Universal’s JURASSIC WORLD: REBIRTH led the theatrical fireworks with an impressive $91.5M over the July 4th holiday weekend. If you start counting from its Wednesday opening, the 5-day number for the dino sequel came in at $147.3M.
This was far ahead of the second-place finisher, Warner Bros. and Apple’s F1: THE MOVIE, which earned a still-respectable $26.1M in its second weekend in theatres. The total for all films came to $156.0M, a virtual tie with last year’s $156.1M earned on this same weekend when DESPICABLE ME 4 opened with $75.0M.
The box office from next weekend should fly past its matching frame in 2024, based on the strength of Warner Bros. and DC Studios’ SUPERMAN in its opening weekend. Most expect SUPERMAN to earn more on its own than all films together earned last year on the same weekend, which was $123.0M.
JURASSIC WORLD: REBIRTH is the seventh film in the JURASSIC franchise and the fourth in the current JURASSIC WORLD series. The previous six films have earned over $7B worldwide, making it one of the highest-grossing film franchises of all time.
The original JURASSIC PARK movie opened on June 11, 1993, based on a best-selling novel of the same name by Michael Crichton and directed by Steven Spielberg at the peak of his career. It was the top film of 1993, with a box office of $407.1M domestic and $1.1B worldwide.
While those numbers would be excellent in 2025, after adjusting them upwards to account for 32 years of inflation, they amount to a staggering $905.7B domestic and $2.447B worldwide, which is higher than AVENGERS: ENDGAME in 2019.
REBIRTH is the fourth film in the JURASSIC WORLD series that began with the 2015 release of JURASSIC WORLD. That movie was a big success, taking in $652.3M domestic and $1.670B worldwide, the highest of all movies in the franchise.
For a complete guide to the franchise, check out our ultimate list of All Jurassic World Movies in Order (Chronological & Release)
REBIRTH picks up five years after JURASSIC WORLD: DOMINION and features an entirely new cast. One constant across all seven films is the imprint of Steven Spielberg, who directed the first movie and has been the Executive Producer on all the others.
REBIRTH was directed by Gareth Edwards, best known for his work on ROGUE ONE: A STAR WARS STORY and GODZILLA, blockbusters within two successful franchises in their own right. When taking on the project, Edwards announced his intention to “do something new and fresh,” an implicit acknowledgement of waning public interest in the Jurassic storyline. At Spielberg’s request, David Koepp was brought in to write the new script, having written the screenplay for the original JURASSIC PARK and THE LOST WORLD.
The cast is led by Scarlett Johansson as Zora Bennett, Johnathan Bailey as Dr. Henry Loomis, and Mahershala Ali as Duncan Kincaid. The story takes place on the tropical island of Ile Saint Hubert, at the abandoned former laboratory of the bioengineering firm InGen. The characters take on the dangerous challenge of collecting blood samples from mutated dinosaurs that inhabit the island, in the hopes of using it to develop life-saving medications.
Critics have been harsh in their opinion of the new movie, with a paltry 51% rating on Rotten Tomatoes. Audiences have been somewhat more positive, with a 72% score. A low critics’ score is par for the course for the JURASSIC WORLD films, with the first JURASSIC WORLD earning 72% but FALLEN KINGDOM getting a 47% and DOMINION only rating a 29%.
The New York Times film reviewer said, “Jurassic World Rebirth is a straight monster movie with zero awe or prestige … it’s incurious about its stomping creatures and barely invested in the humans either.” Rolling Stone notes that JWR “has a better-than-average filmmaker at the helm… so why the hell does this feel so generic, so by-the-numbers, so instantly forgettable?” RogerEbert.com said, “When people are in danger of being devoured by freakish, mutant dinosaurs… it can be a lot of fun.
But it takes an awful lot of slogging through the jungle… to get there.” Not everyone hated the film, as Entertainment Weekly praised the star power of Johansson and Jonathan Bailey and called it “one of the more successful and satisfying entries in the franchise.” The fact remains that after the franchise’s best performance of JURASSIC WORLD, the subsequent pictures have been in decline.
Even with DOMINION crossing the $1B mark in worldwide sales, it was $668M lower than FALLEN KINGDOM and $306M lower than DOMINION. This recent downward trajectory led many to lower their expectations for REBIRTH.
With a production budget of $180M, REBIRTH will need to earn $450M in worldwide sales to be profitable, and that should come relatively easily given that the film has already grossed $318.3M worldwide in only five days. However, even if it does manage to make a profit, REBIRTH may not measure up to earlier movies in the series, which all reached $1B in worldwide gross.
