- Weapons £2,818,535 – NE
Friday £857k 30.41%; Saturday £944k 33.5%. Sunday £1.02m 36.1%
610th biggest opening between Men In Black International and Tinker, Tailor, Soldier, Spy (close to Bullet Train, Sleepy Hollow, Django Unchained and Armageddon) and 969th biggest inflated opening between The Specialist and South Park: Bigger, Longer & Uncut (close to Broken Arrow, Shaun of the Dead, Death Becomes Her and Lilo & Stitch (2002).
18th biggest opening of 2025 between We Live In Time and A Complete Unknown (close to 28 Years Later, Final Destination: Bloodlines, Sinners and Mickey 17).
22nd biggest horror between Sleepy Hollow and Us (close to The Woman in Black, A Quiet Place: Day One, The Conjuring: The Devil Made Me Do It and Bram Stokers Dracula) and 53rd biggest inflated horror between Shaun of the Dead and Drag Me to Hell (close to The Haunting, Freddy’s Dead The Final Nightmare, 28 Days Later and Final Destination).
Most horror films this year, but Weapons had several advantages, received incredibly positive reviews, was vastly different to all the other films on release that are all targeting similar demographics and also was trailed before. Final Destination: Bloodlines, 28 Years Later and Sinners. Weapons is the third biggest horror opening in 2025 after Nosferatu, 28 Years Later and Final Destination: Bloodlines, opening ahead of Sinners.
Zach Cregger previously directed 2022’s Barbarian, and he also wrote the screenplay along with the upcoming Resident Evil reboot. Many years earlier, he wrote the script for Miss March in 2009, one of the worst films ever made.
2022’s Barbarian performed far stronger in the US than internationally, taking $40.82m and $45.35m worldwide; it opened £380,812 from 423 screens, taking £1,082,037. What didn’t help its UK opening was that Prey For The Devil opened £859,717 the same weekend.
Zach Cregger said he was inspired to write the Weapons script by 1999’s Paul Thomas Anderson film Magnolia. The script created a bidding war in 2023 between Netflix, New Line Cinema, TriStar Pictures and Universal Pictures; New Line acquired rights. Pedro Pascal was originally cast in the film, but had to drop out due to The Fantastic Four: First Steps and Josh Brolin replaced him.
After receiving positive test screenings, its release date was brought forward from January 2026 to August. It’s been compared with films like What Lies Beneath, The Ring and Sleepy Hollow.
The opening of Weapon will surely help the opening of The Conjuring: Last Rites in the weeks.
- 2. Freakier Friday £1,758,698 – £1,758,698
Friday £743k 42.26%; Saturday £555k 31.57%; Sunday £460k 26.17%
1,041st biggest opening weekend between About Time and The 40 Year-Old Virgin (close to Cowboys & Aliens, Austin Powers: International Man Of Mystery, 27 Dresses and America’s Sweethearts) and 1,578th biggest inflated opening between The Great Wall and I Give It A Year (close to A Simple Favour, Bewitched, Crazy Rich Asians and The Wedding Planner).
24th biggest opening in 2025 between The Naked Gun and The Bad Guys 2 (close to Karate Kid, Sinners, The Amateur and Babygirl).
Freakier Friday is the sequel to 2003’s Freaky Friday, based on Mary Rodgers’s 1972 novel and is the seventh film of the franchise made by Disney since 1976, which includes three TV movie sequels.
2003’s Freaky Friday opened £1,214,559/£2,180,188, taking £6,393,998/£11,477,514
Would have surely expected Freakier Friday to open similarly to
2004’s Mean Girls opened £1,393,494/£3,347,770, taking £5,411,323/£9,605,400
2024’s Mean Girls opened £3,251,159, taking £9,229,629
Despite Freakier Friday’s lower-than-expected opening, it will likely play well to tween girls and their mums, playing well through August, as there’s limited other competition for tweens.
Disney announced plans to reboot Freaky Friday in 2016; it was originally developed for Disney+, but then Jamie Lee Curtis and Lindsay Lohan were approached in 2022, and it was switched to be a cinema release.
While Jamie Lee Curtis has starred in several films recently, it’s Lindsay Lohan’s first major role in almost 20 years since 2006’s Just My Luck. She has had many bit parts and cameos in films and TV shows, many of which she has been playing herself.
