9/25-9/27: AVENGERS: ENDGAME Returns to the Top with an ENCORE Re-Release

Sep 27, 2026

Seven and a half years after its chart-busting 2019 run, Marvel’s AVENGERS: ENDGAME is once again the #1 movie in theatres, selling $26.0M in new tickets in its re-release weekend. With assistance from Paramount’s HEART OF THE BEAST, A24’s PRIMETIME, and Universal and DreamWorks’s FORGOTTEN ISLAND, the total box office for all films was a solid $124.0M. This was 66% higher than the $74.6M earned last year on this same weekend, when Warner Bros.’ ONE BATTLE AFTER ANOTHER with a $22.0M opening was the top movie in theatres. That this happened in the midst of a Nor’easter storm crashing through New Jersey, New York and New England makes ticket sales over the last three days even more impressive.

This is the second weekend in a row to come out ahead of the matching weekend last year. 2026 has outperformed 2025 in seven of nine weekends since SPIDER-MAN opened on July 31st. Looking at the upcoming release schedule, we expect 2026’s winning ways to continue until Thanksgiving. This would add up to a remarkable streak of 16 out of 18 2026 weekends earning a higher box office than last year, unquestionable proof of the power of this year’s film slate. Here are the box office numbers for the last four weeks, comparing 2026 to 2025.

THE LAST FOUR WEEKS – 2026 vs. 2025

#1 – AVENGERS: ENDGAME ENCORE

AVENGERS: ENDGAME ENCORE, a special re-release of Marvel’s AVENGERS: ENDGAME from 2019, brought in $26.0M domestically and $86.0M worldwide. Disney is using this event to reconnect audiences with the conclusion of the Infinity Saga and build anticipation for their upcoming AVENGERS: DOOMSDAY release, which is scheduled to open on December 18th in slightly less than three months. The ENCORE re-release includes footage tied to the upcoming film, with an additional preview for audiences seeing it in IMAX and Disney’s newly certified Infinity Vision premium large format auditoriums.

The connection between ENDGAME and DOOMSDAY goes beyond a familiar cast. Joe and Anthony Russo directed ENDGAME in 2019 and return this year for DOOMSDAY. Joe Russo has described the added footage as a bridge between the two stories. Robert Downey Jr.’s return as Doctor Doom, following Tony Stark’s death in ENDGAME, gives fans another reason to revisit the 2019 film and speculate about what comes next. The re-release does not, however, establish how those two characters are connected.

The campaign also gives exhibitors a special event to feature at their theatres. Disney announced that their re-release would have a custom introduction, new footage and a post-credits sequence, with additional material reserved for IMAX and Infinity Vision screenings. Infinity Vision is Disney’s certification for premium large format auditoriums, intended to help ticket buyers find screens with the highest standards of presentation. AVENGERS: ENDGAME ENCORE gives the Infinity Vision program a prominent launch ahead of DOOMSDAY while allowing Disney to gauge demand for the new release from Marvel’s most committed fans.

While most major reissues come out on an anniversary of the original, the timing for this one was intended to build interest in Disney’s upcoming DOOMSDAY release. Whatever amount Disney spent to market the ENCORE re-release is money well spent, generating a return from new ticket sales this weekend and getting audiences ready for the upcoming DOOMSDAY release. With this weekend’s opening of $26.0M, the AVENGERS: DOOMSDAY ENCORE has already taken its rightful place on the list of top-grossing re-releases of all time.

Top 5 Domestic Re-Releases of All Time

We have chosen the 1997 re-release of STAR WARS EPISODE IV: A NEW HOPE as our comparison film. It came out on the twentieth anniversary of the iconic film’s 1977 original release and is still the top-grossing re-release of all time.

AVENGERS: ENDGAME ENCORE vs. STAR WARS: EPISODE IV – A NEW HOPE Re-Release

#2 – RESIDENT EVIL

Sony’s RESIDENT EVIL finished in second place with an additional $23.3M in its second weekend, a drop of 61% from last week’s stellar opening. This brings its ten-day totals to $103.5M domestically and $196.5M worldwide. Its domestic numbers are already higher than any of the seven previous RESIDENT EVIL movies, even after adjusting those original numbers to account for inflation. Having spent $75M to make the movie, it needed to earn at least $188M in worldwide ticket sales to reach profitability, and its 10-day haul of $196.5M has already pushed it past that milestone.

