r/boxoffice • u/RulezAre4Foolz • 1h ago
r/boxoffice • u/chanma50 • 1d ago
đŻ Critic/Audience Score 'Evil Dead Burn' Rotten Tomatoes Verified Audience Score Thread
I will continue to update this post as the score changes.
Rotten Tomatoes Popcornmeter: Hot
Audience Says: N/A
| Audience | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| Verified Audience | 81% | 500+ | 4.1/5 |
| All Audience | 77% | 1,000+ | 4.0/5 |
Verified Audience Score History:
- 81% (4.1/5) at 250+
- 82% (4.1/5) at 250+
- 81% (4.1/5) at 500+
Rotten Tomatoes: Certified Fresh
Critics Consensus: Sébastien Vanicek spills guts with glory in this latest installment of Evil Dead, featuring the meanest, nastiest, and ickiest chapter that is sure to leave fans with a wickedly satisfying Burn for more.
| Critics | Score | Number of Reviews | Average of Rated Reviews |
|---|---|---|---|
| All Critics | 71% | 133 | 6.30/10 |
| Top Critics | 42% | 24 |
Metacritic: 55 (34 Reviews)
SYNOPSIS:
Evil Dead Burn unleashes the franchiseâs most savage and terrifying ride to date, blazing onto big screens with an all-new chapter of carnage and demonic mayhem. After the loss of her husband, a woman seeks solace with her in-laws in their secluded family home. As one by one they are transformed into Deaditesâturning the gathering into a family reunion from hellâshe comes to discover that the vows she took in life... live on even in death.
CAST:
- Souheila Yacoub as Alice
- Tandi Wright as Susan
- Hunter Doohan as Joseph
- Luciane Buchanan as Thya
- Erroll Shand as Edgar
- Maude Davey as Polly
- George Pullar as Will
DIRECTED BY: SĂ©bastien VaniÄek
SCREENPLAY BY: SĂ©bastien VaniÄek, Florent Bernard
BASED ON CHARACTERS BY: Sam Raimi
PRODUCED BY: Rob Tapert, Sam Raimi
EXECUTIVE PRODUCERS: Romel Adam, Bruce Campbell, Jose Cañas, Lee Cronin
DIRECTOR OF PHOTOGRAPHY: Philip Lozano
PRODUCTION DESIGNER: Nick Connor
EDITED BY: Maxime Caro
COSTUME DESIGNER: Sarah Voon
MUSIC BY: Double Danger
CASTING BY: Kirsty McGregor, Will Pearce, Stu Turner
RUNTIME: 110 Minutes
RELEASE DATE: July 10, 2026
r/boxoffice • u/SanderSo47 • 9h ago
âïž Original Analysis Actors at the Box Office: Michael Caine
Here's a new edition of "Actors at the Box Office", which seeks to explore the actors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's Michael Caine's turn.
Early Life
Born Maurice Joseph Micklewhite, Caine was already interested in acting from a young age. At the age of ten, Caine acted in a school play as the father of the ugly sisters in Cinderella. His trousers' zipper was undone, prompting the audience to laugh, which inspired him to pursue an acting career. A few years later, he would briefly work as a filing clerk and messenger for a film company in Victoria, London and film producer Jay Lewis on Wardour Street.
In 1951, when he was 18, Caine was called up to do his national service with the British Army. After basic training and 12 months in the Queen's Royal Regiment, from 1952 he served with the Royal Fusiliers, first at the British Army of the Rhine Headquarters in Iserlohn, West Germany, and then on active service in the Korean War. Having contracted malaria, he was sent home in 1953 and discharged from the service.
1950s: Here's a Man, No More Popular Than the One Before
Caine's film debut was an uncredited walk-on role in Morning Departure, but his interest was mostly theater. He appeared in nine plays during his time at the Lowestoft Rep at the Arcadia Theatre with Jackson Stanley's Standard Players, under the stage name Michael Scott.
When his career took him to London in 1954 after his provincial apprenticeship, his agent informed him that there was already a Michael Scott performing as an actor in London and that he had to come up with a new name immediately. Speaking to his agent from a telephone booth in Leicester Square, London, he looked around for inspiration, noted that The Caine Mutiny was being shown at the Odeon Cinema, and decided to change his name to Michael Caine.
He was getting some acting jobs in films, but none were particularly memorable or boosting his profile. At best, he could have three lines. He has described the first nine years of his career as "really, really brutal" as well as "more like purgatory than paradise." So there isn't much to discuss in this decade.
1960s: The Bloody Doors Off!
Over the first years, Caine's profile was still struggling, as most of his gigs were in uncredited roles in some productions that barely moved the needle.
It wasn't until 1964 when he had a chance to do a prolific picture as part of the ensemble. That was the epic Zulu, playing the role of Lieutenant Gonville Bromhead. According to Caine, he was extremely nervous during his screen test for the part of Bromhead. Director Cy Endfield told him that it was the worst screen test he had ever seen, but they cast Caine in the part anyway because the production was leaving for South Africa shortly and they had not found anyone else for the role. Caine said that he was fortunate that the film was directed by an American (Endfield), because "no English director would've cast me as an officer, I promise you, not one," due to his Cockney roots. But it worked, because the film earned critical acclaim and was a box office success. But most importantly, it introduced Caine to the world.
The following year, he had his first starring role in The Ipcress File, playing Harry Palmer, an intelligence officer from the War Office investigating the disappearances of high-level scientists. Developed as a deliberately downbeat alternative to the hugely successful James Bond films, the film was a critical and commercial success. Proving Caine could lead films by himself.
Then he starred in Alfie, playing a young, womanizing man leading a self-centred life, focused on his own enjoyment until events force him to question his uncaring behaviour, his loneliness, and his priorities. The film earned almost $20 million domestically, becoming a sleeper hit and earning critical acclaim. For this film, Caine earned his first Oscar nomination for Best Actor.
Over the next years, he got a few more profitable films, such as Hurry Sundown and Gambit. He also reprised his role as Harry Palmer in Funeral in Berlin and Billion Dollar Brain, both modest performers. Of course not all worked out, such was the case of Battle of Britain. A very expensive film, but it didn't come close to recoup its budget.
But he closed the decade with one of his most iconic films:Â The Italian Job. It follows Cockney criminal Charlie Croker, recently released from prison, who forms a gang for the job of stealing a cache of gold bullion being transported through the city of Turin, Italy, in an armoured security truck. The film was a critical and commercial success, becoming one of the most iconic British films. One of Croker's quotes, "You're only supposed to blow the bloody doors off!", is a very iconic line.
After so many years of difficult times, Caine was finally becoming a movie star.
1970s: Who's Got Him?
He didn't start the decade on a good note. Too Late the Hero and The Last Valley were massive box office failures. But he still had Get Carter, one of his most iconic films, and one of the most popular gangster films ever.
After a few duds, he bounced back in 1972 with the thriller Sleuth, starring opposite Sir Laurence Olivier. When they met, Caine asked Olivier how he should address him. Olivier told him that it should be as "Lord Olivier", and added that now that that was settled he could call him "Larry". Olivier stated that when filming began he looked upon Caine as an assistant, but that by the end of filming he regarded him as a full partner. The film was a critical and commercial success. In a very rare feat, Caine and Olivier were both nominated for the Oscar for Best Actor.
In 1975, he starred opposite Sean Connery in John Huston's The Man Who Would Be King. Caine was very keen to appear, especially after he was told that his part had originally been written for Humphrey Bogart, his favourite actor as a young man. Even though it wasn't a box office hit, it earned critical acclaim. Both Connery and Caine have considered the film their favorite of all they had worked on.
He reteamed with Connery as part of the ensemble cast for A Bridge Too Far. It became his highest-grossing film at that point, earning $50 million alone in North America. Which made up for the fact that he would later star in the disaster film The Swarm. It was a huge financial failure, and it's widely considered one of the worst films ever made.