When Lindsay Lohan starred in Freaky Friday, she had recently starred in Disney’s The Parent Trap and afterwards starred in the original Mean Girls. As many young actors who have had success at a young age have struggled to deal with fame and the press,
It’s always much harder for young actresses who achieve early success and later face highly publicised personal struggles—like Mischa Barton, Britney Spears, and Amanda Bynes—to stage comebacks, while male stars with similar issues, such as Robert Downey Jr., Shia LaBeouf, or Colin Farrell, often bounce back quickly. The double standard is glaring: men are given redemption arcs (“he’s flawed but brilliant”), while women are labelled “trainwrecks” and discarded. Hollywood forgives men’s mistakes as “bad boy behaviour” but punishes women for the same struggles, especially as they age out of the industry’s narrow standards of youth and “likeability.”
The media’s obsession with female stars’ breakdowns—while downplaying or excusing male stars’ scandals—plays a huge role. Women like Lindsay Lohan wait decades for a second chance (if they get one at all), while men like RDJ become blockbuster heroes. The system protects and reinvests in men but rarely extends the same grace to women, leaving talented actresses stranded after their struggles. Until Hollywood addresses its sexist double standards, these heartbreaking disparities will continue.
- 3. The Fantastic Four: First Steps £1,379,974 – £19,034,074
Down 55.5% in its third weekend
Frid: £432k 31.3% (-55.1% £961k), Sat: £520k 37.7% (-46.43% £1.12m), Sun £427k 31% (-55.5% £1.02m)
433rd biggest third weekend between Batman Forever and Hook (close to Terminator 3: Rise Of The Machines, Transformers, Twilight and Ghostbusters: Frozen Empire) and 712th biggest inflated third weekend between Gosford Park and G-Force (close to Tenet, Aliens, Kill Bill – Volume 2 and Rango).
29th biggest MCU third weekend between Black Widow and Thor (close to Captain America: Brave New World, Ant-Man and the Wasp: Quantumania, Eternals and Thunderbolts).
60tn biggest third weekend comic-book between Batman Forever and Batman Begins (close to Justice League, The Mask, Batman and Robin and X-Men: Apocalypse) and 74th biggest inflated comic-book third weekend between Fantastic Four (2005) and X-Men: Apocalypse (close to Blade 2, X-Men: The Last Stand, Ant-Man and The Wasp and Eternals).
Fantastic Four: First Steps is seen as a “return to form” for the MCU, but if you look at the files, it had a similar third weekend audiences didn’t agree as its third weekend was similar to several poor, disappointing X-Men films, Justice League and similar to the inflated third weekend of Fantastic Four (2005)
As the 37th MCU film and third adaptation of Fantastic Four, Fox’s previous Fantastic Four films were poorly received before Disney’s 2019 acquisition.
2005’s Fantastic Four dropped 49.6% £821,595/£1,390,257 and £9,721,732 78.81% of £11,782,585/£19,812,754; took $154.7m/$277.8m and $333.53m/$600m worldwide
2007’s Fantastic Four: Rise of the Silver Surfer dropped 39.3% £1,368,615/£2,159,973 and £10,218,948 83.2%/£19,257,058; took $131.9m/$270.7m and $301.9m/$505.1m
2015’s Fantastic Four dropped 64.4% £249,205/£275,473 and £5,653,567/£6,210,298; took $56.1m/$76.6m and $301.9m/$412.2m WW.
26th biggest MCU between Captain America: The Winter Soldier and Black Widow (close to Thor: The Dark World, Ant-Man and the Wasp: Quantumania, Captain America: Brave New World and Ant-Man and the Wasp).
The 37 MCUs have taken £1.2bn since 2008 and £1.4bn, inflated with an average opening of £11,755,763 and an average total of £31,904,312.
339th biggest between Transformers: Age of Extinction and X-Men: The Last Stand (close to The Hangover Part III, 2012, Blade Runner 2049 and Little Fockers) and 612th biggest inflated between Ant-Man and The Wasp and Waterworld (close to Jerry Maguire, Fantastic Four: Rise of the Silver Surfer, As Good As It Gets and Mad Max: Fury Road).
