- Lilo & Stitch £9,568,923 – NE
Took £1,581,095 (16.43%) from previews, Weds £904k/Thurs £620k.
£1.56m 16.32% Friday; £3.49m 36.52% Saturday; £2.94m 30.72% Sunday; Fri-Sun £7,987,828; £3.29m Bank Holiday Monday; £2.57m Tuesday
117th biggest opening between The Secret Life of Pets and Bohemian Rhapsody (close to Mamma Mia! Here We Go Again, Paddington In Peru, Jumanji: The Next Level and Wonka) and 190th biggest opening inflated between Van Helsing and The Lego Movie (close to Mamma Mia!, Batman and Robin, Titanic and The Sixth Sense).
9th biggest opening over the last 52 weeks between Paddington In Peru and Gladiator 2 (close to Inside Out 2, Despicable Me 4, Mission Impossible 8 and Beetlejuice 2); 3rd biggest 2025 opening between Bridget Jones: Mad About The Boy and Mission Impossible 8.
5th biggest Disney reimagination between The Jungle Book and Aladdin (close to Alice in Wonderland, Maleficent, Dumbo and The Little Mermaid)
Opened in 685 cinemas 60th widest opening, similar to Mickey 17 and Inside Out 2 (close to Despicable Me 4, Roald Dahl’s Matilda The Musical, Where The Crawdads Sing and Doctor Strange 2); 258th 600+ cinema opening since 2015’s Jurassic World.
The 20 Disney reimaginations since 2010 have taken almost £500m and £550m+ inflated; average opening £6m.
The opening was 6.5% 5 days before the US opening and 5.47% on the 3-day opening; the UK uses 10% of the US as a guide for UK opening, but Disney is 7%-9% for most films, the last 10% was Elemental a year ago. Disney films are opening slightly lower, but they are often having longer legs.
After taking £1.6m from previews and then £1.56m on Friday, Saturday and Sunday were slightly lower than expected, but probably as it was Bank Holiday Monday and half-term, people have opted to see the film over its opening week rather than the weekend, especially as being a reimagination there aren’t any spoilers.
Disney announced plans to remake the 2002 animated film in 2018; the first teaser was released in November, attached to Moana 2 a second teaser was attached to Mufasa: The Lion King in December. A TV spot played during the Superbowl in February received 173.1m online views in 24 hours. The first trailer was released in March with 158m views within 24 hours, the second most watched trailer after the teaser trailer for 2019’s The Lion King, with 224.6m views.
Lilo & Stitch is the first reimagination of an original Disney animated film, The 2002 animated film wasn’t as popular as all of the other animated films. Reimaginations were based on but became a bigger hit on home video over the last 23 years. Making it impossible to compare Lilo & Stitch’s reimagination with the others Disney have made over the last 15 years since Alice in Wonderland.
Early reactions for Lilo & Stitch called it the best Disney reimagination for years, but reviews were quite different, showing again have to take immediate reactions with a pinch of salt, but the audience who goes to see these reimaginations doesn’t care what critics say.
In 2002, Lilo & Stitch opened £1,516,249/£2,799,229 #1 280 screens, taking £12,892,631/£23,801,780; there were three straight-to-video sequels, including 2003’s Stitch! The Movie and 2005’s Lilo & Stitch 2: Stitch Has a Glitch. Several TV animated series and several video games.
Interestingly, Lilo % Stitch and Moana 2 had huge openings in the US, but they weren’t comparable in size in the UK, while Moana 2 opened with 26% more (£12,021,342 vs £9,568,923) despite having two extra days of previews.
Lilo & Stitch is seen as an original animated film, but the plot of an alien befriending a lonely child is very similar to films like E.T., Bumblebee, The Iron Giant and many others, and the plot will be repeated in Pixar’s Elio opening next month. Disney have repeated the same plot many times, Meet The Robinsons, Treasure Planet, Big Hero 6, Atlantis: The Lost Empire and Brother Bear and recently seen in The Wild Robot.
Disney has exploited their animated films for decades. Originally, they would re-release a classic animated film every few years in cinemas, so each generation could experience them in the cinema. In the 80s and 90s, their cinema release would be followed by the film being available on home video for a limited time. In the 90s and 00s, Disney would make straight-to-video sequels of many of their animated films, and many of them were hugely popular, selling millions of videos and DVDs.
Disney made their first reimagination of 101 Dalmatians in 1996 (opened £2,360,762/£5,053,307, taking £20,380,347/£43,624,959), taking $136.2m and $320.7m worldwide and a sequel, 102 Dalmatians, in 2000 (£1,154,618/£2,078,312, taking £11,176,100/£20,116,980), taking $67m and $183.61m worldwide. They did remake Flubber in 1998, but the original was also live-action.
It was surprising that Disney didn’t make another reimagination until 2010’s Alice in Wonderland (opened £10,555,220/£14,138,673, taking £42,169,542/£56,485,924). Odeon, Vue, and Cineworld Cinemas had threatened to boycott the UK release of Alice in Wonderland after Disney wanted to cut the 17-week window to 12 weeks; they agreed to 13 weeks on the day of its UK premiere. This was the start of the battle between studios and exhibitors over the theatrical window, which went on until 2020, until COVID.
After the success of Alice in Wonderland (taking $334.2m and $1.02bn), Disney first made Maleficent a retelling of Sleeping Beauty, but then, from Cinderella in 2015, they have been direct live-action remakes of the animated films. Disney kept making them as audiences kept coming out to see them in cinemas; they were easy money, far easier to remake a classic than try to create a classic, which Disney had successfully done for many decades previously.
Watching Field of Dreams again on Sky Cinema, you could switch Terrance Mann’s “People Will Come” comment about baseball with Disney animated films: “They’ll arrive at your door as innocent as children, longing for the past…Of course, we won’t mind if you look around,” you’ll say. “It’s only twenty dollars per person.” They’ll pass over the money without even thinking about it. For it is money they have and peace they lack.”
With half-term, Lilo & Stitch will double its opening weekend, Monday-Thursday and have a strong second weekend hold down about 30%, before facing off against How To Train Your Dragon in 10 days. It will likely take about £40m, similar to Moana 2.
