Warner Bros. and DC’s SUPERMAN soared with a $122.0M opening weekend, carrying the box office for all films to $197.7M. This same weekend last year added up to $123.0M, with $43.6M from Universal’s DESPICABLE ME 4 in its second weekend and $22.4M from Neon’s LONGLEGS in a surprisingly strong debut. SUPERMAN on its own this weekend, came close to out-grossing all films together on this weekend last year.
Next weekend may not fly quite as high by comparison, with the total box office in the third weekend of July last year coming in at $149.5M, led by an $81.3M opening from Warner Bros. action thriller TWISTERS. Three new films will open next weekend – SMURFS, I KNOW WHAT YOU DID LAST SUMMER, and EDDINGTON – but all together they are not expected to earn as much as TWISTERS in its first three days.
SUPERMAN is DC Studios’ highly anticipated relaunch of one of the most recognizable characters in American pop culture. The Man of Steel was introduced in 1938 in the first issue of the comic book/magazine series Action Comics. A few years later, he appeared on the big screen in a 17-part series of animated shorts from Paramount Pictures that played in theatres between 1941 and 1943.
Superman’s first starring role in a feature came in 1978, with the original SUPERMAN starring Christopher Reeve and directed by Richard Donner. That movie was released for a Christmas run on December 15th and went on to gross $134.2M domestic and $300.2M worldwide, which was an amazing amount of money 47 years ago.
Even with its first two weeks coming in 1978, the movie played so well that it became the highest-grossing movie of 1979, both in the domestic and worldwide markets. After adjusting for inflation, the original SUPERMAN would have earned $661.7M domestic and $1.480B worldwide in 2025 dollars. There have been a total of eight movies featuring Superman, with JUSTICE LEAGUE in 2017 as the most recent. Those eight films have earned $1.4B domestic and $3.2B worldwide.
Over the decades, the franchise has adapted to different actors, tones, and creative visions, reflecting the evolution of superhero storytelling. This 2025 SUPERMAN has a lot riding on it. Not only is it expected to bring new life to the franchise, but it is also the first entry in the DCU (DC Universe), which is entirely separate from the DCEU (DC Extended Universe) that wrapped up in 2023 with AQUAMAN AND THE LOST KINGDOM. The new SUPERMAN is the first movie in the first phase of the DCU, entitled “Chapter One: Gods and Monsters.”
Director James Gunn and his producing partner Peter Safran were hired as co-chairmen and co-CEOs of DC Studios in October 2022, and SUPERMAN is their first fully original work in those roles. Previously, Gunn and Safran had been tremendously successful at Marvel Studios, responsible for the GUARDIANS OF THE GALAXY trilogy in the MCU.
The following is a brief explanation of how Gunn wound up moving from Marvel Studios to DC Studios. In July 2018, James Gunn was embroiled in a crisis of his public image and career. Tweets that he had posted nearly a decade earlier had resurfaced, in which he made offensive jokes involving controversial topics. The tweets, which Gunn had recognized and apologized for years earlier, were amplified by activists who were upset with him for his political views.
Even though he had the support of Marvel Studios, Disney felt it necessary to remove Gunn from GUARDIANS OF THE GALAXY VOL. 3 in mid-development. This move sparked an intense debate, with many in Hollywood coming to Gunn’s defense. Some argued that while the tweets were inappropriate, they did not fully define Gunn’s character.
A letter signed by the entire cast of GUARDIANS expressed “full support” for Gunn and asked Disney to reconsider their decision. In March 2019, Disney came to believe that they had acted too hastily, and Gunn was reinstated as the director of GUARDIANS OF THE GALAXY VOL. 3. While he was on the sidelines, Gunn worried that the situation might wind up being fatal for his career, and he had reached out to rival DC Studios to inquire if they had any interest in hiring him.
DC was very interested, hired Gunn, and put him in charge of THE SUICIDE SQUAD in 2021. Arriving during the pandemic, the R-rated film was released to theatres and HBO Max simultaneously and only earned $55.8M over its entire domestic run. However, the movie was critically acclaimed, and execs from both DC and Warner Bros. felt that Gunn had done excellent work in giving new life to the brand.
In March 2019, Gunn returned to Marvel to finish GUARDIANS VOL. 3, but made it clear that any project he took on for DC would take precedence. Disney and Marvel must now understand that they have lost a valuable asset in Gunn, as they are forced to look over at him sitting in the opposing dugout. Considering this back story, it’s no wonder that all eyes are on the financial performance of SUPERMAN.
