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Death is not looming for the “Final Destination” franchise at the box office. The sixth film in the Final Destination franchise, Final Destination: Bloodlines, packed theaters over the weekend, soaring to the top of the domestic box office with an impressive $51 million in ticket sales, according to studio estimates released Sunday. The film matched that figure overseas, bringing its worldwide opening total to $102 million. In contrast, Abel “The Weeknd” Tesfaye’s experimental thriller Hurry Up Tomorrow struggled to gain traction, debuting outside the top five with an estimated $3.3 million. “It was always going to be an uphill battle going head-to-head with Final Destination: Bloodlines,” said Paul Dergarabedian, senior media analyst at Comscore. “There was a lot of anticipation surrounding that release.” “Final Destination: Bloodlines” opened in 3,523 locations riding in on a wave of strong reviews (93% on Rotten Tomatoes) and viral marketing tactics, including a picture of logs on the back of trucks — a callback to one of the more infamous “Final Destination” death traps. Jennifer Lawrence stirs Oscar talk in Cannes for 'Die, My Love' “Final Destination’s” win effectively revives a 25-year-old franchise that hasn’t had a new film since 2011. It also continues a hot streak for Warner Bros., which has had near back-to-back hits in Ryan Coogler’s “Sinners” and “A Minecraft Movie.” All three were in the top five this weekend. Disney’s “Thunderbolts” landed in second with $16.5 million, pushing its global total to over $325 million. “Sinners” placed third with $15.4 million, bringing its global total to $316.8 million. “A Minecraft Movie,” which has made $928.6 million globally, added $5.9 million. Amazon MGM Studios’ “The Accountant 2” rounded out the top five. “Hurry Up Tomorrow” opened in sixth place. The film, which Tesfaye co-wrote and Trey Edward Shults directed, is a kind of companion piece to his album and tour. He plays a fictionalized version of himself as an insomniac musician. Jenna Ortega and Barry Keoghan also star. Neither critics nor audiences greeted it kindly: It carries a 13% on Rotten Tomatoes and was slapped with a C- CinemaScore. Associated Press music writer Maria Sherman wrote that it’s “an exciting vanity project with surrealist imagination but stiff writing, no stakes, limited emotional weight and an unclear narrative.” Lionsgate only handled the release of the R-rated film, which opened on over 2,000 screens and its $3.3 million was enough to make it a profitable deal for the studio. Next weekend could be a big one for movie theaters as “Mission: Impossible – The Final Reckoning” and the live-action “Lilo & Stitch” both open nationwide. The overall domestic box office remains up nearly 15% from last year. “This weekend is the perfect opening act for what could be one of the biggest Memorial weekends at the box office ever,” Dergarabedian said. Top 10 movies by domestic box office With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:   1. “Final Destination: Bloodlines,” $51 million. 2. “Thunderbolts,” $16.5 million. 3. “Sinners,” $15.4 million. 4. “A Minecraft Movie,” $5.9 million. 5. “The Accountant 2,” $5 million. 6. “Hurry Up Tomorrow,” $3.3 million. 7. “Friendship,” $1.4 million. 8. “Clown in a Cornfield,” $1.3 million. 9. “Kiki’s Delivery Service,” $1.1 million. 10. “Until Dawn,” $800,000.          

