With an absolute lack of menacing titles, Spider-Man: Brand New Day easily held to the top spot on its second weekend. On top of posting one of the best second weekends ever, the film became the second fastest title to reach $1 billion and it's actually getting closer to the $2 billion milestone. Also joining the $1 billion club was Christopher Nolan's The Odyssey, which also became the director's highest-grossing film.

Only two films dared to open this week and neither were particularly impressive; One Night Only was squandered potential, while Super Troopers 3 saw a very ugly drop from its predecessor.

The Top 10 earned a combined $199.6 million this weekend. That's up a massive 56.7% from last year, when Weapons and Freakier Friday opened.

Easily holding on to #1, Spider-Man: Brand New Day earned a dazzling $144.2 million on its second weekend. That marks a 60% drop from last week, and while that may sound rough, it's a very respectable drop considering how it was coming off the biggest opening weekend in history.

It was the third best second weekend in history, just behind Avengers: Endgame ($147.3 million) and Star Wars: The Force Awakens ($149.2 million). That's right after the film broke the biggest Monday ($47 million) and Tuesday ($42 million) records.

After the record-breaking numbers last weekend, IMAX announced that the film would hit their screens on this weekend. And that's the one aspect where it disappointed, as it pulled in just $9.8 million this weekend, from 300 screens. That's just 6.7% of the weekend's gross, and was much less than what The Odyssey ($22.1 million) made last week in that format. Even though it doesn't have full exclusivity to IMAX, the share is still very low.

Regardless, through 10 days, Brand New Day has grossed an incredible $654.3 million domestically. It's already the year's highest-grossing film, and it's already #1 on the all-time domestic chart. The film opened $3 million above Endgame and it's currently $33 million ahead through the same point. And compared to The Force Awakens, it opened $112.1 million above it, and it's $114.2 million ahead through the same point. Should be noted that The Force Awakens was playing through the holidays, so that lead is going to shrink over the passing days.

Brand New Day remains on track to hit $900 million domestically and there's actually a possibility that it could become the first film to hit $1 billion domestically. Whatever the case, The Force Awakens' domestic record ($936.6 million) is the target for now. For now, let's see if it can break The Force Awakens' record for biggest third weekend ($90.2 million).

Keeping #2, Universal's The Odyssey eased just 38%, earning $31.7 million. That's Christopher Nolan's best fourth weekend, overtaking The Dark Knight ($26.1 million). On IMAX, despite losing so many screens, it posted $9 million this weekend, only a little below what Spidey did this weekend.

And with $461.3 million in the bank, it also passed The Dark Knight Rises ($448.1 million) to become Nolan's second highest grossing film in the market. Now it's going for Nolan's all-time crown, The Dark Knight ($534.9 million). Based on its trajectory, it really looks like $600 million could happen.

Debuting in third place, Universal's rom-com One Night Only flopped with just $5.5 million in 3,012 theaters. That's one of the worst debuts for a film in over 3,000 theaters, and it was way off from director Will Gluck's prior rom-com, Anyone but You ($6 million). And that film was released in December where a muted debut was expected, while One Night Only was released in the lucrative summer season. Even Universal's rom-com You, Me & Tuscany opened higher this year ($7.7 million).

The film cost $25 million, and it didn't come anywhere close to that figure. Rom-coms have faced a challenge in theaters lately. Some have fared well, but it's a very exclusive club. With the rise of streaming (where most of these titles are seen), it's been very difficult to get audiences to buy a ticket for something they'd prefer to watch on streaming.

But the biggest challenge for One Night Only was its own selling point: the crazy premise. The film is set in an alternate reality where premarital sex has been outlawed and it's only allowed one night a year. The trailers tried to play the quips and chemistry of stars Monica Barbaro and Callum Turner, but that aspect was still prevalent in the discussion. It led to some tonal whiplash, as many were questioning the premise but the film (or at least trailers) chose to not focus on that. It's hard to paint the scenario in the vein of a romantic comedy without having people puzzled. It didn't help that director Gluck admitted that there was an even more crude cut depicting more nudity but he chose to trim it. And given the film's weak reviews (44% on RT), it doesn't look like people were curious to see how it would depict the premise.

According to Universal, 74% of the audience was female, and 50% was 25 and over. They gave it a solid "B+" on CinemaScore, so there's the possibility that it could have legs. But given the very tepid debut, it's unlikely it hangs around long enough to make for a respectable total.

Disney/Pixar's Toy Story 5 eased 38%, adding $4.2 million. The film's domestic total stands at $470.6 million.

In fifth place, Searchlight's Super Troopers 3 tanked with just $4 million in 2,760 theaters. That's a massive 74% drop from the sequel ($15.1 million) and 36% off from the original ($6.2 million).