The next MCU won’t be released until Avengers: Doomsday. It has massive shoes to fill after the huge BO of Avengers: Infinity War and Avengers: Endgame, so will it be able to match their success? Dating the next two Avengers films in December, Disney will be hoping to repeat the huge success of Spider-Man: Far From Home, but that was a vastly different film, as it was the greatest hits of Spider-Man, attracting a much wider demographic. Avengers: Doomsday will surely be much more front-loaded than Disney’s Star Wars films, which also opened in December.
- 4. The Naked Gun £1,103,887 – £4,401,634
Down 39.2% in its second weekend.
Fri £346k 31.4% (38.8% £565k); £442k 40.1% (-67.2% £658k) Saturday; £315k 28.56% (-39.2% £592k) Sun
1,008th biggest second weekend between Green Lantern and Wayne’s World 2 (close to Team America: World Police, Stepbrothers, Taken and Wayne’s World) and 1,549th biggest inflated second weekend between The Last King of Scotland and Employee of the Month (close to White Chicks, Never Been Kissed, Tango & Cash and Real Steel).
24th biggest 2025 second weekend between Mickey 17 and Karate Kid (close to We Live In Time, The Bad Guys 2, M3GAN 2.0 and Elio).
Only need to see the comparison films’ second weekends to The Naked Gun to see how disappointing its performance has been, comparable to films like Team America: World Police, Stepbrothers, Taken and Wayne’s World, and inflation-inflated White Chicks, Never Been Kissed, Tango & Cash and Real Steel.
After receiving positive reviews and being different to the other films, The Naked Gun should have held far stronger, but it’s surely another example that you can’t make a legacy sequel without the star that made it successful. Leslie Nielsen is The Naked Gun as Harrison Ford is Han Solo. Liam Neeson feels like his doing a live-action performance of The Lego Movie’s Bad Cop, and surely wasn’t the right actor to fit in the huge shoes of Leslie Nielsen, as it would surely be like trying to remake a Gene Wilder comedy?
While it’s also another PG-13 film that suffers from being a 15 film, as its target audience can’t legally see the film. This is the problem with the BBFC, they are too lenient on blockbusters, giving them 12A, surely there is a need to bring back the 12 certificate?
The Naked Gun’s poor second weekend is evident when looking at the second weekends of the original films, all released over 30 years ago, but their second weekends are remarkably similar to The Naked Gun.
1989’s The Naked Gun dropped 12.1% £932,896/£3,191,065 and £3,032,316 39.2% of £7,740,553/£26,477,342
1991’s The Naked Gun 2 ½: The Smell Of Fear dropped 43.3% £902,082/£2,372,803 and £3,489,812 43.83% of £7,962,029/20,943,027
1994’s The Naked Gun 33 1/3 The Final Insult dropped £895,994/£2,197,253 and £2,801,071 53.2% of £5,264,981/£12,911,353
The producer of the original trilogy, David Zucker, said when Paramount Pictures announced the sequel, “Paramount is just going ahead and doing it; they haven’t involved me. They’re just gonna do what they want, that’s Hollywood.” Recently, he toned his comments, saying, “People are liking it, which is great,” “I really like the director, and I just couldn’t wish him more well. I texted him already, saying, ‘I hear the reviews are great, and it’s tracking well.’ He was happy to hear from me, and we’ll get together later in the month when the smoke clears.”
When David Zucker saw the trailer in April, he said, “I regret having seen the trailer for it.”.. “It’s like watching 2 Girls 1 Cup. I can’t unsee it.”
Legacy comedy sequels have struggled to find similar success, as seen with films like Bill & Ted Face the Music, Vacation, Men in Black International, Anchorman 2: The Legend Continues, Zoolander 2, Dumb and Dumber To, The Pink Panther, Blues Brothers 2000, Coming 2 America, and Beverly Hills Cop: Axel F.