Marking Suriya’s powerful comeback after nine long years, ‘Retro’ lands with a flair on the cinematic stage. Released on May 1, 2025, this Tamil-language film has already stirred early conversations across theatres and online platforms. From its striking visuals to its strategic box-office climb, this film is steadily gaining traction. Let's unpack what makes this title a focal point of current film discussions. Story Development Karthik Subbaraj steers the romantic action movie with his directing prowess. Pooja Hegde was the main co-star of Suriya. Paarivel ‘Paari’ Kannan’s journey in ‘Retro’ is a layered tale of identity, destiny, and unresolved love. Orphaned and raised under the wing of a gangster, Paari's life is anything but ordinary. He uncovers traces of his lost past; he finds himself entangled in betrayal, hunted by a dangerous cult. He is driven by a prophecy that points to a greater purpose. At the heart of it all lies his longing to reunite with Rukmini, the woman he once loved. Read more: Carrie: A 49-Year-Old Stephen King Classic Set to Reboot From the very first scene, director Subbaraj lays the groundwork for a story deeply rooted in mythology. A spiritual discourse about Lord Krishna sets a symbolic tone. The visuals follow a child with a scar shaped eerily like a peacock feather being taken in by a gangster’s compassionate wife. The symbolism is clear, but the narrative avoids spoon-feeding. In a sharp twist, the boy grows up seeking approval not from his adoptive father but from his scheming uncle. Coincidentally, his lover’s name is Rukmini. The myth parallels eventually begin to deepen. Years later, Paari becomes a reluctant symbol of hope for an oppressed island community. In a raw and intense arena sequence, he rises quite literally as ‘The One’ by defeating their brutal tyrant. The crowd sees a saviour. But within, Paari is still torn. Pooja Hegde’s Rukmini challenges this internal struggle. She pleads for peace, urging him to take a path of compassion, like Buddha. But suspense grows whether his fate aligns more with Krishna, who restores balance through destruction. This tug-of-war between violent justice and moral rebirth forms the emotional spine of the movie. Read more: Now You See Me 3 Trailer: Did Viewers Get Actual Money? Moving Toward Climax With Some Glitches One of the most curious threads of tension is the ‘goldfish,’ a classic McGuffin. It drives an emotional wedge between Paari and his adoptive father, Thilagan, played by Joju George. What begins as a simple quest quickly spirals, setting off a chain of betrayals, misunderstandings, and heartbreak between Paari and Rukmini. As the story progresses, another layer unfolds through Paari’s clash with King, a ruthless cult leader portrayed by Vidhu. This antagonist fuels a much larger conflict, one rooted in the suffering of a silenced community. They believe in a saviour who will rise to free them, and Paari, knowingly or not, is pushed into that role. Director Subbaraj attempts to weave all these elements into the main narrative. While the intention is clear, the execution occasionally falters. Some of the film’s ambitious choices, particularly in the final act, don’t always land as intended. The climax, echoing shades of Jigarthanda Double X, feels bold but polarising. At times, the relentless violence stretches longer than it needs to. Even Rukmini’s stance on peace, while thematically important, lacks depth in key moments. Her repeated breakups with Paari feel abrupt, especially when his violence is portrayed as necessary or protective. Read more: Sweet Home Poised to Be the Next The Walking Dead: Netflix’s Apocalyptic K-Drama Dominates Streaming Charts Direction, Making, And Leading Performance Subbaraj’s filmmaking bravado often outshines the narrative flaws, drawing the viewer back in just when the momentum threatens to dip. One standout moment arrives in the form of a 15-minute single-shot sequence. It’s an exhilarating stretch that blends music, emotion, and explosive action without losing rhythm. The choreography, both in movement and camera, is so precise that it nearly demands applause. Equally captivating is an action set piece set against the glowing beauty of a bioluminescent sea. It’s visually arresting, and Shreyaas Krishna’s cinematography turns it into pure spectacle. Suriya, at the centre of it all, commands attention with a grounded performance. Unlike some of his recent outings, there’s no trace of theatricality here. His presence feels lived-in, powerful, and sincere. Read more: Disney Bets Big on Live-Action Remakes of Lilo & Stitch and Moana Adding to the movie’s energy is the background score crafted by Santhosh Narayanan. The soundtrack pulses with vitality, from vibrant songs to a stirring background music that lifts even the movie’s faltering beats. Box Office Collection Suriya’s long-awaited comeback vehicle has carved a strong presence at the box office, riding high on its theatrical momentum. Backed by Stone Bench Creations and 2D Entertainment, ‘Retro’ was mounted on a budget of Rs. 65 crore. As of 12 May 2025, this movie has collected a robust Rs. 94.35 crore in domestic markets and Rs. 27.75 crore from overseas circuits. That puts its global tally at an impressive Rs. 122.1 crore. What’s more striking is how it started. Day one saw a worldwide haul of Rs. 46 crore, marking the highest-ever opening day for a Suriya film in Tamil Nadu. With Rs. 17 crore earned just within the state, it soared past his previous record set by ‘Kanguva’ (2024). It also posted the top opening for any Tamil-language movie in 2025, pushing past ‘Good Bad Ugly.’ Read more: A Minecraft Movie Levels Up Theatres with Sing-along Block Party Edition By its ninth day, the pan-India net collection across all languages had reached Rs. 56.09 crore. While there were typical mid-week lulls, the overall trajectory remained healthy. Internationally, it debuted at number three on the global chart during its opening weekend. Within just five days, the earnings crossed Rs. 83 crore, dethroning ‘Madha Gaja Raja’ to become the fourth highest-grossing Tamil venture of the year. That milestone stretched further when the film clocked Rs. 100 crore globally by the end of its first week. Movie Rating Critically, the reception mirrored the box office enthusiasm. An IMDb rating of 8/10 and a solid 70% from Rotten Tomatoes signal a largely favourable response. It carries over to platforms like ‘The Times of India’ and Letterboxd, which echo the same steady 3/5 verdict. Verdict Suriya’s comeback with ‘Retro’ brings a layered tale of destiny, betrayal, and spiritual conflict under Karthik Subbaraj’s stylised direction. The narrative weaves mythology with gritty action, anchored by Suriya’s powerful presence. Despite some second-half stumbles and uneven emotional beats, the filmmaking craft and visual flair shine through. Critical nods have translated into major box-office success and a broadly favourable reception. Read more: Weapons’ 2-Hour Footage Ignites Trailer Buzz: USD 38 Million Bet for an Original Horror Pays Off

Brand names, not filmmakers or stars, are said to rule the box office these days. But Ryan Coogler’s “Sinners,” led by twin Michael B. Jordans, proved a bloody exception to modern movie rules, launching with $45.6 million in ticket sales in U.S. and Canadian theaters, according to studio estimates Sunday. “Sinners,” a Warner Bros. release that cost about $90 million to produce, was a bold gamble on originality — albeit with genre elements — and one of the most bankable American directors in Coogler. The “Creed” and “Black Panther” director wrote and produced “Sinners,” a 1932-set vampire movie about bootlegging brothers (both played by Jordan) who open a juke joint in their Mississippi hometown. “A Minecraft Movie,” the year’s biggest Hollywood hit, followed close behind in second, collecting $41.3 million in its third week of release. That gave Warner Bros., after a handful of disappointments, an enviable one-two punch at the box office with one original, director-driven movie and one IP-based property. “A Minecraft Movie,” which Warner Bros. co-produced with Legendary Pictures, has amassed $720.8 million worldwide in three weeks of release. Pam Abdy and Mike De Luca, co-chairs of Warner Bros. Motion Picture Group, celebrated the two films’ resonance with moviegoers. The studio accounted for a remarkable 64% of the domestic box office for the Easter weekend. “Movies have the power to transport us to worlds only seen on the big screen, and Warner Bros. Pictures remains committed to bringing singular in-theater experiences to audiences looking for bold movies, both original and those based on beloved existing properties,” Abdy and De Luca said in a statement Sunday. But all eyes were on the performance on “Sinners,” which Warner Bros. went to extreme lengths to secure. Abdy and De Luca agreed to give Coogler not just a cut of gross ticket sales but ownership of the film after 25 years — a virtually unheard of concession. But Coogler and Jordan, whose collaborations stretch back to “Fruitvale Station,” make up one of the industry’s most potent director-actor duos. Reviews (98% “fresh” on Rotten Tomatoes) were stellar for “Sinners” and audiences, too, were enthralled by its supernatural twists. The film earned an “A” CinemaScore from moviegoers. Ibrahim Al Hajjaj to star in sequel to Saudi IMAX comedy 'Ambulance' Overseas, “Sinners” faced a more uphill battle. It collected $15.4 million in 71 international markets. Domestically, “Sinners” attracted a diverse audience: 38% Black, 35% white, 18% Hispanic and 5% Asian. Before “Sinners,” dual roles had been rough business for Warner Bros. The studio saw flops in both “The Alto Knights” (a period gangster film featuring a doubled Robert De Niro) and “Mickey 17” (a sci-fi movie with two Robert Pattinsons). But the strong opening for “Sinners,” which should be sustained in the coming weeks given the strong word of mouth, cements Coogler’s place as one of a handful of filmmakers whose name draws big audiences. Another would be Jordan Peele, whose “Nope” (2022) debuted similarly with $44.3 million. Angel Studios’ “The King of Kings,” an animated tale of Jesus’ life aimed at Christian audiences, capitalized on the Easter weekend, grossing $17.2 million in its second week of release. That was nearly equal to its opening weekend ($19.1 million), and brought “The King of Kings” to a domestic total of $45.3 million. Bleecker Street’s “The Wedding Banquet,” Andrew Ahn’s reimagining of Ang Lee’s 1993 queer comedy of errors, opened on 1,142 North American screens with $922,906 in ticket sales. “The Wedding Banquet,” a hit at the Sundance Film Festival, stars Lily Gladstone, Bowen Yang, Kelly Marie Tran and newcomer Han Gi-chan.