One strength of the franchise has been its ability to do well in foreign markets, with 78% of the gross for the seven RESIDENT EVIL films to-date coming from outside of North America. By contrast, this year’s RESIDENT EVIL has earned 47% of its worldwide gross from foreign markets. Sony execs are not yet fretting about this apparent underperformance, because the new film has not yet opened in China. That release will come on October 5th, during China’s week-long National Day holiday period, which runs from October 1 to 7. In 2017, Chinese audiences showed keen interest in RESIDENT EVIL: THE FINAL CHAPTER, which sold $161.5M in tickets in China alone, amounting to 52% of the film's total worldwide gross. If the new RESIDENT EVIL has anywhere near that appeal to today’s Chinese audiences, it will push the total worldwide box office to new heights for the franchise. The chart below recaps the franchise's box office history.

RESIDENT EVIL Movie Franchise

Here is a comparison with RESIDENT EVIL: AFTERLIFE, the previous franchise leader in domestic sales.

RESIDENT EVIL vs. RESIDENT EVIL: AFTERLIFE after 10 Days

#3 – HEART OF THE BEAST

Paramount’s action survival movie HEART OF THE BEAST opened to $20.0M and $50.1M worldwide. David Ayer directs from a screenplay written by Cameron Alexander. Ayer previously directed END OF WATCH (2012), FURY (2014), SUICIDE SQUAD (2016) and THE BEEKEEPER (2024). The film reunites him with FURY star Brad Pitt, whose credits include SE7EN (1995), ONCE UPON A TIME… IN HOLLYWOOD (2019) and F1 (2025). J.K. Simmons, known for WHIPLASH (2014) and SPIDER-MAN (2002), and Anna Lambe, who appeared in THE GRIZZLIES (2018), have supporting roles. Pitt plays James Belmont, a former Special Forces soldier whose plane crashes in the Alaskan wilderness. Stranded with his retired combat dog, Odin, he must cross dangerous terrain while relying on the bond they formed in service. New Zealand’s South Island stood in for the Alaskan wilderness.

While the cast is first-rate, the dog is the true star of the movie. Animal trainer Andrew Simpson searched across both main islands of New Zealand to find the dog who would play Odin. The lead dog, Uber, had worked in search and rescue and was already accustomed to helicopters. Uber shared the role with three of his sons, each trained for specific tasks such as swimming, running, or working at height. Pitt spent time with Uber before filming to earn his trust and kept boiled chicken in his pockets to help hold Uber’s attention during scenes. The canine performers received makeup for Odin’s scars, a costume, and even a sound pack.

Pitt has commented publicly about his experience of working with Uber and his three sons. In a behind-the-scenes featurette, Pitt jokingly called Uber “number one on the call sheet” and “the star of the film.” When Uber looked away during their interview, Pitt said that following the dog’s lead and “improvising” was “really how we do scenes.” He called the experience “surprisingly special.” At the premiere, when asked to rank Uber among his famous co-stars, Pitt joked: “It’s definitely Morgan and Anthony and then Uber.” He of course meant Morgan Freeman and Anthony Hopkins, adding that they were all in the same category.

Critical reception has been strong. Rotten Tomatoes currently rates it at 87% from critics’ reviews and 94% from the audience. Here are some of the critics' comments. The San Francisco Chronicle said, “While the film is certainly a testament to nature’s enduring majesty and mystery, it’s just as much a monument to Brad Pitt’s movie-star magnetism, undiminished after more than three decades perched atop Hollywood’s A-list.” The Film Verdict felt that “Ayer and Alexander aren’t reinventing the wheel when it comes to survival tales, but they do so with unsparing efficacy, delivering moments of both suspense and compassion.” The Associated Press weighed in with, “It never strays far from the formula, but while often predictable, occasionally implausible and sometimes even straight propaganda, it’s an effectively thrilling adventure and Pitt can shed a tear (actually, many) like the best of them.” Not every critic liked the film, as the Tribune News Service said the movie “Has its highs and lows but cinematically, it’s a mixed bag — entirely predictable and just not great.”