- 2 Mission: Impossible – The Final Reckoning £8,579,185 – NE
Took £2,398,616 27.86% from previews Monday-Thursday and regional previews May 15); Mon £230k CC; Tues £330k; Weds £910k and Thurs £820k
Took £1.49m 17.37% Friday; £2.51m 29.26% Saturday; £2.2m 25.52% Sunday; (taking £6,180,569 Fri-Sun); £2.21m Monday; £1.2m Tuesday
148th biggest opening between War of the Worlds and Kingsman: The Golden Circle (close to Die Another Day, Transformers, Star Trek: Into Darkness and The Lego Movie) and 223rd biggest inflated opening between Jumanji: Welcome to the Jungle and X-Men (close to Ocean’s Eleven, The Sixth Sense, I, Robot and Goldeneye).
12th biggest opening over the last 52 weeks between Despicable Me 4 and Beetlejuice 2 (close to Lilo & Stitch, Gladiator 2, Captain America: Brave New World and Thunderbolts); 4th biggest 2025 between Lilo & Stitch and Captain America: Brave New World)
The 4th biggest Tom Cruise opening between War of the Worlds and Mission: Impossible- Ghost Protocol, and the 7th biggest inflated opening between Mission: Impossible 3 and Mission: Impossible II (close to Mission: Impossible II, Minority Report and Oblivion).
Opened in 747 cinemas, the second widest ever opening in the UK after No Time To Die and ahead of Aquaman and the Lost Kingdom (746), Indiana Jones And The Dial Of Destiny (743), of course, it was playing in multiple screens in cinemas, so probably playing in 2,000+ screens.
Dead Reckoning opened in 50+ IMAX cinemas alongside PLF/ScreenX/Dolby/4DX screens, probably taking 40%+ from those formats.
The 7-day opening was 13.4% of the US opening, while the 3-day opening was 9.65%
Paramount held exclusive closed-captioned previews of Dead Reckoning on Monday night ahead of regular previews the following night, as they have done with most of their films since Dungeons & Dragons in 2023. There are an estimated 18m people in the UK with hearing issues, and the industry has been talking about bringing in technology to help people with hearing loss in cinemas for over 14 years. Exhibitors do run captioned screenings, but technology would mean that people with hearing loss could attend any performance.
Interestingly, The Final Reckoning had a similar opening weekend as in 2007 when The Simpsons (£13,626,853) opened #1 ahead of Transformers #2 (£8,718,561). Its inflated opening was similar to Mission: Impossible, Mission: Impossible III, Mission: Impossible II and Mission: Impossible- Fallout, showing that they have attracted a similar audience since the first film opened 29 years ago.
Whilst also opening inflated to Jason Bourne, which was similarly a greatest hits collection of previous instalments, as The Final Reckoning could also be seen as. While the action scenes are incredible, as they have been in all previous Mission: Impossible films, the first hour is bogged down with backstory as it’s the final film of the series. That said, Tom Cruise has said in a recent interview that he will keep doing action films till his 100, and franchises never end, as seen with Warner Bros relaunching Harry Potter.
Much will surely depend on how Tom Cruise’s first original films since 2017’s American Made Do, the Untitled Alejandro G. Iñárritu. The director’s previous film, 2015’s The Revenant, won Leonardo DiCaprio the Best Actor Oscar. Tom Cruise has been nominated three times, twice for Best Actor. Born on the Fourth of July, Jerry Maguire was once the Best Supporting Actor in Magnolia. Tom Cruise is also attached to a supernatural thriller, Deeper, reteaming up with director Doug Liman (Edge of Tomorrow). In a recent interview, Tom Cruise and Christopher McQuarrie talked about a Les Grossman film. Soon after 2008’s Tropic Thunder opened, there were rumours of a film, but they never went anywhere. Interestingly, it’s being mentioned again 17 years later.
With its 7-day opening, Mission: Impossible – The Final Reckoning should have opened bigger than the previous film, 2023’s Mission: Impossible – Dead Reckoning Part One £10,391,016 taking £26,579,966 had the biggest opening of the film series.
Previous openings
1996’s Mission Impossible opened £4,161,780/£8,149,726, taking £18,351,333/£35,936,148
2000’s Mission: Impossible II opened £4,621,948/£8,667,512, taking £17,291,606/£32,426,847
2006’s Mission: Impossible III opened £5,378,013/£8,801,389, taking £15,342,575/£25,108,896
2011’s Mission: Impossible – Ghost Protocol opened £8,188,209/£10,768,981, taking £17,536,984/£23,064,317
2015’s Mission: Impossible- Rogue Nation opened £5,351,344/£5,915,425, taking £21,074,999
2018’s Mission: Impossible- Fallout opened £7,300,103/£8,058,424, taking £24,373,443
The 8 Mission: Impossible films have taken £150m+ at the UK BO and £210m+ inflation-adjusted since 1996; While Tom Cruise films since 1986’s Top Gun have taken £470m+ and £735m inflation-adjusted. His next film is currently untitled, from director Alejandro G. Iñárritu (The Revenant), due for release in October 2026, it will be his first original film since 2017’s American Made.
Deadline reported that the next film he may star in is Deeper, starring Ana de Armas, reteaming with Edge of Tomorrow director Doug Liman, an underwater supernatural thriller that has been in development since 2016 with $200m+ budget. (he was to star in a film in space for Universal.) He has talked about Top Gun 3 and Days of Thunder 2
Having its world premiere at Cannes (an 8-minute standing ovation), Paramount Pictures tried to repeat the success it had with Top Gun: Maverick (a 5-minute standing ovation) three years ago. Opened £15,924,629 and £83,575,590 (including £1,848,434, 11.6% from 50 IMAX cinemas); Took £4.6m 28.9% from previews, Weds £2.7m and Thurs £1.9m; £3.3m Friday (74% share of BO); £3.9m Sat; £3.8m Sun; £2.5m Mon; (took £1m+ for 19 days)
They have marketed the film similarly to the franchise legacy, and the first 90 minutes have a lot of flashbacks to the previous films and a lot of exposition. It has a running time of 169 minutes, 6 minutes longer than Dead Reckoning Part One, which felt far too long. Just reading the reviews felt exhausting. Several weeks after Dead Reckoning opened, Skydance released Heart of Stone on Netflix, which was a shorter, sillier and far more enjoyable similar film. Don’t understand why films like The Final Reckoning need to be as long as the earlier films were much tighter in length.
