Once again, moviegoers swung to theaters to keep Spider-Man: Brand New Day at #1 for its third week. On the worldwide front, the film crossed the $2 billion milestone. There were two newcomers, The End of Oak Street and Paw Patrol: The Dino Movie, but obviously their presence wasn't enough to take the interest away from Spider-Man. Nevertheless, it was a healthy weekend, with four titles at above $20 million.

The Top 10 earned a combined $128.5 million this weekend. That's up a massive 55.2% from last year, when Weapons repeated at #1.

Retaining the top spot, Spider-Man: Brand New Day added $70.7 million on its third weekend. This was off 51% from last week. That makes it the second biggest third weekend of all time, behind Star Wars: The Force Awakens ($90.2 million), and only a little above Avatar ($68.4 million). IMAX remains the only place where it's disappointing, as the format grossed just $4.2 million, which is a 57% drop from last week.

Through 17 days, Spidey has grossed an incredible $786.5 million domestically. It's just $28.3 million away from overtaking No Way Home, and it's currently the fourth highest grossing film in history. Last week, it was $114.2 million ahead of The Force Awakens, but now it's ahead by $44.3 million and it's losing that lead. Maybe the dream of $1 billion domestically is dead, but the fight for the #1 all-time domestic record continues.

Still holding on to second place, Universal's The Odyssey continues its incredible run. It eased just 26%, earning $23.6 million this weekend. On the IMAX front, it earned $8.1 million, basically almost doubling Spidey. It has amassed $163.4 million on IMAX, and an astounding $505 million domestically, which is a healthy 4.09x multiplier. It shows no signs of stopping, and $600 million is becoming more and more likely.

Topping the newcomers, Warner Bros.'s The End of Oak Street debuted with $21 million in 3,446 theaters. That's director David Robert Mitchell's biggest debut and it's already his highest-grossing film, although that's not a high bar; It Follows made only $14.6 million, and Under the Silver Lake was dumped with just $46,083.

On its own, this is a solid start. But one can't help but think that it could've opened much higher. After all, the premise screamed crowdpleasing enough and it had two big names attached as the stars. And the $80 million budget still needed a much better start.

WB pushed the film, hoping to capitalize on the popularity of dinosaurs, given that there's very little options outside the Jurassic franchise. But it further highlights the difficulty of selling original sci-fi. Steven Spielberg's Disclosure Day opened to over twice as much back in June, but that's more having to do with Spielberg's name. No disrespect to Mitchell, but he is not a big or well-known filmmaker to mass audiences.

But it also raises the question of how much people care for dino titles that aren't part of the Jurassic franchise. Those films haven't had good quality lately, and it still pulls very strong numbers. Even though Oak Street had great reviews (86% on RT), the audience chose to sit out. Making it seem like they're content waiting 3 years for a new Jurassic film, regardless of quality. Audiences also ignored the latest dino title 65, but that's more having to do with how poorly received it was.

And certainly, WB's decision to push an AI dog podcast as part of the promotion was a very miscalculated plan. It was criticized across social media, to the point that they had to delete it. No such thing as bad press, but it's hard to see how the film could benefit from this.

According to WB, 59% of the audience was male, and 73% was 25 and over. Even though WB hoped to attract families, kids under 12 represented just 10% of the audience. They gave it a very middling "B" on CinemaScore, a similar grade to Disclosure Day. That doesn't indicate bad word of mouth, but it doesn't indicate it's great either. We'll keep an eye on this one, but right now, Oak Street seems to finish with less than $60 million domestically. That's not a good result, and it will require overseas audiences to rescue the film.

With Oak Street pretty much guaranteed to miss the $100 million milestone, this will be WB's third summer this decade (excluding 2020 for obvious reasons) without a single $100 million grosser, after 2021 and 2024. By contrast, all their four summer titles last year (Final Destination: Bloodlines, F1, Superman and Weapons) crossed that mark. Thanks to an over-abundance of under-performers like Mortal Kombat II ($79.7 million), Supergirl ($72.2 million), Evil Dead Burn ($32 million) and now Oak Street, these haven't been the best times for the company. Not to mention the fact that they're the only major studio without a single $100 million grosser this year, even A24 has one (Backrooms with $197.4 million).

In fourth place, Paramount's Paw Patrol: The Dino Movie debuted with a pretty great $20.2 million in 3,545 theaters. That's a little below The Mighty Movie ($22.7 million), which over-performed projections back in 2023.