- 5. The Bad Guys 2 – £812,771 – £7,382,165
Down 38.7% in its third weekend
Fri £283k 34.85% (-36.55% £446kk); £285k 35.1% (-69% £413k) Sat; £244k 30.1% (-38.7% £466k) Sun
816th biggest third weekend between Stuart Little 2 and Australia (close to Look Who’s Talking, Fantastic Four (2005), The X- Files and The Bad Guys) and 1,163rd biggest inflated third weekend between Dear John and Rampage (close to Zathura, Team America: World Police, Hot Shots: Part Deux and The Pelican Brief)
34th biggest Dreamworks Animation third weekend between The Croods 2: A New Age and The Bad Guys (close to Over The Hedge, Puss in Boots, Flushed Away and Abominable) and 37th biggest inflated third weekend between The Bad Guys and The Bad Guys 2
2022’s The Bad Guys dropped 27.9% £807,369 and £7,587,779 56.29% of £13,478,928.
40th biggest Dreamworks Animation film between Penguins Of Madagascar and The Boss Baby 2 (close to Bee Movie, Abominable, Captain Underpants and Ruby Gillman, Teenage Kraken)
Children’s films have surprisingly struggled to match the BO heights of recent years, with Dog Man still the biggest animated film of the year until Zootopia 2.
Surprisingly, animated films have struggled over the months after cinemas reopened after the first lockdown in 2025. Smaller animated films were able to find an audience. Would have also surely expected that without the competition and after the popularity of the original film, The Bad Guys would be taking much more than the original film.
Animated films have been a strong performing genre of films, especially during school holidays, but the animated films that have been released, like Elio and Smurfs, haven’t excited audiences. Of course, next summer will be the battle between Shrek 5 and Toy Story 5.
1,043rd biggest between Sully: Miracle on the Hudson and Fisherman’s Friends (close to George and the Jungle, Gremlins 2: The New Batch, Judge Dredd and GI Joe: Retaliation) and 1,583rd biggest inflated between The Expendables 2 and X-Men: Dark Phoenix (close to Dead Again, She’s the Man, Bridge to Terabithia and I Know What You Did Last Summer).
———-
The weekend’s top 10 box office took £9,926,226, down 14.3% from last weekend’s £11,585,099 1,282,458 admissions, down 14.3% from 2,035,665 admissions.
2025 BO is up 16% ahead of 2024; it will drop down over the next few weeks as Fantastic Four will take nowhere near last year’s Deadpool Vs Wolverine.
The 34th biggest weekend of the last 52 weeks was between 25 April 2025 #1 A Minecraft Movie £2,492,087 (24.70%) and 01 November 2024 #1 The Wild Robot £2,179,601 (22.18%)
111th biggest since cinemas reopened out of 247 weeks between 25 June 2021 #1 Fast & Furious 9 £6,014,132 (60.56%) and 15 December 2023 #1 Wonka £6,362,786 (64.27%)
636th biggest top 10 of the last 24 years (out of 1,218) between 25 June 2021 #1 Fast & Furious 9 £6,014,132 (60.56%) and 15 December 2023 #1 Wonka £6,362,786 (64.27%) and 944th inflated between 25 August 2006 #1 You, Me and Depree £1,636,249 (26.79%) and 15 June 2012 #1 Prometheus £2,009,955 (25.18%)
The top 3 took £5,957,207 (60%) of the top 10; Weapons 28.39% (£2,818,535); Freakier Friday 17.72% (£1,758,698); The Fantastic Four: First Steps (13.90%) £1,379,974
814th biggest percentage share #1 (28.39%) between 23 December 2011 #1 Arthur Christmas £2,047,463 (28.40%) and 27 November 2009 #1 The Twilight Saga: New Moon £4,303,257 (28.38%)
905th biggest admissions #1 (364,152) between 23 September 2022 #1 Ticket To Paradise £2,805,615 (364,839) and 20 March 2009 #1 Marley & Me £2,166,270(364,079)
Down 29.04% from 2024; (£13,987,592); It Ends With Us (£4,516,760); Trap (£1,141,334); Borderlands (£843,159); Spider-Man 2 (2004) (£208,243); Bluey At The Cinema: Family Trip Collection (£181,276); #1 It Ends With Us £4,516,760 1st week 625 screens (32.29% of top 10).
