile (£1,860,452); Mrs. Harris Goes to Paris (£807,817); #1 Smile £1,860,452 1st week 519 screens (22.3% of top 10)

Down 53.5% 2021 (£28,089,047); No Time to Die (£25,916,476); #1 No Time to Die £25,916,476 773 screens 1st week (92.3% of top 10)

Up 518.9% 2020; (£2,112,443); Rocky (Re: 2020) (£10,820); Rocky 2 (Re: 2020) (£4,468); Rocky 3 (Re: 2020) (£2,794); Rocky 4 (Re: 2020) (£996k); #1 Tenet £648,517 569 screens 19% drop 5th week (30.7% of top 10)

Up 43.3% 2019; (£9,120,747); Ready or Not (£947,958); The Goldfinch (£320,849); #1 Downton Abbey £2,682,080 3rd week 18% drop 722 screens (29.4% of top 10).

Up 75% 2018: (£7,468,933); Night School (£1,596,377); The Wife (£392,635); #1 Night School £1,596,377 1st week 452 screens (21.37% of top 10)

Up 32.2% 2017: (£9,737,689); Goodbye Christopher Robin (£781,110); Flatliners (£486,721); Home Again (£484,124); #1 Kingsman: The Golden Circle £4,187,105 2nd week 620 down 51% (42.9% of the top 10)

Down 0.2% 2016: (£13,075,476); Miss Peregrine’s Home for Peculiar Children (£3,473,781); Deepwater Horizon (£1,984,340); Supersonic (£542,263); Free State of Jones (£118,635); Swiss Army Man (£80,403); #1 Bridget Jones’s Baby £4,807,165 3rd week 646 screens 26% drop (36.7% of the top 10)

Up 87.6% 2015; (£7,140,352); Miss You Already (£487,247); Solace (£340,537); Captive (£52,227); Life (£38,237); 99 Homes (£38,078); McFarland (£12,773); #1 Everest £1,996,439 2nd week 1st #1 598 screens 37% drop (27.9% of top 10)

Up 62.9% 2014: (£8,023,248); Billy Elliot The Musical Live 2014 (£1,904,098); The Equalizer (£1,890,146); What We Did on our Holiday (£811,087); Maps to the Stars (£131,057); I Origins (£14,953); #1 Billy Elliot The Musical Live 2014 £1,904,098 1st week 509 screens (33% drop (26.6% of top 10)

Up 103.3% 2013: (£6,429,080); Prisoners (£1,365,527); Blue Jasmine (£833,798); Runner (£764,886); Filth (£247,860); The Wicker Man (Re: 2013) (£14,817); Girl Most Likely (£90,810); Austenland (£12,384); #1 Prisoners £1,365,527 1st week 400 screens (21.2% of top 10)

Up 71.1% 2012: (£7,641,350); Looper (£2,427,994); Resident Evil: Retribution (£792,265); The Campaign (£772,102); Holy Motors (£66,087); #1 Looper £2,427,994 1st week 449 screens 12% drop (31.7% of top 10)

Up 151.5% 2011; (£5,198,264); Abduction (£900,782); The Phantom of the Opera (25th Anniversary Concert) (£550,955); The Debt (£417,977); Shark Night 3D (£416,770); What’s Your Number? (£320,331); Melancholia (£132,437); Red State (£105,753); #1 Tinker, Tailor, Soldier, Spy £1,064,901 3rd week 465 screens 49% drop (20.4% of top 10)

Up 105.1% 2010: (£6,612,218); Eat Pray Love (£1,165,234); The Town (£1,005,039); 3-D The Hole (£906,722); #1 The Other Guys £1,292,144 2nd week 444 screens 35% drop (19.5% of top 10)

Up 86.5% 2009; (£7,010,262); Fame (£2,408,242); Surrogates (£961,271); The Soloist (£373,151); Creation (£199,477); The Crimson Wing (£746); #1 Fame £2,408,242 1st week 459 screens (34.3% of top 10)