Given its low $40 million budget and merch sales, this is a more than good enough start. Paramount wisely picked the date as it meant 51% of K-12 schools were off, and the lack of animated titles meant that families could choose this as their main attraction for the month. And what's something that kids love? Dinosaurs! Turns out Paw Patrol + dinosaurs = profit. Crazy, right?

According to Paramount, 50% of the audience were parents, and 36% was kids under 12. They gave it a pretty good "A" on CinemaScore, same grade as its predecessor. Given the empty animated corridor, it won't face competition till Forgotten Island in late September. Paw Patrol should hit $60 million domestically.

Katseye: Wild Hearts was playing in just 724 theaters, but it was strong enough to hit fifth place with a pretty good $3.9 million.

In sixth place, Focus Features released a live stage recording of Six: The Musical in 1,462 theaters. It debuted with a solid $3 million, although that's less than half of what Hadestown earned ($10.2 million) a few weeks ago.

Angel Studios' The Brink of War tanked in seventh place, debuting with an abysmal $2.6 million in 2,083 theaters. Even with good word of mouth ("A" on CinemaScore), it won't be around for long.

Disney/Pixar's Toy Story 5 added $2.4 million, which was a 42% drop. That takes its domestic total to $475.5 million domestically.

Dropping all the way to ninth place, Universal's rom-com One Night Only earned $2 million. That's down a brutal 64%, which is incredibly steep for a rom-com. Seems like the mixed response has caught up with the film, and it also had a very poor $665 per-theater average. Through 10 days, the film has earned a meager $9.8 million. With such a poor PTA, it's gonna lose so many theaters. Look for One Night Only to finish with around $13 million domestically.

Rounding out the Top 10 was the Indian title Vishwanath & Sons. Even though it played in just 350 theaters, it earned $1.6 million this weekend.

Outside the Top 10, Universal's Minions & Monsters dropped 54% for a $1.6 million weekend. The film's domestic total stands at $180.2 million, and it's set to finish with a little above $185 million.

GKids re-released Your Name for its 10th anniversary. It earned $1.5 million in 675 theaters, taking its lifetime gross to $6.5 million.

After its weak start, Super Troopers 3 tumbled hard on its second weekend. It collapsed a very poor 67%, making just $1.3 million this weekend. At least it's better than the sequel's 75% drop, but that film had Infinity War opening, while here it didn't have any big new openings. Through 10 days, the film has earned a mediocre $6.6 million. It seems like Super Troopers 3 will tap out at $8 million, barely half of what the sequel did on its opening weekend.

Moana fell a rough 58% for a $1.2 million weekend. The film has earned an underwhelming $124.5 million so far.

Last year, The Rivals of Amziah King earned strong buzz and possible Oscar contention when it debuted at SXSW. Well, over one year later, the film finally hit theaters after production company Black Bear decided to distribute it themselves. But it debuted with a very weak $1 million in 632 theaters. Once again, Black Bear failed in distribution, given they have yet to have a single box office success.

MUBI expanded Teenage Sex and Death at Camp Miasma to 54 theaters and it scored a very great $890,715. That's a strong $16,495 per-theater average. The film has grossed $1.2 million in limited release, and it's set to expand into wide release this weekend.

A little behind that film, there's A24's Tony. Expanding to 37 theaters, it amassed $706,676, for a very healthy $19,099 per-theater average. With $1.2 million, it's set to hit wide release this weekend.

OVERSEAS

Spider-Man: Brand New Day crossed the $2 billion worldwide milestone, thanks to $118.7 million overseas this weekend. It took it 17 days to hit that milestone, becoming the second fastest film after Endgame (11 days). It already passed No Way Home ($1.9 billion) to become Sony's highest-grossing film, and it also became the eighth highest grossing film of all time.

The biggest markets are China ($210M), the UK ($106M), Mexico ($78M), France ($63.7M), India ($59.6M), Brazil ($59.5M), South Korea ($53.2M), Australia ($48.8M), Germany ($48.8M), Italy ($36.4M), Spain ($35.2M) and Japan ($27M).

All things considered, Brand New Day remains on track to finish its run with over $2.5 billion worldwide.

The Odyssey added $98.2 million overseas, taking its worldwide total to a spectacular $1.297 billion worldwide. It opened in China with a great start of $36.6 million (including $7.6 million previews), and IMAX driving close to 80% of tickets sales from 40% of all showtimes there. Word of mouth is incredible; it's sitting at an outstanding 9.7 Maoyan rating, both the highest result for a Hollywood title this year and the joint highest result for a Hollywood title ever.