James Gunn is both screenwriter and director of the new SUPERMAN, bringing a vision of the iconic character as a compassionate soul, with a fundamental belief in the goodness of mankind. The plot follows Clark Kent as he juggles his dual responsibilities as a superhero and a journalist for the Daily Planet.
After defusing a war involving Boravia, billionaire villain Lex Luthor undermines his standing by broadcasting a doctored hologram from Superman’s Kryptonian parents saying that their son was sent to conquer the Earth rather than save it. In a bold move, Gunn moved on from Henry Cavill in the leading role, after having played Superman in DCEU movies from 2013 to 2022.
In his place, he cast newcomer David Corenswet, a virtual unknown whose biggest role until now has been a supporting character in last summer’s TWISTERS. Some say one reason for Corenswet being cast was his facial similarity to Christopher Reeve, which could offer a reminder of the heyday of Superman movies.
Lois Lane is played by Rachel Brosnahan, best known for portraying Miriam “Midge” Maisel, the central character in The Marvelous Mrs. Maisel on Amazon Prime. Her work in that series led to five Emmy nominations as Best Actress in a Comedy series, with one win in 2018. The role of Lex Luthor is taken on by Nicholas Hoult, who starred in last year’s surprise Christmas horror hit NOSFERATU.
Critics are taking a mostly positive view of the film, giving it an 82% rating on Rotten Tomatoes, while audiences appear to love it by rating it at 94%. The New York Times calls the movie “a goofy but charming take on Superman” with echoes of Iron Man, praising its heartfelt tone and hopeful spirit. The Hollywood Reporter applauds Gunn’s “gleaming polish,” citing standout lead performances and a reinvigorated DC Studios.
Entertainment Weekly says, “Corenswet and Brosnahan soar, but the script is kryptonite”—charismatic actors saved by chemistry, though the narrative feels overcrowded and simplistic. RogerEbert.com describes it as “cinematic fast‑food” — entertaining but ultimately lacking depth; praises some dialogue and performances but criticizes derivative fight sequences.
The film was expensive to make, gobbling up $225M in production budget. Still, Gunn should be commended for making it for $25M less than BATMAN V. SUPERMAN cost in 2016. With that budget, SUPERMAN will cross over into the black once it makes $565M in worldwide sales.
With a good start this weekend, the proof will come if it can hold up under the summer heat in the weeks ahead. Here is how the new movie compares to the 1978 original and the 2016 version that was the highest-grossing SUPERMAN to date.
SUPERMAN (2025), BATMAN V. SUPERMAN (2016), and SUPERMAN (1978)
- SUPERMAN (7/11/2025) – Domestic Opening $122M (4,135 locations), Budget $225M, RT Critics/Audience 82%/93%
- BATMAN V. SUPERMAN (3/25/2016) – Domestic Opening $166.0MM (4,256 locations), Domestic Total $330.4M, Worldwide Total $874.4B, Budget $250M, RT Critics/Audience 28%/63%
- SUPERMAN (12/15/1978) – Domestic Opening $7.5M/$37.0M* (508 locations), Domestic Total $134.2M/$661.7M*, Worldwide Total $300.2M/$1.480B*, Budget $55M/$271.2M*, RT Critics/Audience 87%/86%
* Totals adjusted for inflation
Universal’s JURASSIC WORLD: REBIRTH dropped into second place by earning $40.0M, a decline of 57% from last weekend’s opening. After 12 days, the film has taken in $232.1M domestic and $529.5M worldwide. While many saw last week’s opening as solid, REBIRTH had the advantage with its Wednesday debut of a five-day opening weekend, compared to the typical three-day opening for the other films in the series.
REBIRTH earned $55.8M in its first two days, and $147.8M from Wednesday through Sunday, which was only slightly higher than the last two JURASSIC WORLD movies and considerably short of the $208.8M earned by the first JURASSIC WORLD in 2015. A clearer picture of the four films emerges by comparing the 12-day total for REBIRTH to the 10-day totals of the other JURASSIC WORLD films.
At this point, REBIRTH is in last place among the four, continuing a downward pattern for each successive movie. That being said, REBIRTH’s 12 days are better than most new major releases would have achieved at this point, and the film has already exceeded the $450M in worldwide sales that it needed to be profitable. We expect that Universal will continue on after REBIRTH by making more entries in the franchise.
