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With three newcomers failing to make a good impression, Superman easily kept the top spot for a second weekend with a very solid second weekend drop. I Know What You Did Last Summer was the top newcomer, but it still wound up below expectations. Smurfs and Eddington also flopped, although that's hardly a surprise.

The Top 10 earned a combined $128.7 million this weekend. That's down 11.5% from last year, when Twisters led with a pretty great $80 million.

Superman was still #1 with $58.4 million this weekend. That represents a 53% drop, which is solid for a comic book film. It's a bit steeper than The Batman (50.4%), but better than this year's Thunderbolts (56.4%). And much better than Man of Steel (64.6%).

Through 10 days, the film has earned $236.2 million. Its opening weekend was $3 million behind Man of Steel, but it's now $26 million ahead of it. It's set to finish with over $350 million domestically, although it will still depend on how much it drops when The Fantastic Four: First Steps debuts next week.

Jurassic World Rebirth dropped 41%, adding $23 million this weekend. The film has amassed $276.4 million, and it's now $27 million behind Dominion through the same point. And it's gonna get larger now with The Fantastic Four opening.

Debuting in third place, Sony's I Know What You Did Last Summer earned a disappointing $12.7 million in 3,206 theaters. That's below the original film ($15.8 million) and the sequel ($16.5 million), and that's despite 27 years of inflation on its side.

Sony kept the budget low at $18 million, so it's not really a flop. But it's still a very disappointing debut: Sony resurrected this franchise after 27 years just to have a lower debut than the 90s films? That's gotta sting, at least. After all, Scream has had a successful relaunch this decade after impressing back in the 90s. How could the same not happen for I Know What You Did Last Summer?

A lot of people are aware of the title, it's very iconic. But knowing something and being interested in it are two different things. Unlike Scream, Last Summer was never a critical darling, as both films have negative reviews. Sure, it helped launch the careers of many actors, including Jennifer Love Hewitt and Freddie Prinze Jr., which is why they were brought back here. But the 2025 version just didn't really offer anything new or interesting for old fans, and young audiences probably don't care for this franchise even with the young cast attached. The bad reviews (38% on RT) further confirmed that this film was not gonna win over any new fans.

According to Sony, the film was 50/50 between men and women. As mentioned, the film didn't really connect with young audiences, which is a big demo for horror: only 34% was 25 and under. They gave it a poor "C+" on CinemaScore, which is the worst in the franchise. Given some controversial decisions in the film, it's very likely the film will fall off quickly. The only advantage is that there's no horror competition till Weapons on August 8. But despite that, Last Summer won't earn much higher than $30 million domestically, pretty much guaranteed to be the lowest grossing in the franchise.

In fourth place, Paramount's Smurfs debuted with a poor $11 million in 3,504 theaters. That's far below any of the Smurfs films, including The Lost Village ($13.2 million).

This is a failure that will surprise absolutely no one. While The Smurfs was one of the biggest hits in 2011, the popularity quickly dwindled. The sequel opened with just $17 million and capped out at $71 million, while The Lost Village continued the decline with a $45 million domestic total. The Smurfs franchise is simply something that just lost whatever popularity it had left.

The marketing was everywhere, but it just wasn't good in the slightest. The plot is pretty much the same from any of the prior films, failing to overcome the "been there, done that" feeling. And yes, every single piece of marketing highlighted the whole "Rihanna is Smurfette" tagline, which quickly became tiring and uninteresting. The only advantage it had was that Elio was already winding down after its poor box office numbers, but the real nail in the coffin for Smurfs was the reviews: an absolutely dismal 21% on RT. Some animated films are critic-proof, but Smurfs is not one of those.

According to Paramount, 61% of the audience was female, and 59% were parents with a child. They gave it a very lukewarm "B+" on CinemaScore, which is poor for an animated film. With The Bad Guys 2 coming up in 2 weeks, Smurfs is destined to fall off. Right now, it should finish with just $30 million domestically. Is this gonna be the final theatrical release for these little blue demons?

F1 rounded up the Top 5 with $9.8 million, which was a light 24% off from last week. The film has earned $153.9 million, and its way to $180 million depends on how much it can hold against Fantastic Four.

Universal/DreamWorks' How to Train Your Dragon dipped 32%, earning $5.4 million this weekend. The film has crossed $250 million domestically, and it should finish with around $270 million.

Opening in seventh place, A24 and Ari Aster's Eddington flopped with just $4.2 million in 2,111 theaters. That's above Beau Is Afraid's wide debut ($2.6 million), but that's not really saying much, especially because that film was playing in 965 theaters. This debut is also below Aster's Hereditary ($13.5 million) and Midsommar ($6.5 million, but it actually debuted on Wednesday).

The debut is particularly disappointing given that it has the most big names attached to an Aster film (Joaquin Phoenix, Pedro Pascal, Austin Butler and Emma Stone). But the biggest setback was always gonna be its premise: a dark comedy set during the COVID-19 pandemic. It's been 5 years since this happened and audiences are still not looking to revive that period, at least not now.

