After setting new records for the Memorial Day holiday, the box office was expected to fall off this weekend, and that is exactly what happened. LILO & STITCH continued as the top movie in North America, with second weekend ticket sales of $63.0M. All movies produced $149.2M, significantly below last weekend’s $264.0M but more than twice the $66.4M earned on the same weekend last year, which was led by THE GARFIELD MOVIE with $14.0M in its second weekend.
2025 has outperformed 2024 in eight of the last nine weekends. The second quarter is headed towards a domestic box office of $3.0B, which would make it the best quarter in the post-pandemic era. The last time that a second quarter came in with a higher number was in 2019, when $3.4B was produced on the strength of AVENGERS: ENDGAME, ALADDIN, TOY STORY 4, and JOHN WICK: CHAPTER 3. We are experiencing an unqualified rebound in moviegoing, with numbers not seen in years. Clearly, crowds show up when the movies are appealing.
Disney’s LILO & STITCH, a live-action remake and reimagining of the original 2002 animated film, finished on top for the second weekend in a row, with $63.0M representing a drop of 57% from its opening. While this decline is steeper than most Disney family films experience, it was somewhat expected after the film’s record-setting $146.0M opening came on a long holiday weekend.
That performance made LILO & STITCH the box office champ for a Memorial Day weekend, besting the $126.7M earned by TOP GUN: MAVERICK in 2022. LILO & STITCH has grossed $280.1M domestic and $610.8M worldwide, already more than the entire run of the 2002 original movie.
Director Dean Fleisher Camp has created a very profitable movie, made for a reasonable $60M and already boasting a 10.2 1 ratio of worldwide box office to production budget. It is too early to settle on a final number, but we see the movie continuing to draw audiences through the prime summertime moviegoing season. The future of this franchise is bright, with follow-on sequels and spin-offs a certainty.
Here is a comparison of the two LILO & STITCH movies and INSIDE OUT 2, Disney’s last family-focused mega-hit, after 10 days.
LILO & STITCH (2002), LILO & STITCH (2025), and INSIDE OUT 2 (2024) after 10 Days
- LILO & STITCH (5/23/2025) – Domestic Opening $145.5M (4,420 locations), Domestic 2nd Weekend $63.0M (-57%), Domestic 10-Day $280.1M, Budget $60M, RT Critics/Audience 70%/93%
- LILO & STITCH (6/21/2002) – Domestic Opening $35.3M/$62.9M* (3,191 locations), Domestic 2nd Weekend $21.5M/$38.3M* (-39%), Domestic 10-Day $77.1M/$137.5M*, 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 10-Day $280.1M, Domestic Total $356.4M, Worldwide Total $1.699B, Budget $200M, RT Critics/Audience 91%/95%
Paramount’s MISSION IMPOSSIBLE: THE FINAL RECKONING finished in second place with $27.3M in its second weekend, a drop of 57% from last weekend. As with LILO & STITCH, the action sequel is coming off a record-setting debut when it earned $64.0M, the highest of all the MI movies to date.
Its 10-day ‘cume now stands at $122.6M domestic and $353.8M worldwide, placing it slightly behind its predecessor from 2018, MISSION: IMPOSSIBLE – FALLOUT. THE FINAL RECKONING is earning 65% of its total box office from foreign markets, whereas FALLOUT took in 73%. An advantage that THE FINAL RECKONING has over FALLOUT and TOP GUN: MAVERICK is that neither of those films played in China.
Last week, Paramount was pleased to learn that THE FINAL RECKONING would be allowed in China, the world’s second-largest theatrical market, despite ongoing trade tensions with the U.S. On its first day in Chinese theatres, the movie grossed a healthy $24.5M, which places it as the third biggest opening day for any film in China this year.
The contribution from China should help the film increase the percentage coming from international markets. Last week we reported that the production budget for FALLOUT was $400M, one of the most expensive movies in history. This sets an extremely high bar of $1B in worldwide box office for the movie to be profitable.
Because the total worldwide gross of FALLOUT came in at $824.2M, any indication that THE FINAL RECKONING is falling behind that film is cause for concern. Here is how these two MISSION: IMPOSSIBLE films compare with each other, and with TOP GUN: MAVERICK after ten days.
MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025), MISSION IMPOSSIBLE: FALLOUT (2018), and TOP GUN: MAVERICK (2022) after 10 Days
- MISSION: IMPOSSIBLE – THE FINAL RECKONING (5/23/2025) – Domestic Opening $63.0M (3,857 locations), Domestic 2nd Weekend $27.3M (-57%), Domestic 10-Day $122.6M, Production Budget $400M, RT Critics/Audience 80%/89%
- MISSION IMPOSSIBLE: FALLOUT (7/27/2018) – Domestic Opening $61.2M (4,386 locations), Domestic 2nd Weekend $35.3M (-42%), Domestic 10-Day $124.8M, 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 10-Day $295.6M, Domestic Total $718.7M, Worldwide Total $1.496B, Production Budget $170M, RT Critics/Audience 96%/99%
Sony’s KARATE KID: LEGENDS opened in third place with a box office of $21.0M domestic and $47M worldwide. This is the sixth installment of the KARATE KID movie franchise, which began in 1984 with the original THE KARATE KID. The previous five titles have grossed $450M domestic and $618M worldwide. The first movie was an instant hit when it opened and became the fifth highest-grossing film of the year.
The then 52-year-old actor Pat Morita shone in his role as Mr. Miyagi, having until that point been known as a character actor with supporting roles such as Arnold, the owner of the diner in the Happy Days TV series. Mister Miyagi became an iconic film persona, with many memorable quotes cited in pop culture ever since.
The last KARATE KID movie was released in 2010, but in 2018, a spinoff TV series, COBRA KAI, focused on the two major combatants from KARATE KID, Daniel LaRusso (Ralph Macchio) and Johnny Lawrence (William Zabka). The title of the movie was taken directly from the Cobra Kai dojo where Johnny Lawrence worked out.
The series was an immediate hit when it debuted on May 2, 2018, on YouTube Red (later YouTube Premium), with its first episode drawing 5.4 million views in the first 24 hours of its release. After two seasons, YouTube abandoned scripted series, and new episodes moved over to Sony Pictures Television.
In June 2020, Netflix acquired the show, where it continued to thrive and expand its audience. Netflix aired the 65th and final episode on February 13, 2025. Through all of these incarnations, the characters and lessons from KARATE KID have entertained audiences for more than two generations.
In making KARATE KID: LEGENDS, first-time movie director Jonathan Entwistle has taken on the considerable challenge of uniting the original KARATE KID movies, the 2010 reboot, and the Cobra Kai TV series into a single shared universe. Set three years after the events of Cobra Kai Season 6, the movie continues the story, with Daniel LaRusso still operating the Miyagi-Do dojo. At 71, Jackie Chan reprises his role as Mr. Han, bringing his signature martial arts expertise and mentorship to a new generation.
As has happened several times before in his movie career, Chan was injured while filming. Despite dislocating his shoulder while filming an intense fighting sequence, he continued to let the camera roll, as he has done in the past after similar injuries. Ralph Macchio returns as Daniel LaRusso, continuing his journey from the original films and Cobra Kai, now serving as a mentor alongside Mr. Han. Joshua Jackson portrays Victor, a former heavyweight boxer and pizzeria owner.
Jackson underwent a rigorous regimen, consuming 4,000 calories daily to gain 20 pounds for the role. The film features a new protagonist, Ben Wang, starring as Li Fong, a 17-year-old martial arts prodigy who moves from Beijing to New York and becomes the central figure in the story.
As soon as Li Fong arrives in New York City, he attracts unwanted attention from a local karate champion and embarks on a journey to enter the ultimate karate competition with the help of Mr. Han and Daniel LaRusso. The “Good vs. Evil” theme is played up, and the film received a PG-13 rating for the first time, indicating a more intense and grittier movie than the five PG-rated films that came before.
The critics have been somewhat negative about the new take, giving out only a 59% score on Rotten Tomatoes, while audiences have responded better with a solid 90% rating. A sample of critics’ reviews is as follows. Screen Rant notes that the fight choreography in KARATE KID: LEGENDS looks impressive, with scenes filmed in one take without cuts. This suggests that the film’s action sequences may surpass those of the original movie.
The Daily Beast describes KARATE KID: LEGENDS as a refreshing reboot that balances action, mentorship, and cultural legacy. While the plot leans on predictable tropes, Ben Wang’s compelling performance and convincing stunt work elevate the movie. The Washington Post recommends the film for ages 10 and up, highlighting its action-packed continuation of the franchise.
It combines characters from the 2010 reboot and original movies, focusing on themes of self-discipline and personal growth. Finally, the New York Post criticized the film for its weak writing and shallow characters, stating that it fails to live up to the original 1984 classic. However, Ben Wang’s performance was highlighted as a redeeming aspect of the new film.
The movie was made on a production budget of $45M, meaning that it will need to earn $115M worldwide to make a profit. The following charts compare KARATE KID: LEGENDS to both the original and the 2010 reboot, which is the highest-grossing film in the series. To account for inflation, we are providing both the original box office numbers for the earlier movies and projected numbers in 2025 dollars.
