- Springsteen: Deliver Me From Nowhere £1,306,626 – NE
Including £77,721 previews
Took £419k 34.15% Friday; £427k 34.80% Saturday; £381k 31.05% Sunday.
1,409th biggest opening between Source Code and Look Who’s Talking Too (close to Road to Perdition, The Producers, Up In The Air and West Side Story) and 2,036th biggest inflated opening between Van Wilder and Dredd (close to High Fidelity, Babylon, The Secret of My Success and Zoolander).
34th biggest 2025 opening between Ballerina and Materialists (close to Freakier Friday, The Salt Road, Regretting You and The Amateur); 10th biggest Disney opening of 2025 between Freakier Friday and The Amateur.
58th widest opening in 690 cinemas similar to Transformers: Rise Of The Beasts and See How They Run; 283rd 600+ opening since 2015’s Jurassic World.
Deliver Me From Nowhere was directed by Scott Cooper. His first film was 2010’s Crazy Heart, Jeff Bridges won a Best Actor Oscar playing Otis ‘Bad’ Blake, but the film struggled to find an audience, opening £102,917, taking £1.2m. All of his films since have also struggled to find a mainstream audience: 2013’s Out of the Furnace, 2015’s Black Mass, 2017’s Hostiles, 2021’s Antlers and 2022’s The Pale Blue Eye.
Opened similar to 2015’s Black Mass (£1,272,249/£1,397,533 taking £3,169,656/£3,481,786
And also 2025’s Better Man (opened £1,568,932, taking £5,794,381
Once the safest genre in Hollywood, the musician biopic now feels like a record caught on repeat. Deliver Me From Nowhere marks Bruce Springsteen’s first big-screen turn since 2010’s concert film The Promise, yet even with strong word-of-mouth it opened far below the heights of the late-2010s hit-maker cycle.
Back in 2018, Bohemian Rhapsody stormed this same mid-October frame with £9.3 million — more than 600 percent higher — turning mixed reviews into mass sing-alongs. 2019’s Rocketman bowed lower at £5.8 million but held with legs any pop star would envy, while 2022’s Elvis entered with £3.5 million and danced to a £25 million total on stamina alone.
By contrast, Springsteen’s debut sits in the £1 million-plus range — respectable but showing how quickly the genre’s feedback loop has quietened. Audiences who once treated these films like communal karaoke now pick and choose by nostalgia, not curiosity. Older viewers came for authenticity; younger ones, already fed by streaming documentaries, may have felt they’d heard this song before.
Still, the film’s modest success suggests there’s room left for sincerity — just perhaps not under Scott Cooper’s steady, somber hand. The director behind 2010’s Oscar-winning Crazy Heart brings the same weather-beaten melancholy that made that film haunting but hardly crowd-pleasing. Every movie he’s made since (Out of the Furnace, Hostiles, Antlers) has shared that quiet, fatalistic rhythm — beautiful to look at, hard to market.
For Deliver Me From Nowhere, that approach yields authenticity but little electricity. Where Bohemian Rhapsody and Rocketman built theatricality into catharsis, Cooper keeps the camera close, the performances inward, and the emotion muted. It’s a portrait, not a party — and while the faithful leaned in, casual viewers stayed home. In short: the right director for the man, perhaps, but the wrong tempo for the multiplex.
Deliver Me From Nowhere is about the making of Bruce Springsteen’s sixth album, Nebraska, in 1982. It received mixed reviews, some calling it an unexpected, brave and artistically daring, but others said it was “demoralising”, “murderously monotonous”, and “deprived of spark or hope”. Smash Hits said that due to the album’s dark tone and “bleak pessimism”, it would only be appreciated by fans, which was the same with the film. Bruce Springsteen has sold about 6.2m albums in the UK; Greatest Hits was certified 4x platinum in the UK over 1.2m albums sold. Worldwide, he has sold over 140m albums, almost half (65.5m) in the US.
The problem despite a strong Oscar worthy performance by Jeremy Strong the film is dull which isn’t what you would expect from a Bruce Springsteen biopic, but the other issue is it focuses on the making of 1982 album Nebraska rather than his life as other biopics have done which was always going to limit its appeal to audiences and making it impossible to compare to other recent musician biopics.
Had world premiere at the Telluride Film Festival, receiving positive reviews from critics, and UK premiere at the London Film Festival. Jeremy Strong and Bruce Springsteen heavily promoted the film.
Springsteen: Deliver Me From Nowhere is the latest Biographical musician drama after Bohemian Rhapsody (Queen), Walk the Line (Johnny Cash), Ray (Ray Charles), Elvis, Straight Outta Compton (N.W.A), A Complete Unknown (bob Dylan) and Rocketman (Elton John); Upcoming musician biopics include Micheal (Micheal Jackson), Sam Mendes’s four Beatles films, and Ridley Scott directed Bee Gees biopic due to be his next film after Gladiator II but has recently been delayed.
2025’s A Complete Unknown opened £2,616,302; Fri £775k 29.6%; Sat £1.02m 38.9%; Sun £771k 29.5% taking £11,887,982
2006’s Walk The Line opened £1,111,142/£1,807,032 198 screens taking £9,737,493/£15,835,923.