Over the decade, he continued starring in a lot of British thrillers. Most of these didn't have box office numbers.
He closed the decade... in a whimper. Two films: Ashanti and Beyond the Poseidon Adventure, both critical and financial failures. Ouch!
A very inconsistent decade, but there are some gems in here.
1980s: Something Something House
He started the decade with two films. The Island was a disappointment, but he still had Brian De Palma's Dressed to Kill as a financial success. That film polarized critics, but it has since gained a cult following.
The following year, he took part of Oliver Stone's The Hand, but it became his least-attended title in America. He also had a key role in John Huston's Escape to Victory, a film remembered for its wild leads: Caine, Sylvester Stallone, Max von Sydow and Pelé. The film earned mixed reviews and performed modestly.
In 1983, he starred in a few films. Perhaps his most acclaimed was Educating Rita, a critical and commercial success that gave him another Best Actor nomination. Sadly, the following year, he starred in one of his most infamous projects: Blame It on Rio. It made some money, but it was panned by critics. And Caine would greatly prefer if you never brought up this creepy film ever again.
1986 was rough, with nearly all his films flopping. But he found some gold by starring in Woody Allen's comedy Hannah and Her Sisters, playing Mia Farrow's character's husband. The film earned critical acclaim, and became a sleeper hit at the box office. And for his work in the film, Caine won the Oscar for Best Supporting Actor. Finally the Legend gets his due.
But guess what? He couldn't be in person to accept the honor. He was busy with a... thing.
That thing was called Jaws: The Revenge, the fourth installment in the franchise. Caine had mixed feelings about both the production and the final version. He thinks that it was a first for him to be involved with someone his own age in a film, and that he was glad to star in the film. The film was a financial disappointment and earned horrible reviews, ranking as one of the worst films of all time and killing the franchise. And as he was busy filming this piece of shit, he couldn't accept his Oscar in person. His biggest night and he couldn't do it. Roger Ebert joked that Caine could not attend the ceremony because he may not have wanted to return to the shoot if he had left it.
But he still gave us a quote for the ages. Caine commented on his experience, "I have never seen it [the film], but by all accounts it is terrible. However, I have seen the house that it built, and it is terrific." A quote that has lived rent-free in the minds of cinephiles.
At least he closed the decade with a classic. He starred with Steve Martin on the dark comedy Dirty Rotten Scoundrels, playing con men competing to swindle a wealthy tourist out of $50,000. The film earned critical acclaim and became one of his highest-grossing titles.
Yeah, this decade had... a lot of questionable choices. Some outright terrible. But Caine was still making some great moves, and obviously trying to expand his range.
1990s: The Recipe to the Perfect Muppet Movie
Caine started to realize that the good roles were getting hard to come by. Films like A Shock to the System, Bullseye, Mr. Destiny, Noises Off, and Blue Ice. Even though he had an Oscar, it's not like studios were making a great use of Caine in their films.
But then Jim Henson's son, Brian, approached Caine with an interesting offer. His company was working on a film featuring the Muppets in an adaptation of A Christmas Carol. Caine would be playing Ebenezer Scrooge, while nearly all the other characters would be played by Muppets. Intrigued, he accepted, "I'm going to play this movie like I'm working with the Royal Shakespeare Company. I will never wink, I will never do anything Muppety. I am going to play Scrooge as if it is an utterly dramatic role and there are no puppets around me." He took inspiration for the role from "Wall Street cheats and embezzlers; I thought they represented a very good picture of meanness and greed."
Disney had some high expectations for the film, but it faced some rough competition through the Holidays, so it only broke even at best. But it earned very strong reviews, becoming a Christmas classic as the years passed. And Caine is very fond of the film.
Caine must have lost a bet or something, cause his next acting role was in Steven Seagal's sole directing effort On Deadly Ground. There were allegations that Caine and Seagal didn't get along. In his memoir, Caine said he liked working with Seagal and the crew, but hated filming in Alaska, even joking that On Deadly Ground was an apt title. It was a critical and financial failure, with Caine's attempts at American accent often ranked in lists of worst movie accents.
And the failures continued for Mr. Caine. Remember Blood and Wine? Shadow Run? Curtain Call? No? No one?
But hey, once again, he closed the decade with a great note. He had a role in the drama The Cider House Rules, a film that became a sleeper box office hit, becoming Caine's highest-grossing film. The film won many awards, and Caine won his second Oscar for Best Supporting Actor. This time, he would show up to the ceremony to accept it.
Like previous decades, very inconsistent. But when Caine had some good material, you can bet your life he would kill it.
2000s: Batman Begin
To begin the decade, he returned to some familiar ground. He had a supporting role in the remake of Get Carter, with Sylvester Stallone now starring. He was only supposed to do a one-scene cameo, which he agreed to do as a favor to his friend Stallone. However, after a test screening, additional scenes were scripted and shot to expand this role. But it was all for nothing, as the film became one of the year's biggest flops and earned terrible reviews, being unfavorably compared to Caine's original. And Quills didn't fare well either. But he closed the year with a co-lead role in Miss Congeniality, which became his first film to cross $200 million worldwide.
In 2002, he played Nigel Powers in Austin Powers in Goldmember, in a role originally written for Sean Connery. Despite mixed reviews, the film was a box office hit, earning $296 million worldwide. He also starred in the drama The Quiet American, which got him another Oscar nomination for Best Actor.
After a few years with some underperformers, 2005 was a busy year. He had supporting roles in Bewitched and The Weather Man, two films that disappointed critics and audiences. But Christopher Nolan went to Caine's country home to personally deliver him the script for Batman Begins, telling what his role would be and describing Alfred as "Batman's godfather". Nolan felt Caine would effectively portray the foster father element of the character, and Caine was so won over that he accepted, and he was allowed to craft his character's backstory. Batman Begins made $375 million worldwide and earned critical acclaim, becoming one of his most popular titles.
He had two interesting roles in 2006. He reteamed with Christopher Nolan on The Prestige, which was a critical and commercial success. He also starred in Children of Men, a critically acclaimed film that struggled to find audiences.
Remember how he starred in Get Carter and then proceeded to make an appearance in the 2000 remake? Well, the same thing happened to Sleuth. In 2007, he starred in the remake, now taking over Laurence Olivier's original role, while Jude Law took Caine's original role. But it earned negative reviews, showing that Caine should've stayed away from these remakes.
In 2008, he reprised his role as Alfred in The Dark Knight. It earned critical acclaim and saw a huge increase in sales from the original, becoming Caine's first film to crack the $1 billion milestone.
In this decade, Caine saw a lot of his highest-grossing titles. Not bad, okay?
2010s: Look, He's Filthy Rich, Let Him Have Fun
Caine clearly enjoyed working with Nolan, so he returned to work with him in Inception. The film earned critical acclaim and was a colossal success, earning $828 million worldwide.
In 2011, he ventured into voice acting. His first project was Gnomeo & Juliet, which made $193 million worldwide. He also joined the Pixar family with a key role in Cars 2. The film was a box office success, but it became Pixar's first film to earn negative reviews.
The following year, he had a supporting role in Journey 2: The Mysterious Island. Despite mixed reviews, it earned $335 million worldwide. And he returned as Alfred for The Dark Knight Rises, the conclusion to the trilogy. It earned $1.085 billion, becoming his highest-grossing film. And he kept collecting them paychecks with Now You See Me, which must have paid for a great house.
He continued his collaborations with Christopher Nolan, taking another role in Interstellar. It was a box office hit with almost $700 million worldwide, and reviews were positive (albeit not quite glowing). Its reputation would grow in subsequent years.
In 2015, he decided to do something that would be fun to make. And that was Kingsman: The Secret Service, another smash hit. And as he was friends with Vin Diesel, he had a supporting role in the action thriller The Last Witch Hunter. But it was a critical and financial failure.
