For the third weekend in a row, Disney’s LILO & STITCH led all pictures by taking in $32.5M at the box office, a decline of 47% from last weekend. The total for all pictures this weekend was $113.4M, compared to $104.2M for the same weekend last year, when Sony’s action movie BAD BOYS: RIDE OR DIE opened to $56.5M.
This is the second time this year that a movie has topped the box office for three consecutive weekends, after CAPTAIN AMERICA: BRAVE NEW WORLD turned the trick on the last three weekends in February. Disney has been the studio of record behind the top movie in 13 out of the 23 weekends so far this year.
While nine of the ten weekends so far in the second quarter have been better than the matching weekends last year, that will not be the case next weekend, when the matchup will be against INSIDE OUT 2, which brought in $154.2M in its first three days.
The Pixar film was the biggest movie of the year, earning $653M domestic and $1.7B worldwide, and is now the highest-grossing animated film of all time. The upcoming comparable weekends this year will be challenging to keep pace.
That said, next weekend will be no slouch, driven by the opening weekend of Universal’s HOW TO TRAIN YOUR DRAGON. The live-action remake of the animated 2010 original was well received when it screened to exhibitors at the annual CinemaCon conference in Las Vegas, and the consensus is that DRAGON will have a strong opening and overall theatrical run.
After 17 days, LILO & STITCH’s totals stand at $335.8M domestic and $772.6M worldwide, making it the second highest grossing picture of 2025 in the domestic market. Most Disney family films have a long shelf life, and if LILO & STITCH can do so, it may get close to the $423.4M that Warner Bros.’
A MINECRAFT MOVIE has earned the top picture of the year so far. LILO & STITCH’s success has taken some of the sting out of the disappointment of SNOW WHITE earlier this year. It is carrying a powerful ratio of 12.9 to 1 when comparing worldwide gross to production cost, and continues to climb higher with new sales each week.
LILO & STITCH (2002), LILO & STITCH (2025), and INSIDE OUT 2 (2024) after 17 Days
- LILO & STITCH (5/23/2025) – Domestic Opening $146.0M (4,420 locations), Domestic 2nd Weekend $63.0M (-57%), Domestic 3rd Weekend $32.5M (-47%), Domestic 17-Day $335.8M, Budget $60M, RT Critics/Audience 72%/93%
- LILO & STITCH (6/21/2002) – Domestic Opening $35.3M/$62.9M* (3,191 locations), Domestic 2nd Weekend $21.5M/$38.3M* (-39%), Domestic 3rd Weekend $12.6M/$22.5M* (-41%), Domestic 17-Day $103.0M/$183.7M*, Domestic Total $145.8M/$260.0M*, Worldwide Total $273.1M/$487.0M*, Budget $80M/$159M*, RT Critics/Audience 86%/78%
- INSIDE OUT 2 (6/14/2024) – Domestic Opening $154.2M (4,440 locations), Domestic 2nd Weekend $101.2M (-34%), Domestic 3rd Weekend $57.5M (-43%), Domestic 17-Day $469.4M, Domestic Total $653.0M, Worldwide Total $1.699B, Budget $200M, RT Critics/Audience 91%/95%
*Numbers Adjusted for Inflation
Lionsgate’s high-octane actioner BALLERINA landed in second place by earning $25.0M in its opening weekend. This is the fifth movie in the JOHN WICK franchise, and the first spinoff to focus on a character other than John Wick himself. Ana de Armas plays Eve Macarro, a ballerina who is beginning to train in the assassin traditions of the Ruska Roma.
The JOHN WICK franchise has been extremely profitable, beginning with the original JOHN WICK in 2014. Along the way, each new movie in the series has exceeded the box office of its predecessor, with the four films to date earning over $1B worldwide. With a cumulative production cost of $235M, the series has a very profitable 4.3 to 1 ratio of worldwide box office to production budget.
In addition to JOHN WICK, Lionsgate’s other star franchises include THE HUNGER GAMES and TWILIGHT. Keanu Reeves has expressed some reservations about continuing his involvement in future JOHN WICK movies, even though Lionsgate announced that a fifth movie was in the works. Reeves noted humorously that while his heart may be willing, he’s not certain that his “knees can do it.” This highlights the physical toll this role has taken on him.
Given the uncertainty about Reeves’ future with the series, the JOHN WICK creative team began looking at potential spinoffs, with BALLERINA being the first example. Its lead character, Macarro, was introduced in JOHN WICK: CHAPTER 3 – PARABELLUM after the studio acquired the script for the eventual spin-off in 2017. Len Wiseman was brought in to direct the new film, with contributions on its action scenes from Chad Stahelski, the director of the original John Wick films.
BALLERINA’s story takes place between the events of CHAPTER 3 and CHAPTER 4, offering a deeper exploration of the assassin underworld. Ana de Armas (KNIVES OUT from 2019 and NO TIME TO DIE from 2021) stars as an assassin ballerina seeking vengeance for her father’s death. The character of Eve in PARABELLUM was played by Unity Phelan, who is not only an actress but also a real-life ballerina.
