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Street Fighter's $31m estimate lands $1m above the preview maths and $12m below NRG's polling. You Can See Everything nearly doubled its $8m forecast, the second-biggest opening for a non-concert documentary on record.
Street Fighter took $4m in Thursday previews. 2026's other two video game films opened at 6.8 and 7.4 times their preview number, which brackets this weekend at $27m to $30m, under every tracking figure, against an $82m budget.
Superman opened to 55.6 cents for every dollar of its $225m budget. On a reported $40m, Clayface hits the same mark at $22.2m, below the bottom of its tracking range.
The Odyssey averaged $3,571 a cinema in its 13th weekend against $964 for Digger's second. Three days back in IMAX took $2m; the seven days without it took $1.81m.
Resident Evil reached $320.2m worldwide and took the franchise record from The Final Chapter. Strip China out of both and the new film is 83% ahead; on the usual studio splits, the record is worth about 31% more.
Verity dropped 64% in its second weekend and Amazon MGM pointed at Hurricane Isaias. Day by day, the stormy Saturday held best, four rival films improved their holds, and the landfall zone is worth about 1.3 points.
Other Mommy topped the box office with $27.5m and the lowest CinemaScore since Megalopolis. We ran the multiples for six badly graded horror films: the median gives it $63m, the worst case $43m, on a budget of $19m.
The Social Reckoning took $650,000 in Thursday previews and is projected at $6m, about 27% of The Social Network's 2010 opening. Other Mommy outsold it five and a half times over on a $19m budget.
Mike De Luca and Pam Abdy handed six famous directors a budget and no franchise to hide behind. Those six films cost between $653m and $733m to produce and have grossed $959.7m worldwide. Only Sinners made money.
Cinema United says North American exhibitors reinvested $2.7bn over two years. Its own figures show the annual total fell from $1.5bn to $1.2bn, and that $220m of the $300m drop came from outside the eight biggest chains.
Forgotten Island's $12.8m opening is being written up as a DreamWorks disaster. Joel Crawford and Januel Mercado opened Puss in Boots: The Last Wish at $12,429,515 and finished on $186,090,535. The difference between the two films is not the reviews. It is the calendar.
A24's Primetime opened to $8,494,586 on Friday, against $7.7m for Mickey 17's first day in March 2025. One cost a reported $15m, the other $118m. Per screen, the cheap one is winning by 46%.
Endgame Encore took $11.2m on Friday against the original's $157.5m opening day, and is heading for $26m. Avatar's entire ten-day 2022 re-release made $24.7m.
Alejandro G. Iñárritu's six theatrically reported features have grossed $878.6m worldwide between them. Digger, which premiered in London on Tuesday as this year's Royal Film Performance, needs around $310m on its own just to get level.
Warner Bros. released 11 films in 2025 and Paramount eight. The commitment being written into a settlement with California and 11 other states is 30 a year for three years, which is 33 films more than the current rate produces.
Resident Evil took $24m on Friday including previews and is heading for about $50m. That is 48% of the weekend on day one, against 41.8% for Weapons, which is why forecasts of $58m to $68m, ours included, were too high.
Resident Evil's $8m-$9m in previews is more than Welcome to Raccoon City took in its entire opening weekend. Applying the preview multiples of Weapons and Mortal Kombat II gives a $59m-$68m opening; the tracking says $40m-$50m. Here is the arithmetic, and why it may still be wrong.
The Odyssey is the twelfth highest-grossing film ever made. If it wins Best Picture on 14 March 2027 it becomes the third billion-dollar winner in Academy history, and the second-biggest of them, $537m ahead of The Return of the King.
Obsession was made for $750,000 and has taken $513.8m worldwide. It sits seventh on the 2026 domestic chart, ahead of every Disney release this year except Toy Story 5, and its opening weekend alone returned 23 times its budget.
Spider-Man: Brand New Day has passed The Force Awakens' $936,662,225 to become the biggest domestic release ever. Divide each gross by the price of a ticket in its year and the new record holder sold about 70 million seats against 111 million. It also took a bigger share of its year's cinemagoing than Star Wars did.
Spider-Man: Brand New Day stands at $935,170,888 in North America, $1,491,337 behind The Force Awakens. It lost the top spot this weekend and will take the all-time domestic record anyway, probably by Wednesday.
The Odyssey has taken $593.1m in North America and $1.65bn worldwide. One of those records is real and one is an artefact of pricing, and the difference is $296 million.
Susanne Bier's sequel reunites Sandra Bullock and Nicole Kidman 28 years on. The reviews are poor, the previews were not, and the studio is about to find out which one the audience believes.
Disney and 20th Century's adaptation of Peter Heller's novel finished fifth in North America. It is Ridley Scott's weakest start since The Last Duel in 2021.