Up 107.4% 2008; (£6,302,076); Taken (£1,165,986); Righteous Kill (£768,803); Death Race (£683,038); I’ve Loved You So Long (£116,990); Appaloosa (£90,673); Redbelt (£10,303); #1 Tropic Thunder £1,345,392 2nd week 461 screens 46% drop (21.3% of top 10)

Up 110.7% 2007: (£6,203,477); Halloween (£620,844); Michael Clayton (£601,196); The Brave One (£497,838); Mr Woodcock (£483,017); War (£207,091); Mrs Ratcliffe’s Revolution (£15,600); Hot Rod (£44,241); Across the Universe (£27,471); #1 Run, Fat Boy, Run £988,788 4th week 398 screens 18% drop (15.9% of top 10)

Up 60.2% 2006; (£8,159,980); Click (£1,797,073); Hoodwinked (£1,764,419); World Trade Centre (£1,667,589); Life and Lyrics (£95,724); #1 Click £1,797,073 1st wk. 402 screens (22.1% of top 10)

Up 104.9% 2005: (£6,378,025); A History of Violence (£1,135,345); Goal! (£857,253); Four Brothers (£789,718); Deuce Bigalow: European Gigolo (£280,414); #1 Pride and Prejudice £1,473,062 3rd week 23% drop 412 screens (23.1% of top 10)

Up 98.1% 2004; (£7,170,652); Saw (£1,239,813); Layer Cake (£1,090,561); Sky Captain and the World of Tomorrow (£628,808); Man About Dog (£134,924); The Life and Death of Peter Sellers (£125,748); De-Lovely (£117,789); Dead Man’s Shoes (£44,361); #1 Wimbledon £1,499,011 2nd week 446 screens 12% drop (20.9% of top 10)

Up 82.2% 2003 (£7,175,270); Once Upon a Time in Mexico (£846,100); Young Adam (£228,692); Ned Kelly (£211,643); #1 Calendar Girls £1,761,985 4th week 2nd #1 439 screens 5% drop (24.5% of top 10)

Up 85.9% from 2002: (£7,031,358); Road to Perdition (expansion (£1,318,382); Van Wilder (£707,783); Divine Secrets of the Ya-Ya Sisterhood (£124,269); #1 Signs £1,877,796 3rd week 431 screens 29% drop (26.8% of top 10)

Up 85.5% from 2001 (£7,048,276); Mike Bassett: England Manager (£835,219); Enigma (£796,776); The Score (£736,742); The Brothers (E59,542); #1 A.I. £1,556,911 2nd week 430 screens 32% drop (22.1% of top 10).

Next week: 2025 (£9,102,060); Taylor Swift: Party Of A Showgirl (£3,471,544); The Smashing Machine (£863,078); Him (£275,705); Avatar: The Way Of Water (Re: 2025) (£254,394); Dora: Magic Mermaid Adventures (£107,009); GoldenEye (30th Anniversary) (£99,124); #1 Taylor Swift: Party Of A Showgirl £3,471,544 658 screens 1^st week (38.14% of top 10)

US Box Office

• Avengers: Endgame Encore – Disney

Opened $26.1m; received positive reviews (94% Rotten Tomatoes)

Took $3.8m from Thursday previews; Revenge of the Sith $3.4m.

Had the third biggest re-release opening after 1997’s Star Wars A New Hope $35.9m and 2011’s The Lion King 3D opening $30.15m and slightly ahead of last year’s Star Wars: Revenge of the Sith (20th anniversary) $25.49m.

826^th biggest opening between The Golden Compass and The Help (close to Furiosa: A Mad Max Saga, The Suicide Squad, Fantastic Four and The A-Team).

14% of BO came from IMAX taking $13.7m worldwide; $4m US and $9.7m internationally; Avengers Endgame has now taken $225.7m overtaking Star Wars: The Force Awakens to be the 4th highest IMAX global BO.