Hollywood was in dire need of a success, and “A Minecraft Movie” delivered just that, significantly helping to close this year’s box office gap with its strong opening weekend. Few anticipated just how massive its debut would be. The film raked in an astonishing $157 million in ticket sales across the U.S. and Canada in its first few days, according to Sunday’s studio estimates. Globally, it brought in another $144 million, bringing the total opening to $301 million. With school spring breaks still ongoing, the film’s run is far from over. Jaya Ahsan condemns killing of medics in Gaza, urges global conscience to awaken “We’re absolutely thrilled that audiences are turning out and that cinemas are full,” said Pamela Abdy, co-chair and CEO of Warner Bros. Motion Picture Group. Not only does it mark the biggest opening of 2025 so far, but “A Minecraft Movie” also set a new record for the highest-grossing debut of a video game adaptation—surpassing the $146 million launch of “The Super Mario Bros. Movie.” Prior to its release, industry forecasts estimated an $80 million debut. The actual earnings nearly doubled those expectations. “You can’t discount the appeal of heartfelt, fun, joyful cinema,” said Michael DeLuca, the other co-chair and CEO. “Audiences are clearly craving escapism, especially when it’s something the whole family can enjoy.” While success is never guaranteed in the film industry, adapting the world’s best-selling video game was always a promising strategy. The game itself may lack a traditional storyline, but that didn’t stop many of its 200 million monthly active users from turning out in huge numbers. According to DeLuca, it’s one of the most widely accessible films they’ve ever released, performing well across theatres of all sizes and in markets around the globe. The PG-rated film, directed by Jared Hess (known for “Napoleon Dynamite”), is a joint production between Legendary Entertainment and Warner Bros. It reportedly had a production budget of $150 million, excluding marketing and promotional costs. Starring Jack Black and Jason Momoa alongside Danielle Brooks, Emma Myers, and Sebastian Eugene Hansen, the film follows a group of characters transported into a fantastical realm called the Overworld, where they embark on a perilous yet hilarious journey to return home. Farewell to ACP Pradyuman: Tribute to Sony TV Crime Drama CID's Legendary Character “We made this for the fans, and they’ve exceeded all our expectations,” DeLuca said. While critics gave the film mixed reviews, audiences responded more positively, awarding it a B+ CinemaScore and a 4 out of 5 rating in PostTrak exit polls. Around 62% of the audience was male, and 64% were under the age of 25. Warner Bros. went all in for the release, debuting the film at 4,263 domestic locations and on 36,000 screens worldwide. “You might not expect it, but younger viewers really do enjoy going to the cinema,” noted Paul Dergarabedian, senior media analyst at Comscore. “This is a prime example of a small screen concept scaling up successfully to the big screen. It became an unmissable cinema event. Awareness was through the roof.” In recent years, video game adaptations have seen several high-profile wins, including “The Super Mario Bros. Movie,” the “Sonic” franchise, and “Five Nights at Freddy’s.” “Once considered unpredictable at the box office, video game movies have finally found the formula,” said Dergarabedian. This week’s runner-up at the box office was the Jason Statham-led action film “A Working Man,” which earned $7.3 million in its second weekend. Taking third was “The Chosen: Last Supper – Part 2,” made up of episodes three through five of the series, which brought in $7 million. The final set of episodes is set for release in theatres on April 11. “Snow White” dropped to fourth place in its third week, earning $6.1 million. The film has now accumulated over $168 million worldwide. Hollywood has faced a rough start to 2025, with underperformers like “Snow White” and “Mickey 17.” But a major hit like this can quickly shift momentum, especially with theatre marketing now ramping up in anticipation of the crucial summer movie season starting in early May. Prior to the weekend, the year’s box office was lagging 13% behind 2024. Thanks to “A Minecraft Movie,” that gap has now shrunk to 5%. Top 10 Films – Domestic Box Office: Based on Comscore’s estimated ticket sales for Friday through Sunday across U.S. and Canadian cinemas: “A Minecraft Movie” – $157 million“A Working Man” – $7.3 million“The Chosen: Last Supper – Part 2” – $7 million“Snow White” – $6.1 million“The Woman in the Yard” – $4.5 million“Death of a Unicorn” – $2.7 million“The Chosen: Last Supper – Part 1” – $1.9 million“Hell of a Summer” – $1.8 million“The Friend” – $1.6 million“Captain America: Brave New World” – $1.4 million