Tom Cruise announced in 2019 that the seventh and eighth Mission: Impossible films would be shot back-to-back. It was originally due to be released in August 2022, a year after Dead Reckoning Part One in July 2021, but both films’ release dates were delayed several times. In October 2023, Paramount moved it to May 2025 so it could have three weeks of IMAX screens after Dead Reckoning Part One only had one week despite being filmed in IMAX due to Oppenheimer opening the following weekend.
Filming started in March 2022 but was stopped in July 2023 due to the SAG-AFTRA strike restarting in March 2024 and ending in November 2024. It was originally titled MI – Dead Reckoning Part Two, but after the first film underperformed, it was retitled The Final Reckoning.
2023’s Mission: Impossible – Dead Reckoning Part One opened £10,391,016; taking £4,047,040 from 4 days of previews (39% of opening); £1.15m Mon (11.06%); £1.09m Tues (10.5%); £0.98m Weds (9.43%); £0.83m Thurs (7.98%); taking £1.7m Fri (16.36%); £2.8m Sat (26.94%) and £1.8m Sun (17.32%) and took £792k on second Mon (29% drop); £817k Tues (21.5% drop) £12m total after 8 days; opened in 52 IMAX cinemas, taking about 12% of the weekend BO, similar to Top Gun: Maverick. The Final Reckoning will have IMAX cinemas for at least 2 weeks.
Amazing to think that after Paramount Pictures released Top Gun Maverick, Mission: Impossible Dead Reckoning Part 1 and Mission: Impossible – The Final Reckoning over the last three years Tom Cruise got the cold shoulder from Paramount after Mission: Impossible 3, 2006, ending his 14-year history with the studio, Sumner Redstone said. “But we don’t think that someone who effectuates creative suicide and costs the company revenue should be on the lot.”
After leaving Paramount, Tom Cruise and his then-producing partner Paula Wagner became heads of United Artists in 2006, making Lions For Lambs and Valkyrie both flopped and in 2008, Paula Wagner left United Artists and split from being Tom Cruise’s production partner.
Due to a distribution deal with Dreamworks, the studio released 2008’s Tropic Thunder featuring a cameo by Tom Cruise playing studio boss Les Grossman. In February 2010, Tom Cruise signed up to star in Mission: Impossible 4 and then a year later to star in One Shot, which became Jack Reacher. Soon after, Tom Cruise returned to Paramount to make later sequels, Jack Reacher and sequel and Top Gun Maverick.
The Final Reckoning has been called the last Mission: Impossible film, but I’m sure there are already plans in place to reboot the series with Glen Powell and Hayley Atwell (many speculated was Ethan Hunt’s daughter), with Tom Cruise returning in a role similar to Top Gun: Maverick, as Paramount Pictures have a lack of franchises.
The film starts off with Tom Cruise thanking the audience for coming out to the cinema and seeing the film the way it was made to be watched.
- 4. Final Destination: Bloodlines £1,660,795 – £6,950,824
Down 58.6% in its second weekend (41% without previews)
Took £447k 27% (-51.36% £919k) Friday; £663k 40% (-39.73% £1.1m) Sat; £550k 33% (-44.2% £981k) Sun; £514k Monday; £346k Tuesday
594th biggest second weekend between A Complete Unknown and Oblivion (close to What Lies Beneath, The Truman Show, Cloverfield and Dark Shadows) and 1,000th biggest inflated second weekend between The Long Kiss Goodnight and The Maze Runner: Scorch Trials (close to Falling Down, Taken, Eyes Wide Shut and Backdraft).
24th biggest second weekend over the last 52 weeks, between Bad Boys: Ride or Die and A Complete Unknown (close to Snow White, Nosferatu, A Quiet Place: Day One and Twisters) and 9th biggest 2025 second weekend between Dog Man and A Complete Unknown.
8th biggest horror opening between The Nun and Paranormal Activity 2 (close to Nosferatu, The Conjuring 2: The Enfield Case, The Final Destination and Paranormal Activity) and 23rd biggest inflated horror opening between What Lies Beneath and The Grudge (close to Scream 3, The Others, The Ring and Final Destination 3).
Despite the opening of Mission: Impossible – The Final Reckoning, Final Destination: Bloodlines had a strong second-weekend hold as teen audiences likely preferred seeing it to The Final Reckoning playing to an older male audience. Karate Kid: Legends is likely to do similarly this weekend, targeting a similar audience.
Second weekends
2000’s Final Destination dropped 16.4% £1,252,154/£2,348,157 and £3,487,919 34.1% of £10,218,118/£18,604,022
2003’s Final Destination 2 dropped 32.3% £1,134,163/£2,035,874 and £3,487,906 66.7% of £5,232,764/£9,334,120
2006’s Final Destination 3 dropped 36.7% £1,406,352/£2,301,566 and £5,240,912 59.1% of £8,870,775/£14,916,462
2009’s The Final Destination dropped 45.3% £1,986,515/£2,910,391 and £8,725,056 68.9% of £12,654,235/£18,423,077
2011’s Final Destination 5 dropped 43.8% £815,216/£1,072,157 and £3,807,664 72.5% of £5,250,665/£6,862,255
The trailer was viewed 178.7m worldwide within the first 24 hours, the second most-watched horror film trailer after It Chapter One.
As with the first Final Destination 25 years ago, the young cast appeared in popular millennial TV shows, and the audience will surely return to see I Know What You Did Last Summer, the reboot of 1997’s teen horror I Know What You Did Last Summer. As with Scream and Final Destination, featuring a cast from popular teen TV shows, it was a horror for audiences who don’t normally see horror.
1,090th biggest between M3gan and Get Him to the Greek (close to Mars Attacks, Super 8, Sin City and The Hateful Eight) and 1,639th biggest inflated between M3gan and Be Cool (close to The Crow (1994), Contagion, Robocop 2 and Event Horizon).
49th biggest horror film between M3gan and The Invisible Man (close to Longlegs, Scream VI, Smile 2 and 28 Days Later) and 81st biggest inflated horror film between M3gan and The Texas Chainsaw Massacre (close to I Know What You Did Last Summer, Scream 4, Final Destination 5 and Freddy’s Dead The Final Nightmare).
- 4. The Phoenician Scheme £770,562 – NE
Took £215k 27.92% Friday; 3302k 39.22% Saturday; £250k 32.86% Sunday; 285k Monday
2,111st biggest opening between Wild Rose and Sunshine on Leith (close to Unfaithful, Finding Neverland, American Assassin and Searching) and 2,700th biggest inflated opening between Last Night In Soho and Make it Happen (close to One Hour Photo, Kiss Kiss, Bang Bang, The Life Aquatic with Steve Zissou and Dirty Rotten Scoundrels).