The biggest markets are the UK ($92.5M), France ($68.5M), Germany ($45.8M), Australia ($37M), China ($36.6M), South Korea ($34M), Spain ($34M), and Mexico ($33.8M). It reaches its last market, Japan, on September 11.

On the IMAX front, it added $37 million worldwide for a monumental $346.4 million worldwide run ($163.4 million domestic, $183 million overseas).

Based on its holds, The Odyssey looks to reach $1.6 billion worldwide. Which means there's the possibility that it could overtake Jurassic World ($1.671 billion) to become Universal's highest-grossing film.

The End of Oak Street debuted with $26 million overseas, for a $47 million worldwide launch. That's not a bad start, signaling that overseas audiences could help giving it some help. The biggest debuts were in the UK ($2.9M), Mexico ($2.7M), France ($2.3M), Japan ($1.9M), China ($1.4M), Spain ($1.2M), Germany ($928K), Taiwan ($775K), Italy ($712K), and Brazil ($648K). Not quite big in any of the markets, but the hope is that the film can show legs through August. But it doesn't look like $200 million worldwide is in the cards here.

Paw Patrol: The Dino Movie added $15.5 million overseas on its second week (it premiered in a few countries last week), for a $68.7 million worldwide run. The biggest debuts were in Mexico ($1.4M), Brazil ($950K), Taiwan ($358K), South Korea ($312K), Argentina ($221K), Panama ($250K), UAE ($236K) and Chile ($169K). Notable holdovers were in France ($2.3M 2nd weekend, $8M total), China ($1.8M 2nd weekend, $8.7M total) and Germany ($1.1M 2nd weekend, $3.9M total). Given there's still some countries left, this should be an easy profit for Paramount.

One Night Only made its debut in some overseas markets, but it was a very soft $2.2 million debut, for a weak $12 million worldwide run. It opened weakly in Australia ($400K), Netherlands ($361K), France ($310K), Israel ($248K), Switzerland ($160K), and Poland ($151K). While it has so many markets yet to open, these numbers aren't very encouraging.

FILMS THAT ENDED THEIR RUN THIS WEEK

• The best box office run in so many… decades? Focus Features' Obsession has closed with an absolutely absurd $263 million domestically and $495 million worldwide. Given its tiny $850K budget, it's one of the most profitable films in history! Building up from strong reviews, the film over-performed projections on its opening weekend with $17 million. But the thing is that… It. Kept. Barely. Dropping. Hell, the second through fifth weekends are higher than its opening weekend! That doesn't happen without the help of the holidays! I mean, it had a spectacular 15.31x multiplier! Biggest release for Focus and Blumhouse, and it wasn't even a close race! It might not be the highest-grossing film, but its run is one of the greatest for any film. There's some strong award buzz for this, and the careers of the big players are massively blowing up. Absolutely deserved. A success that absolutely no one saw coming.

THIS WEEKEND

With Spidey still aiming high, nothing will challenge the film to stop it from hitting four weeks at #1.

Sony is releasing Insidious: Out of the Further, the sixth installment in the franchise. It follows a young woman who can interact with and bring spirits to the mortal world is soon haunted by malevolent forces. The franchise has not been well received by critics, but it's a very profitable franchise. With Evil Dead Burn flaming out quickly, horror audiences might want to check this as the only horror option of the month.

Lionsgate is also releasing the action thriller Mutiny, starring Jason Statham. The plot is… seriously? It's Jason Statham kicking ass, plot is pretty much the last thing to look out here. You know what you're getting here.

STREAMING DATA

Figures for the week of August 3 to August 9 on Netflix:

The sci-fi thriller The Last House, starring Wagner Moura and Greta Lee, got off to a very solid start. Despite negative reviews, it pulled a pretty good 27.5 million views on its first weekend.

The comedy 72 Hours added 11.1 million views on its third week, taking its lifetime to 58.3 million views.

A few foreign titles cracked the Top 10, led by Eliza: Shadows of a Woman, pulling 7.3 million views. It has amassed 40.9 million views across 3 weeks.

Well, look at that, the Spider-Man titles saw a boost in Netflix, as Far From Home and Homecoming earned 5 million views and 4.9 million views, respectively.

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