60% came from Infinity Vision screens. (IMAX/PLF/4DX/Dolby)

Opened in 1,300 Infinity Vision screens and 390 IMAX screens.

Presales were similar to last years Revenge of the Sith 20^th anniversary opening $25.49m taking $34.1m and $55.56m worldwide it only had aa one week re-release while Encore does not have a limit release.

It was expected to open with $25m in the US and $25m internationally with the bulk of the box office from Infinity Vision screens and IMAX screens as they are the cinemas with the 4 minutes of extra footage, standard format have 2 minutes, for most people its hard to know what’s been added apart from the link to Doomsday.

With three while releases all playing to different demographics it was the best last weekend of September since 2018, showing again as the first few months Its about having a mix of films rather than one tentpole that bring a much wider audience.

The 38 MCU films have taken $35bn worldwide and Avengers: Endgame lifetime BO id now $2.885bn, behind Avatar ‘s $2.92B and ahead of Spider-Man: Brand New Day ‘s $2.495bn.

Opened with $60m internationally $86m total and $2.885bn worldwide total; China $13.5m; UK $5.4m; Mexico $4.2m; Italy $2.6m; Brazil $2.2m; Germany $2m; Australia $2.6m; Spain $1.7m.

Encore was the second-highest biggest international opening for a re-release after 2012’s Titanic 3D in $67m; but 14 years later with the 40%+ of Encore’s BO from IMAX/PLF/Infinity Vision still shows its re-release opening was not as impressive as it looks as admissions were likely much lower.

• Forgotten Island – Universal Pictures

Opened $13m; received positive reviews (94% Rotten Tomatoes) and A CinemaScore

Took $1.48m from Thursday previews including Monday previews; The Bad Guys $1.1m; The Wild Robot ‘s $1.95m.

10% PLFs

Over the last decade September has been a lucrative time to release original animated films away from the crowded summer or Thanksgiving period with films including Hotel Transylvania, Abominable, Cloudy With a Chance With Meatballs and The Wild Robot.

2024’s The Wild Robot opened $35.79m taking $143.9m and $334.5m worldwide

2019’s Abominable opened $20.61m taking $61.27m and $190.3m worldwide

2012’s Hotel Transylvania opened $42.52m taking $148.42m and $366.41m worldwide

2009’s Cloudy With a Chance With Meatballs opened $30.3m taking $124.87m and $243m WW

Showing there is room for a family film opening strongly in September. Forgotten Island had a disappointing opening despite receiving word of month since CinemaCon screening in April, while the weekend might have been crowded there are limited family films on release so it should have opened far stronger, but it again highlights the struggles for original animation to find audiences in cinemas.

Over the weekend Universal Pictures became the first studio this year to take over $5bn worldwide due to The Odyssey, The Super Mario Galaxy Movie and Michael.

It has a staggered international release opening in Mexico, Australia, and New Zealand las weekend and another 31 territories this weekend and then more over the coming weeks, opening in the UK I three weeks’ time ahead of half-term.

Took $5.6m internationally from 34 territories.

• Resident Evil – Sony Pictures

Dropped 61.7% in its second weekend $23.01m and $103.18m

234^th biggest opening between Straight Outta Compton and Cars (close to Clash of the Titans, Kong: Skull Island, Sonic the Hedgehog 3, and Jumanji: The Next Level).

2025’s Weapons dropped 43.8% $24.45m and $88.5m of $151.57m and $270.07m worldwide

2022’s Barbarian dropped 38.4% $6.5m and $21.11m of $40.84m and $45.35m worldwide

The previous Resident Evil films played far stronger internationally taking in the US and $1.28bn worldwide.