57th biggest opening over the last 52 weeks between Flight Risk and The Brutalist (close to Black Bag, The Accountant 2, Warfare and Blink Twice); 25th biggest 2025 opening between Flight Risk and The Brutalist.
Opened in 354 cinemas, 1,853rd widest opening, similar to Made in Dagenham, Mrs Henderson Presents, Red Eye and What Lies Beneath: 2,266th 300+ cinema opening since 1988’s Crocodile Dundee II.
Received its world premiere at the 2025 Cannes Film Festival, it was the fourth Wes Anderson film to receive its world premiere in competition at the Cannes Film Festival after The French Dispatch and Moonrise Kingdom, and the second film directed by Wes Anderson to be released by Universal Pictures since 2012’s Moonrise Kingdom.
Surprisingly, Universal Pictures opted to open The Phoenician Scheme a week before the US and over the half-term week, as it had Wes Anderson’s lowest opening since 2012’s Moonrise Kingdom, despite receiving positive reviews. Unless they had plans to expand its opening in its second weekend, as is often the case with Wes Anderson films.
The Phoenician Scheme is the latest Wes Anderson film; similar to Paul Thomas Anderson’s films, Wes Anderson always receives critical acclaim, but they will often struggle to break out into wider audiences. 2014’s The Grand Budapest Hotel and 2009’s Fantastic Mr Fox were the only two films that have done so. It will be interesting to see how Paul Thomas Anderson’s latest film, One Battle After Another, opens in September after likely having its world premiere at the Venice Film Festival.
2023’s Asteroid City opened £1,176,972; £372k Friday (31.6%); £393k Saturday (33.4%); £412k Sunday (35%) taking £4,923,619
2021’s The French Dispatch opened #6 with £867,672 from 315 screens taking £4,167,060
2018’s Isle of Dogs £1,641,509 on 487 screens (£194,905 from previews) taking £6,009,438
2014’s The Grand Budapest Hotel opened £1,532,239 on 287 screens (dropped only 20% in the second weekend, taking £1,309,103, adding 90 screens and £4,115,618), taking £10,978,014
2009’s Fantastic Mr Fox opened on 481 screens for £1,517,312 (increased 2% in second weekend taking £1,545,325 (due to half-term) £5,589,484) taking £8,707,283.
2012’s Moonrise Kingdom opened #7 £251,760 from 163 screens (dropped 16% in the second weekend £210,804 and £724,870), taking £1,378,748
2007’s The Darjeeling Limited opened £435,198 #6 from 192 screens taking £1,323,698
2004’s The Life Aquatic With Steve Zissou opened £455,722 #9 from 207 screens taking £1,323,544
2002’s The Royal Tenenbaums opened #4 £700,025 from 169 screens taking £2,674,161
1998’s Rushmore took £424,055
- 5. Thunderbolt* £578,630 – £14,931,675
Down 52.5% in its fourth weekend
£122k 21.14% (-60.9% £312k) Fri; £246k 42.63% (-52.33% £516k) Sat; £210k 36.22% (-46.13% £388k) Sun; £242k Monday
685th biggest fourth weekend between The Naked Gun 2 ½: The Smell Of Fear and Nativity (close to Waterworld, Final Destination 3, Kill Bill Volume One and The Bourne Identity) and 989th biggest inflated fourth weekend between Alvin And The Chipmunks: The Road Chip and Pan (close to The Banshees Of Inisherin, Mary, Queen Of Scots, Alien: Romulus and Longlegs).
30th biggest MCU fourth weekend between Eternals and Ant-Man (close to Thor: The Dark World, Captain America: Brave New World, Ant-Man and Thor).
62nd biggest comic book, fourth weekend between Eternals and Fantastic Four (2005) (close to Fantastic Four: Rise Of The Silver Surfer, The Suicide Squad, Justice League and Batman and Robin) and 70th biggest inflated fourth weekend between Justice League and The Wolverine (close to X-Men Origins: Wolverine, Ant-Man, Birds Of Prey and The Flash).
Phase Six starts with The Fantastic Four: First Steps in July (the fourth Fantastic Four film over the last 20 years), will be followed by Spider-Man: Brand New Day opening in July, with Avengers: Doomsday and Avengers: Secret Wars recently moved from May 2026/27 to December.
It will be interesting to see how the new Avengers films will perform with the new Avengers in 2026, 7 years after the release of Avengers: Endgame.
The 36 MCU films have taken £1.2bn since 2008 and £1.4bn inflated.
470th biggest between The Blair Witch Project and Superman Returns (close to Twister, Oz: The Great and Powerful, Ice Age and Stardust) and 781st biggest inflated between Deep Blue Sea and Final Destination 3 (close to Demolition Man, Labyrinth, The Golden Child and Rocky III).
66th biggest comic book film between X-Men and Superman Returns (close to Batman Begins, X-Men: First Class, Batman and Robin and Shazam!) and 82nd biggest inflated between The Suicide Squad and The Hulk (close to Blade 2, Dick Tracy, Superman IV and Watchmen).
UK box office in detail
The weekend’s top 10 box office took £21,932,424, up 208.5% from last weekend’s £7,108,411: 2,833,647 admissions, up 212.1% from 907,892 admissions.
The 6th biggest weekend of the last 52 weeks was between 14 February 2025 #1 Bridget Jones: Mad About The Boy £12,298,966 (53.8%) and 15 November 2024 #1 Gladiator II £9,155,050 (46.53%)
12th biggest since cinemas reopened out of 236 weeks between #1 14 February 2025 #1 Bridget Jones: Mad About The Boy £12,298,966 (53.8%) and 07 April 2023 #1 Super Mario Bros £15,691,810 (74.07%)
56th biggest top 10 of the last 24 years (out of 1,207) between 16 December 2016 #1 Rogue One: A Star Wars Story £17,305,011 (78.86%) and 22 November 2019 #1 Frozen 2 £15,088,012 (68.85%) and 146th inflated between 19 May 2006 #1 The Da Vinci Code £9,501,444 (70.73%) and 03 January 2014 #1 American Hustle £3,467,644 (18.76%)
The top 3 took (£19,808,903) 90.3% of the top 10; Lilo & Stitch 43.6% (£9,568,923); Mission: Impossible – The Final Reckoning 39.1% (£8,579,185); Final Destination: Bloodlines 7.6% (£1,660,795).