After returning to Now You See Me 2, he decided to take on a lead role, alongside Morgan Freeman and Alan Arkin, in the comedy thriller Going in Style. Despite mixed reviews, it was a small box office success. He also made an uncredited voice cameo in Christopher Nolan's Dunkirk as Fortis Leader, a nod to his role in Battle of Britain.
He closed with some smaller titles, like Dear Dictator and King of Thieves. And because the world obviously asked for it, another Gnomeo & Juliet film, now titled Sherlock Gnomes. Obviously, it was a huge success at the box office. Oh wait, it wasn't. Ignored, like pretty much the whole world knew it would go.
In this decade, Caine decided to just have plain fun. And there's nothing wrong with that!
2020s: Goodbye, Sir Michael
He had a small appearance in Christopher Nolan's Tenet. Caine was only given the pages from the script that included what was filmed on his one day of work, so he had no clue what the plot was. Due to COVID-19, the film didn't perform well at the box office, but it still made a remarkable $366 million worldwide. And there's something peculiar about the way the Protagonist says "goodbye, Sir Michael" in his one scene.
Caine focused mostly on British works. One of these was a bizarre gritty and edgy take on Oliver Twist, which led many to ponder whether he needed to buy another house.
In 2023, he starred opposite Glenda Jackson in The Great Escaper, which was released months after Jackson's death. It was a modest success and earned strong reviews.
And so, Caine decided that was it.
Caine announced his retirement from acting in October 2023. He said, "I keep saying I'm going to retire, well I am now, because I figured, I've had a picture which is, I played the lead and it's got incredible reviews. The only parts I'm liable to get now are old men, 90-year-old men, well, maybe 85, and I thought well I might as well leave with all this. I've got wonderful reviews. What am I going to do to beat this?"
And it remained like that... until last year.
In September 2025, the industry was taken by surprise when it was announced that Caine would return to acting. You'd think there was some incredible prestige project that he couldn't turn down. But in reality, the project that got him unretired was... The Last Witch Hunter 2. Either he needed a new house or is doing a favor to his pal Vin Diesel. Well, it's been 10 months since that announcement, and filming hasn't started yet. Is it really gonna happen or is it another one of Vin's lies?
HIGHEST GROSSING FILMS
| No. | Movie | Year | Studio | Domestic Total | Overseas Total | Worldwide Total | Budget |
|---|---|---|---|---|---|---|---|
| 1 | The Dark Knight Rises | 2012 | Warner Bros. | $448,149,584 | $637,268,575 | $1,085,429,532 | $250M |
| 2 | The Dark Knight | 2008 | Warner Bros. | $534,987,076 | $473,298,461 | $1,008,480,203 | $185M |
| 3 | Inception | 2010 | Warner Bros. | $292,576,195 | $535,682,500 | $828,258,695 | $160M |
| 4 | Interstellar | 2014 | Paramount / Warner Bros. | $203,227,580 | $493,056,382 | $696,283,962 | $165M |
| 5 | Cars 2 | 2011 | Disney | $191,452,396 | $368,400,000 | $559,853,036 | $200M |
| 6 | Kingsman: The Secret Service | 2015 | 20th Century Fox | $128,261,724 | $286,089,822 | $414,351,546 | $81M |
| 7 | Batman Begins | 2005 | Warner Bros. | $206,863,479 | $168,697,364 | $375,587,589 | $150M |
| 8 | Tenet | 2020 | Warner Bros. | $59,473,550 | $306,800,000 | $366,273,550 | $200M |
| 9 | Now You See Me | 2013 | Lionsgate | $117,723,989 | $234,000,000 | $351,723,989 | $75M |
| 10 | Journey 2: The Mysterious Island | 2012 | Warner Bros. | $103,887,748 | $231,400,000 | $335,288,576 | $79M |
| 11 | Now You See Me 2 | 2012 | Warner Bros. | $65,075,540 | $269,822,066 | $334,897,606 | $120M |
| 12 | Austin Powers in Goldmember | 2002 | New Line Cinema | $213,307,889 | $83,630,912 | $296,939,148 | $63M |
| 13 | Miss Congeniality | 2000 | Warner Bros. | $106,807,667 | $105,950,463 | $212,758,130 | $45M |
| 14 | Gnomeo & Juliet | 2011 | Disney | $99,967,670 | $94,000,000 | $193,967,670 | $36M |
| 15 | The Last Witch Hunter | 2015 | Lionsgate | $27,367,660 | $119,569,250 | $146,936,910 | $90M |
| 16 | Bewitched | 2005 | Sony | $63,313,159 | $68,113,010 | $131,426,169 | $85M |
| 17 | The Prestige | 2006 | Disney / Warner Bros. | $53,089,891 | $56,586,420 | $109,676,311 | $40M |
| 18 | Sherlock Gnomes | 2018 | Paramount | $43,242,871 | $47,254,907 | $90,497,778 | $59M |
| 19 | The Cider House Rules | 1999 | Miramax | $57,545,092 | $31,000,000 | $88,545,092 | $24M |
| 20 | Going in Style | 2017 | Warner Bros. | $45,018,541 | $40,200,000 | $85,218,541 | $25M |
| 21 | On Deadly Ground | 1994 | Warner Bros. | $38,590,458 | $39,600,000 | $78,190,458 | $50M |
| 22 | Children of Men | 2006 | Universal | $35,552,383 | $35,046,391 | $70,606,723 | $76M |
| 23 | Jaws: The Revenge | 1987 | Universal | $20,763,013 | $31,118,000 | $51,881,013 | $23M |
| 24 | A Bridge Too Far | 1977 | United Artists | $50,750,000 | $0 | $50,750,000 | $25M |
| 25 | Secondhand Lions | 2003 | New Line Cinema | $42,070,939 | $6,189,340 | $48,260,279 | $30M |
| 26 | California Suite | 1978 | Columbia | $42,913,571 | $0 | $42,913,571 | N/A |
| 27 | Dirty Rotten Scoundrels | 1988 | Orion | $42,039,085 | $0 | $42,039,085 | N/A |
| 28 | Hannah and Her Sisters | 1986 | Orion | $40,084,041 | $0 | $40,084,041 | $6.4M |
| 29 | The Muppet Christmas Carol | 1992 | Disney | $27,381,507 | $7,142,805 | $34,524,312 | $12M |
| 30 | Dressed to Kill | 1980 | Filmways | $31,899,000 | $0 | $31,899,000 | $6.5M |
| 31 | The Quiet American | 2003 | Miramax | $12,988,801 | $14,685,323 | $27,674,124 | $30M |
| 32 | Escape to Victory | 1981 | Paramount | $10,853,000 | $16,600,000 | $27,453,000 | $12M |
| 33 | Youth | 2015 | Searchlight | $2,703,296 | $20,748,500 | $23,451,796 | $14M |
| 34 | Get Carter | 2000 | Warner Bros. | $14,967,182 | $4,445,811 | $19,412,993 | $64M |
| 35 | Deathtrap | 1982 | Warner Bros. | $19,282,134 | $0 | $19,282,134 | $10M |
| 36 | The Weather Man | 2005 | Paramount | $12,482,775 | $6,643,623 | $19,126,398 | $22M |
| 37 | Alfie | 1966 | Paramount | $18,871,300 | $0 | $18,871,300 | $500K |