2002’s Resident Evil dropped 62.1% $6.7m and $28.93m of $40.11m and $102.98m worldwide

2004’s Resident Evil: Apocalypse dropped 62.4% $8.65m and $37.03m of $51.2m and $129.34m WW

2007’s Resident Evil: Extinction dropped 66.1% $8.03m and $36.82m of $50.64m and $147.71m WW

2010’s Resident Evil: Afterlife dropped 62.5% $10 and $43.89m of $60.12m and $300.22m worldwide

2012’s Resident Evil: Retribution dropped 68.2% $6.7m and $33.46m of $42.34m and $240.15m WW

2017’s Resident Evil: The Final Chapter dropped 65.4% $4.7m and $22.05m of $26.84m and $312.24m worldwide

2021’s Resident Evil: Welcome to Raccoon City dropped 49.5% $2.68m and $13.2m of $17m and $41.91m worldwide

Horror films have taken $1.166bn to date in 2026 more than $1.163bn in 2017, the first billion-dollar year for horror, and 82% of $1.426bn in 2025.

Last year Weapons took $18.4m from 73 territories $59.7m total, and $148.8m worldwide; UK $8.3m; Mexico $5.5m; France $4m; Spain $3.9m; Australia $3.8m.

Took $27m international from 65 territories and $196.5m total worldwide; UK $11.5m; Mexico $9m; Australia $5.4m; France $5m; Germany $4.5m.

• Heart of the Beast – Paramount Pictures

Opened $20.04m; received positive reviews (87% Rotten Tomatoes) and A- CinemaScore

Took $2m from Thursday previews (including Monday previews); Ada Astra $1.8m.

10% from PLFs

Was expected to open between $17m-$20m its Brad Pitt’s first film since starring in 2025’s F1 and will star in next Netflix’s The Further Misadventures of Cliff Booth which has a limited cinema release in November.

Its Brad Pitt’s first film since last years F1 opened $57m taking $189.64m and $634.14m worldwide.

While opened similar to 2022’s Dog opening $14.88m taking $61.77m and $84.55m

2014’s Lone Survivor opened $37.84m taking $125.09m and $154.8m worldwide

Heart of the Beast was expected to perform strongest in the US, but Brad Pitt and the strong reviews and positive word of mouth helped it opened well internationally.

Took $30.1m from 63 territories; France $3.8m; UK $2.7m; Mexico $2.4m; Australia $1.6m; Spain $1.5m; Italy $1.2m; Japan$1.2m; Germany $1m.

• Primetime – A24

Opened $19.19m; received positive reviews (87% Rotten Tomatoes) and B CinemaScore

Took $ from Thursday previews; 2024’s Civil War $2.9m; The Drama $1.7m; Mickey 17 $2.5m

Robert Pattinson’s third film of the year after The Drama and The Odyssey (with Dune Part 3 still to come) but the one that would show if he can open a film on his own. It was expected to open between $12m-$16m; had a budget of $15m much less than all of the other openers.

69% were under 30; 52% to 48% male to female split and Pattinson fans showed up at 33% women over 25 while men over 25 30%.

The film is set in 2006 when To Catch a Predator become a TV phenomenon, it is a fictionalised version of events when Dateline investigations were getting a lot over media attention. It was a massive news story in the US but was not as big internationally so it will be all about Robert Pattinson star power to build interest.

The Drama opened $14.3m and last year’s Bong Joon Ho sci-fi feature Mickey 17 $19m.

Primetime 188m across TikTok, YouTube, Facebook, X, and Instagram.

Opened $1.2m international from limited opening in France, Germany, Austria, India, and Taiwan

UK Box Office Top 10

Box Office Preview

After Spider-Man Brand New Day was #1 for 6 weeks running it will be the fourth weekend running with a new #1.

Both new releases see actors play roles that audiences haven’t seen the actors play before, the question is will audiences embrace these very different roles, as while Tom Cruise is the biggest global actor when he has tried different genres audiences haven’t always embrace it apart from Tropic Thunder but thar was a cameo not leading role. Some critics have said if his character in Digger was a supporting role it would have been fine and he would be a sure thing for Best Supporting Actor.

When Digger was announced with Tom Cruise starring in Alejandro G. Iñárritu film it felt as Leonardo DiCaprio finally won Best Actor Oscar for The Revenant, Tom Cruise will finally win a Best Actor Oscar after being previously nominated four times.