JURASSIC WORLD Movies
- JURASSIC WORLD: REBIRTH (7/2/2025) – Domestic Opening $91.5M (4,308 locations), Domestic 2nd Weekend $40.0M (-57%), Domestic 12-day $232.1M, Budget $180M, RT Critics/Audience 51%/72%
- JURASSIC WORLD (6/12/2015) – Domestic Opening $208.8M (4,274 locations), Domestic 2nd Weekend $106.6M (-49%),
- Domestic 10-day $402.8M, Domestic Total $652.3M, Worldwide Total $1.670B, Budget $150M, RT Critics/Audience 72%/78%
JURASSIC WORLD: FALLEN KINGDOM (6/22/2018) – Domestic Opening $148.0M (4,475 locations), Domestic 2nd Weekend $60.9M (-59%), Domestic 10-day $265.7M, 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 2nd Weekend $59.2M (-59%), Domestic 10-day $250.3M, Domestic Total $377.9M, Worldwide Total $1.002B, Budget $185M, RT Critics/Audience 29%/77%
F1: THE MOVIE from Warner Bros. and Apple Films finished in third place with $13.0M in new sales, a decline of 50% compared to last weekend. This brings its 17-day total to $136.2M domestic and $393.4M worldwide.
F1 already has the highest-grossing road race movie of all time, passing FORD V FERRARI from 2019 by over $18.6M. It is also the top-earning Apple movie in the new studio’s filmography, passing the $158.7M worldwide earned by KILLERS OF THE FLOWER MOON from 2023.
While those accomplishments are important, F1 may not earn the $500M worldwide that it needs to be profitable from box office sales alone. Still, it will have an additional life through its Video On Demand sales and viewership on Apple TV+ and will most likely encourage Apple to carry on with its investments in making films for theatrical distribution.
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 3rd Weekend $13.5M (-50%), Domestic 17-Day $136.2M, 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 3rd Weekend $13.2M (-16%), Domestic 17-Day $81.0M, Domestic Total $117.6M, Worldwide Total $226.2M, Budget $98M, RT Critics/Audience 92%/98%
Universal’s HOW TO TRAIN YOUR DRAGON finished in fourth place in its fifth weekend by taking in $7.8M domestic and dropping 31%. This brings its 31-day totals to $239.8M domestic and $560.8M worldwide. While it will most likely beat out two of the three previous TRAIN YOUR DRAGON films, it will come up short of HOW TO TRAIN YOUR DRAGON 2, which earned $621.5M worldwide in 2014, with 72% of that amount coming from foreign markets.
This year’s movie has earned only 58% of its total gross internationally. The film has already crossed the $500M threshold in global ticket sales, that it needed to be profitable, achieving what it set out to do and leaving the franchise in good shape going forward.
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 5th Weekend $7.8M (-31%), Domestic 31-Day $239.8M, 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 5th Weekend $15.4M (-22%), Domestic 31-Day $178.3M, 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 5th Weekend $3.9M (-36%), Domestic 31-Day $152.3M, 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 5th Weekend $6.5M (-30%), Domestic 31-Day $145.7M, Domestic Total $160.9M, Worldwide Total $540.0M, Budget $129M, RT Critics/Audience 90%/87%
The fifth-place finisher was Disney and Pixar’s ELIO, which earned $3.9M, and a drop of 33% in its fourth weekend. After 24 days, the film has taken in $63.7M domestic and $117.3M globally. Unfortunately, it will wind up as the lowest-grossing movie in Pixar’s history.
Until now, that dubious title was held by LIGHTYEAR, which earned only $226.4M in 2022. It will also come woefully short of the $375M it would need in total ticket sales to be profitable. Disney is showing that movie-making is a risky business, with the well-reviewed ELIO winding up as one of the big box office flops of the year, while LILO & STITCH was one of the big successes.
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 4th Weekend $3.9M (-33%), Domestic 24-day $63.7M, 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 4th Weekend $10.0M (-17%), Domestic 24-day $109.6M, 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 4th Weekend $3.1M (-52%), Domestic 24-day $112.5M, Domestic Total $118.3M, Worldwide Total $226.4M, Budget $200M, RT Critics/Audience 74%/84%
Where Are We as of July 10
After 27 weeks, the domestic box office in 2025 stands at 114% compared to the same point in 2024 and 73% compared to 2019.