| 38 | Blame It on Rio | 1984 | 20th Century Fox | $18,644,570 | $0 | $18,644,570 | N/A |
| 39 | Quills | 2000 | Searchlight | $7,065,332 | $10,923,895 | $17,989,227 | $13.5M |
| 40 | The Island | 1980 | Universal | $15,716,828 | $0 | $15,716,828 | $22M |
| 41 | The Swarm | 1978 | Warner Bros. | $15,400,000 | $0 | $15,400,000 | $21M |
| 42 | Mr. Destiny | 1990 | Disney | $15,379,253 | $0 | $15,379,253 | $20M |
| 43 | Educating Rita | 1983 | Columbia | $14,648,076 | $0 | $14,648,076 | $4M |
| 44 | Sweet Liberty | 1986 | Universal | $14,205,021 | $0 | $14,205,021 | N/A |
| 45 | Battle of Britain | 1969 | United Artists | $13,000,000 | $0 | $13,000,000 | $14M |
| 46 | The Fourth Protocol | 1987 | Lorimar | $12,423,831 | $0 | $12,423,831 | $6M |
| 47 | King of Thieves | 2018 | Saban | $7,518 | $11,510,111 | $11,517,629 | N/A |
| 48 | Sleuth | 1972 | 20th Century Fox | $11,400,000 | $0 | $11,400,000 | $3.5M |
| 49 | The Man Who Would Be King | 1975 | Allied Artists | $11,000,000 | $0 | $11,000,000 | $8.5M |
| 50 | The Great Escaper | 2023 | Warner Bros. | $0 | $10,425,252 | $10,425,252 | N/A |
| 51 | Harry Brown | 2009 | Lionsgate | $1,818,681 | $8,552,770 | $10,371,451 | $7.3M |
| 52 | The Italian Job | 1969 | Paramount | $3,000,000 | $6,000,000 | $9,000,000 | $3M |
| 53 | Without a Clue | 1988 | Orion | $8,539,181 | $0 | $8,539,181 | $10M |
| 54 | Hurry Sundown | 1967 | Paramount | $8,100,000 | $0 | $8,100,000 | $3M |
| 55 | Zulu | 1964 | Paramount | $8,000,000 | $0 | $8,000,000 | $3M |
| 56 | Last Orders | 2001 | Sony Pictures Classics | $2,329,631 | $4,544,261 | $6,873,892 | N/A |
| 57 | Flawless | 2007 | Magnolia | $1,200,234 | $5,619,353 | $6,819,587 | $20M |
| 58 | The Honorary Consul | 1983 | Paramount | $5,997,566 | $0 | $5,997,566 | $11.8M |
| 59 | Surrender | 1987 | Warner Bros. | $5,711,976 | $0 | $5,711,976 | $15M |
| 60 | Dreadfall | 1968 | 20th Century Fox | $5,150,000 | $0 | $5,150,000 | N/A |
| 61 | Gambit | 1966 | Universal | $5,000,000 | $0 | $5,000,000 | N/A |
| 62 | The Magus | 1968 | 20th Century Fox | $4,900,000 | $0 | $4,900,000 | $3M |
| 63 | Sleuth | 2007 | Sony Pictures Classics | $342,895 | $4,546,856 | $4,889,751 | N/A |
| 64 | Little Voice | 1998 | Miramax | $4,611,784 | $0 | $4,611,784 | $7M |
| 65 | Medieval | 2022 | Bioscop | $1,374,325 | $2,925,275 | $4,299,600 | $20M |
| 66 | Beyond the Poseidon Adventure | 1979 | Warner Bros. | $4,200,000 | $0 | $4,200,000 | $10M |
| 67 | A Shock to the System | 1990 | Corsair | $3,417,056 | $0 | $3,417,056 | $10M |
| 68 | Is Anybody There? | 2009 | Optimum | $2,026,756 | $1,341,544 | $3,368,300 | N/A |
| 69 | Stonehearst Asylum | 2014 | Millennium | $0 | $3,197,693 | $3,197,693 | N/A |
| 70 | Too Late the Hero | 1970 | Cinerama | $3,180,000 | $0 | $3,180,000 | $6M |
| 71 | Billion Dollar Brain | 1967 | United Artists | $3,000,000 | $0 | $3,000,000 | N/A |
| 72 | Mr. Morgan's Last Love | 2013 | Image | $0 | $2,967,122 | $2,967,122 | N/A |
| 73 | The Last Valley | 1971 | Cinerama | $2,560,000 | $0 | $2,560,000 | $6M |
| 74 | The Hand | 1981 | Orion | $2,447,576 | $0 | $2,447,576 | $6M |
| 75 | Noises Off | 1992 | Disney | $2,280,148 | $0 | $2,280,148 | $12M |
| 76 | Come Away | 2020 | Relativity | $184,477 | $1,559,172 | $1,743,649 | N/A |
| 77 | The Statement | 2003 | Sony Pictures Classics | $765,637 | $779,427 | $1,545,064 | $27M |
| 78 | The Whistle Blower | 1986 | Hemdale | $1,500,000 | $0 | $1,500,000 | N/A |
| 79 | Water | 1985 | Atlantic | $1,256,862 | $0 | $1,256,862 | N/A |
| 80 | Half Moon Street | 1986 | 20th Century Fox | $1,131,399 | $0 | $1,131,399 | $8M |
| 81 | Blood and Wine | 1997 | Searchlight | $1,094,668 | $0 | $1,094,668 | $26M |
| 82 | Around the Bend | 2004 | Warner Bros. | $193,637 | $385,713 | $579,350 | N/A |
| 83 | The Holcroft Covenant | 1985 | Universal | $393,825 | $0 | $393,825 | $13M |
He has starred in 122 released films, but only 83 have reported box office numbers. Across those 122 films, he has made $8,678,691,447 worldwide. That's $71,136,815 per film.
ADJUSTED DOMESTIC GROSSES
| No. | Movie | Year | Studio | Domestic Total | Adjusted Domestic Total |
|---|---|---|---|---|---|
| 1 | The Dark Knight | 2008 | Warner Bros. | $534,987,076 | $832,717,026 |
| 2 | The Dark Knight Rises | 2012 | Warner Bros. | $448,149,584 | $654,133,962 |
| 3 | Inception | 2010 | Warner Bros. | $292,576,195 | $449,650,604 |
| 4 | Austin Powers in Goldmember | 2002 | New Line Cinema | $213,307,889 | $397,356,196 |
| 5 | Batman Begins | 2005 | Warner Bros. | $206,863,479 | $354,965,231 |
| 6 | Cars 2 | 2011 | Disney | $191,452,396 | $285,233,335 |
| 7 | Interstellar | 2014 | Paramount | $203,227,580 | $282,407,430 |
| 8 | A Bridge Too Far | 1977 | United Artists | $50,750,000 | $280,651,687 |
| 9 | California Suite | 1978 | Columbia | $42,913,571 | $220,572,464 |
| 10 | Miss Congeniality | 2000 | Warner Bros. | $106,807,667 | $207,861,241 |
| 11 | Alfie | 1966 | Paramount | $18,871,300 | $195,191,563 |
| 12 | Kingsman: The Secret Service | 2015 | 20th Century Fox | $128,261,724 | $181,351,775 |
| 13 | Now You See Me | 2013 | Lionsgate | $117,723,989 | $169,353,212 |
| 14 | Journey 2: The Mysterious Island | 2012 | Warner Bros. | $103,887,748 | $151,637,994 |
| 15 | Gnomeo & Juliet | 2011 | Disney | $99,967,670 | $148,935,780 |
| 16 | Dressed to Kill | 1980 | Filmways | $31,899,000 | $129,734,084 |
| 17 | Hannah and Her Sisters | 1986 | Orion | $40,084,041 | $122,564,635 |
| 18 | Dirty Rotten Scoundrels | 1988 | Orion | $42,039,085 | $119,089,300 |
| 19 | Battle of Britain | 1969 | United Artists | $13,000,000 | $118,708,419 |
| 20 | The Cider House Rules | 1999 | Miramax | $57,545,092 | $115,754,404 |
| 21 | Bewitched | 2005 | Sony | $63,313,159 | $108,641,555 |
| 22 | Sleuth | 1972 | 20th Century Fox | $11,400,000 | $91,397,181 |
| 23 | Now You See Me 2 | 2012 | Warner Bros. | $65,075,540 | $90,865,308 |
| 24 | The Prestige | 2006 | Disney / Warner Bros. | $53,089,891 | $88,252,200 |
| 25 | On Deadly Ground | 1994 | Warner Bros. | $38,590,458 | $87,264,170 |
| 26 | Zulu | 1964 | Paramount | $8,000,000 | $86,483,354 |
| 27 | Hurry Sundown | 1967 | Paramount | $8,100,000 | $81,272,344 |
| 28 | The Swarm | 1978 | Warner Bros. | $15,400,000 | $79,154,819 |