The film was expensive to make, with an estimated production cost of $82M. As a result, it will need to bring in at least $200M in global box office to be profitable from its theatrical run. Brad Pitt does not come cheaply, and it is estimated he was paid as much as $20M as the headline star of the film and for his producer credit. On the other hand, having his name on the film should help carry it around the globe, as he is one of the most recognizable and bankable stars working today. After a domestic opening of $20.0M, the film will have to hold up for several additional weeks to approach the $200M bogey.

The best comparable movie to HEART OF THE BEAST is MGM’s DOG in 2022. That movie has a recognizable male star in Channing Tatum, focused on the emotional relationship between a former soldier and a service dog. It did well over a long run in theatres, amounting to a ratio of its opening weekend box office to total sales of 4.15 to 1.

HEART OF THE BEAST vs. DOG

#4 - PRIMETIME

PRIMETIME from A24 finished in fourth place in its opening weekend by bringing in $19.2M domestically. PRIMETIME is A24’s dramatization of the making of NBC’s “To Catch a Predator” TV series. Set in 2006 and inspired by reporting on a Texas sting operation, it follows host Chris Hansen as the program’s success raises the pressure to deliver a bigger television event. The film uses fictionalized members of his team to examine the uneasy mix of journalism, law enforcement, ratings and personal ambition.

It must be noted that Chris Hansen did not participate in making PRIMETIME and publicly questioned its portrayal of him before the film’s release. Hansen has sharply criticized PRIMETIME for using his name and likeness in a dramatized account of “To Catch a Predator”. Before seeing the finished film, he questioned why the filmmakers would identify him in what director Lance Oppenheim described as a fever dream. Hansen asked in an interview last week with USA TODAY, “If it is a fever dream, why was it important that he used my name, image and likeness?” He disputed scenes he had seen or learned about, saying, “I never yelled at my staff. I never sat shirtless in front of a Hollywood theatrical mirror in a dressing room.” He called the portrayal “a complete work of fiction.”

Hansen has separated his objections to the film from his opinion of its star. “I have no problem with Robert Pattinson; he’s a very talented actor and he does a great job,” he said. His concern is that viewers may mistake invented behavior as the reality of how he and his colleagues worked. After seeing PRIMETIME in a theatre, Hansen remained unconvinced, describing it as “so bizarre and so in-and-out of reality” and adding, “I’m not sure what the point of it was.”

Lance Oppenheim makes his narrative feature debut as a director after having made the documentaries SOME KIND OF HEAVEN (2020) and SPERMWORLD (2024). Robert Pattinson, known for THE BATMAN (2022) and MICKEY 17 (2025), plays Hansen and also produces. Merritt Wever, who appeared in MARRIAGE STORY (2019), plays fictional producer Andie Bender. Skyler Gisondo, seen in BOOKSMART (2019) and SUPERMAN (2025), plays decoy actor Dan Plumb. Anna Faris plays Mary Hansen, while singer Phoebe Bridgers plays Del.

Reviewers have been quite positive about the film, with an 87% critic’s rating on Rotten Tomatoes, while audiences are also impressed with an 80% score. Here is a sampling of the critics' comments. Rolling Stone felt, “Primetime recounts how this show didn’t create a sense of collective bloodlust; it just rode a wave that was already there. Then it tells us we’re free to go, knowing what awaits us right outside the front door.” The New York Post said, “Gung-ho Pattinson explodes as the host’s life falls apart and he descends into madness. However, it’s more of a good time than a profound one.” Variety graphically stated, “This uncompromisingly grimy approach would be actively repellent were it not for the extraordinary performances, which make ‘Primetime’ a thing you cannot stop watching even as the desire to flee to the nearest shower cubicle grows.” The Wall Street Journal slammed the film by saying, “The movie, only barely delving into its subject’s troubling complexity, ends up flashy and glib, a loosely fact-based fantasia that can’t transcend its own shallowness.”