Salman Khan’s much-anticipated Eid release Sikandar is struggling at the box office. Following a strong opening, the film saw a sharp decline in earnings after the Eid holiday. On Wednesday (April 2), the Salman Khan and Rashmika Mandanna-starrer witnessed a 50% drop, collecting Rs 9.75 crore, according to Sacnilk. Released on March 30, Sikandar earned Rs 26 crore on its opening day. The film saw a boost on Eid, collecting Rs 29 crore, followed by Rs 19.5 crore on Tuesday (April 1). After four days, its total domestic earnings stand at Rs 84.25 crore (net), while the production cost is estimated at Rs 200 crore. The underperformance of big-budget Bollywood films has reignited discussions about the industry's struggles. Sikandar’s box office performance is expected to add to the ongoing debate. In comparison, Pushpa 2, which dominated the box office in December 2024, earned Rs 85 crore (net) in Hindi on its fourth day (December 8). The film also brings the South vs Hindi cinema debate into focus once again. Sikandar marks Salman Khan and Rashmika Mandanna’s first on-screen collaboration. It also marks the actor’s first project with AR Murugadoss, who previously directed Aamir Khan in the 2008 blockbuster Ghajini. Produced by Sajid Nadiadwala’s Nadiadwala Grandson Entertainment, Sikandar outperformed Salman Khan’s previous Eid release Kisi Ka Bhai Kisi Ki Jaan, which earned Rs 15 crore on its opening day. However, it fell short of Tiger Zinda Hai, which had a stronger start with Rs 33 crore on its first day. Source: NDTV

Kannada superstar Yash has finally unveiled the release date for his much-anticipated action film, Toxic: A Fairy Tale for Grown-Ups. The film is set to hit cinemas on March 19, 2026, setting up a major box office clash with Sanjay Leela Bhansali’s Love & War, starring Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal.  Yash announced the release date via Instagram on Saturday, sharing a striking new poster. The image features him in an all-black outfit, wielding a gun while striding through a rain-soaked battlefield engulfed in flames. Priyanka Chopra becomes India’s highest-paid actress with Rs30cr fee Interestingly, Toxic will see Yash face off at the box office against his Ramayana co-star Ranbir Kapoor. Love & War, scheduled for release on March 20, 2026, remains shrouded in secrecy regarding its plot.  About the Project  Directed by Geetu Mohandas, Toxic is being filmed in both Kannada and English to appeal to a wider global audience. It will also be dubbed in Hindi, Telugu, Tamil, Malayalam, and several other languages. The film is jointly produced by Venkat K Narayana and Yash under KVN Productions and Monster Mind Creations.  The film also marks Kiara Advani’s Kannada debut, with a stellar ensemble cast including Nayanthara, Huma Qureshi, Tara Sutaria, Achyut Kumar, and Akshay Oberoi. With inputs from Indian media

In just two years, Rashmika Mandanna has established herself as a dominant force in Indian cinema, outperforming Bollywood’s top actresses at the box office. With three back-to-back blockbusters—Animal, Pushpa 2: The Rule, and Chhaava—the 28-year-old star has amassed a staggering ₹3300 crore worldwide. Her remarkable success in the Hindi market, contributing ₹1850 crore in net collections, has set a new benchmark in the industry. Over the past 16 months, Rashmika’s three theatrical releases have shattered records. Pushpa 2: The Rule became a pan-India sensation, collecting ₹812 crore in the Hindi market alone. Saif Ali Khan resumes work after stabbing incident, looks fit and cheerful Animal, a high-octane action thriller, garnered ₹503 crore, while the historical drama Chhaava has already surpassed ₹532 crore, with numbers still climbing. This extraordinary streak positions her as Bollywood’s most bankable actress in recent times. Beating Bollywood Veterans For years, Deepika Padukone dominated the box office, particularly after Priyanka Chopra moved to Hollywood. Alia Bhatt, too, had been leading the new generation of actresses. However, Rashmika’s phenomenal rise has overshadowed them both. Since 2023, Deepika’s five major releases have amassed over ₹1800 crore in Hindi, while Alia’s films have grossed a mere ₹300 crore. This stark contrast highlights Rashmika’s unprecedented dominance. A Star Beyond the Male Leads Critics may argue that Rashmika’s success is largely due to her