2022’s Elvis opened #1 740 screens £4,023,572; £1.25m (31.1%) Friday; £1.45m (36%) Sat £1.29m (36%) Sun; taking £27,492,430; had long legs staying in top 5 for 7 weeks and top 10 for 11 weeks.
2018’s Bohemian Rhapsody opened £9,530,463 #1 (£3,054,530 previews) taking £54,948,727 (opened the same weekend 7 years ago)
2019’s Rocketman opened £5,381,904 #2 705 screens (including £1,360,606 from three days of previews), taking £23,502,881: top 5 for 5 weeks and top 10 for 7 weeks
2024’s Back To Black opened £2,772,698, taking £12,291,912
2024’s Bob Marley: One Love opened £6,950,773 (including £1.82m on Valentine’s Day (Wednesday) taking £17,183,582
2023’s Whitney Houston: I Wanna Dance With Somebody £3,325,458 #2 687 screens taking £11,383,690
2015’s Straight Outta Compton £2,498,231 #1 429 screens taking £8,043,283
Sunday estimates saw Regretting You opening #1 (including previews), but as often happens, Disney always find extra pounds, which saw Springsteen: Deliver Me From Nowhere #1 taking £30k more. But it benefited from IMAX/PLF screens, so admissions were lower and with audience reactions mixed, it’s likely to drop off heavily in its second weekend.
Disney have had a mixed 2025 so far taking about £150m from 14 films, third biggest studio in the UK after Universal Pictures £170m from 16 films and Warner Bros £185m 14 films #1, but of course Zootopia 2 and Avatar: Fire and Ash swill take £100m+ in November/December which will see Disney becoming #1 studio again in the UK. This will cover up the huge disappointments this year of Snow White, Tron: Ares and Springsteen: Deliver Me From Nowhere and that Disney still have an original film Achilles heel, which is crazy as they used to have huge success from original films about 15 years ago.
- 2. Regretting You £1,275,979 – NE
Includes £82,984 previews.
Took £369k 29.03% Friday; £404k 31.79% Saturday; £416k 39.18% Sunday; £412k Monday.
1,437th biggest opening between Shallow Hal and The Santa Clause 3 (close to Materialists, New Year’s Eve, I Feel Pretty and Water for Elephants) and 2,070th biggest inflated opening between Along Came A Spider and Dragon: The Bruce Lee Story (close to Love, Simon, Romeo and Juliet, Shallow Grave and Wedding Daze).
36th biggest 2025 opening between Materialists and The Amateur (close to The Salt Road, Deliver Me From Nowhere, Babygirl and The Penguin Lessons); Paramount Pictures 3rd biggest 2025 opening between The Naked Gun and Heart Eyes.
379th widest opening in 571 cinemas similar to Renaissance: A Film By Beyonce, Sherlock Gnomes and Minions; 742nd 500+ cinema opening since 2002’s Monsters, Inc.
After the success of the adaption of Colleen Hoover It Ends With Us, Regretting You is one of several other film versions of her books including Verity (MGM), Reminders of Him (Universal) and Sony Pictures will be hoping that It Ends With Us sequel It Starts with Us could get made after the legal issues are dealt with between Justin Baldoni and Blake Lively; It Ends With Us opened £4,516,760 taking £21,241,321).
This was similar to a decade ago when several of John Green’s novels were adapted into films, Regretting You director Josh Boone previously directed John Green’s 2014’s The Fault in Our Stars (opened £3,434,334, taking £11,006,752)
While receiving poor reviews, audience reactions have been far more positive and being half-term and no other films for teenage girls, it could hold well over the next week, but won’t have the legs of It Ends With Us.
- 3. Chainsaw Man – The Movie £1,110,944 – NE
Took £423k 38.49% Friday; £363k 33.03% Saturday; £313k 28.48% Sunday.
1,628th biggest opening between Eye in the Sky and Beautiful Creatures (close to Groundhog Day, Candyman (2021), Déjà Vu and Eagle Eye) and 2,264th biggest inflated opening between The Brady Bunch Movie and Spooks: The Greater Good (close to Sleepwalkers, Chappie, Anaconda, and Don’t Breathe).
37th biggest 2025 opening between Regretting You and The Amateur (close to Deliver Me From Nowhere, Materialists, The Black Phone 2 and Babygirl).
The 4th biggest anime opening of all time after Demon Slayer: Kimetsu No Yaiba Infinity Castle (£3.4m), Pokémon: The First Movie (£2.8m) and The Boy And The Heron (£1.6m).
1,391st widest opening 410 cinemas similar to Final Destination 5, V for Vendetta, Sleepy Hollow and Batman Returns; 1,512th 400+ cinema opening since 1989’s Batman; opening in similar screens to 2024’s Demon Slayer: Kimetsu No Yaiba – To The Hashira Training but that didn’t have IMAX/PLF screens. b
After decades of anime being strictly for fans it has crossed over to mainstream audiences after Netflix released Kpop Demon Hunters in cinemas at the end of August, while Netflix didn’t report BO from exhibitors’ reports; it performed strongly and has been seen on Netflix over 291.5m times within a week (accumulated 485.8m viewing hours) expected to have over 300m views within 90 days. Anime films are also being given IMAX/PLF screens.