389th biggest percentage share #1 (43.63%) between 01 August 2014 #1 Guardians of the Galaxy £6,363,110 (43.67%) and 10 April 2015 #1 Fast & Furious 7 £5,407,918 (43.59%)
208th biggest admissions #1 (1,236,295) between 14 July 2006 #1 Pirates of the Caribbean 2: Dead Man’s Chest (1,241,907) and 12 March 2010 #1 Alice in Wonderland (1,234,203)
Up 144.56% from 2024; (£8,968,008); The Garfield Movie (£2,121,270); Furiosa: A Mad Max Saga (£1,969,140); Twilight Of The Warriors: Walled In (£106,919); Trainspotting (4K Restoration) (£40,500); #1 The Garfield Movie £2,121,270 1st week 670 screens (23.65% of top 10)
Up 123.59% from 2023; (£9,809,374); The Little Mermaid (£5,012,929); Hypnotic (£217,252); Sisu (£144,567); TOMORROW X TOGETHER WORLD TOUR – ACT: SWEET MIRAGE – LIVE (£66,961); The Sleeping Beauty – ROH, London 2023 (£64,370); #1 The Little Mermaid £5,012,929 1st week 724 screens (51.1% of top 10)
Up 13.72% from 2022 (£19,286,684); Top Gun Maverick (£15,931,497); The Bob’s Burgers Movie (£346,592); #1 Top Gun Maverick 1st week £15,931,497 741 screens (82.6% of top 10)
Up 185.11% from2021 from (£9,347,953); Peter Rabbit 2 (£4,605,673); Nomadland (£874,785); Spiral: From The Book Of Saw (£779,107); The Unholy (£405,391); Mortal Kombat (£319,313); Those Who Wish Me Dead (£302,653); Raya And The Last Dragon (£235,994); Ammonite (£130,324); Sound Of Metal (£84,570); #1 Peter Rabbit 2 £4,605,673 1st week 496 screens (49.27% of top 10)
2020 Lockdown
Up 10.61% from 2019; (£19,827,784); Aladdin (£7,066,773); Rocketman (£5,381,904); The Secret Life of Pets 2 (£3,490,598); #1 Aladdin 1st week £7,066,773 642 screens (35.64% of top 10)
Up 66.25% from 2018: (£13,192,041) Solo: A Star Wars Story (£6,061,231); Show Dogs (£546,405); The Breadwinner (£79,329); McKellen: Playing the Part Live 2018 (£41,110); #1 Solo: A Star Wars Story £6,061,231 1st week 680 screens (45.9% of top 10)
Up 126.56% from 2017: (£9,718,848); Pirates of the Caribbean: Salazar’s Revenge (£5,238,049); Diary of a Wimpy Kid: The Long Haul (£1,444,092); The Red Turtle (£91,997); The Other Side of Hope (£66,501); #1 Pirates of the Caribbean: Salazar’s Revenge £5,238,049 634 screens 1st week (53.9% of top 10)
Up 150.95% from 2016: (£8,876,599); Alice Through the Looking Glass (£2,229,399); Money Monster (£820,829); Love and Friendship (£263,094); Minuscule: Valley of the Lost Ants (£97,647); Top Cat Begins (£69,784); Bobby (£1,061); #1 X-Men: Apocalypse £2,543,481 590 screens 2nd week 65% drop (28.6% of top 10)
Up 111.94% from 2015; (£10,348,193); Tomorrowland – A World Beyond (£1,482,178); Poltergeist (£1,463,014); The New Girlfriend (£94,839); Moomins on the Riviera (£84,595); #1 Pitch Perfect 2 £2,665,428 534 screens 2nd week 47% drop (25.7% of top 10)
Up 37.23% from 2014: (£15,982,308); X-Men: Days of Future Past (£9,144,971); Postman Pat (£774,750); Blended (£688,547); Fading Gigolo (£160,781); The Curious Incident of the Dog in the Night-Time – NT Live 2012 (£40,484); Driving Miss Daisy – Melbourne 2013 (£65,389); #1 X-Men: Days of Future Past £9,144,971 537 screens 1st week (57.2% of top 10)
Up 25.2% from 2013: (£17,517,641); The Hangover Part III (£5,964,619); Epic (£3,190,574); The Moth Diaries (£103,228); Something in the Air (£20,948); #1 The Hangover Part III £5,964,619 474 screens 1st week (34.1% of top 10)
Up 221.4% from 2012 (£6,824,026); Men in Black 3 (£2,935,736); What to Expect When You’re Expecting (£661,617); Moonrise Kingdom (£251,760); Iron Sky (£66,076); #1 Men in Black 3 £2,935,736 1st week 532 screens (43.1% of top 10)
Up 20.31% from 2011; (£18,230,336); The Hangover Part II (£10,409,017); Diary of a Wimpy Kid: Rodrick Rules (£1,476,720); #1 The Hangover Part II £10,409,017 1st week 469 screens (57.1% of top 10)
Up 60.96% from 2010: (£13,625,923); Sex and the City 2 (£6,142,718); The Tooth Fairy (£844,889); Space Chimps 2 (£434,883); The Losers (£391,938); Rec 2 (£70,367); #1 Sex and the City 2 £6,142,718 1st week 530 screens (45.1% of top 10)
Up 110.37% from 2009; (£10,425,478); Night at the Museum 2 (£4,160,496); Tormented (£284,757); Awaydays (£39,045); Everlasting Moments (£9,530); #1 Night at the Museum 2 £4,160,496 515 screens 1st week (39.9% of top 10)
Up 45.29% from 2008; (£15,095,445); Indiana Jones & The Kingdom of the Crystal Skull (£12,227,799); Cassandra’s Dream (£47,359); #1 Indiana Jones & The Kingdom of the Crystal Skull £12,227,799 1st week 538 screens (81% of top 10)
Up 31.1% from 2007: (£14,816,587); Pirates of the Caribbean: On Stranger Tides (£11,634,860); Blitz (£266,148); Win Win (£155,463); Fire in Babylon (£107,312); Julia’s Eyes (£49,142); #1 Pirates of the Caribbean: On Stranger Tides £11,634,860 1st week 569 screens (78.5% of top 10)
Up 46.17% from 2006; (£15,005,037); X-Men: The Last Stand (£7,091,820); The Wild (£1,033,153); Curious George (£330,232); Friends with Money (£95,092); Down in the Valley (£39,803); Thief Lord (£38,737); #1 X-Men: The Last Stand £7,091,820 1st week 446 screens (47.2% of top 10)
Up 148.44% from 2005: (£8,828,190); House of Wax (£765,008); The Pacifier (£729,070); Millions (£293,032); It’s All Gone Pete Tong (£261,208); #1 Star Wars: Episode III Revenge of the Sith £5,427,091 2nd week 490 screens 62% drop (61.5% of top 10)
Up 143.83% from 2004 (£8,995,085); Troy (£6,017,523); Bad Education (£202,324); #1 Troy £6,017,523 1st week wide (2-week release) 504 screens (66.90% of top 10)