co-stars, but the same can be said for Deepika, Kareena Kapoor, and other leading actresses. Billboard names Doechii 2025 Woman of the Year Her consistent presence in high-grossing films suggests she has become the preferred choice for mass entertainers alongside superstars. Her versatility across different genres has further solidified her reputation. What’s Next? The actress shows no signs of slowing down. She will next be seen in Salman Khan’s Sikandar, which is expected to be another major box office hit. Additionally, she has signed on for Maddock’s horror-comedy Thama and the pan-India action film Kubera, ensuring her dominance continues well into 2025 and beyond. With inputs from Indian media

In the holiday season battle of big-budget family movies, Paramount Pictures’ “Sonic the Hedgehog 3” sped past the Walt Disney Co.’s “Mufasa: The Lion King” to take the top spot at the box office ahead of the lucrative Christmas corridor in theaters. “Sonic the Hedgehog 3” debuted with $62 million in ticket sales over the weekend, according to studio estimates. With strong reviews (86% fresh on Rotten Tomatoes) and a high score from audiences (an “A” on CinemaScore), “Sonic 3” is well positioned to be the top choice in cinemas during the busiest moviegoing period of the year. It was telling of some wider trends that “Sonic 3” — made for $122 million — bested one of Disney’s top properties. Videogame adaptations, once among the most derided movie genres, have emerged as one of the most dependable box office forces in recent years. The two previous “Sonic” movies together grossed more $700 million worldwide and the third installment appears likely to do better than both of them. A fourth “Sonic” movie is already in development. “Mufasa,” however, was humbled in its opening weekend, with its $35 million in domestic ticket sales coming in notably shy of expectations . The photorealistic “Lion King” prequel even opened wider than “Sonic 3,” launching on 4,100 theaters and gobbling up most IMAX screens, compared with 3,761 locations for “Sonic 3.” Though “Mufasa's” reviews were poor (56% fresh on Rotten Tomatoes), audiences gave it an “A-” CinemaScore. “Sonic 3” nearly doubled the haul for “Mufasa,” which cost more than $200 million to make. Disney could look to $87.2 million in international sales to help make up the difference. The third “Sonic” will rollout in most overseas markets in the coming weeks. In director Jeff Fowler’s “Sonic 3,” Ben Schwartz returns as the voice of the hedgehog, alongside Tails the Fox (Colleen O’Shaughnessey), Knuckles the Echidna (Idris Elba) and Jim Carrey in scene-stealing dual roles as Dr. Robotnik and his grandfather. “Moonlight” filmmaker Barry Jenkins directs “Mufasa’s” voice cast, including Aaron Pierre, Kelvin Harrison Jr., Donald Glover, Beyoncé Knowles-Carter, Mads Mikkelsen and Blue Ivy Carter. It follows Jon Favreau’s 2019 photorealistic “The Lion King” remake, which made $1.66 billion globally despite mixed reviews. “Mufasa” didn’t come close to that film’s huge $191 million opening weekend. “We felt strongly that the marketplace could support both movies and we’re certainly holding up our side of the bargain,” said Chris Aronson, distribution chief for Paramount. No major franchise movie is coming this Christmas. The most anticipated Dec. 25 release might be “A Complete Unknown,” with Timothee Chalamet as Bob Dylan. That means “Sonic 3" could be looking at several weeks in a row at No. 1. “The family audience was 59% on ‘Sonic 2.' This time it's 46%. That 13% drop reflects the time of year we’re dealing with," said Aronson. "I think once the marketplace really cooks, ‘Sonic’ is going to be the dominant force." Many of Disney’s live-action adaptations – including “Aladdin,” “Beauty and the Beast” and “Jungle Book” – have been big hits. Others, such as “Dumbo,” “Mulan” and “The Little Mermaid,” have been less well received. More are on the way, including a new “Snow White” in March, “Lilo & Stitch” in May, and plans for “Moana” and “Tangled” to get the same live-action treatment. Despite “Mufasa's” muted opening, Disney is still celebrating its strongest annual performance in years. The studio has accounted for more than $5 billion in ticket sales worldwide, including the year’s top two hits: “Inside Out 2” and “Deadpool and Wolverine.” The animated “Moana 2” could give Disney the top three movies of the year. In four weeks of release, it has collected $790.2 million globally, including $13.1 million in U.S. and Canadian theaters over this weekend. Though Christmas often sees some of the biggest releases of