JURASSIC WORLD Movie Series
- JURASSIC WORLD: REBIRTH (7/2/2025) – Domestic Opening $91.5M (4,308 locations), Budget $180M, RT Critics/Audience 51%/72%
- JURASSIC WORLD (6/12/2015) – Domestic Opening $208.8M (4,274 locations), Domestic Total $652.3M, Worldwide Total $1.670B, Budget $150M, RT Critics/Audience 72%/78%
- JURRASIC WORLD: FALLEN KINGDOM (6/22/2018) – Domestic Opening $148.0M (4,475 locations), Domestic Total $417.7M, Worldwide Total $1.308B, Budget $170M, RT Critics/Audience 47%/48%
- JURASSIC WORLD: DOMINION (6/22/2022) – Domestic Opening $145.1M (4,676 locations), Domestic Total $377.9M, Worldwide Total $1.002B, Budget $185M, RT Critics/Audience 29%/77%
F1: THE MOVIE, produced by Apple and distributed by Warner Bros., finished in second place on its second weekend with $26.1M, a drop of 54% from its $57M opening. Its 10-day total is $109.5M domestic and $293.6M worldwide and is on track to become the #1 car racing-themed movie of all time, passing FORD V FERRARI in the upcoming week.
F1 held up well against the challenge of facing JURASSIC WORLD: REBIRTH in its opening weekend. 52% of F1 ticket buyers are women, and 33% are under the age of 25, demonstrating an expanded appeal to audiences who may not have been expected to buy tickets for a racing movie. By contrast, only 45% of ticket buyers for FORD V FERRARI were female, and 30% were under the age of 25.
Younger audiences are among the most engaged group with Formula 1 racing, and the movie’s appeal to female moviegoers is somewhat obvious since it stars Brad Pitt in the leading role. At age 61, Pitt still has it, with F1’s $57M representing the second highest opening of his long and famous career, after WORLD WAR Z’s $66.4M debut in 2013.
F1 has a chance to hit the $500M mark that which would need to be profitable from box office receipts. To get there, it will still have to survive the hit from next weekend’s opening of SUPERMAN, which is likely to draw a similar audience. Still, with a 97% audience rating on Rotten Tomatoes, F1 is likely to stay on screen at most of its locations throughout the peak summer season. Apple has announced tentative plans to make F1 available on Apple TV+ in late September.
We congratulate Apple for launching F1 with a full theatrical exclusive run, reaffirming its partnership with exhibitors as the best way to realize the full potential of this film. Its distribution partner, Warner Bros., has also played an important role in the movie’s success, including its ability to expand the audience beyond die-hard motorheads. Here is the comparison of F1 to FORD V FERRARI after 10 days in release.
F1: THE MOVIE vs. FORD V FERRARI
- F1: THE MOVIE (6/27/2025) – Domestic Opening $55.6M (3,661 locations), Domestic 2nd Weekend $26.1M (-54%), Domestic 10-Day $109.5M, Budget $200M, RT Critics/Audience 83%/97%
- FORD V FERRARI (11/15/2019) – Domestic Opening $31.5M (3,528 locations), Domestic 2nd Weekend $15.7M (-50%), Domestic 10-Day $57.7M, Domestic Total $117.6M, Worldwide Total $226.2M, Budget $98M, RT Critics/Audience 92%/98%
Universal’s HOW TO TRAIN YOUR DRAGON earned $11.0M and dropped 44% in its fourth weekend. After 24 days, the live-action animated movie has earned $224.0 domestically. This weekend’s drop was expected, as the three-week-old dragons were forced to face a high-profile new dinosaur movie.
HOW TO TRAIN YOUR DRAGON has earned more than all three of its animated predecessors in the series. While it is still too early to project final numbers, HTTYD is approaching $500M in worldwide sales, a level that it would need to be profitable. Here is how the new movie compares to the previous animated films after 24 days in release.