Up 47.19% from 2003 (£14,900,979); The Matrix Reloaded (£12,165,276); The Hot Chick (£169,452); #1 The Matrix Reloaded £12,165,276 1st week 481 screens (81.6% of top 10)
Up 128.09% from 2002 (£9,615,592); Not Another Teen Movie (£635,805); Thunderpants (£430,913); Hart’s War (£129,484); #1 Star Wars Ep II – Attack of the Clones £5,955,017 468 screens 2nd week 48% drop (61.9% of top 10)
2024 Next week: (£6,644,039); Harry Potter And The Prisoner Of Azkaban (20th Anniversary) (£394,066); Haikyu!!: The Dumpster Battle (£270,095); Sting (£231,113); The Crow (30th Anniversary) (£85,119); Young Woman And The Sea (£64,138); The Beast (£58,826); #1 IF £1,570,568 2nd week split over 3 weeks (23.64%)
US Box Office
- Lilo & Stitch – Disney
Opened $146.01m/$183m 4 days); received positive reviews (70% Rotten Tomatoes) and A CinemaScore
Took $14.5m from Thursday previews; The Lion King $23m; The Little Mermaid $10.3m; Aladdin $7m.
Took 29% from 900 PLF and 16% from 3D also in 300 4DX screens; audience split 64% female;25-34 30%, and 25+ 60%
35th biggest opening between The Super Mario Bros. Movie and Jurassic World: Dominion (close to The Hunger Games, Guardians of the Galaxy Vol. 2, Moana 2, and Finding Dory)
2002’s Lilo & Stitch opened $35.26m/$69.85m taking $145.79m/$288.9m and $273.14m/$542m WW
2019’s The Lion King opened $191.77m, taking $543.63m and $1.662bn worldwide
2017’s Beauty and the Beast opened $174.75m, taking $504.48m and $1.266bn worldwide
Three weeks ago, NRG was tracking Lilo & Stitch for $120mm over 4 days, but Disney has a habit of underestimating predicted openings, as seen with Moana 2 last November.
RelishMix reported Lilo & Stitch social media had 552m across TikTok, YouTube, Instagram, Facebook and X, similar to The Little Mermaid.
After the opening of Lilo & Stitch, there are regular clickbait articles in the trade about why it opened as it did, but the reasons are always the same: Disney saturates the media ahead of the opening, making these films must-see films despite audiences knowing they won’t be as good as the original version. Audiences become like lemmings, feeling like they must see it despite having already seen it on Disney+.
The previous biggest ever Memorial Day weekend was in 2013’s, taking $306m ($433.2m inflated) with Fast & Furious 6 $117.03m; The Hangover Part III $50.26m; Star Trek Into Darkness $47.18m; Epic $42.82m
Opened $158.7m from 50 territories and $304.2m worldwide; Mexico $23.7m; UK $12.9m; Brazil $11.1m; France $10.7m; Italy $9.2m; China $8.3m; Germany $8m; Spain $6.8m; Australia $6m
- Mission: Impossible – The Final Reckoning – Paramount Pictures
Opened $64.03m/$77.5m 4 days; received positive reviews (80% Rotten Tomatoes) and A CinemaScore
Took $8.3m from Thursday previews; Top Gun: Maverick $19.26m; Mission: Impossible – Dead Reckoning Part One $7m; Mission: Impossible – Fallout $6m; Mission: Impossible – Rogue Nation $4m; Mission: Impossible – Ghost Protocol $2m
Took 38% from IMAX/PLF; the audience was 54% 35+, 62% male; 45% of tickets for both Mission Impossible and Lilo & Stitch were walk-up sales purchased on the day.
194th biggest opening between Star Wars: Episode I – The Phantom Menace and Madagascar: Escape 2 Africa (close to Quantum of Solace, War of the Worlds, Inception, and Bad Boys for Life)
Three weeks ago, The Final Reckoning was tracking to open with $78m over 4 days.
Mission: Impossible – The Final Reckoning had a reported budget of $400m; Paramount 50% of the budget, Skydance 25% and New Republic 25%, and it received 20% tax relief shooting in the UK.
Deadline reported the first film generates Paramount Pictures $10m a year 29 years after opening.
Since making his acting debut in 1981’s Endless Love, Tom Cruise’s films have taken $5.41bn at the US box office and almost $13bn worldwide; eight Mission: Impossible films have taken $1.4bn in the US and $4.35bn worldwide.
In the late 80s and 90s, Tom Cruise was the world’s biggest film star, starring in Top Gun, Rain Man, Days of Thunder, A Few Good Men and The Firm.
Tom Cruise is Paramount Pictures’ MVP now. It was very different in 2006 after the performance of Mission: Impossible 3 when he jumped on Oprah’s couch expressing his love for Katie Holmes, and Paramount ended their 14-year relationship with Tom Cruise. He then starred in Lions for Lambs and Valkyrie (his first film with Christopher McQuarrie), both for MGM. In between the two, he appeared as Les Grossman in Ben Stiller’s Tropic Thunder in 2008 (made by Dreamworks and released by Paramount)
Mission: Impossible – Final Reckoning social media reach of 847m; Dead Reckoning 530m; Tom Cruise has 47.2m fans; Angele Basse 8.6m; Hannah Waddingham 1.5m; Cannes after parties, on Fallon 100m views.
Tom Cruise wrote on Instagram, “This weekend was one for the history books! Congratulations and thank you to every filmmaker, every artist, every crew member and every single person who works at the studios. To every theatre and every employee who helps bring these stories to audiences, thank you. To everyone who works at Paramount Pictures and Skydance, thank you for your many years of partnership and unwavering support, and most of all, THANK YOU to audiences everywhere for whom we all serve and for whom we all LOVE to entertain. Sincerely, Tom.”