Down 28.77% from 2023; (£13,935,685); Gran Turismo: Based On A True Story (£1,045,838); Haunted Mansion (£990,084); Enter The Dragon (50th Anniversary) (£36,378); #1 Barbie £4,428,044 4th week 44% drop 777 screens (31.77% of top 10)
Up 52.98% from 2022 (£6,488,377); Nope (£1,859,337); Tomorrow Never Dies (Re: 2022) (£7,825); The Rocky Horror Picture Show (Re: 2011) (£3,371); #1 Nope £1,859,337 1st week 676 screens (28.7% of top 10)
Up 11.71% 2021 (£8,885,507); Free Guy (£2,477,891); The Paw Patrol Movie (£2,410,496); Don’t Breathe 2 (£349,702); The Courier (£339,020); #1 Free Guy £2,477,891 1st week from 627 screens (27.9% of top 10)
Up 1,742.57% from 2020: (£538,716); American Pickle (£27,732); #1 Unhinged £117,633 2nd week 270 screens 34 drop (21.84% of top 10)
Down 21.41% from 2019; (£12,630,683); Blinded by the Light (£966,095); Playmobil (£376,296); Bring the Soul: The Movie (Concert) (£237,537); The Art of Racing in the Rain (£197,009); #1 The Lion King £4,366,824 down 16% 4th week 714 screens (34.6% of top 10)
Down 39.62% from 2018: (£16,439,374); The Meg (£3,651,111); The Darkest Minds (£388,325); Dog Days (£59,223); Heathers (30th Anniversary) (£43,462); Pope Francis – A Man of His Word (£21,593); #1 The Meg £3,651,111 1st week 499 screens (22.2% of top 10)
Down 6.92% from 2017: (£10,664,274); Annabelle: Creation (£1,960,203); Atomic Blonde (£1,686,430); The Nut Job 2: Nutty By Nature (£354,276); A Ghost Story (£133,899); Overdrive (£60,043); Step (£5,039); #1 Dunkirk £2,634,839 4th week 677 screens 43% drop (24.7% of top 10)
Down 26.97% from 2016: (£13,670,811); Mike and Dave Need Wedding Dates (£1,068,522); Pete’s Dragon (£844,090); Nerve (£803,457); The Shallows (£800,963); Wiener-Dog (£86,423); #1 Suicide Squad £4,241,508 2nd week 587 screens 62% drop (31.1% of the top 10)
Down 1.21% from 2015; (£10,047,581); Fantastic Four (£2,686,176); The Gift (£584,552); The Diary of a Teenage Girl (£81,185); The Rape of Lucretia – Glyndebourne 2015 (£29,796); Marshland (£40,060); Max (£38,901); #1 Fantastic Four £2,686,176 1st week 539 screens (26.7% of top 10)
Down 53.72% from 2014: (£21,448,750); The Inbetweeners 2 (£12,538,114); La Traviata – Glyndebourne 2014 (£112,970); All this Mayhem (£12,247); #1 The Inbetweeners 2 £12,538,114 1st week 509 screens (58.4% of top 10)
Down 31.63% from 2013: (£14,517,689); Alan Partridge: Alpha Papa (£2,175,850); Percy Jackson: Sea of Monsters (£2,137,835); Grown Ups 2 (£2,075,831); The Lone Ranger (£1,342,196); Barbie Mariposa & The Fairy Princess (£33,161); #1 Alan Partridge: Alpha Papa £2,175,850 1st week 441 screens (14.9% of top 10)
Up 16.17% from 2012 (£8,544,393); Step-Up 4: Miami Heat (£680,052); Offender (£74,154); The Lodger (Re: 2012) (£30,131); 360 (£25,834); The Dinosaur Project (£7,586); #1 Ted £3,174,766 2nd week 513 screens 66% drop (37.1% of top 10)
Down 38.58% from 2011; (£12,426,990); Super 8 (£2,207,063); Mr Popper’s Penguins (£1,515,248); Sarah’s Key (£116,211); #1 Harry Potter & the Deathly Hallows: Part 2 £2,810,088 4th week 525 screens 38% drop (22.6% of top 10)
Down 20.91% from 2010: (£16,470,599); Knight & Day (£2,404,163); Step Up 3 (£2,015,403); Cats & Dogs: Revenge of Kitty Galore (£1,553,005); #1 Toy Story 3 £4,666,021 3rd week 555 screens 62% drop (28.3% of top 10)
Up 5.75% from 2009; (£9,386,362); The Ugly Truth (£1,976,043); G. I. Joe (£1,708,760); Orphan (£570,146); Mesrine: Killer Instinct (£135,999); Adam (£23,201); #1 The Ugly Truth £1,976,043 1st week 400 screens (21.1% of top 10)