Before Demon Slayer: Kimetsu No Yaiba Infinity Castle opened £3,464,393 in September 2024’s Demon Slayer: Kimetsu No Yaiba – To The Hashira Training opened £641,878 and 2021’s Demon Slayer: Mugen Train opened £693,081.
Anime is still front-loaded with Chainsaw Man – The Movie opening #1 on Friday and then dropping third for the weekend. It will be interesting to see how it holds over the weekday (half-term), and it will drop 60%+ in its second weekend.
Next up is Jujutsu Kaisen: Execution, released in November and Scarlet in February.
- 4. Gabby’s Dollhouse: The Movie £865,657 – £3,232,145
Down 54.6% in the second weekend
Took £199k 23% (-18.11% £243k) Friday; £340k 39.4% (-55.6% £766k Sat; £324k 37.5% (-57.14% £756k)
1,303rd biggest second weekend between In Her Shoes and World Trade Centre (close to Big Fish, Legally Blonde, A Street Cat Named Bob and Dr. Seuss’ The Lorax) and 1,873rd biggest inflated second weekend between Galaxy Quest and Brassed Off (close to Coyote Ugly, The Parent Trap, Diary of a Wimpy Kid: The Long Haul and The Secret Garden (1994).
32nd biggest 2025 second weekend between The Amateur and Elio (close to Karate Kid, Freakier Friday, Babygirl and Black Bag).
41st biggest Dreamworks Animation second weekend between The Croods 2: A New Age and Captain Underpants (close to Penguins Of Madagascar, Abominable, Bee Movie and Ruby Gillman, Teenage Kraken).
Being the first of two weeks of half-term holidays, would have expected Gabby’s Dollhouse: The Movie to hold better over the weekend, especially with the lack of other family films, which saw The Bad Guys 2 have exceptionally long legs in the top 10 for 12 weeks, overtaking the previous biggest 2025 animated film Dog Man. That said, Lilo & Stitch took £36.5m while Disney call it live-action, it is photo-realistic animation.
2025 has been a soft year for animated films after last year’s Moana 2, Despicable Me 4, Inside Out 2, Kung Fu Panda 4 and Migration all taking more than The Bad Guys 2, of course, Zootopia 2 opens next month and is likely to take £30m+. (original film took £23.5m in 2016).
With half-term for the majority of schools this week, Gabby’s Dollhouse: The Movie should take similar Mon-Thurs as Fri-Sun and have a minimal drop over the weekend.
- 5. The Black Phone 2 £629,376 – £2,319,301
Down 42.8% in its second weekend
Took £201k 32% (-46.97% £379k) Friday; £240k 38.2% (-43.13% £0.422) Sat; £187k 29.8% (-72.4% £678k)
1,696th biggest second weekend between Enemy at the Gates and Backdraft (close to Single White Female, Death Becomes Her, Jeepers Creepers 2 and Red Eye) and 2,256th biggest inflated second weekend between Last Man Standing and Captain Underpants (close to Young Guns, The Forever Purge, Candyman (1993) and The Road).
36th biggest 2025 second weekend between Black Bag and The Brutalist (close to Elio, Babygirl, The Monkey and Ballerina).
127th biggest second weekend horror between The Devil Inside and Underworld: Awakening (close to Ouija, Pet Sematary (2019), Jeepers Creepers 2 and The Monkey) and 170th inflation-inflated horror second weekend between The Forever Purge and Candyman (1993) (close to Psycho (1999), Poltergeist III, Sleepwalkers and Don’t Breathe).
2022’s The Black Phone dropped 58.4% £576,251 and £2,637,337 of £4,159,065
9th biggest 2025 horror, more than Bring Her Back (£1.8m) but less than I Know What You Did Last Summer (£2.8m)
Despite receiving positive reviews as M3GAN 2.0 earlier in the year, it’s another disappointing performance of Blumhouse Productions horror this year, which is surprising after 2025 has been a strong year for horror films with Nosferatu, Sinners, Final Destination: Bloodlines, 28 Years Later, Weapons and The Conjuring: Last Rites.
This weekend two years ago, Blumhouse’s Five Nights at Freddy’s opened £5,379,587, and the sequel opens in December. Five Nights at Freddy’s was Blumhouse Productions’ last hit with Night Swim, Imaginary, Afraid, Speak No Evil, Wolf Man, The Woman in the Yard, Drop, and M3GAN 2.0, all struggling to find wide audiences. After M3GAN 2.0 underperformed in June spinoff SOULM8TE opening in January is likely to also struggle, followed by another version of The Mummy in April, the first Mummy film not released by Universal Pictures.
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Year-to-date, 2025 is 8% ahead of 2024.