But if this and Beau proved something, is that Aster has still remained a niche director. A24 lost around $35 million on Beau and they still gave him $25 million to make Eddington, which also flopped. Hereditary and Midsommar were successful, but Aster went very experimental and ambitious on Beau and Eddington. That's bold, but can also alienate audiences and at the end of the day, he's a polarizing filmmaker. The Cannes reviews pretty much confirmed it; it's sitting at a 67% on RT, with reviews divided over "loving it" or "hating it". The audience just didn't care to find out.

According to A24, 61% of the audience was male and 73% was 25 and over. They gave it a weak "C+" on CinemaScore, the same grade as Midsommar. With more competition on its way, it's very likely the film will miss $10 million domestically. Hereditary and Midsommar were successful, but between this and Beau flopping, how many blank checks does Aster have left?

Elio dropped 47%, adding $2.1 million. The film has earned a meager $69 million so far.

Lilo & Stitch dropped 41%, for a $1.5 million weekend. The film's domestic total stands at $418.2 million for now.

Rounding out the Top 10 is 28 Years Later, which dropped 52% and added $1.3 million this weekend. The film has earned $69 million, and it's set to close with around $73 million domestically.

OVERSEAS

The big story is Lilo & Stitch, which became the first Hollywood title of the year to hit the $1 billion milestone. Earning $4.7 million overseas, the film has made $1.008 billion so far, making it the second biggest film of the year behind Ne Zha 2. The best markets are Mexico ($67M), UK ($48.9M), France ($42.4M), Brazil ($37.4M), Germany ($32.4M), Spain ($27.4M), China ($25.2M), Italy ($25.1M), Australia ($21.1M) and Argentina ($20.1M).

Superman added $45.2 million this weekend, taking its worldwide total to $408 million. It had pretty good holds across the board, which is very encouraging after its disappointing start last week. The one place where it fell the most was China, where it collapsed by an insane 94% to just $410K this weekend.

The best markets for the film are the UK ($22.2M), Mexico ($16.6M), Brazil ($11.2M), Australia ($11M) and China ($8.5M). Should definitely hit $550 million, but the path to $600 million depends on how much it can hold against Fantastic Four this weekend.

Jurassic World Rebirth added $40.3 million overseas, for a $649 million worldwide total. Its best markets are China ($71.8M), the UK ($33.7M), Mexico ($28.7M), Germany ($20.3M) and France ($17.4M). Should hit $700 million by next week.

In Japan, history was made. Demon Slayer: Kimetsu No Yaiba Infinity Castle debuted with a colossal 5.9 billion yen, which is around $36.5 million (some estimates have it at $39.7 million). This is the biggest debut in the country's history, and Hollywood chose to avoid releasing anything in close proximity. This is set for one of the best runs in the history of the country.

F1 continues impressing despite the heavy competition. It added $29.5 million, allowing it to cross $300 million overseas, for a $461 million worldwide run. The film is enjoying fantastic holds in markets like China (–37%) and South Korea (+28%). Its best markets are China ($45.5M), the UK ($24.6M), France ($20.8M), Mexico ($17.4M) and Australia ($15.2M). Even with Fantastic Four coming up, it should definitely cross the $500 million milestone next week, which means it officially recoups its $200 million production investment.

Smurfs saved some face overseas, but its $25 million overseas debut got to a very weak $36 million worldwide debut. France was its best market with $3.7 million, followed by a solid $1.7 million in the UK. The rest was not as great: Brazil at $1.6M, Mexico with $1.5M and Germany at $1.5M. It's clearly a film that will skew heavily overseas, but it's still unlikely it will avoid the flop status.

I Know What You Did Last Summer debuted with $11.6 million overseas, for a $24.3 million worldwide debut. Almost on par with the domestic market, but it's clear the nostalgia wasn't very strong outside America either. Should definitely recoup its $18 million budget, but just like the domestic market, it will be the lowest grossing in the franchise worldwide.

FILMS THAT ENDED THEIR RUN THIS WEEK

• Once in a while, in a sea of IPs dominating the film market, there's an original film that manages to break out. And this year, that was Sinners, which closed with a fantastic $278 million domestically and $365 million worldwide. Sold entirely on the names of Ryan Coogler and Michael B. Jordan, the film had one of the greatest runs of the decade: opened with $48 million and then dropped just 4.8% on its second weekend. Aided with an "A" on CinemaScore (a feat no horror film achieved since 1982), the film had insane legs, closing with an incredible 5.80x multiplier domestically. Obviously, the domestic market represented 76.1% of its worldwide gross, but that's not really surprising. This film pretty much cements Coogler as a filmmaker whose name is the selling point for audiences and can guarantee success, which is extremely rare to happen. Whatever he does next, the world is ready.

THIS WEEKEND

And so another MCU film has arrived. And it's Marvel's First Family.

After years of teasing, The Fantastic Four: First Steps is finally here, the long-awaited arrival of these characters in the MCU. Starring Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, and Joseph Quinn as the titular team, alongside Julia Garner, Natasha Lyonne, Paul Walter Hauser, and Ralph Ineson, it follows the Fantastic Four as they must protect their 1960s-inspired retro-futuristic world from the planet-devouring cosmic being Galactus. The film has achieved high level of interest, as fans are anticipating what the characters will finally get to do in the grand scheme of the MCU. These characters are already confirmed for the next Avengers films, which helped raise awareness even further. Now is the big question: will the MCU finally deliver the first good Fantastic Four film?

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