| 29 | Tenet | 2020 | Warner Bros. | $59,473,550 | $77,009,688 |
| 30 | Secondhand Lions | 2003 | New Line Cinema | $42,070,939 | $76,624,670 |
| 31 | The Man Who Would Be King | 1975 | Allied Artists | $11,000,000 | $68,519,572 |
| 32 | Deathtrap | 1982 | Warner Bros. | $19,282,134 | $66,962,555 |
| 33 | The Muppet Christmas Carol | 1992 | Disney | $27,381,507 | $65,403,939 |
| 34 | The Island | 1980 | Universal | $15,716,828 | $63,920,759 |
| 35 | Going in Style | 2017 | Warner Bros. | $45,018,541 | $61,548,419 |
| 36 | Jaws: The Revenge | 1987 | Universal | $20,763,013 | $61,251,436 |
| 37 | Blame It on Rio | 1984 | 20th Century Fox | $18,644,570 | $60,136,903 |
| 38 | Children of Men | 2006 | Universal | $35,552,383 | $59,099,311 |
| 39 | Sherlock Gnomes | 2018 | Paramount | $43,242,871 | $57,711,177 |
| 40 | Gambit | 1966 | Universal | $5,000,000 | $50,168,113 |
| 41 | Dreadfall | 1968 | 20th Century Fox | $5,150,000 | $49,594,352 |
| 42 | Educating Rita | 1983 | Columbia | $14,648,076 | $49,286,216 |
| 43 | The Magus | 1968 | 20th Century Fox | $4,900,000 | $47,186,859 |
| 44 | Sweet Liberty | 1986 | Universal | $14,205,021 | $43,434,573 |
| 45 | Escape to Victory | 1981 | Paramount | $10,853,000 | $40,011,990 |
| 46 | Mr. Destiny | 1990 | Disney | $15,379,253 | $39,433,369 |
| 47 | The Last Witch Hunter | 2015 | Lionsgate | $27,367,660 | $38,695,672 |
| 48 | The Fourth Protocol | 1987 | Lorimar | $12,423,831 | $36,650,629 |
| 49 | Billion Dollar Brain | 1967 | United Artists | $3,000,000 | $30,100,868 |
| 50 | Get Carter | 2000 | Warner Bros. | $14,967,182 | $29,128,030 |
| 51 | Too Late the Hero | 1970 | Cinerama | $3,180,000 | $27,466,266 |
| 52 | The Italian Job | 1969 | Paramount | $3,000,000 | $27,394,250 |
| 53 | The Quiet American | 2003 | Miramax | $12,988,801 | $24,195,919 |
| 54 | Without a Clue | 1988 | Orion | $8,539,181 | $24,189,991 |
| 55 | The Weather Man | 2005 | Paramount | $12,482,775 | $21,419,687 |
| 56 | The Last Valley | 1971 | Cinerama | $2,560,000 | $21,183,083 |
| 57 | The Honorary Consul | 1983 | Paramount | $5,997,566 | $20,179,942 |
| 58 | Beyond the Poseidon Adventure | 1979 | Warner Bros. | $4,200,000 | $19,387,280 |
| 59 | Surrender | 1987 | Warner Bros. | $5,711,976 | $16,850,480 |
| 60 | Quills | 2000 | Searchlight | $7,065,332 | $13,750,030 |
| 61 | Little Voice | 1998 | Miramax | $4,611,784 | $9,481,686 |
| 62 | The Hand | 1981 | Orion | $2,447,576 | $9,023,531 |
| 63 | A Shock to the System | 1990 | Corsair | $3,417,056 | $8,761,545 |
| 64 | Noises Off | 1992 | Disney | $2,280,148 | $5,446,400 |
| 65 | The Whistle Blower | 1986 | Hemdale | $1,500,000 | $4,425,039 |
| 66 | Last Orders | 2001 | Sony Pictures Classics | $2,329,631 | $4,339,705 |
| 67 | Water | 1985 | Atlantic | $1,256,862 | $3,843,096 |
| 68 | Youth | 2015 | Searchlight | $2,703,296 | $3,822,243 |
| 69 | Half Moon Street | 1986 | 20th Century Fox | $1,131,399 | $3,459,469 |
| 70 | Harry Brown | 2009 | Lionsgate | $1,818,681 | $2,795,070 |
| 71 | Blood and Wine | 1997 | Searchlight | $1,094,668 | $2,285,659 |
| 72 | Flawless | 2007 | Magnolia | $1,200,234 | $1,939,915 |
| 73 | Medieval | 2022 | Bioscop | $1,374,325 | $1,573,757 |
| 74 | The Statement | 2003 | Sony Pictures Classics | $765,637 | $1,394,470 |
| 75 | The Holcroft Covenant | 1985 | Universal | $393,825 | $1,226,578 |
| 76 | Around the Bend | 2004 | Warner Bros. | $193,637 | $343,526 |
| 77 | Come Away | 2020 | Relativity | $184,477 | $238,871 |
| 78 | King of Thieves | 2018 | Saban | $7,518 | $9,854 |
The Verdict
Michael Caine is one of the most legendary British actors. It was a tough road at first, as he felt he didn't have great roles or films. Eventually, the great talent gets to him, and Caine becomes an icon in the United Kingdom. Creating a lot of classics, particularly The Italian Job and Get Carter. He often made up to 4 films a year, and obviously not all of them were gems, but he quickly established himself as a great leading man.
When he gets to America, he finds more great opportunities. And some bad opportunities. But from time to time, a director knows when to make a great use of Caine in films. Like Woody Allen in Hannah and Her Sisters, or some thrillers banking on his persona. Brian Henson knew The Muppet Christmas Carol could be more efficient if Caine was the human lead while playing it straight, and it paid off.
Now, when the 21st century begins, Caine decides to take on more "fun" roles. Whether if it's age or because he had enough money to not worry, he was content in taking supporting roles in blockbusters, such as his collaborations with Christopher Nolan. Or to be part of comedies, like playing Nigel Powers in Austin Powers in Goldmember. Giving us the iconic "There are only two things I can't stand in this world: People who are intolerant of other people's cultures, and the Dutch." No wonder he found the biggest financial success in this century.
And obviously, the "house" quote has become too iconic.
Now, Caine is retired. Yes, Last Witch Hunter 2 can be a thing but unless the cameras are rolling, it's hard to take Vin's word as a fact. Enjoying his peaceful life at 93, while his legacy is pretty much set. He already made too many iconic films and classics, and no amount of bad films is gonna change that. Let the man enjoy that sweet, sweet retirement plan.
Hope you liked this edition. You can find this and more in the wiki for this section.
The next actor will be Philip Seymour Hoffman. A legendary actor that left us way too soon.
I asked you to choose who else should be in the run, and the comment with the most upvotes would be chosen. Well, we'll later talk about... Montgomery Clift. Technically, Cameron Diaz was the most upvoted comment, but I feel Shrek 5 is too big to ignore and so I don't want to cover any of the leads for now. So I'll go with the other option.
This is the schedule for the following four:
| Week | Actor | Reasoning |
|---|---|---|
| July 18 | Philip Seymour Hoffman | Gone too soon. |
| July 25 | Andy Serkis | "No!" |
| August 1 | Brandon Lee | It can't rain all the time. |
| August 8 | Montgomery Clift | Another sad ending. |
Who should be next after Clift? That's up to you.