the year, movies released around Thanksgiving really drove the box office this season. That includes “Moana 2” and Universal Pictures’ “Wicked,” which managed third place in its fifth weekend. “Wicked,” the hit musical adaption starring Cynthia Erivo and Ariana Grande, added $13.5 million in North American theaters to push its domestic total to $383.9 million. Those films, among others, have led a Hollywood rebound in 2024. After a significant deficit earlier in the year, overall sales are drawing close to those of 2023. According to Comscore, the gap has narrowed to 4.4% behind last year's results. While that’s still significantly less than pre-pandemic years, it’s enough to flip the script on what once looked like a rough year for the movies. Family films like “Inside Out 2,” “Moana 2” and “Sonic 3” have played a major role. Paul Dergarabedian, senior media analyst for Comscore, noted animated movies have accounted for 26.5% of this year's box office. “The box office year was saved by the family audience being drawn to the multiplex,” said Dergarabedian. “Homestead,” the latest release from Christian-themed Angel Studios, the distributor of “Sound of Freedom,” opened with $6.1 million. It follows a group of Doomsday preparers who take shelter in a self-sufficient compound after a nuclear attack in California. Brady Corbet's “The Brutalist,” one of the year's top Oscar contenders, launched on four screens in New York and Los Angeles. Its $66,698 per-screen average was one of the highest of 2024. The post-World War II epic runs three-and-a-half hours, posing obvious theatrical challenges. A24 is trying to turn the film starring Adrien Brody and Guy Pearce into an arthouse event. It was nominated for seven Golden Globes. Final domestic box office figures will be released Monday. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore: 1. “Sonic the Hedgehog 3,” $62 million. 2. “Mufasa: The Lion King,” $35 million. 3. “Wicked,” $13.5 million. 4. “Moana 2,” $13.1 million. 5. “Homestead,” $6.1 million. 6. “Gladiator II,” $4.5 million. 7. “Kraven the Hunter,” $3.1 million. 8. “Red One,” $1.4 million. 9. “Lord of the Rings: The War of the Rohirrim,” $1.3 million. 10. “The Best Christmas Pageant Ever,” $825,000.

New movies like “Plane” and “House Party” were no match for “Avatar: The Way of Water” and the killer doll horror “M3GAN” at the box office this weekend. The two holdovers topped the charts again according to studio estimates Sunday. In first place for the fifth weekend in a row was James Cameron’s “Avatar” sequel, which added an estimated $31.1 million through Sunday. That total will likely balloon to $38.5 million by the end of Monday’s Martin Luther King holiday. As of Sunday, the film's domestic total now rests at $562.9 million (the 13th biggest of all time) and its global total is $1.89 billion. “Avatar 2” needs to pass $1.92 billion to trump “Spider-Man: No Way Home,” which is currently the sixth highest grossing film of all time globally. “There were such huge expectations and a lot of naysayers that opening weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “But ‘Avatar,’ for a James Cameron movie, is moving at lightning speed up the domestic and global box office chart. I think he always knew this would be a $2 billion movie." Second place went to Universal and Blumhouse’s “M3GAN” which in its second weekend in theaters added $17.9 million through Sunday and an estimated $21.2 million including Monday. The modestly budgeted thriller that cost a reported $12 million to produce has made $59.8 million in North America. Read more: 10 Most Anticipated Movies of 2023: Unleash the Craze of Movie Mania Horror movies typically have very steep second weekend drop offs in ticket sales, but “M3GAN” only fell 41%. Dergarabedian said that’s almost unheard of for a horror picture and shows “world class staying power.” Universal also claimed the third place spot, with “Puss in Boots: The Last Wish,” which audiences continued to seek out in theaters even though it’s currently available to rent at home. The family-friendly animated film added $13.4 million in its fourth weekend, bringing its domestic total to $110.3 million. “A Man Called Otto,” from Columbia Pictures, expanded to 3,802 theaters this weekend, adding $12.7 million through Sunday, and $15 million including Monday, to take fourth place. Directed by Marc Forster, the adaptation of “A Man Called Ove” starring Tom Hanks is proving to be something of a rarity in the theatrical marketplace as an adult-targeted drama that is doing well. The Gerard Butler action pic “Plane,” a Lionsgate