Down 35.35% from 2008; (£15,353,692); The Mummy: Tomb of the Dragon Emperor (£4,434,650); Make it Happen (£505,820); The Fox and the Child (£132,441); Elegy (£71,274); Death Defying Acts (£3,977); CJ7 (£437); #1 The Mummy: Tomb of the Dragon Emperor £4,434,650 1st week 477 screens (28.8% of top 10)
Up 1.03% from 2007: (£9,824,857); Rush Hour 3 (£2,731,998); Surf’s Up (£601,289); License to Wed (£268,016); Waitress (£105,910); The Walker (£44,623); #1 Rush Hour 3 £2,731,998 1st week 359 screens (27.8% of top 10)
Up 16.48% from 2006; (£8,521,761); Monster House (£1,030,305); Nacho Libre (£993,948); Lady in the Water (£452,744); #1 Cars £1,340,219 3rd week (2 weeks #1) 498 screens 27% drop (15.7% of top 10)
Up 17.27% from 2005: (£8,464,617); The Island (£1,481,647); Crash (£818,604); The Perfect Catch (£272,285); The Bad News Bears (£45,514); #1 Charlie and the Chocolate Factory £2,886,352 3rd week 523 screens 35% drop (34.1% of top 10)
Down 1.09% from 2004 (£10,036,048); I, Robot (£4,745,541); 13 Going On 30 (£1,184,273); Home on the Range (£198,226); #1 I, Robot £4,745,541 1st week 447 screens (47.3% of top 10)
Up 17.43% from 2003 (£8,452,765); The Pirates of the Caribbean (£3,765,450); Rugrats Go Wild (£360,005); What A Girl Wants (£220,217); #1 The Pirates of the Caribbean £3,765,450 1st week 447 screens (44.6% of top 10)
Up 9.21% from 2002 (£9,089,415); Eight Legged Freaks (£1,031,494); Heaven (£78,207); #1 Men In Black 2 £3,106,105 2nd week 49% drop 512 screens (34.2% of top 10)
Up 3.23% from 2001 (£9,615,584); The Parole Officer (£902,028); Help! I am a Fish (£81,908); #1 Cats and Dogs £2,813,072 2nd week 453 screens 24% drop (29.2% of top 10).
2024 Next week: (£13,276,771); Alien: Romulus (£3,741,287); Coraline (15th Anniversary) (£1,260,124); Spider-Man 3 RE (£156,781); Lone Star (4K Restoration) (£9,731); #1 Alien: Romulus £3,741,287 1st week 672 screens 28.18% of top 10)
August BO
August used to be a very lucrative month for UK cinemas over a decade ago, but it hasn’t been since then due to two key reasons:
Day-and-Date Releasing:
In the past, studios could schedule films locally, allowing for staggered releases. For example, a Pixar film opening in mid-June in the US might be delayed until July in the UK, ensuring it played throughout the summer holidays.
The Decline of British Films:
Despite hundreds of millions in Lottery investment over the last 30 years, the British film industry lacks a sustainable infrastructure. Many distributors that once released British films—such as PolyGram and eOne—no longer exist, while others (like Entertainment Films) are a shadow of their former selves.
This failure dates back 30 years to the mismanagement of Lottery Franchises. Shockingly, only three were awarded, and Entertainment Films was never granted one. Of those three, only DNA Films remains active today.
These franchises were designed to integrate distribution, production, and exhibitors to become self-sufficient over time. However, poor execution meant the system never achieved its potential.
We’re like The Producers’ Max Bialystock, begging for scraps: “It’s just a little cheque, it’s still good, it’s still good!”
Studiocanal co-productions and Universal’s UK shoots don’t make a thriving industry—they make a tax-break rental space. We’ve conflated shooting locations with cultural output, and the numbers don’t lie:
Local share of UK box office: 21% (2023)—half of France’s 40%.
Lottery-funded “hits”: Where’s our Anatomy of a Fall? Our A Prophet?