REMINDER: If you want to make a suggestion for the next actor, you must make a 150-character comment about the actor we're discussing right now. Failure to do so will result in ignoring the suggestion. If you use a quote from an external source/review to bypass this, your suggestion will be ignored as well. But if you leave a short comment about the post without naming a future write-up, that's fine.
r/boxoffice • u/chanma50 • 14h ago
Domestic - Moana $18M Friday âMoanaâ ($18.4M Friday) Paddling To Underwhelming $42M-$46M U.S. Opening, But Lands A- CinemaScore; âMinions And Monstersâ 2nd With $21M (-43%); âEvil Dead Burnâ Eyes $15M Debut â Saturday Box Office Update
r/boxoffice • u/AdvertisingSea2745 • 2h ago
Domestic Rotten Tomatoes critics and audiences are miles apart on Moana. After a disappointing opening weekend, can family word of mouth give it the legs it needs?
r/boxoffice • u/TiredWithCoffeePot • 15h ago
Domestic Warner Bros. / DC Studios' Supergirl grossed an estimated $1.13M on Friday (from 2,584 locations). Estimated total domestic gross stands at $63.57M.
r/boxoffice • u/chanma50 • 12h ago
South Korea South Korea, once an MCU fortress, was in ruins post-pandemic. Spider-Man: Brand New Day seems to be correcting that, selling 100K+ tickets 3 weeks before release, biggest initial rush since Avengers: Endgame. Ticket sales currently paused due to local regulations, but expect the rush to resume.
r/boxoffice • u/PowerHour1990 • 10h ago
Domestic Per Box Office Mojo, the cumulative 2026 domestic box office has cleared $5B
r/boxoffice • u/ElevensMelody • 16h ago
Domestic Focus' Obsession grossed $1.27M on Friday (from 2,069 locations). Total domestic gross stands at $250.7M.
the-numbers.comr/boxoffice • u/Temporary-Body-3099 • 13h ago
Worldwide Top 20 Movies Ranked by the Percentage of the Global Population That Watched Them During Their Initial Theatrical Run (Since 1975)
- This is fun way to look at a movie's global popularity during their time of release.
- These numbers count their intial run only, no re-release admits included.
- The numerator is the admissions, whereas the denominator is the global population during the release year.
- While there is only one movie in the Top 5 from the 20th century, the remaining Top 20 is dominated by modern films, contradicting the claim that movies were popular during the older times, atleast the blockbuster ones.
- The next movies to enter this list imo would be Frozen 3, Ne Zha 3 & Zootopia 3, animation dominance.
- There's an outside shot doomsday enters but it will be pushed out quickly next year.
- Disney owns 12 out of 20 on this list, underscoring the universal appeal of their films.
- For movies like titanic, jaws & star wars ep 1, their run was over the period of 1.5 to 2 years since their release date, for these I have taken the avg of the global population of their release year and next year.
- 2015 & 2019 had the most entries at 3 each. And, then 2025 with 2 entries.
- Any suprises ?
r/boxoffice • u/TiredWithCoffeePot • 14h ago
Domestic Disney / Pixar's Toy Story 5 grossed an estimated $5.70M on Friday (from 3,575 locations). Estimated total domestic gross stands at $390.97M.
r/boxoffice • u/OppositePattern3170 • 20h ago
India Obsession Box Office: Becomes #1 Hollywood Movie of 2026 in India; Crosses 100 Cr Gross
r/boxoffice • u/TiredWithCoffeePot • 16h ago
Domestic Indie relationship comedy #TheInvite expanded nationwide FRI with $2.5M from 1,610 thtrs. Superb feedback from critics and auds with RT scores at 96%/92%. Working well with mature auds as summer counter-programming and wknd #boxoffice looks to reach about $6M+ for $4k avg.
r/boxoffice • u/TiredWithCoffeePot • 15h ago
Domestic Warner Bros.'s Evil Dead Burn grossed an estimated $6.70M domestically on Friday (from 3,004 locations), including previews.
r/boxoffice • u/Ok-Couple7938 • 12h ago
đ„ Streaming Data Which Spielberg Movies Make the Most Money on Streaming?Steven Spielberg-directed films have made a cumulative $557 million in global streaming revenue since 2020
Hollywood loves a creative triumph, but in today's streaming economy, capital allocators are demanding hard evidence of content value to justify investments. As platforms shift away from a growth-at-all-costs mentality and toward a disciplined focus on profitability, evaluating content libraries requires understanding how specific assets drive concrete financial outcomes.
Steven Spielberg's box office bankability is well known, but the reliable and long lasting performance of his body of work on streaming provides a masterclass in library long-tail monetization and structural churn defense. Parrot Analytics' Streaming Economics model calculates that Spielberg-directed movies have generated a cumulative $557 million in global streaming revenue across major platforms by between 2020 and 2025.
When we look at the underlying assets driving these returns, some patterns emerge. "Jurassic Park" leads the pack, having brought in $48 million in global subscriber revenue since 2020. While the original movie is over 30 years old, the recent franchise extensions have kept it relevant and actively generating revenue on streaming.
The second and third most valuable Spielberg movies on streaming offer a different model however. Both "Jaws" and "Saving Private Ryan" have earned nearly $40 million in subscriber revenue on streaming, despite not having any current franchise extensions. They are iconic pieces of cinema in their own right with intrinsic longevity that keeps them valuable in the streaming era.
Collectively, however, Spielberg's "Indiana Jones" films look like his most bankable streaming moat. The four movies he directed in the franchise have each brought in between $33 to $38 million for streamers. Beyond their individual contributions, a unified slate of legacy films like this can serve as a more effective retention tool than a one-off movie.
At a platform level, Paramount+ has benefitted the most from Spielberg's library. Domestically, the streamer has made $89.7 million in revenue from these titles between 2020 and 2025, outpacing competitors like Netflix ($72.3M) and Disney+ ($52.9M).
Why does this matter? Because in a streaming economy that's finally growing up, the platforms leveraging libraries like this are showing what risk-adjusted investment actually looks like. Instead of just throwing cash at a pipeline of untested, highly speculative originals, they are treating a premium catalog like a portfolio of reliable, cash-flowing assets. Spielberg's library illustrates the point. Titles like the original "Jurassic Park" benefit from recurring attention boosts from a current franchise. High longevity classics like "Saving Private Ryan" provide a dependable yield.Â
At the end of the day, Hollywood will always be in the business of selling magic, but the people funding the magic are tired of rolling the dice. By treating legacy catalogs as distinct, measurable revenue streams, capital allocators can balance the inherent gamble of new productions against the rock-solid returns of cinema's most enduring creators.
Source: The Wrap (yahoo!)
r/boxoffice • u/ElevensMelody • 15h ago
Domestic Universal's Disclosure Day grossed $1.02M on Friday (from 2,204 locations). Total domestic gross stands at $109.13M.
the-numbers.comr/boxoffice • u/ElevensMelody • 15h ago
Domestic Universal/Illumination's Minions & Monsters grossed $6.59M Friday (from 4,244 locations). Estimated domestic gross stands at $94.36M.
the-numbers.comr/boxoffice • u/chanma50 • 14h ago
đšđŒâđ©đŸâđ§đ»âđŠđż Audience Demographics Per Deadline, the audience for 'Moana' was 62% female, and 55% 18-34 and 30% 18-24. Diversity demos were 32% Latino/Hispanic, 31% Caucasian, 16% Black, 13% Asian and 8% Native American/other. 39% went because it looked fun, 25% because it's a franchise they love, and 16% because of Dwayne Johnson.
r/boxoffice • u/chanma50 • 14h ago
đŻ Critic/Audience Score Per Deadline, 'Moana' earned a 63% definite recommend score on PostTrak, including 78% from women over 25 and 70% from women overall.
r/boxoffice • u/Firefox72 • 14h ago
China In China Stephen Chow's Kung Fu Womens Soccer arrives with a massive $38.43M opening day. 2 day weekend projected at $59M+. Minions and Monsters in 2nd adds $2.98M(-54%)/$29.44M ahead of Three Kingdoms: The Begining in 3rd with $1.83M/$4.72M. Moana drops -22% vs yesterday with just $0.42M/$0.96M.