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), Production Budget $45M, RT Critics/Audience 59%/90%
- THE KARATE KID (6/22/1984) – Domestic Opening $5.0M/$15.4M* (931 locations), 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 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 finished in fourth place in its third weekend, with $10.8M in new sales, a drop of 44%. After 17 days, the film’s total box office stands at $111.7M domestic and $229.3M worldwide and has become the highest-grossing FINAL DESTINATION film out of the six movies in the franchise.
While THE FINAL DESTINATION earned $186.2M in 2009, its inflation-adjusted total comes up to $278.4M, and BLOODLINES is unlikely to match that amount. However, the current film will still be very profitable, as all the movies in the franchise have been, and its current ratio of 4.6 to 1 comparing worldwide gross to production cost will only continue to improve as it continues its run.
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 17-Day $111.7M, 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 17-Day $58.3M/$87.2M*, 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
A24’s horror film BRING HER BACK opened in fifth place this weekend with $7.1M domestic in its first three days and $8.1M worldwide. Brothers Danny and Michael Philippou created this film, and they are best known as the team who created the YouTube channel “RackaRacka,” which is known for energetic dance videos. They also made the 2023 horror hit TALK TO ME, also from A24, which grossed $48.3M domestic and $92.0M worldwide on a production budget of only $4.5M.
The plot of BRING HER BACK deals with two siblings, Andy and Piper, who, after their father’s sudden death, are placed in foster care with a stranger, Laura. As they settle into her secluded home, they uncover a terrifying ritual that threatens their lives and sanity. Two-time Oscar nominee Sally Hawkins (Best Actress in THE SHAPE OF WATER from 2018 and Best Supporting Actress in BLUE JASMINE from 2014) stars as Laura.
Billy Barratt, the youngest actor to win an International Emmy Award (Best Actor as Ray in BBC 2’s Responsible Child), plays Andy, a teenager grappling with grief. Sora Wong makes her feature acting debut as Piper, Andy’s visually-impaired stepsister. Wong is also blind in real life, bringing authenticity to the role. Similar to FINAL DESTINATION: BLOODLINES, the film uses practical effects to create visceral horror sequences, continuing the directors’ preference for tangible scares.
Critics have given the film a 90% score on Rotten Tomatoes, while audiences have come in with a 79% rating. Vogue praises the film as a haunting and thought-provoking addition to the horror genre. The film adopts a darker and more mournful tone compared to the Philippou brothers’ previous work in TALK TO ME. Sally Hawkins delivers a chilling performance as Laura, a grieving foster mother with a sinister plan.
The movie’s atmosphere and psychological dread ensure a lingering impact. Time describes the movie as a harrowing supernatural horror film that delves into trauma, grief, and obsession. The film’s relentless tone escalates to a tragic climax, with intense performances and an unflinching portrayal of grief’s destructive power.
The Daily Beast commends the Philippou brothers for their mastery of horror, balancing character-driven drama with terrifying visuals. Sally Hawkins’ performance brings psychological nuance to the film, deepening its emotional complexity. The directors continue to explore new narratives, including a potential sequel to TALK TO ME. As always, not everyone fell in love with the film.
The Atlantic notes that while BRING HER BACK attempts to marry gruesome horror with psychological depth, it struggles with its thematic messaging. Sally Hawkins shines in her role, using her typically warm screen presence to unsettling effects. However, the film’s exploration of child abuse and trauma feels muddled and overly reliant on shocking plot twists.
Its production budget of $4.5M is virtually the same as the amount it took to make TALK TO ME. While no one expects BRING HER BACK to match the heights of TALK TO ME, it only needs to earn $11M in worldwide gross to be profitable. Based upon its opening domestic weekend total of $7.1M, it will hit that milestone quickly, perhaps within the first week of its release. Here is a chart comparing TALK TO ME and BRING HER BACK.
BRING HER BACK vs. TALK TO ME
- BRING HER BACK (5/30/2025) – Domestic Opening $7.1M (2,449 locations), Budget $4.5M, RT Critics/Audience 90%/79%%
- TALK TO ME (7/28/2023) – Domestic Opening $10.4M (2,340 locations), Domestic Total $48.3M, Worldwide Total $92.0M, Budget $4.5M, RT Critics/Audience 94%/83%
Where Are We as of May 29
After the 21st week of 2025, the domestic box office stands at 124% compared to 2024 totals and 71% compared to 2019. It’s worth noting that last weekend’s record results pushed these percentages up by 8% compared with 2024 and 5% against 2019.