Ana de Armas followed a rigorous training regime to prepare for the complex fight choreography, including an intense scene with Keanu Reeves as John Wick. Gabriel Byrne (HEREDITY from 2018 and LOST GIRLS from 2020) plays the Chancellor, the film’s principal antagonist, who leads a town against Eve.
Rotten Tomatoes scores have always been favorable to JOHN WICK, with critics’ grades falling between 86% and 94% and audiences between 82% and 93%. BALLERINA has a slightly lower critics’ score of 76% but a higher audience rating of 94%. The Washington Post describes BALLERINA as a chaotic yet entertaining entry into the JOHN WICK universe.
Ana de Armas impresses in her action sequences, though her performance lacks the gravitas of Keanu Reeves’ John Wick. The film introduces unexpected humor and slapstick violence, providing a fresh twist. Despite its adherence to the franchise’s signature style, it showcases inventive action set-pieces and a zany underworld atmosphere.
Entertainment Weekly highlights the film’s relentless and flamboyant violence, with De Armas utilizing an extensive arsenal to dispatch her enemies. While visually stunning and committed to its style, the film suffers from a divided structure, with a dull first half and a more entertaining, cartoonish second half. Despite moments of creativity, it raises questions about the ethical consumption of hyper-violent media.
The Verge criticizes BALLERINA for lacking the distinctive flair and stylized action of the other movies in the JOHN WICK series. The narrative feels derivative, borrowing elements from the earlier films. De Armas’ performance is emotionally flat, making it hard for audiences to connect with her character. Some action sequences offer glimpses of creativity, but the film ultimately lacks the energy and inventiveness that define the franchise.
Lionsgate spared no expense in launching BALLERINA. Chad Stahelski, the director of the original JOHN WICK movies, was brought in to reshoot several of the film’s key action sequences, causing a one-year delay in its final release. Keanu Reeves was also enlisted to appear in the movie to build a bridge between the JOHN WICK and BALLERINA storylines.
As a result, the production cost of the movie expanded to $90M, the second highest of any of the JOHN WICK films. As a result, BALLERINA will need to earn $225M worldwide to be profitable. Its opening of $25.0M puts it 18% behind the $30.4M domestic earned by JOHN WICK: CHAPTER 2 in its debut.
It’s far too early to predict a total box office for BALLERINA, but it is already somewhat sobering to see that BALLERINA’s opening is the second lowest among the five films, beating only the $14.5M debut of the original JOHN WICK in 2015. Here is how BALLERINA compares to the four other JOHN WICK films.
BALLERINA Vs. JOHN WICK Series
- BALLERINA (6/6/2025) – Domestic Opening $25.0M (3,409 locations), Budget $90M, RT Critics/Audience 76%/94%
- JOHN WICK (10/23/2015) – Domestic Opening $14.5M (2,589 locations), Domestic Total $43.0M, Worldwide Total $86M, Budget $20M, RT Critics/Audience 86%/82%
- JOHN WICK: CHAPTER 2 (2/10/2017) – Domestic Opening $30.4M (3,113 locations), Domestic Total $92.0M, Worldwide Total $171.5M, Budget $40M, RT Critics/Audience 89%/85%
- JOHN WICK: CHAPTER 3 – PARABELLUM (5/17/2019) – Domestic Opening $56.8M (3,850 locations), Domestic Total $171.0M, Worldwide Total $327.8M, Budget $75M, RT Critics/Audience 86%/82%
- JOHN WICK: CHAPTER 4 (3/24/2023) – Domestic Opening $73.8M (3,855 locations), Domestic Total $187.1M, Worldwide Total $440.2M, Budget $100M, RT Critics/Audience 94%/93%
Paramount’s MISSION: IMPOSSIBLE – THE FINAL RECKONING finished in third place by earning $15.0M, a drop of 45% in its third weekend. The eighth installment in the famous action spy thriller series has earned $149.2M domestic and $450.4M worldwide in its first 17 days. Its eye-popping production budget of $400M sets an extremely high bar of $1B in worldwide box office for this film to be profitable.
THE FINAL RECKONING’s results are running behind those of MISSION: IMPOSSIBLE – FALLOUT, its successful predecessor from 2018. Moreover, only 67% of THE FINAL RECKONING’s total box office is coming from international markets, compared with 73% from FALLOUT. This comes despite THE FINAL RECKONING having the chance to play in China, whereas FALLOUT never did.
FALLOUT’s total worldwide earnings finished at $824.2M, so any indication that THE FINAL RECKONING is falling behind that number is cause for concern. Here is how those two MISSION: IMPOSSIBLE films and TOP GUN: MAVERICK compare after 17 days in release.
MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025), MISSION IMPOSSIBLE: FALLOUT (2018), and TOP GUN: MAVERICK (2022) after 17 Days
- MISSION: IMPOSSIBLE – THE FINAL RECKONING (5/23/2025) – Domestic Opening $63.0M (3,857 locations), Domestic 2nd Weekend $27.3M (-57%), Domestic 3rd Weekend $15.0M (-45%), Domestic 17-Day $149.2M, Production Budget $400M, RT Critics/Audience 80%/90%
- MISSION IMPOSSIBLE: FALLOUT (7/27/2018) – Domestic Opening $61.2M (4,386 locations), Domestic 2nd Weekend $35.3M (-42%), Domestic 3rd Weekend $19.4M (-45%), Domestic 17-Day $161.3M, Domestic Total $220.2M, Worldwide Total $824.2M, Production Budget $178M, RT Critics/Audience 98%/89%
- TOP GUN: MAVERICK (5/27/2022) – Domestic Opening $126.7M (4,735 locations), Domestic 2nd Weekend $90.0M (-29%), Domestic 3rd Weekend $51.9M (-42%), Domestic 17-Day $395.2M, Domestic Total $718.7M, Worldwide Total $1.496B, Production Budget $170M, RT Critics/Audience 96%/99%
Sony’s KARATE KID: LEGENDS came in fourth place in its second weekend, with $8.7M, bringing its 10-day totals to $35.4M domestic and $74.0M worldwide. The second weekend drop of 57% is steeper than Sony had hoped to see. It has a high audience score of 91% on Rotten Tomatoes, but a disappointing 57% rating from critics.
Perhaps these poor ratings are keeping some potential moviegoers away. With a total global box office of $74.0M already in the till, it is still possible for the picture to be profitable, but it will need to earn $115M to get there. If you cannot afford to have another drop of over 50% next weekend.
Here is a look at how LEGENDS compares to the 1984 original and the 2010 remake that is the top-earning feature in the series. We are providing both the original box office numbers and adjusted numbers for inflation.
KARATE KID LEGENDS (2025), THE KARATE KID (1984), and THE KARATE KID (2010)
- KARATE KID: LEGENDS (5/30/2025) – Domestic Opening $21.0M (3,809 locations), Domestic 2nd Weekend $8.7M (-57%), Domestic 10-Day $35.4M, Production Budget $45M, RT Critics/Audience 57%/91%
- THE KARATE KID (6/22/1984) – Domestic Opening $5.0M/$15.4M* (931 locations), Domestic 2nd Weekend $4.5M/$13.9M (-11%), Domestic 10-Day $12.4M/$38.3M*, Domestic Total $91.1M/$281.0M*, Worldwide Total $91.1M/$281.0M*, Production Budget $8M/$24.7M*, RT Critics/Audience 81%/83%
- THE KARATE KID (6/11/2010) – Domestic Opening $55.7M/$81.9M* (3,663 locations), Domestic 2nd Weekend $29.9M/$44.0* (-46%), Domestic 10-Day $107.1M/157.6M*, Domestic Total $176.6M/$259.8M*, Worldwide Total $359.1M/$528.3M*, Production Budget $40M/$58.8M*, RT Critics/Audience 67%67%
* Numbers Adjusted for Inflation
Warner Bros.’ horror film FINAL DESTINATION: BLOODLINES came in fifth place by earning $6.5M in its fourth weekend. Its weekly drop of 40% was the lowest of any movie in this weekend’s top five. After 24 days, BLOODLINES has earned $123.6M domestic and $257.2M worldwide, making it the eighth highest-grossing film in the domestic market this year.
It has continued the FINAL DESTINATION tradition of being a very profitable movie, with a current ratio of 5.1 to 1 when comparing its worldwide gross to production cost. Here is how the film compares to THE FINAL DESTINATION from 2009, the #1 picture in the franchise.
FINAL DESTINATION: BLOODLINES (2025) versus THE FINAL DESTINATION (2009)
- FINAL DESTINATION: BLOODLINES (5/16/2025) – Domestic Opening $51.0M (3,523 locations), Domestic 2nd Weekend $19.7M (-62%), Domestic 3rd Weekend $10.8M (-47%), Domestic 4th Weekend $6.5M (-40%), Domestic 24-Day $123.6M, Budget $50M, RT Critics/Audience 92%/88%
- THE FINAL DESTINATION (8/28/2009) – Domestic Opening $27.4M/$41.0M* (3,121 locations), Domestic 2nd Weekend $12.4M/$18.5M* (-55%), Domestic 3rd Weekend $5.5M/$8.2M* (-55%), Domestic 4th Weekend $2.4M/$3.6M* (-57%), Domestic 24-Day $62.4M/$93.3M*, Domestic Total $66.4M/$99.3M*, Worldwide Total $186.2M/$278.4M*, Budget $40M/$59.8M*, RT Critics/Audience 28%/35%
* Numbers Adjusted for Inflation
Where Are We as of June 5, 2025
After 22 weeks, the domestic box office in 2025 stands at 127% compared to the same point in 2024 and 72% compared to 2019.