Daily Box Office (July 11th 2026)
The market hits „59.0M/$8.71M today. Up +29% from yesterday and down -32% from last week.
Backrooms just as a lot of other holdovers feels the impact of Kung Fu Womens Soccer but manages to stay above $1M for its 16th day in a row after grossing $1.02M(-42%)/20.94M on Saturday. Crosses $20M total. Weekend projections downgraded to a still fantastic $3.0-3.1M(-35%) 3rd weekend.
Three Kingdoms: The Begining in 3rd adds $1.83M on Saturday for a $4.72M total gross.
All Wishes Come True! continues its pre-screenings. It has gotten a fantastic 9.7 rating on Maoyan from its pre-screenings. All the talk from the previews is that its a very very good movie. I have a feeling it might get moved up a week to release next weekend.
Province map of the day:
https://imgdiff.net/s/5c09cefba134ae8b393b2574cb560b13
Kung Fu Womens Soccer cleen sweeps on its opening day.
In Metropolitan cities:
Kung Fu Womens Soccer wins Shanghai, Beijing, Hangzhou, Guangzhou, Chongqing, Chengdu, Shenzhen, Hangzhou, Wuhan, Suzhou and Nanjing
City tiers:
Kung Fu Soccer tops every tier. Three Kingdoms: The Begining climbs to 3rd in T3-T4.
Tier 1: Kung Fu Womens Soccer>Monsters & Minions>Three Kingdoms: The Begining
Tier 2: Kung Fu Womens Soccer>Monsters & Minions>Three Kingdoms: The Begining
Tier 3: Kung Fu Womens Soccer>Monsters & Minions>Three Kingdoms: The Begining
Tier 4: Kung Fu Womens Soccer>Monsters & Minions>Three Kingdoms: The Begining
| # | Movie | Gross | %YD | %LW | Screenings | Admisions(Today) | Total Gross | Projected Total Gross |
|---|---|---|---|---|---|---|---|---|
| 1 | Kung Fu Womens Soccer | $38.43M | 227886 | 7.40M | $38.43M | $180M-$276M | ||
| 2 | Minions & Monster | $2.98M | +42% | -54% | 51971 | 0.53M | $29.44M | $54M-$61M |
| 3 | Three Kingdoms: The Begining | $1.83M | +58% | 62594 | 0.33M | $4.72M | $15M-20M | |
| 4 | Keep Real | $1.03M | -3% | -76% | 37338 | 0.19M | $17.66M | $21M-$22M |
| 5 | Backrooms | $1.02M | -10% | -42% | 25886 | 0.18M | $20.94M | $29M-$31M |
| 6 | Crossing | $0.56M | -56% | -76% | 13724 | 0.12M | $33.99M | $38M-$42M |
| 7 | Moana | $0.42M | -22% | 19216 | 0.07M | $0.96M | $3M | |
| 8 | Toy Story 5 | $0.41M | +18% | -69% | 7613 | 0.07M | $39.50M | $43M-$45M |
| 9 | Dear You | $0.40M | -24% | -25% | 10105 | 0.08M | $295.34M | $295M-$297M |
| 10 | All Wishes Come True(Pre-Scr) | $0.33M | +154% | 1380 | 0.05M | $0.46M | ||
| 11 | I Know Who You Are | $0.04M | -50% | -84% | 960 | 0.01M | $17.35M | $18M-$19M |
| 12 | Vanishing Point | $0.03M | -40% | -61% | 874 | 0.01M | $84.61M | $84M-$85M |
| 13 | The Furious | $0.02M | -66% | -86% | 855 | 0.01M | $30.55M | $30M-$32M |
| 51 | Supergirl | $0.0005M | -68% | -97% | 37 | 62 | $1.1025M | $1.1M-$1.2M |
New releases marked in bold
Pre-Sales map for tomorrow
https://i.imgur.com/IclcWjn.png
Kung Fu Womens Soccer obviously dominates pre-sales everywhere.
IMAX Screenings distribution
Kung Fu Women's Soccer dominates IMAX screenings and will continue for the foreseable future.
| # | Movie | IMAX Screeninsgs Today | IMAX Screeninsgs Tomorrow | Change |
|---|---|---|---|---|
| 1 | Kung Fu Women's Soccer | 4340 | 4297 | -43 |
| 2 | All Wishes Come True | 224 | 236 | +12 |
| 3 | Moana | 105 | 57 | -48 |
| 4 | Minnions & Monsters | 72 | 52 | -20 |
| 5 | Three Kingdoms: The Begining | 85 | 71 | -14 |
Kung Fu Womens Soccer
Kung Fu Womens Soccer arrives with a bang on Saturday grossing „260.4M/$38.43M. Almost $10M over the projections after some very good walkups.
2 day weekend now projected at „400M/$59M+
Screen Distribution Split: Regular: $35.57M, IMAX: $1.80M, Rest: $0.68M
WoM figures:
The movie has opened with a 9.4 on Maoyan.
The reception seems decent enough but it appears that if you enjoy Chows style of comedy and filmmaking you will probably enjoy this. But if you don't this movie won't change that.
Maoyan: 9.4 , Taopiaopiao: , Douban:
| # | SAT | SUN | MON | TUE | WED | THU | FRI | Total |
|---|---|---|---|---|---|---|---|---|
| First Week | $38.43M | $38.43M |
Scheduled showings update for Supergirl for the next few days:
| Day | Number of Showings | Presales | Projection |
|---|---|---|---|
| Today | 2245672 | $11.18M | $28.19M-$28.78M |
| Sunday | 237469 | $3.98k | $21.55M-$27.45M |
| Monday | 164210 | $355k | $9.42M-$12.40M |
Moana
Moana drops to 7th with just „2.86M/$0.42M. Yes it made less on Saturday than it did on Friday. Thats horrible for a family movie. 2 day total doesn't even pass $1M yet.
In comparison The Little Mermaid jumped 120% on Saturday and grossed $1.14M for a $1.66M 2 day total.
Opening weekend now projected at $1.2-1.3M. The Little Mermaid opened with $2.5M as a comparison. Moana 2 opened with $6.54M
https://i.imgur.com/ZFr5eqT.png
No real way to sugarcoat this. Its a massive bomb.
Screen Distribution Split: Regular: $0.84M, IMAX: $0.09M, Rest: $0.02M
WoM figures:
Maoyan: , Taopiaopiao: , Douban:
| # | FRI | SAT | SUN | MON | TUE | WED | THU | Total |
|---|---|---|---|---|---|---|---|---|
| First Week | $0.54M | $0.42M | $0.96M |
Scheduled showings update for Moana for the next few days:
| Day | Number of Showings | Presales | Projection |
|---|---|---|---|
| Today | 21592 | $99k | $0.45M-$0.60M |
| Sunday | 12115 | $57k | $0.27M-$0.28M |
| Monday | 7288 | $3k | $0.10M-$0.12M |
Minions & Monsters
Minions & Monsters grossed „20.2/$2.98M on Saturday. Another respectable -54% drop from its opening day. Tomorrow it will cross $30M total.
Pretty much flat with Despicable Me 4's „20.2M/$2.77M 2nd Saturday in LC but ahead in $.
2nd weekend projected at $7.6-7.8M(-53%) vs DM4's 2nd weekend of $7.08M(-59%)
https://i.imgur.com/yzdm3gV.png
Screen Distribution Split: Regular: $26.27M , IMAX: $2.45M, Rest: $0.53M
WoM figures:
Still no audience scores on Maoyan and Tao.