HOW TO TRAIN YOUR DRAGON (2025) Live-Action vs. HOW TO TRAIN YOUR DRAGON (2010, 2014, 2019) Animated
- HOW TO TRAIN YOUR DRAGON (6/13/2025) – Domestic Opening $83.7M (4,356 locations), Domestic 2nd Weekend $37.0M (-56%), Domestic 3rd Weekend $19.4M (-47%), Domestic 4th Weekend $11.0M (-44%), Domestic 24-Day $224.0M, Budget $200M, RT Critics/Audience 77%/98%
- HOW TO TRAIN YOUR DRAGON (3/26/2010) – Domestic Opening $43.7M (4,055 locations), Domestic 2nd Weekend $29.0M (-34%), Domestic 3rd Weekend $24.9M (-14%), Domestic 4th Weekend $19.6M (-21%), Domestic 24-Day $158.5M, Domestic Total $217.6M, Worldwide Total $494.9M, Budget $165M, RT Critics/Audience 99%/91%
- HOW TO TRAIN YOUR DRAGON 2 (6/13/2014) – Domestic Opening $49.5M (4,253 locations), Domestic 2nd Weekend $24.7M (-50%), Domestic 3rd Weekend $13.2M (-46%), Domestic 4th Weekend $6.1M (-32%), Domestic 24-Day $140.2M, Domestic Total $177.0M, Worldwide Total $621.5M, Budget $145M, RT Critics/Audience 92%/90%
- HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD (2/22/2019) – Domestic Opening $55.0M (4,259 locations), Domestic 2nd Weekend $30.0M (-45%), Domestic 3rd Weekend $14.7M (-51%), Domestic 4th Weekend $9.3M (-37%), Domestic 24-Day $135.6M, Domestic Total $160.9M, Worldwide Total $540.0M, Budget $129M, RT Critics/Audience 90%/87%
Disney and Pixar’s ELIO finished in fourth place this weekend with $5.7M in new sales, a drop of 45%. This brings its 17-day total to $55.1M domestic and $96.8M worldwide, an all-time domestic low for any Pixar movie at this point in its release.
ELIO’s third weekend drop of 45% is significantly steeper than ELEMENTAL’s 38% drop in its third weekend. Until now, LIGHTYEAR has held the record as the lowest-grossing Pixar film, and even that movie had earned $105.2M at this point, almost twice as much as the $55.1M that ELIO has earned. Here is how ELIO, ELEMENTAL, and LIGHTYEAR compare after 17 days in release.
ELIO, ELEMENTAL, and LIGHTYEAR
- ELIO (6/20/2025) – Domestic Opening $21.0M (3,750 locations), Domestic 2nd Weekend $10.7M (-49%), Domestic 3rd Weekend $5.7M (-45%), Domestic 17-day $55.1M, Budget $150M, RT Critics/Audience 84%/91%
- ELEMENTAL (6/16/2023) – Domestic Opening $29.6M (4,033 locations), Domestic 2nd Weekend $18.4M (-38%), Domestic 3rd Weekend $12.1M (-38%), Domestic 17-day $89.6M, Domestic Total $154.4M, Worldwide Total $496.4M, Budget $200M, RT Critics/Audience 73%/93%
- LIGHTYEAR (6/15/2022) – Domestic Opening $50.6M (4,255 locations), Domestic 2nd Weekend $18.2M (-64%), Domestic 3rd Weekend $6.5M (-65%), Domestic 17-day $105.2M, Domestic Total $118.3M, Worldwide Total $226.4M, Budget $200M, RT Critics/Audience 74%/84%
Sony’s 28 YEARS LATER finished in fifth place with $4.6M, a decline of 53% in its third weekend. The 17-day total for the horror sequel is $60.2M domestic and $125.8M worldwide. After setting a new franchise record with a $30.0M opening, Sony had hoped to see follow-on weeks be better than they have been.
The second and third weekend drops of 68% and 53% were much steeper than expected, especially considering the movie’s 90% critics’ score on Rotten Tomatoes. 28 YEARS LATER appears destined to fall short of the $188M in worldwide box office that it would take to be profitable. With two additional “28” films already in development, Sony may be forced to make adjustments to match the realities of the marketplace, perhaps by making these features on lower production budgets.
“28” Franchise Movies
- 28 YEARS LATER (6/20/2025) – Domestic Opening $30.0M (3,444 locations), Domestic 2nd Weekend $9.7M (-68%), Domestic 3rd Weekend $4.6M (-53%), Domestic 17-day $60.2M, Budget $75M, RT Critics/Audience 90%/65%
- 28 WEEKS LATER (5/11/2007) – Domestic Opening $9.8M/$15.2M* (2,303 locations), Domestic 2nd Weekend $5.5M/$8.5M* (-44%), Domestic 3rd Weekend $2.5M/$3.9M* (-55%), Domestic 17-day $23.7M/$36.9M*, Domestic Total $28.6M/$44.3M*, Worldwide Total $72.3M/$112.1M*, Budget $15M/$23.3M*, RT Critics/Audience 73%/66%
- 28 DAYS LATER (6/27/2002) – Domestic Opening $10.1M/$18.5M* (1,260 locations), Domestic 2nd Weekend $6.0M/$10.7M* (-40%), Domestic 3rd Weekend $4.2M/$7.3M* (-29%), Domestic 17-day $28.4M/$49.6M*,Domestic Total $45.1M/$80.6M*, Worldwide Total $72.6M/$129.7M*, Budget $8M/$14.3M* RT Critics/Audience 87%/85%
* Adjusted for inflation
Where Are We as of 7/3/2025
After 26 weeks, the domestic box office in 2025 stands at 114% compared to the same point in 2024 and 72% compared to 2019.