Mission: Impossible: Fallout opened with $94.6m from 36 territories and $155.8m worldwide; it had the biggest global opening of Mission: Impossible ahead of 2011’s Mission: Impossible: Ghost Protocol, $131.5m.
Dead Reckoning Part 1 opened with $155m from 70 territories; China $25.8m; Korea $14.2m; UK $13.8m; India $9m; Australia $8.3m; France $7.7m; Taiwan $7m.
Took $31m 14.2% from IMAX worldwide; IMAX has three weeks for The Final Reckoning compared to only one for Dead Reckoning Part 1.
Opened $127m from 64 territories and $204m worldwide; Korea $12.7m; Japan $11m; UK $10.7m; India $9m; France $7.8m; Australia $7.7m; Taiwan $6.3m; Germany $6m; Mexico $3.9m; UAE $3.6m; Hong Kong $3.3m.
- Final Destination: Bloodlines – Warner Bros
Down 63% in its second weekend $19.34m and $89.48m
499th biggest second weekend between Mission: Impossible – Dead Reckoning Part One and 8 Mile (close to Fantastic Four: Rise of the Silver Surfer, Maleficent: Mistress of Evil, A Quiet Place Part II and Five Nights at Freddy’s)
894th biggest between Beverly Hills Chihuahua and Julie & Julia; 1,923rd biggest inflated between Murphy’s Romance and 10 Cloverfield Lane; 7th biggest 2025 between Dog Man and Disney’s Snow White; 37th biggest horror between M3GAN and Halloween Kills; 153rd biggest Warner Bros between 10,000 B.C. and The Color Purple (1985).
2000’s Final Destination dropped 27.9% $7.21m and $20.42m of $53.33m/$113.9m and $112.88m WW
2003’s Final Destination 2 dropped 46.3% $8.7m, and $28.1m of $46.96m/$89.7m and $90.94m WW
2006’s Final Destination 3 dropped 48.3% $11.53m and 37.25m of $54.09m/$95.1m and $118.89m WW
2009’s The Final Destination dropped 54.9% $12.36m, and $47.5m of $66.47m/$102.1m and $186.16m WW
2011’s Final Destination 5 dropped 57.3% $7.7m and $32.32m of $42.58m/$61.6m and $157.88m WW
2022’s Scream dropped 59.3% $12.21m and $51.16m of $81.64m and $137.74m worldwide
2023’s Scream VI dropped 61% $17.33m and $75.86m of $108.39m and $166.57m worldwide
Took $23m from 74 territories $92.5m total and $182.3m worldwide; Mexico $9.2m; UK $9.2m; Philippines $6m; France $6m; India $6m; Brazil $2.8m; Indonesia $2.8m; Germany $2.5m; Australia $1.8m; Colombia $1.8m.
- Thunderbolt* – Disney
Dropped 42% in its fourth weekend, $9.69m and $171.89m.
359th biggest third weekend between Identity Thief and The Perfect Storm (close to Solo: A Star Wars Story, X-Men: Days of Future Past, Justice League and Venom: Let There Be Carnage.
26th biggest MCU fourth weekend between Thor: Ragnarok and Thor (close to Shang-Chi, Thor: The Dark World, Captain America: Brave New World and Eternals).
328th biggest between Indiana Jones and the Dial of Destiny and The Greatest Showman; 907th biggest inflated between Scent of a Woman and District 9; 5th biggest in 2025 between Lilo & Stitch and Dog Man; 67th biggest comic-book film between Captain America: The First Avenger and Black Adam; 87th biggest Disney between Indiana Jones and the Dial of Destiny and National Treasure.
Next for Marvel is the fourth Fantastic Four film over the last 20 years, The Fantastic Four: First Steps in July, before Avengers: Doomsday in 2026, which incorporates X-Men into the Avengers, bringing back many of the actors who featured in the 20th Century Fox films.
Took $7m from 52 territories $183m total, and $357.41m worldwide; UK $18.4m; China $15.2m; Mexico $13.7m; France $8.6m; Australia $7.8m; Brazil $7.6m; Germany $7.2m; Japan $7.1m; S. Korea $6.4m; Italy $5.2m.
447th biggest worldwide between Top Gun and Batman Begins; 5th biggest in 2025 worldwide between Lilo & Stitch and Sinners; 95th biggest Disney between Lilo & Stitch (2025) and Dinosaur.
- Sinners – Warner Bros
Dropped 43% in its sixth weekend $8.63m and $256.43m
95th biggest sixth weekend between Crouching Tiger, Hidden Dragon and Captain Marvel (close to The Martian, Knives Out, Gravity and Oppenheimer).
144th biggest between Captain America: The Winter Soldier and The Lego Movie; 476th biggest, inflated between Eraser and Nutty Professor II: The Klumps; 2nd biggest 2025 film between A Minecraft Movie and Captain America: Brave New World; 3rd biggest horror between Jaws and The Exorcist; 28th biggest Warner Bros between Harry Potter and the Chamber of Secrets and The Lego Movie.
Sinners shows again as William Goldman said, “Nobody Knows Anything”, five weeks ago Variety wrote, “$90 million price tag before global marketing expenses, so profitability remains a way away” Sinners has now taken almost double the US BO of Quentin Tarantino’s Once Upon a Time… in Hollywood and getting close to its global box office.
Warner Bros acquired Sinners, accepting Ryan Coogler’s demands that included final cut, first-dollar gross, and a rights reversion clause giving him ownership 25 years after release. Quentin Tarantino demanded a similar deal with Sony Pictures for Once Upon a Time in Hollywood, with Tarantino gaining ownership of the film after 30 years. This is not new, as James Cameron did something similar many years ago with The Terminator.
As Ryan Coogler’s Black Panther attracted audiences who didn’t go to see comic-book films, Sinners brought audiences who don’t see horror films, as it became a must-see film to see in the cinema. It’s films like Sinners that bring audiences back to the cinema who haven’t been for some time.
Sinners is the biggest original film in the US since 2013’s Gravity $274.09m
Sinners is being called the first major Oscar contender this year; Horrors has been a rare Oscar winner, only The Silence of the Lambs and Get Out have won awards, but after Substance received five nominations, Sinners will get nominated next year.