The weekend’s top 10 box office took £7,393,984, up 4.3% from last weekend’s £7,088,486: 955,295 admissions, up 4.3% from 915,825 admissions.
The 43rd biggest weekend of the last 52 weeks between 19 September 2025 #1 Downton Abbey: The Grand Finale £2,267,004 292,895 (30.58%) and 07 March 2025 #1 Mickey 17 £2,132,080 (29.82%)
181st biggest since cinemas reopened out of 258 weeks between 19 September 2025 #1 Downton Abbey: The Grand Finale £2,267,004 292,895 (30.58%) and 29 September 2023 #1 The Creator £2,255,034 (30.88%)
960th biggest top 10 of the last 24 years (out of 1,229) between 19 September 2025 #1 Downton Abbey: The Grand Finale £2,267,004 292,895 (30.58%) and 07 December 2012 #1 Rise of the Guardians £1,602,689 (21.70%) and 1,123rd biggest inflated between #1 Downton Abbey: The Grand Finale £2,267,004 292,895 (30.58%) and 14 May 2004 #1 Van Helsing £2,403,036 (57.41%)
The top 3 took £3,693,549 (49.9%) of the top 10; Springsteen: Deliver Me From Nowhere 17.67% (£1,306,626); Regretting You 17.26% (£1,275,979); Chainsaw Man – The Movie: Reze Arc 15.02% (£1,110,944)
1,185th biggest percentage share #1 (17.67%) between 04 March 2011 #1 Rango £1,638,613 (17.68%) and 14 January 2005 #1 Closer £1,568,526 (17.56%)
1,185th biggest admissions (168,815) between 04 October 2013 #1 Prisoners £1,107,641 (169,623) and 04 March 2005 #1 Boogeyman £788,439 (167,397)
Down 19.43% from 2024; (£9,176,580); Venom: The Last Dance (£4,299,477); The Room Next Door (£239,043); A Nightmare On Elm Street (40th Anniversary) (£117,454); Hocus Pocus (30th Anniversary) (£91,004); The Front Room (£56,665); #1 Venom: The Last Dance £4,299,477 1st week 623 screens (46.85% of top 10)
Down 40.95% from 2023; (£12,520,974); Five Nights at Freddy’s (£5,379,587); Beetlejuice (35th Anniversary) (£98,845); #1 Five Nights at Freddy’s £5,379,587 1st week 607 screens (42.96% of top 10)
Down 25.95% 2022 (£9,985,348); Prey for The Devil (£859,717); Coldplay Music of the Spheres Live Broadcast from Buenos Aires (£859,717); Harry Potter and the Chamber Of Secrets (20th Anniversary) (£454,250); Barbarian (£380,812); Triangle of Sadness (£308,950); Bros (£215,612); ParaNorman (10th Anniversary) (£39,184); Trick ‘R Treat (Re: 2022) (£24,116) #1 Black Adam £3,488,800 2nd week 38% drop (34.94% of top 10)
Down 49.85% 2021 (£14,743,119); Harry Potter and the Philosopher’s Stone (20th Anniversary) (£965,008); Last Night In Soho (£731,950); Antlers (£251,100); My Hero Academia: World Heroes’ Mission (£218,956); Cliff Richard – The Great 80 Tour (£157,345); Blade (4K Restoration) (£20,342); #1 No Time to Die £3,514,308 5th week 4th split #1 (23.8% of top 10)
Up 467.1% 2020; (£1,303,830); Two By Two: Overboard! (£329,265); Honest Thief (£254,267); The Secret Garden (£154,087); Pixie (£116,517); All My Life (£50,489); Cinema Paradiso (30th Anniversary 4K Restoration) (£28,320); #1 Two By Two: Overboard! £329,265 1st week 339 screens (25.25% of top 10)
Down 47.84% 2019; (£14,176,042); Terminator: Dark Fate 19.5% (£2,864,941); The Addams Family (£2,117,740); Countdown (£390,873); Black And Blue (£25,840); #1 Joker £3,464,682 37% drop 4th weekend 657 screens
Down 63.79% 2018: (£20,418,070); Bohemian Rhapsody (£9,530,463); The Hate U Give (£911,309); La Fanciulla Del West – Met Opera 2018 (£186,621); Die Walkure – ROH, London 2018/19 (£185,066); Beetlejuice (30th Anniversary) (£33,825); #1 Bohemian Rhapsody £9,530,463 1st week 659 screens (46.6% of top 10)
Down 61.59% 2017: (£19,248,577); Thor: Ragnarok (£12,375,804); Jigsaw (£1,851,249); Breathe (£535,675); Call Me by Your Name (£235,760); The Shining (Re: 2017) (£1,448); #1 Thor: Ragnarok £12,375,804 1st week 611 screens (64.3% of the top 10)
Down 60.38% 2016: (£18,662,678); Doctor Strange (£9,288,898); Ethel & Ernest (£19,202); #1 Doctor Strange £9,288,898 1st week 602 screens (49.7% of the top 10)