The greatest trick the Lottery ever pulled was convincing us the BFI could handle nine-figure cheques.”
US Box Office
- Weapons – Warner Bros
Opened $43.5m; received positive reviews (96%) on Rotten Tomatoes and an A CinemaScore
Took $5.7m from Thursday previews; 28 Years Later $5.8m; Nope 46.4m; Final Destination Bloodlines $5.5m; The Nun $5.4m
26% Under 25 / 46% 25 – 34 / 28% Over 35. 65% Male / 35% Female
Weapons is Warner Bros’ 10th #1 opening of 2025 and their 7th #1 opening in 2025.
EntTelligence reported Weapons had 2.8m admissions Friday with 61% premium formats.
2022’s Barbarian opened $10.54m, taking $40.84m and $45.35m worldwide
Warner Bros released two major horror films this year so far.
Sinners opened $48m, taking $278.57m and $363.87m worldwide.
Final Destination: Bloodlines opened $51.6m, taking $138.13m and $285.33m worldwide.
Took $6.2m US and $1.9m international.
385th biggest opening between American Gangster and The Mummy (1999) (close to Tron: Legacy, Nope, Alien: Romulus and The Conjuring)
Comscore reported year to date US BO $5.6 bn +8% from 2024 down 23% from 2019 $7.2 bn; summer $3.26bn up 3% over2024i; it will be less than $4bn.
Opened $28.3m from 72 territories and $71.8m worldwide; UK $3.6m; Mexico $2.7m; France $2m; Australia $1.8m; Spain $1.6m
Opened Speak No Evil (+164%), Smile (+77%), The Black Phone (+59%), Evil Dead Rise (+34%) and M3GAN (+29%).
- Freakier Friday – Disney
Opened $28.58m; received positive reviews (73%) on Rotten Tomatoes and an A- CinemaScore
Took $3.1m from Thursday previews; Snow White $3.5m; Mean Girls (2024) $3.25m; Haunted Mansion (2021) $3.1m.
36% Under 25 / 32% 25 – 34 / 33% Over 35; 74% Female / 26% Male
EntTelligence reported Freakier Friday 2.2M with 27% premium screens.
714th biggest opening between The Expendables 2 and Alita: Battle Angel (close to Mean Girls (2024), Meet the Parents, Free Guy and Hairspray)
2003’s Freaky Friday opened $22.2m, taking $110.23m and $160.84m worldwide
2004’s Mean Girls opened $24.43m, taking $86.05m and $130.19m worldwide
2024’s Mean Girls opened $28.63m, taking $72.58m and $104.97m worldwide
Opened $15.5m from 46 territories; Mexico $2.8m; UK $2.4m; Australia $1.4m
- The Fantastic Four: First Steps – Disney
Dropped 59.2% in its third weekend $15.78m and $230.69m
304th biggest third weekend between Grown Ups and Hannibal (close to X-Men: The Last Stand, Venom: The Last Dance, Solo: A Star Wars Story and Batman Begins).
27th biggest MCU third weekend between Ant-Man and the Wasp and Thor (close to Doctor Strange, Thunderbolts, Captain America: Brave New World and Thor: The Dark World).
EntTelligence said it had an average ticket price of $15.77, average PLF $18.95.
37 MCUs have taken $11bn in the US and $14.2bn, inflated.
2005’s Fantastic Four dropped 44.5% $12.64m and $122.93m of $154.69m/$277.8m and $333.53m/$598.9m WW
2007’s Fantastic Four: Rise of the Silver Surfer dropped 54.3% $9.14m and $114.94m of $131.91m/$220.7m and $301.9m/$505.1m WW
2015’s Fantastic Four dropped 54.3% $3.73m and $49.7m of $56.1m/$76.62m and $167.9m/$229.22m WW
Took $17.5m internationally from 44 territories $203.8m total and $434.2m worldwide; UK $25.5m; Mexico $24.2m; France $12.5m; Brazil $11.6m; Australia $9.7m; Spain $8.3m; Italy $8.2m; Germany – $7.2m; China $5.5m; Peru $4.7m; Japan $4.6m; India $4.5m
- The Naked Gun = Paramount Pictures
Opened $16.8m; received positive reviews (90% Rotten Tomatoes) and A- CinemaScore
The trailer was released in March, having 135m views in seven days. The second trailer had 148m views in its first week. Showing again that high trailer views don’t always turn into a big opening box office.