Reviews have been very polarised some have been very positive highlighting Tom Cruise performance others have been very negative similar to Darren Aronofsky films, the question is will Tom Cruise fans come out to see Digger as they haven’t come out previously when he has tried something different Lions for Lambs, Valkyrie, Rock of Ages, Jack Reacher, The Mummy, audiences have not embraced them. Even positively received films like Oblivion, Edge of Tomorrow, and American Made struggled to find his fanbase. This is despite Cruise being the ultimate showman, always doing everything he can to build media coverage with his famous red-carpet walkabouts.

It is like Cruise has framed his Mission: Impossible films between riskier projects. He ended his relationship with Paramount in 2006, becoming head of United Artists. But after Tropic Thunder, Paramount was desperate for another Mission: Impossible film. Cruise wanted to make Jack Reacher, and as part of the deal to make Ghost Protocol, he got to make it.

Digger is Cruise’s fifth film in eight years and his first original film since American Made (2017).

Digger is likely expected to open similar to last year’s One Battle After Another £2,471,783; £756k 30.59% Friday; £966k 39.09% Saturday; £749k 30.31% Sunday.

Digger is surely hoping it could provoke conversations as happened with films like Anora, The Brutalist and Materialists, asking the question what is happening in America. There are films like 1987’s Wall Street that opened weeks after the stock market crash or All the President’s Men released two years after Richard Nixon resigned the presidency, that felt part of the moment.

Digger as One Battle After Another was shot in VistaVision, but only one cinema in the UK, Odeon Leicester Square, was showing it in 35mm VistaVision. VistaVision camera process turns the film stock on its side, so the image is twice the size of standard 35mm, meaning higher picture resolution. VistaVision was created in 1954 by Paramount Pictures to compete with CinemaScope.

After Warner Bros’ mistake of Joker: Folie à Deux having its world premiere at Venice Film Festival in 2024 as One Battle After Another opted for world premiere in London instead of Venice or Toronto Film Festival despite many of Alejandro G. Iñárritu previous films premiering at those film festivals.

Warner Bros. has had strong success over recent years opening Joker and A Star Is Born in early October, and over the last 12 years it has been a lucrative release for adult dramas including Gone Girl, Bladerunner 2049 and The Martian.

After Christopher Nolan opted to make Oppenheimer at Universal Pictures, Warner Bros have been trying to make the studio the home of “home of auteurs” acquiring original projects from Paul Thomas Anderson, Maggie Gyllenhaal, Bong Joon Ho, Ryan Coogler, and Alejandro G. Iñárritu.

Digger will open in IMAX/PLF screens and likely perform stronger in the UK than the US; in the US its now tracking to open with under $10m will be one of Tom Cruiise’s lowest openings; 2007’s Lions for Lambs $6.7m taking $15m and $64.83m worldwide; highlights how Digger could perform far stronger internationally.

Psychological erotic thriller Verity based on Colleen Hoover’s novel. starring Anne Hathaway, Dakota Johnson (recently appeared in the music video of Taylor Swift’s new song Patient Zero) and also starred in the ‘erotic’ thriller 50 Shades trilogy a decade ago.

It is the fifth film released this year starring Anne Hathaway, after Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. She will next star in Alone At Dawn, directed by Ron Howard, due for release next year, and will then film Days of Thunder 2 for release in 2028.

Verity is a very different kind of film from other Colleen Hoover adaptations. It is an erotic psychological thriller, a genre that has struggled to find audiences for 25 years. Recent attempts like Babygirl and Deep Water have tried to revive it, with mixed success. Verity likely sits between Gone Girl and the Fifty Shades trilogy Dakota Johnson starred in a decade ago.

It is also a very different kind of film for Anne Hathaway. Audiences have grown up with her in very different roles, and it can feel awkward seeing an actor in such a different part, even though we understand they want to play different characters.