Down 40.16% from 2015; (£10,858,414); Paranormal Activity: Ghost Dimension 3D (£1,472,427); #1 Hotel Transylvania 2 £2,275,612 588 screens down 64% 2nd week (18.42% of top 10)
Down 31.69% 2014: (£10,824,678); Fury (£2,692,786); The Book of Life (£981,432); Alexander and the Terrible, Horrible, No Good, Very Bad Day (expansion) (£571,581); Love, Rosie (£482,535); The Babadook (£347,512); This Is Where I Leave You (£109,441); Serena (£95,109); #1 Fury £2,692,786 1st week 462 screens (24.8% of top 10)
Down 40.98% 2013: (£12,528,593); Cloudy with a Chance of Meatballs 2 (£3,658,618); Jackass Presents: Bad Grandpa (£1,940,476); Ender’s Game (£1,158,548); One Chance (£717,857); The Selfish Giant (£81,737); Reef 2: High Tide (£26,910); Closed Circuit (£19,998); #1 Cloudy with a Chance of Meatballs 2 £3,658,618 1st week 510 screens (29.2% of top 10)
Down 72.19% 2012: (£26,591,268); Skyfall (£20,180,369); #1 Skyfall £20,180,369 1st week 587 screens (75.9% of top 10)
Down 52.99% 2011; (£15,727,396); The Adventures of Tintin: Secret of the Unicorn (£6,758,724); The Help (£896,597); The Ides Of March (£665,387); Anonymous (£183,194); Ghostbusters (Re: 2011) (£55,934); #1 The Adventures of Tintin: Secret of the Unicorn £6,758,724 1st week 512 screens (42.9% of top 10)
Down 42.73% from 2010: (£12,911,776); Saw 3D (£3,600,083); Burke and Hare (£942,894); The Kids Are All Right (£411,960); #1 Saw 3D £3,600,083 1st week 382 screens (27.8% of top 10)
Down 29.28% 2009; (£10,454,829); Saw VI (£1,736,287); Fantastic Mr. Fox (£1,517,312); Cirque du Freak: The Vampire’s Assistant (£798,641); The Goods: Live Hard, Sell Hard (£35,362); #1 Up £3,807,003 3rd week 549 screens 26% drop (31.1% of top 10)
Down 53.27% 2008; (£15,824,329); High School Musical 3 (£8,409,375); Saw V (£2,436,817); Ghost Town (£1,347,678); Incendiary (£18,964); #1 High School Musical 3 £8,409,375 1st week 493 screens (53.1% of top 10)
Down 31.01% 2007: (£10,717,468); Saw IV (£2,482,889); Eastern Promises (£623,491); Sicko (£156,173); #1 Ratatouille £3,589,762 3rd week up 19% 525 screens (33.5% of top 10)
Down 17.53% 2006; (£8,965,508); Saw III (£2,522,521); Step Up (£1,212,725); A Good Year (£376,962); #1 Saw III £2,522,521 1st week 373 screens (28.1% of top 10)
Down 43.74% 2005: (£13,142,985); Saw II (£2,189,212); The Legend of Zorro (£1,899,689); #1 Wallace and Gromit: The Curse of the Were-Rabbit £3,593,266 3rd week 495 screens 23% drop (27.3% of top 10)
Down 23.37% 2004; (£9,648,812); Alien vs Predator (£2,003,663); Alfie (£1,314,156); The Princess Diaries 2 (expansion) (£807,008); #1 Shark Tale £3,199,963 2nd week 504 screens 58% drop (33.1% of top 10)
Down 27.94% from 2003 (£10,261,167); Intolerable Cruelty (£1,555,684); Second-hand Lions (£200,851); #1 Finding Nemo £3,887,996 4th week 3rd #1 501 screens 34% drop (37.9% of top 10)
Up 1.6% from 2002: (£7,277,320): Halloween Resurrection (£520,171); K-19 (£352,163); High Crimes (£208,727); Donnie Darko (£191,348); Simone (£147,372); Possession (£85,004); The Magdalene Sisters (£78,151); #1 XXX £2,044,850 2nd week 40% drop 435 screens (28.1% of top 10)
Down 6.72% from 2001 (£7,926,562); Legally Blonde (£1,453,148); The Man Who Wasn’t There (£419,609); #1 American Pie 2 £1,626,438 3rd week 417 screens 42% drop (20.5% of top 10).
2024 Next week: (£9,827,429); Heretic (£1,979,339); Small Things Like These (£890,105); Anora (£509,005); Juror #2 (£334,827); The Phantom Of The Opera At The Royal Albert Hall (Re: 2024) (£318,892); Blitz (£163,124); Saw (20th Anniversary 4K Restoration) (£71,637); #1 The Wild Robot £2,179,601 3rd week #1 over 3 weeks split 714 screens (22.18% of top 10)
US Box Office
- Chainsaw Man – The Movie: Reze Arc – Sony Pictures
Opened $18.03m; received positive reviews (96% Rotten Tomatoes) and A CinemaScore
Opened higher than Sunday’s estimates of $17m.
Took $3.4m from Thursday previews.