The film's under-performance lies under two aspects. First, the struggle for niche comedies in breaking out. Not a single Super Troopers made more than $30 million domestically, so there's a ceiling for this franchise despite its cult status. That also extends to the rest of Broken Lizard's films, excluding The Dukes of Hazzard (which is hardly considered to be in the same vein as these films).

Second, there's the fact that the film clearly is not interested in attracting new fans. It's for super-fans of the comedy troupe only, and it's always been envisioned like that. By this point, you know what you're getting. But still, how could it drop 74% from the sequel, especially when the sequel greatly over-performed? Perhaps because reactions to the sequel were middling (some liked it, others not so much), and a third entry felt unnecessary. And even with the wedding angle, the jokes didn't feel fresh enough or compelling enough to buy a ticket. And not like the franchise is a critical darling, but a 49% on RT (the highest in the franchise) means that only big fans will be interested, with little of substance to casuals.

According to Searchlight, a massive 72% of the audience was male, and 68% was 35 and over. They gave it a weak "B–" on CinemaScore, a very poor grade for a comedy and way below the sequel ("B+"). Given how front-loaded the sequel was and the little interest outside Broken Lizard's fans, Super Troopers 3 is going to fade quickly from theaters. It'd be a surprise if it made it past $10 million domestically.

Minions & Monsters dropped 42% for a $3.5 million weekend. The film has grossed $176.3 million, and it should finish with around $185 million around.

Moana dropped 47%, adding another $2.9 million. The film has earned a disappointing $121.6 million to date.

Debuting in eighth place, Iconic Events released Eli Roth's new film Ice Cream Man in 1,682 theaters. Unsurprisingly, it tanked with just $2 million this weekend. That marks Roth's worst ever wide debut, below The Green Inferno ($3.5 million) back in 2015.

Not like the film was expected to do much. It's not the fact that it looked cheap, is that it was cheap and lacked any sense of fun or thrills, even compared to Roth's prior films. Not to mention the very bad publicity it gained after Roth revealed that generative AI imagery was used on the film (after first denying and then downplaying it). With very poor reviews (27% on RT) and negative word of mouth, this is not gonna last long in theaters.

In ninth place, A24's The Invite eased 44%, adding $717,568. Such a shame it lost so many screens, cause its $2,098 per-theater average is higher than six of the titles in the Top 10, including this week's newcomers. The film has amassed $24.2 million domestically so far.

Cracking the Top 10 was CatVideoFest 2026, earning $568,414 from 255 theaters.

A24 released the Anthony Bourdain biopic Tony and it grossed a pretty great $348,995 in 6 theaters. That's a very strong $58,166 per-theater average, which is one of the best for the year. A24 will expand the film to a few more markets next week, before hitting wide release on August 21.

Also impressing in limited release was MUBI's Teenage Sex and Death at Camp Miasma. The film earned $249,606 in 5 theaters, for a very great $49,921 per-theater average. Like Tony, the film will expand a bit next week before a wide release afterwards.

OVERSEAS

Late Monday or early Tuesday, Spider-Man: Brand New Day crossed the $1 billion milestone worldwide, becoming the second fastest film to reach that mark, after Endgame (5 days). Now, on its second weekend, the film added $236 million overseas, taking the worldwide total to a spectacular $1.672 billion. That's a 59% drop from the overseas markets, but considering how high it opened, it's a fine drop in the grand scheme of things.

The biggest markets are China ($186.7M), the UK ($87.4M), Mexico ($65.8M), India ($52.8M), France ($49.2M), Brazil ($46.3M), Australia ($39.1M), Germany ($37.6M), and Italy ($31.1M). In India, it became the biggest Hollywood title in the market after just 10 days. It was #1 in pretty much all markets, except for one (we'll get to that).

The film is already the highest grossing film of the year by a considerable margin, and it's just its second week in theaters. By next week, it will pass Spider-Man: No Way Home ($1.921 billion) and it should also cross the $2 billion milestone. Sky's the limit here!

The Odyssey continues defying expectations, as it added $81.9 million overseas. That was a drop of just 3.9% from last week, which is absolutely insane. Not only did it cross the $1 billion milestone, but its $1.119 billion worldwide total already passed The Dark Knight Rises ($1.085 billion) to become Christopher Nolan's highest-grossing film of all time.