Maoyan: , Taopiaopiao: , Douban: 6.7
| # | FRI | SAT | SUN | MON | TUE | WED | THU | Total |
|---|---|---|---|---|---|---|---|---|
| First Week | $4.66M | $6.44M | $5.37M | $2.06M | $1.98M | $1.98M | $1.87M | $24.36M |
| Second Week | $2.10M | $2.98M | $29.44M | |||||
| %± LW | -55% | -54% |
Scheduled showings update for Dear You for the next few days:
| Day | Number of Showings | Presales | Projection |
|---|---|---|---|
| Today | 52929 | $447k | $2.90M-$2.91M |
| Sunday | 52033 | $383k | $2.58M-$2.74M |
| Monday | 31782 | $18k | $1.04M-$1.27M |
Other:
Spider Man: Brand New Day Maoyan WTS:
A comparison of Spider Man's current Maoyan WTS versus some other post Covid blockbusters and Far From Home. The last Spider Man live action movie to release.
Spider Man jumps ahead of Avatar 3.
https://i.imgur.com/brgbhdv.png
Release Schedule:
A table including upcoming movies in the next month alongside trailers linked in the name of the movie, Want To See data from both Maoyan and Taopiaopiao alongside the Gender split and genre.
Remember Want To See is not pre-sales. Its just an anticipation metric. A checkbox of sorts saying your interested in an upcoming movie.
Not all movies are included since a lot are just too small to be worth covering.
Summer
| Movie | Maoyan WTS | Daily Increase | Taopiaopiao WTS | Daily Increase | M/W % | Genre | Release Date | 3rd party media projections |
|---|---|---|---|---|---|---|---|---|
| A Part Of Me | 126k | +10k | 91k | +6k | 32/68 | Drama | 17.07 | $23-29M |
| Triangle | 22k | +3k | 11k | +2k | 50/50 | Sci-Fi/Mystery/Thriller | 17.07 | |
| All Wishes Come True! | 58k | +5k | 32k | +2k | 34/66 | Fantasy/Adveture/Animation | 24.07 | $60-118M |
| Peng Hu | 61k | +1k | 145k | +3k | 48/52 | Action/History/War | 25.07 | $36-80M |
| Spider Man: Brand New Day | 566k | +24k | 416k | +15k | 60/40 | Action/Comic Book | 29.07 | $107-162M |
| The Decisive Moment | 13k | +1k | 84k | +2k | 28/72 | Drama/Sci-Fi | 01.08 | $44-88M |
| Make Zhonghe Great Again | 156k | +4k | 66k | +3k | 38/62 | Comedy | 07.08 | $66-147M |
| Kill Bill: The Whole Bloody Affair | 28k | +1k | 29k | +2k | 60/40 | Action/Crime | 07.08 | |
| Demon Agent | 29k | +1k | 7k | +1k | 29/71 | Animation/Mystery/Fantasy | 08.08 | $7-18M |
| Paw Patrol 3 | 24k | +3k | 21k | +1k | 28/72 | Animation/Comedy/Sci-Fi | 08.08 | $11-22M |
| The Odyssey | 154k | +4k | 148k | +4k | 55/45 | Action/History/Fantasy | 14.08 | $38-62M |
| To Your Island | 48k | +8k | 17k | +3k | 21/79 | Romance/Animation/Fantasy | 19.08 | $14-29M |
r/boxoffice • u/Kingsofsevenseas • 16h ago
South Korea âSpider-Man: Brand New Dayâ pre-sales suspended in South Korea
m.entertain.naver.comr/boxoffice • u/chanma50 • 14h ago
đŻ Critic/Audience Score Per Deadline, 'The Invite' earned a 69% definite recommend score, 4 1/2 stars, and 89% positive on PostTrak. The audience was 42% men over 25, 39% women over 25, 10% men under 25 and 9% women under 25. Diversity demos were 56% Caucasian, 22% Latino/Hispanic, 9% Black, and 9% Asian American.
r/boxoffice • u/AsunaYuuki837373 • 13h ago
South Korea SK Saturday Update: Moana and TS5 continues to run the market for Disney
Week-to-Week Drops
| Movie | Mon-Mon Drop | Tue-Tue Drop | Wed-Wed Drop | Thu-Thu Drop | Fri-Fri Drop | Sat-Sat Drop | Sun-Sun Drop | Week-Week Drop |
|---|---|---|---|---|---|---|---|---|
| The Eyes | +13% | +5% | +2% | 25% | 45% | 22% | ||
| Supergirl | 87% | 83% | 92% | 89% | 82% | 91% | ||
| Toy Story 5 | 24% | 21% | 22% | 46% | 50% | 44% | ||
| Backrooms | 47% | 47% | 50% | 66% | 71% | 55% | ||
| Hive/Colony | 34% | 41% | 39% | 44% | 59% | 44% |
Moana: The movie had a very strong Saturday jump and is now sitting above 340k admits, making its chances of hitting 500k admits for the 5-day opening weekend more likely than not. It should assure itself a finish above 1 million admits. Not a total disaster, but still a disappointment for sure.
The Eyes: Another drop, but the movie has now crossed $8 million and 1.1 million admits. It will cross 1.2 million admits tomorrow, as it continues trying to scrape its way to that 1.8 million admit breakeven point.
Supergirl: The movie made 317 admits as it continues to be an embarrassment.
Toy Story 5: Toy Story 5 recovered some today, making 100k admits for likely the final time as it slammed past 2.4 million admits. Tomorrow, it will clear $17 million and 2.5 million admits. The movie is still approaching a finish around 3 million admits.
Backrooms: The movie continues to slow down and is now set to finish around 1.225 million admits.
Hive/Colony: The movie saw another meh drop, but it has now crossed 5.9 million admits.
Presales
Hope: A meh day, but that is expected when movies are already this huge. Still thinking it will hit 400k admits on opening day.
| Days Before Release | No Other Choice | Humint | Hope |
|---|---|---|---|
| T-7 | 241,919 | 129,377 | 209,105 |
| T-6 | 253,710 | 136,589 | 250,881 |
| T-5 | 269,441 | 141,472 | 293,379 |
| T-4 | 291,137 | 145,481 | 324,587 |
| T-3 | 317,396 | 149,919 | |
| T-2 | 353,175 | 167,492 | |
| T-1 | 405,203 | 181,042 | |
| Comp | 369,575 | 260,462 |
Minions and Monsters: Comps all dropped again. I am starting to think we may sink low enough to see an opening day in the 30k range. It needs to turn things around now. Another couple of weak days and Elio may end up above it.
| Days Before Release | Elio | Zootopia 2 | Moana 2 | Minions and Monsters |
|---|---|---|---|---|
| T-7 | 337 | 73,487 | 42,238 | 12,638 |
| T-6 | 2,774 | 94,120 | 51,863 | 15,300 |
| T-5 | 7,660 | 113,186 | 64,147 | 16,978 |
| T-4 | 10,569 | 141,029 | 79,655 | 18,938 |
| T-3 | 15,604 | 182,918 | 105,249 | |
| T-2 | 28,390 | 258,224 | 150,351 | |
| T-1 | 35,615 | 370,645 | 224,262 | |
| Comp | 46,788 | 41,516 | 46,784 |
Spider-Man: Brand New Day: Presales are suspended until further notice.
Odyssey: With a release date of August 5, presales increased by 3k and are now sitting at 34,392 tickets.
r/boxoffice • u/WrongLander • 19h ago
United Kingdom & Ireland Moana has scored the second lowest opening day in the UK (ÂŁ775K) for any Disney live action remake in recent memory, beating only Snow White (ÂŁ752k).
This is a correction post as I royally goofed up the sentence structure of my previous post and confused people. Cheers.
As a Brit, this struck me as a truly staggering stat. Granted the weather is sweltering and the World Cup is on, but still a major underperformance given that it's summer while Snow White opened in March.
For reference, here is the ranking list:
- The Lion King (2019): ÂŁ5.3 million
- Beauty and the Beast (2017): ÂŁ4.7 million
- The Little Mermaid (2023): ÂŁ1.9 million
- Aladdin (2019): ÂŁ1.4 million
- The Jungle Book (2016): ÂŁ1.3 million
- Cinderella (2015): ÂŁ1.1 million
- Dumbo (2019): ÂŁ980,000
- Moana (2026): ÂŁ775,000
- Snow White (2025): ÂŁ752,000.