It was expected to open between $11m-$15m, but after the huge opening of Demon Slayer: Kimetsu no Yaiba- The Movie – Infinity Castle last month and KPop Demon Hunters in August it was always likely to open ahead of predictions, but it was never expected to open #1 as The Black Phone 2 was expected to hold top for a second weekend.
IMAX/PLF/3D took 63% of the opening.
Almost 75% of the audience was male, and 50% was under 25.
Chainsaw Man was trailed with Demon Slayer, Him, One Battle After Another, and Tron: Ares
Took $14.7m from 46 territories and $108m worldwide.
- Regretting You – Paramount Pictures
Opened $13m; received poor reviews (29% Rotten Tomatoes) and B CinemaScore
Based on Colleen Hoover’s novel, it was expected to open between $8m-$10m
80% of the audience were female, and 80% were under 35.
Opened similar to 2022’s Ticket to Paradise $16.5m, taking $68.27m and $168.77m worldwide.
Colleen Hoover’s 2024’s It Ends with Us opened $50.01m, taking $148.51m and $351.44m worldwide, while Josh Boone previously directed the adaptation of John Green’s The Fault in Our Stars opened $48m, taking $124.87m and $307.17m worldwide.
Opened with $10m from 43 territories; UK $1.75m; Germany $1.65m; Australia $1.4m; Mexico $1.3m; Brazil $745k.
- The Black Phone 2 – Universal Pictures
Dropped 52.8% in its second weekend $12.9m and $48.95m
2021’s The Black Phone dropped 48.2% $12.24m and $47.4m of $90.12m and $161.44m worldwide
It’s the highest grossing Blumhouse film of 2025 ahead of Wolf Man ($34m), The Woman in the Yard ($23m), Drop ($28m), and M3GAN 2.0 ($39m).
The Black Phone is the best performing Blumhouse film since 2023’s Five Nights at Freddy’s, the sequel opens in December.
Took $10.5m from 74 territories $31.4m total, and $80.4m worldwide; Mexico $7.8m; UK $3.1m; Brazil $2.2m; Australia $1.8m; France $1.3m.
- Springsteen: Deliver Me From Nowhere – 20th Century Studios
Opened $8.88m; received mixed reviews (615 Rotten Tomatoes) and B+ CinemaScore.
Took $850k from Thursday previews.
Opened in 250 IMAX screens and 750 PLF screens.
60% were over 45; 40% over 55.
Opened similar to 2021’s Respect $8.8m, taking $24.27m and $32.88m worldwide.
Scott Cooper previously directed.
2009’s Crazy Heart opened platform $82,664 on 4 screens; expanding into 1,000+ screens in the 9th weekend, taking $39.46m and $47.4m worldwide
2013’s Out of the Furnace opened $5.22m, taking $11.33m and $15.66m worldwide
2015’s Black Mass opened $22.63m, taking $62.57m and $99.97m worldwide
2017’s Hostiles opened $22,849 platform 3 screens for 6 weeks to expand into 2,000+ screens, taking $29.81m and $35.66m worldwide.
2021’s Antlers opened $4.27m $10.61m, and $18.86m worldwide; 2022’s The Pale Blue Eye was released on Netflix.
It was surprising Deliver Me From Nowhere wasn’t made via Searchlight Pictures as it would have shown the biopic wasn’t as commercial as musician biopics like 2018’s Bohemian Rhapsody opened $51.06m taking $216.66m and $910.81m worldwide, but it highlights Disney’s struggles making original films which has been its Achillies heel for over a decade, hoped the acquisition of 20th Century Fox would have enabled them to have similar success they had with Touchstone Pictures 20 years ago. But of course, Disney have little interest in making films; they are in the property-making business.
Most recent biopic, 2024’s A Complete Unknown, opened $11.65m, taking $75m and $140.5m worldwide.
Social media for Springsteen was 160m below A Complete Unknown (187.4m) and Bob Marley: One Love (193.6m).
Opened $7m from 28 territories; UK $1.6m; Germany $1m.
- Tron: Ares – Disney
Dropped 55.8% in its third weekend $4.91m and $63.38m.
2010’s Tron: Legacy dropped 2.1% $18.75m and $131.3m of $172.1m/$251m and $400.07m/$583.62m WW
1982’s Tron dropped 45.5% $2.2m/8.61m and $15.43m/$60.43m of $33m/$129.2m and $50m worldwide.
2015’s Tomorrowland dropped 49.7% $7.2m and $76.41m of $93.43m and $209.03m worldwide.
2013’s The Lone Ranger dropped 61.9% $4.39m ad $81.29m $89.3m, and $260.5m worldwide.
2012’s John Carter dropped 62.6% 5.07m and $62.4m of $73.07m and $284.13m worldwide.
And similar to
2013’s Oblivion dropped 68.3% $5.64m and $75.81m of $89.1m #487 and $286.16m worldwide.
2011’s Battle Los Angeles dropped 47.8% $7.58m and $72.56m of $83.55m and $211.81m worldwide.
Took $6.3m and $60.5m internationally and $123.4m worldwide; Mexico $2.9m; UK $2.4m; France $1.9m; Australia $1.5m; Germany $1.4m
- One Battle After Another – Warner Bros
Dropped 41.1% in its fifth weekend $2.26m and $65.72m.