acquisition for release in North America, rounded out the top five with a better-than-expected $10 million in its first three days. In the film, Butler plays a pilot whose crash landing on an island is only the first of his troubles. On the island, most of the passengers are taken hostage. “Plane” got better-than-average reviews with 75% positive from critics on Rotten Tomatoes. Sixth place went to the second major new offering this weekend, “House Party,” a reboot of Reginald Hudlin’s 1990 hit that spawned several spinoffs. The film, which made $3.9 million through Sunday from 1,400 locations, was originally intended as a straight-to-HBO Max property but Warner Bros. pivoted to a theatrical release as a gesture to audiences and exhibitors hungry for new films. The R-rated, youth-oriented comedy did not score well with critics. Overall, the three-day box office total is going to net out around $100 million, which is not quite at pre-pandemic levels, but still up some 44% from the same weekend last year. "January is not going to be the slow month we thought. It’s a great combination of films out there that's not just dominated by ‘Avatar: The Way of Water,’" Dergarabedian said. “Theaters need movies and the studios are supplying those.” Read more: 2022 Highest Grossing Movies Worldwide Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, with Wednesday through Sunday in parentheses. Final domestic figures will be released Monday. 1. “Avatar: The Way of Water,” $31.1 million. 2. “M3GAN,” $17.9 million. 3. “Puss in Boots: The Last Wish,” $13.4 million. 4. “A Man Called Otto,” $12.7 million. 5. “Plane,” $10 million. 6. “House Party,” $3.9 million. 7. “Black Panther: Wakanda Forever,” $2.2 million. 8. “The Whale,” $1.5 million. 9. “I Wanna Dance With Somebody,” $1.2 million. 10. “Waltair Veeraya,” 905,000.

Scarlett Johansson is suing the Walt Disney Co. over its streaming release of “Black Widow,” which she said breached her contract and deprived her of potential earnings. In a lawsuit filed Thursday in Los Angeles Superior Court, the “Black Widow” star and executive producer said her contract guaranteed an exclusive theatrical release. The Wall Street Journal first reported the news of the lawsuit. Johansson’s potential earnings were tied to the box office performance of the film, which the company released simultaneously in theaters and on its streaming service Disney+ for a $30 rental. Also read: Bollywood actress Shilpa Shetty's husband arrested “In the months leading up to this lawsuit, Ms. Johansson gave Disney and Marvel every opportunity to right their wrong and make good on Marvel’s promise,” the lawsuit said. “Disney intentionally induced Marvel’s breach of the Agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel.” Disney said the lawsuit has “no merit whatsoever.” “The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic,” Disney said in a statement. “Disney has fully complied with Ms. Johansson’s contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20M she has received to date.” After its release was delayed more than a year because of COVID-19, “Black Widow” debuted to a pandemic-best of $80 million in North America and $78 million from international theaters three weeks ago, but theatrical grosses declined sharply after that. In its second weekend in release, the National Association of Theater Owners issued a rare statement criticizing the strategy asserting that simultaneous release lends itself only to lost profits and higher quality piracy. Also read: ‘Titane’ wins top Cannes honor, 2nd ever for female director Once taboo, hybrid theatrical and streaming releases have become more normal for many of the biggest studios during the pandemic, with each adopting its own unique strategy. This weekend, Disney is employing the same strategy with “Jungle Cruise,” and next weekend Warner Bros. big budget “The Suicide Squad” opens both in theaters and on HBO Max. The revised hybrid release strategies over the 16 months have occasionally led to public spats from not just theater owners, but stars, filmmakers and financiers who are unhappy with the potential lost revenues and the alleged unilateral decision-making involved. The WSJ said Warner Media, for instance, paid over $200 million in “amended agreements” with talent over its decision to release its entire 2021 slate simultaneously in theaters and on HBO Max. But none have been as public as Johansson’s lawsuit. The actor, who has been in nine Marvel movies going back to 2010’s “Iron Man 2,” quickly became a trending topic on Twitter on Thursday after news of the lawsuit broke.