Colleen Hoover’s 2024’s It Ends With Us opened £4,516,760 taking £21,241,321, but her last two adaptions were not as successful, 2025’s Regretting You opened £1,275,979 taking £6,186,391 and 2026’s Reminders of Him opened £1,081,952 taking £4,068,843m, but neither had the same star power of Blake Lively or Anne Hathway,

October has been very lucrative for adult thrillers including 2014’s Gone Girl and 2016’s The Girl On the Train, so if it does click with audiences, it could open far bigger as seen with The Housemaid opening £4,423,435 taking £31,721,141; after Practical Magic 2 and Sense & Sensibility had soft openings Verity could be the one that connects. That said can be the first erotic thriller in decades to actually work as the genre has had many stinkers over the last 30 years for every Indecent Proposal and Basic Instinct there are The Color of Night, Jade, and Sliver.

Avengers: Endgame Encore will drop heavily in its second weekend (should have only been one week) losing almost all IMAX and Infinity screen where it took the bulk of its box office last weekend. Will likely drop about 60% taking £1.3m-£1.6m.

Fourth Resident Evil dropping about 45%-50% in its third weekend taking £1.1m-£1.3m and fifth/sixth depending on word-of-mouth Heart Of The Beast/Sense And Sensibility, Heart of the Beast will have a higher drop as it had two days of previews which could see them both holding similar down 40%-45% without previews.

Spider-Man: Brand New Da will probably leave the top 10 after 10 weeks on release and The Odyssey could also leave the top 10 in its twelfth weekend ending its run at BFI IMAX on Thursday, it still has 70mm IMAX shows at Vue Manchester and the Science Museum.

Coming Soon

• Forgotten Island – Universal Pictures

Animated fantasy comedy made by DreamWorks Animation features the voices of H.E.R., Liza Soberano, Dave Franco, Jenny Slate, Manny Jacinto, and Lea Salonga and directed by Joel Crawford and Januel Mercado.

It was screened as a “work-in-progress” at the 2026 CinemaCon and at the 2026 Annecy International Animation Film Festival receiving very positive reactions and has since received positive reviews from critics for its visuals, story, and cultural representation.

Had a disappointing opening last week in the US despite its originality which will likely see it struggle in the UK being about Filipino mythology and folklore, that said as seen with films like Moana animation breaks down those culture barriers especially family films, as they will see it very differently.

It opens two weeks before half-term and there are only a coupe of family films opening after Shaun The Sheep: The Beast Of Mossy Bottom opened in September.

• Street Fighter – Paramount Pictures

Action comedy based on the Street Fighter Capcom video game starring Noah Centineo, Andrew Koji, Callina Liang, Curtis “50 Cent” Jackson, and Jason Momoa and directed by Kitao Sakurai,

Legendary Entertainment acquired the live-action film rights to Street Fighter in April 2023 it was originally set up at Sony Pictures but moved to Paramount Pictures after Legendary Pictures moved their production deal to Paramount.

Capcom’s Resident Evil is currently performing strongly at the box office.

There have been two previous films based on Street Fighter, the 1995 film starring Jean-Claude Van Damme and 2009’s Street Fighter: The Legend of Chun-Li, both were critical and box office flops.

As with Resident Evil its targetting GenZ as those older have endured the 1995 film and were tired watching the trailer, so its target audience is similar to that who saw Five Nights at Freddy’s and Mortal Kombat II

• Whalefall – Disney

Survival thriller starring Austin Abrams, Josh Brolin and Elisabeth Shue and directed by Brian Duffield, based on the 2023 novel by Daniel Kraus.

20^th Century Studios acquired distribution rights from Imagin Entertainment in 2024

There have been many similar extreme single location survival films including 2010’s 127 Hours, 2013’s Gravity and the director Brian Duffield previously directed 2023’s No One Will Save You about a home invasion with an alien twice was released straight to streaming on Hulu. Could plat similar to more recent Cocaine Bear in 2023 opening £1,581,128 taking £5,202,386.