Paul Thomas Anderson’s 10 films have taken $275m in the US and $600m worldwide.
Impossible to compare with other Paul Thomas Anderson second weekends, as they expanded over several weeks. Some analysts have wondered why the film isn’t holding as strongly despite receiving critical acclaim and an A+ CinemaScore, but only need to see is how Paul Thomas Anderson’s other films have performed to understand that mainstream audiences aren’t as interested in his films as cinephiles and critics.
1997’s Boogie Nights took $26.4m; 1999’s Magnolia took $22.45m and $48.45m worldwide
2002’s Punch-Drunk Love took $17.84m and $24.66m WW
2007’s There Will Be Blood took $40.22m and $76.18m WW
2012’s The Master took $16.37m and $28.25m worldwide
2014’s Inherent Vice took $8.11m and $14.81m worldwide
2017’s Phantom Thread took $21.19m and $47.75m WW
2022’s Licorice Pizza took $17.31m and $33.27m WW
While
2024’s Civil War dropped 46.8% $1.88m and $65.29m of $68.75m and $127.26m worldwide
The two recent Warner Bros Best Picture winners
2006’s The Departed dropped 21.6% $7.72m and $102m of $132.39m and $292.08m worldwide
2012’s Argo dropped 35.2% $6.61m and $85.58m of $136.02m and $232.32m worldwide
Leonardo DiCaprio’s recent films
2023’s Killers of the Flower Moon dropped 57.3% $1.95m and $63.6m of $68.03m and $158.77m worldwide
2019’s Once Upon a Time… in Hollywood dropped 34.8% $5m and $123.19m of $142.5m and $392.1m worldwide
2015’s The Revenant dropped 6% $6.52m and $158.79m of $183.63m and $532.95m WW
1,752nd biggest between Three Billboards Outside and Horrible Bosses 2; 3,524th biggest inflated between Aeon Flux and Hannibal Rising; 25th biggest 2025 between From the World of John Wick: Ballerina and The Naked Gun; 292nd biggest Warner Bros between New Year’s Eve and Horrible Bosses 2.
Variety has said One Battle After Another is tracking to lose about $100m as it needs to take at least $300m worldwide to break even, as its budget was about $130m and marketing $70m.and the studio takes about 50% of the BO. They blame the shorter theatrical window, but as seen with family films in the UK, including The Bad Guys 2, performing strongly in cinemas weeks after being released on VOD, it’s all about the films themselves and the cost of seeing them in cinemas.
As Warner Bros have had success with Sinners, A Minecraft Movie, Weapons, The Conjuring: Last Rites and Final Destination: Bloodlines, they can swallow the potential losses of One Battle After Another as they have made the studio filmmaker-friendly again after the nastiest five years ago that saw Christopher Nolan move to Universal. It also highlights the benefit of having a big slate of films, as a film that underperforms isn’t so noticeable; that said, Warner Bros don’t open another film until February 2026, but they will surely get a lot of award recognition for Sinners, Weapons and One Battle After Another, which could translate into higher subscription numbers over the months ahead. Warner Bros films have taken about $4bn worldwide in 2025, generating $600m profits from those films, according to Variety.
Took $8m from 77 territories $114.2m total, and $180m worldwide.
US BO is down 22% from last year when Venom: The Last Dance opened to $51m; BO is 4% ahead of last year but still 20% down from 2019.
UK Box Office Top 10
Box Office Preview
After the soft opening of Springsteen: Deliver Me From Nowhere last weekend, Yorgos Lanthimos’s Bugonia should open with £1.2m-£1.5m. had world premiere at the Venice Film Festival, receiving positive reviews (90% Rotten Tomatoes) and UK premiere at the London Film Festival
Yorgos Lanthimos’s previous films
2024’s Kinds Of Kindness opened £322,142 from 474 screens; £113k 35.09% Friday; £107k 33.23% Saturday; £102k 31.68% Sunday taking £1,069,086
2024’s Poor Things £1,819,563 (Includes £254,972 previews) taking £7,566,251
2019’s The Favourite opened £3,973,975 including £1,775,372 previews) £2,198,603 (Fri-Sun) #2 538 screens taking £16,972,417.
2017’s The Killing of a Sacred Deer opened £286,448 #10 from 100 screens taking £862,085
2015’s The Lobster opened £229,619 #9 from 75 screens taking £1,521,066
2009’s Dogtooth opened £26,149 from 16 screens taking £189,815
With half-term holidays and drop off for Springsteen: Deliver Me From Nowhere, Regretting You and Chainsaw Man – The Movie: Reze Arc, Gabby’s Dollhouse: The Movie could climb up to #2 with a minimal drop in its third weekend.
Springsteen: Deliver Me From Nowhere will drop 45%-55% in its second weekend, taking £625k-£800k; Regretting You drop 40%-50% taking £600k-£800k, and Chainsaw Man – The Movie: Reze Arc drop 60% £400k-£500k.