1988’s The Naked Gun dropped 34% $8.12m and $18.33m of $78.75m/$227.2m
1991’s The Naked Gun 2½: The Smell of Fear dropped 44.1% $11.62m and $43.17m of taking $86.93m/$237.7m
1994’s Naked Gun 33 1/3: The Final Insult dropped 39% $8.01m and $24.88m of $51.13m/$144.3m
Took $6.1m internationally and $58.4m worldwide.
- The Bad Guys 2 – Universal Pictures
Opened $21.99m; received positive reviews (88% Rotten Tomatoes) and A CinemaScore.
1,001st biggest opening just below Chronicle, The Monuments Men and Candyman (2021)
2022’s The Bad Guys dropped 32.2% $16.23m and $44.58m from $97.45m and $250.38m worldwide
Took $9.3m internationally, total $40.5m and $84m worldwide; UK $9.9m; France $4.7m; Mexico $3.6m; Spain $3.5m; Korea $2m.
UK Box Office Top 10
Opening in three weeks
- The Conjuring: Last Rites – Warner Bros
Supernatural horror sequel to 2021’s The Conjuring: The Devil Made Me Do It and the ninth instalment of The Conjuring Universe starring Patrick Wilson and Vera Farmiga, Mia Tomlinson and Ben Hardy and directed by Michael Chaves.
It’s the first film of the series since 2023’s The Nun 2 opened £1,743,904, taking £6,800,000.
The last film, The Conjuring: The Devil Made Me Do It, opened £2,708,455, taking £9,367,720, opening soon after cinemas reopened after the second lockdown.
| Title | R-Date | AV P | OWE | xOWE | OWE Adm | OWE % | Total | 2025 BO |
| The Conjuring | 04/08/2013 | £6.53 | £2,156,124 | 4.86 | 330,187 | 20.59% | £10,471,087 | £12,780,178 |
| Annabelle | 12/10/2014 | £7.41 | £1,939,963 | 3.82 | 261,803 | 26.21% | £7,402,588 | £7,962,028 |
| The Conjuring 2: The Enfield Case | 19/06/2016 | £7.41 | £4,637,862 | 2.35 | 625,892 | 42.56% | £10,896,992 | £11,720,516 |
| Annabelle: Creation | 13/08/2017 | £7.49 | £1,960,203 | 4.12 | 261,709 | 24.26% | £8,079,017 | £8,596,764 |
| The Nun | 09/09/2018 | £7.22 | £4,098,198 | 2.76 | 567,617 | 36.26% | £11,302,155 | £12,476,202 |
| Annabelle Comes Home | 14/07/2019 | £7.22 | £2,223,482 | 2.78 | 307,961 | 36.00% | £6,176,801 | £6,818,435 |
| The Conjuring: The Devil Made Me Do It | 30/05/2021 | £7.52 | £2,708,455 | 3.46 | 360,167 | 28.91% | £9,367,720 | £9,928,288 |
| The Nun 2 | 08/09/2023 | £7.92 | £1,743,904 | 3.90 | 220,190 | 25.65% | £6,800,000 | £6,842,929 |
The eight films since 2013’s The Conjuring have taken over £70m and £80m, inflated.
- On Swift Horses – Sony Pictures
Drama starring Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva and Sasha Calle and directed by Daniel Minahan and based on Shannon Pufahl’s 2019 novel.
Had its world premiere at the 2024 Toronto Film Festival, receiving poor mixed reviews (50% Rotten Tomatoes) and was released in the US by Sony Pictures Classics in April on limited release $ earning 542,360 from 755 screens, taking $1.03m.
Sony Pictures Classics acquired selected rights at the Toronto Film Festival.
On Swift Horses will struggle to find an audience in the UK.
- Honey, Don’t! – Universal Pictures
Dark comedy; the second in a lesbian B-movie trilogy after 2024’s Drive-Away Dolls starring Margaret Qualley, Aubrey Plaza, and Chris Evans and directed by Ethan Coen.
Received its world premiere at the Cannes Film Festival