411 Box Office Report: Spider-Man: Brand New Day Leads Again, Hits Over $1.6 Billion Worldwide

To no one’s surprise, Spider-Man: Brand New Day ruled the box office for a second weekend as it sustained an expected drop. The blockbuster MCU film brought in $143 million for the weekend, which is down 60% from its record-breaking $360.1 million opening weekend.

That 60% drop is just slightly above the 59% sophomore drop by Avengers Endgame in May 2019. Brand New Day has the third-best second weekend ever, behind only Star Wars: The Force Awakens ($149.2 million) and Avengers Endgame ($147.3 million). Brand New Day now has an eye-popping $655.1 million domestically and $1.665 billion worldwide, That means in just two weekends, it is the 10th highest-grossing domestic film and 12th highest worldwide grossing film of all time.

As it stands, it’s obvious that Brand New Day will at least cross the $800 million mark in the US, which is enough for at least #4 on the all-time domestic list. It will probably get even higher, though we’ll have to see how the holds continue to determine how much. Either way, this is of course a massive money maker for Sony, Disney, and Marvel against its $225 million budget.

The Odyssey continues to have great holds, with the Christopher Nolan epic down just 38% in its fourth weekend to $31.5 million. The Greek mythology retelling is now up to $461.2 million domestically and $1.104 billion worldwide, which means that it has surpassed The Dark Knight Rises’ $1.085 billion for Nolan’s biggest film at the worldwide box office. At this point, The Odyssey is still looking like it will cross the $500 million mark domestically and is a massive hit against a $250 million production budget.

Universal threw in some counterprogramming with the romcom One Night Only, and it went about as expected. The Will Gluck-directed film opened with $5.7 million, a solid if somewhat middling result. There was simply no air left for the film to consume with Brand New Day bringing in audiences of every demo and Universal’s own The Odyssey sweeping up what was left.

One Night Only also didn’t have a lot of buzz behind it. The trailers didn’t gain a ton of traction online, and the critical regard is lacking at a 46% Rotten Tomatoes critic aggregate. The audience reaction scores are okay but not stellar at a 72% RT audience score and a B+ CinemaScore. Those are fine enough for a romantic comedy, but they’re not going to help a film overperform. The film may be able to get a bit of strength into its box office legs with a lack of direct competition coming up, but it probably won’t make it much past $15 million or so. With a $25 million budget, that won’t be enough for profit and the forthcoming overseas releases (starting next week with France, India and more) probably won’t help enough either.

Super Troopers 3 also attempted to open against the two behemoths and took in $4 million. The threequel in the cult favorite franchise opened at a fraction of Super Troopers 2’s $15.2 million back in 2018 and below the original film’s $6.2 million way back in February of 2002. The opening was a little lower than the high-mid single digits that was expected for it.

Super Troopers has never been a box office bonanza, but it’s a recognizable franchise even if it’s never been a critical favorite. The new film is actually more liked than the first two at a 49% RT critic aggregate compared to 37% for the original and 35% for the sequel. But Searchlight Pictures has always known this wasn’t a film that would make its money on theatrical; this is largely a play to enhance its name value before digital and streaming, where the series has always found its audience. There’s no word on its budget, but it will probably close out in the low double digits in the US.

Toy Story 5 was down 42% in its eighth weekend to tally $3.9 million. The Pixar film has is now up to $470.4 million domestically and $1.094 billion worldwide, the biggest ever for the franchise. The budget was $250 million and it’s still aiming for $475 million to $480 million in its final domestic gross.

Minions & Monsters was also down 42%, bringing in $3.5 million in its sixth weekend. The Universal animated film is now at $176.4 million domestically and $473.5 million worldwide, a hit against its $85 million production budget. It’s going to end its run in the US at about $180 million.

Moana dropped another 50% in its fifth weekend, grossing $2.8 million. The film is a flop for Disney with $121.4 million stateside and $280.4 million worldwide against a $250 million budget. Its endgame is around $127 million in the US.

Eli Roth’s latest horror film Ice Cream Man landed with a thud, opening to a mere $2 million. That’s the lowest start for a wide release film directed by Roth, “beating” the previous low of $3.5 million for The Green Inferno in September of 2015. (Knock Knock opened far lower at just $18,600 but was only in 22 theaters compared to Ice Cream Man’s 1,682.)

If there’s any good news to be had here, it’s that Ice Cream Man’s budget is fairly low at $5.5 million. And yet, it still will not be profitable in theaters. The film has been excoriated online, both by critics with a 27% RT critic score and audiences, who gave it a low 49% RT audience rating. The film did not receive a CinemaScore.

Now obviously, a horror film doesn’t necessarily need high critical praise. But there has been a distinct lack of interest in the film, which stepped deeper into trouble in the week leading up when word of generative AI sequences in the film broke. Roth botched the handling of this when he initially claimed there were none and then acknowledged them, saying he “misspoke” once the word began to spread. It should be noted that there’s no word on whether this had any box office effect — online controversies rarely do impact the box office much no matter who is angry about it. At best, it didn’t help any potential interest.

Ice Cream Man also fell flat overseas, where it scored just $1.7 million for a $3.7 million total. The film is likely to quickly slip out of the top 10, and an $8 million domestic total seems like it may be out of reach. It will probably still be profitable once it hits digital, on Roth’s name value if nothing else.

Olivia Wilde’s The Invite dropped two spots to #9, down 44% in its fifth weekend of wide release to $718,000. The A24 romcom is now at $24.8 million in the US and $42.9 million worldwide and is closing out a little over $25 million stateside.

Hadestown: The Musical closed out the top 10 as it dove 81% to $391,000. As we’ve said before, this isn’t a surprise considering the niche nature and Blecker Street has earned their profit. The filmed Broadway production is now at $20.2 million.

Spider-Man will spend a third week atop the box office next week as a number of new counterprogramming options arrive. They include the sci-fi dino attack film The End of Oak Street, targeting around $15 million to $20 million; PAW Patrol: The Dino aiming at the same; and Angel Studios’ Cold War drama The Brink of War, which will be in the low single digits.

Box Office Top Ten (Three-Day Domestic Numbers)

1. Spider-Man: Brand New Day – $145 million ($655.1 million total, $1.665 billion worldwide)
2. The Odyssey – $31.5 million ($461.2 million total, $1.105 billion WW)
3. One Night Only – $5.7 million ($5.7 million total, $5.7 million WW)
4. Super Troopers 3 – $4.0 million ($4.0 million total, $4.0 million WW)
5. Toy Story 5 – $3.9 million ($470.4 million total, $1.094 billion WW)
6. Minions & Monsters – $3.5 million ($176.4 million total, $473.5 million WW)
7. Moana – $2.8 million ($121.4 million total, $280.4 million WW)
8. Ice Cream Man – $2.0 million ($2.0 million total, $3.7 million WW)
9. The Invite – $718,000 ($24.3 million total, $42.9 million WW)
10. Hadestown: The Musical – $391,000 ($20.2 million total, $20.2 million WW)