Took $3.8m from 71 territories, $80.1m total, and $338.8m worldwide; UK $17.4m; France $8.1m; Australia $5.5m; Mexico $3.9m; Germany $3.1m.
491st biggest worldwide between Tomorrow Never Dies and Batman Forever; 7th biggest in 2025 between Thunderbolts* and Mission: Impossible—The Final Reckoning; 8th biggest horror between Hannibal and A Quiet Place; 89th biggest Warner Bros between The Legend of Tarzan and Batman Forever.
UK Box Office Top 10
UK Box Office Preview
After a lucrative half-term week, Mom-Thurs taking £2m+ each day, Lilo & Stitch will drop about 30%-35% in its second weekend, taking £5.7m-£6.2m, similar to the second weekend drop of 2019’s Aladdin £4,888,931, taking £19,783,972 53.2% of £37,206,693.
Mission: Impossible – The Final Reckoning will drop about 50-55% in its second weekend (30% without previews), taking £3.5m-£4.2m; 2023’s Dead Reckoning Part 1 dropped 72.2% £2,891,093, taking £16,434,929, 61.83% of £26,579,966 due to the arrival of Oppenheimer and Barbie.
Karate Kid: Legends, the sixth film of the series, following on from 2010’s The Karate Kid and TV series Cobra Kai, opened across Asia three weeks ago, but the embargo was in place until 2pm on Wednesday after opening in the UK. Predictably received mixed reviews, but Sony will be hoping fans of the original film series, as well as fans of the reboot and Cobra Kai TV series, will still come out.
2010’s Karate Kid opened £4,882,306/£6,498,801, taking £11,613,244/£15,458,301
1986’s The Karate Kid Part 2 opened £415,683/£1,751,175, taking £3,427,577/£14,439,580
1989’s The Karate Kid Part 3 opened £528,464/£1,796,324, taking £3,398,000/£11,550,283
Opening 5 days, it’s likely to open with about £2m boosted by three days of half-term holidays and targeting tween boys.
Peppa Meets The Baby Cinema Experience celebrates the birth of new baby Evie. In February, Mummy Pig announced on GMB that she was pregnant and started a big campaign around the birth of her child. On April 25th, it was announced at Battersea Power Station that Mummy Pig was expecting a girl; both events generated huge media coverage.
2019’s Peppa Pig: Festival of Fun opened £982,617, taking £2,715,813
2017’s Peppa Pig: My First Cinema Experience opened £1,050,962, taking £3,719,305
2015’s Peppa Pig: The Golden Boots opened £687,417, taking £2,326,328
Many exhibitors are selling tickets at a reduced rate for Peppa Pig, and presales look strong for Friday at a few cinemas I’ve looked at, so could open similar to Festival of Fun and My First Cinema Experience £1m+.
With the arrival of Karate Kid: Legends, Final Destination: Bloodlines will drop 55%-60^ in its third weekend, taking £650k-£800k.
Biographical drama The Salt Path has received positive reviews since premiering at the Toronto Film Festival, starring Gillian Anderson, Jason Isaacs, James Lance and Hermione Norris should open with £500k+.
Opening in three weeks
- 28 Years Later – Sony Pictures
Post-apocalyptic horror sequel to 2002’s 28 Days Later and 2007’s 28 Weeks Later starring Jodie Comer, Aaron Taylor-Johnson, and Ralph Fiennes, directed by Danny Boyle and written by Alex Garland. It was shot back-to-back with the sequel 28 Years Later: The Bone Temp, directed by Nia DaCosta, set for release in January.
After the release of 28 Weeks Later, a third film was in development at 20th Century Fox but was stuck in development hell for many years due to rights issues. Alex Garland initially said the sequel was going to be 28 Months Later, but the sequel wasn’t officially confirmed until June 2023. Andrew MacDonald acquired the rights to 28 Days Later in 2022, licensing them to Sony Pictures when they acquired world rights to 28 Years Later and its sequel in January 2024, as they acquired world rights to Trainspotting 2 in December 2015; T2, released in 2017, was the sequel to 1996’s Trainspotting.
While they are very different films, comparisons could be made between 28 Days Later/28 Years Later with Trainspotting/T2 Trainspotting. Trainspotting opened £1.4m/£3.1m inflated in 1996, taking £12.5m/£26m, and T2 opened £5.1m, taking £17m. 28 Days Later in 2002 opened £1.5m/£3m taking £6.5m/£12m. The sequel opened similarly 5 years later.
It’s interesting looking back at the marketing campaign for 2002’s 28 Days Later which included 1m CD-ROMs distributed with The Times, a web website (www.28dayslaterthemovie.co.uk), with behind-the-scenes and animation clips from the film and chatroom and forum allowing users to ask questions to the director and producer of the movie.
Ahead of the release of 28 Days Later, I looked after a 7-city tour of the UK over 10 days with the cast and Danny Boyle, Alex Garland and Andrew MacDonald.
- Elio – Disney
Pixar sci-fi animation adventure film featuring voices of Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Jameela Jamil, Brad Garrett, Shirley Henderson and Brandon Moon and directed by Madeline Sharafian, Domee Shi, and Adrian Molina (Coco) It was originally announced at D23 in September 2022
Elio is the 28th Pixar film since Toy Story was released 30 years ago in the US (opened in the UK in March 1996), it’s the 18th original Pixar animated film and the first original film since Elemental was released 2 years ago. Over the last 10 years, Pixar has released 15 films, and 8 were original (Soul, Luca and Turning Red had limited cinema releases after premiering on Disney+).
While Toy Story 4 and Inside Out 2 had big openings (£13,300,000 and £11,321,387), Onward and Elemental had more modest openings £3,419,500 and £3,049,002, and we would expect Elio to have a similar opening. This is, of course, the problem with Disney now, while Pixar sequels and reimaginations have their predictable huge openings, Inside Out 10 years ago was Pixar’s last original hit, and why they are making many more sequels like Toy Story 5, Incredibles 2 and Inside Out 3.
It’s been reported that Elio has a budget of $300m+ and has needed several rewrites and directors being replaced. It was originally due for release in March 2024 and was delayed to June 2025. It was originally due to be directed by Adrian Molina, but due to “scheduling issues”, it was replaced and still shares co-directing credit with Domee Shi and Madeline Sharafian (Turning Red). The trailers from 2023 and 2025 have a different tone and style, while Zoe Saldaña replaced America Ferrera.
Elio also has to deal with How to Train Your Dragon opening two weeks earlier.