This could let either or both of Relay and Back To The Future (40th Anniversary Re-Issue) open in the top 5.
Back To The Future was originally released in December 1985 £739,670/£3,445,992, 231 screens, taking £12,170,000/£56,697,882 and took $385,053,307/$1,248,440,440 worldwide.
Back to the Future Part II and Back To The Future Part III followed in 1989 and 1990, taking £10,650,295/£36,201,861 and £7,996,334/£22,537,710.
Back to the Future was re-released in 2010 for its 25th anniversary, but the opposite way round with the cinema re-release (opened £461,194 #7 273 screens); it was also re-released in 2015 and 2024 on Back to the Future Day (October 21st)
Netflix released KPop Demon Hunters (A Sing-Along Event), but won’t report box office figures.
Coming Soon
- The Running Man – Paramount Pictures
Dystopian action thriller based on the 1982 novel by Stephen King (under his pseudonym Richard Bachman); the second adaptation of the novel after the 1987 film, starring Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Colman Domingo, and Josh Brolin and directed by Edgar Wright.
In 2017, Edgar Wright was asked on Twitter what film he would like to remake, and he said The Running Man. In 2021, Paramount announced they were developing a “much more faithful” adaptation of the novel with Edgar Wright attached to direct.
Stephen King said on Twitter, “I’ve seen it and it’s fantastic, DIE HARD for our time. A bipartisan thrill ride.”
The first trailer was released in July, and a second trailer was released in # October.
Glenn Powell recently starred in Twisters, Anyone But You, Hot Man (Netflix) and Top Gun: Maverick
Remember seeing the original The Running Man at the Odeon Leicester Square Theatre in September 1988 after getting free preview tickets by buying the soundtrack album. The film was ahead of its time, as was the novel it was based on, as Stephen King novels are. The trailer for the reboot just gave me a headache, but as the original film was for the 15-year-old me, the reboot isn’t for the 52 me.
1988’s The Running Man opened £577,953/£1,990,169 297 screens taking £2,530,062/£8,712,213
Edgar Wright previously directed.
2004’s Shaun of the Dead opened £1,603,410/£2,828,287, taking £6,764,667/£11,932,330
2007’s Hot Fuzz opened £5,918,149/£9,281,533, taking £21,195,951/£33,241,967
2013’s The World’s End opened £2,123,576/£2,575,608, taking £8,731,367/£10,589,958
2017’s Baby Driver opened £3,605,705/£3,812,708, taking £13,024,392/£13,772,121
2021’s Last Night in Soho opened £731,950, taking £2,255,648
With Edgar Wright directing, it’s likely to get a similar Brit boost as Baby Driver to its US opening of £3m-£4m, but much depends on the hold of Predator: Badlands opening the weekend before.
- Now You See Me: Now You Don’t – Lionsgate
Action heist film sequel to 2016’s No You See Me 2 starring Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Morgan Freeman, Justice Smith, Ariana Greenblatt, and Rosamund Pike and directed by Ruben Fleischer.
2013’s Now You See Me opened £2,898,997/£3,516,088, taking £10,763,980/£13,055,241
2016’s Now You See Me 2 opened £2,964,641/£3,168,685, taking £6,062,072/£6,479,300
At CinemaCon, Lionsgate announced plans for a fourth film, but they also announced plans for a third film in 2015. But despite both films taking similar box office, the third film is being released 9 years after the second film.
- Keeper – Black Bear
Horror starring Tatiana Maslany and Rossif Sutherland and directed by Osgood Perkins.
Osgood Perkins previously directed.
2024’a Longlegs opened £1,371,352 taking £7,838,045
2025’s The Monkey opened £1,070,404, taking £2,959,723
Keeper won’t be screened to critics as the studio says it’s to “preserve the mystery.” Despite showing 30 mins of footage at a film festival recently, it is under embargo until the day before opening.
- Nuremberg – Studiocanal/Sky Cinema
Historical drama based on the 2013 book The Nazi and the Psychiatrist by Jack El-Hai, starring Rami Malek, Russell Crowe. Leo Woodall, John Slattery, Mark O’Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant, and Michael Shannon, directed by James Vanderbilt.
Had its world premiere at the Toronto Film Festival, receiving a four-minute standing ovation, but received mixed reviews (62% Rotten Tomatoes); Deadline review said it was “fascinating and an urgently important story that has not been told on film before”, and “It also turns out to be incredibly relevant for now, as parts of the globe (including America) are once again embracing Nazism, despicable war crimes are still being perpetrated, and the lessons of World War II fade increasingly into the background and history books despite warnings that it has all happened before — and it may be happening again. I can think of a few world leaders who should screen this movie as soon as possible.”
The film will open exactly 80 years after the Nuremberg trial in November 1945.
James Vanderbilt previously directed 2015’s Truth and has written screenplays for numerous films, including Nuremberg, Zodiac, Truth, Ready or Not, and The Amazing Spider-Man.
The film was acquired by Sky Cinema for the UK, but as with Ferrari and A Working Man will have about a 4-week theatrical window before being shown on Sky Cinema.