The film was driven by two major markets. In China, it held early PLF previews ahead of its wide release this week, and it earned a pretty great $7.6 million. Early audience scores are incredible (9.7 score on Maoyan and a 9.6 score on Taopiao), which suggests word of mouth will lead to a very strong debut. But the biggest market this week was its debut in South Korea, where it opened with a fantastic $14.5 million. Not only dethroning Spider-Man: Brand New Day, but it was also the biggest debut for Nolan in the market. Excellent word of mouth as well (CGV Egg Score of 97%).

The film's biggest markets are the UK ($82.4M), France ($56.5M), Italy ($50.6M), Germany ($39.3M), Australia ($33M), Mexico ($30.5M), Spain ($29.8M), Brazil ($18.5M), Netherlands ($15.5M), and Saudi Arabia ($14.4M).

On the IMAX front, history was made. The Odyssey earned a gigantic $289 million worldwide on the IMAX format. Which means that after 17 years, Avatar ($256 million) has been dethroned as the biggest IMAX grosser. Domestically, it's at $147 million (a new record) and overseas is at $142 million, with China and Japan coming up. IMAX 70mm has sold grossed an astounding $37.5 million to date, led by the TCL Chinese Theatre in Los Angeles, which has grossed $2.8 million to date, the highest grossing single-title box office for any IMAX location in North America. IMAX has also reported that $40 million has already been pre-sold for future screenings in the next few weeks, which means these numbers are just the beginning.

Right now, look for The Odyssey to finish with over $1.5 billion worldwide. And $1.6 billion is not impossible either.

Toy Story 5 added $9.3 million overseas, taking its worldwide numbers to $1.094 billion. The best markets are Mexico ($78M), UK ($71.6M), Japan ($65.7M), China ($42M), France ($35M), Brazil ($34.1M), Australia ($31.7M), Argentina ($23.9M), Spain ($22.2M) and South Korea ($19.9M).

Minions & Monsters added $9.2 million overseas, driven by its debut in Japan ($2.6M). The film has now amassed $474.1 million worldwide.

FILMS THAT ENDED THEIR RUN THIS WEEK

• Doesn't look like a family film to me. Disney/Lucasfilm's The Mandalorian and Grogu has closed with a meager $177 million domestically and $345 million worldwide. Given the extensive marketing campaign and the $165 million budget, these numbers are very weak. Even with merch sales accounted, the return of Star Wars to the big screen should have done much better. But by limiting its audience to only fans of the TV series, there was nothing special or appealing to casuals. Which might be why it fell very quickly after a promising opening weekend. Anyways, let's see how Starfighter does next year.
• Universal/Amblin's Disclosure Day has closed with $116 million domestically and $241 million worldwide. On its own, these would be respectable numbers for a sci-fi original, but it cost $115 million and it was helmed by Steven Spielberg. The film showed promise on its opening weekend, but mixed word of mouth led it to collapse very quickly. Could have cracked $300 million if everything went well. Spielberg remains a Legend and something like this won't really affect his future projects, but it marks his third financial disappointment in a row.

THIS WEEKEND

There's two wide releases coming, but again, none are really expected to take the crown from Spidey.

WB is releasing David Robert Mitchell's new film The End of Oak Street, starring Anne Hathaway and Ewan McGregor, following a family who starts to notice unusual events in their neighborhood that involve the appearance of prehistoric creatures. There's been a lack of dino titles outside the Jurassic franchise, and WB clearly hopes to attract families with the film, selling it as an Amblin-esque mystery. But the amount of delays, and the over-performances of Spider-Man and Odyssey will continue impacting the film. It doesn't help that some theaters are taking the film off its IMAX screens. And a recent AI dog podcast stunt has drawn very bad publicity. Given its reported $85 million budget, the film really needs to find an audience.

There's a very strong possibility that Oak Street is not even the highest-grossing dino title of the week, however. Because Paramount is releasing Paw Patrol: The Dino Movie, the newest installment in the profitable franchise. The first movie made $144 million, and the sequel improved with $202 million. Given the franchise's popularity, adding dinosaurs to the mix, and without much animated competition, it's got the ingredients to continue the rising trajectory.

STREAMING DATA

Figures for the week of July 27 to August 2 on Netflix:

Kevin Hart's comedy 72 Hours topped the charts with 25.1 million views on its second weekend, for a 10-day tally of 47.2 million views.

Elize: Shadows of a Woman and A Toxic Love Story pulled in very respectable numbers for their second weeks, earning 17.4 million and 12.9 million. That takes their lifetimes to 33.6 million and 30.9 million, respectively.

Voicemails for Isabelle added 3.6 million views, for a 84.3 million total.

Swapped reached 144.9 million views in total, allowing it to pass Leave the World Behind (143.4 million) as the eighth biggest Netlix original film of all time.

____________________________________________________________________________________________

If you're interested in following the box office, come join us in r/BoxOffice.