With a lean production budget of only $15M, the film is well positioned to produce a healthy theatrical profit, needing only $38M in worldwide box office revenue to reach theatrical profitability. . After earning $19.2M in its first three days, the film will become another strong financial performer for A24, adding to the distributor’s growing library of profitable releases.

For a comparison film, we are using NIGHTCRAWLER. Both are dark, star-led thrillers about the incentives behind sensational television. In NIGHTCRAWLER, Jake Gyllenhaal is a freelance cameraman called a stringer, who films crime scenes and accidents with a ‘the more gruesome, the better’ attitude. He then sells the footage to a local TV station.

PRIMETIME vs. NIGHT CRAWLER

#5 - FORGOTTEN ISLAND

Universal and DreamWorks’ animated fantasy FORGOTTEN ISLAND, opened in fifth place with $12.8M domestically and $20.6M globally. The film is an original adventure produced by DreamWorks and distributed by Universal. It is the 50th theatrical release of an animated movie by DreamWorks. Writers and directors Joel Crawford and Januel P. Mercado previously worked together on PUSS IN BOOTS: THE LAST WISH (2022). Crawford also directed THE CROODS: A NEW AGE (2020); FORGOTTEN ISLAND is Mercado’s first feature as a credited director. Their story draws on Filipino folklore and their own long friendship.

The voice cast is led by Gabriella Wilson, also known as H.E.R., which stands for “Having Everything Revealed.” She is an American R&B singer, songwriter and guitarist who has won five Grammys and an Oscar. In FORGOTTEN ISLAND, she voices Jo and Liza Soberano; in LISA FRANKENSTEIN (2024), she voices Raissa. The two lifelong friends, about to take separate paths after high school, enter the mythical island of Nakali during their last night together. To get home, they face creatures from their families’ stories—including the feared Manananggal, voiced by Lea Salonga—and learn that escape could cost them every memory of their friendship. Dave Franco, known for THE DISASTER ARTIST (2017), voices their weredog companion Raww; Dolly de Leon of TRIANGLE OF SADNESS (2022) voices Jo’s grandmother. The cast also includes Jenny Slate of MARCEL THE SHELL WITH SHOES ON (2021) and Manny Jacinto of TOP GUN: MAVERICK (2022).

Critical reception is exceptionally strong so far and is typical for a DreamWorks-made production. Rotten Tomatoes lists a 94% on the Tomatometer. Audiences give it 96%. Here is what critics are saying. The San Francisco Chronicle said, “The inventive animation and Filipino folklore give the adventure color, while the friendship delivers an unusually affecting ending.” TheWrap felt, “The film is gorgeous and often funny, though its relentless visual energy can become overwhelming.” The Reveal offered up, “Its colorful adventure becomes genuinely moving because it takes Jo and Raissa’s friendship seriously.” The Guardian was not a fan, opining, “The frantic pace leaves too little room for the characters to breathe, making the experience feel emotionally empty.”

The film has a reported production cost of $80M, a tightly controlled budget for a typical DreamWorks production. However, the $80M cost will require $200M in worldwide ticket sales to get to theatrical profitability. The $12.8M opening is a disappointment, placing the ultimate fate of this picture in jeopardy. Out of the 50 animated films made for theatrical release by DreamWorks, this is their 6th lowest opening of all time. Its positive Rotten Tomatoes scores may not be enough to boost the film’s grossing potential over the next several weeks. While it may be the only animated family film in the market for a while, eleven pictures are opening wide in the next few weeks, which will put tremendous pressure on the film’s ability to hold onto its complexes and screens.

THE WILD ROBOT (2024) is a useful DreamWorks comparison. It is an original animated adventure sold on visual imagination and an emotional bond, though FORGOTTEN ISLAND’s Filipino setting gives it an added distinct appeal.

FORGOTTEN ISLAND vs. THE WILD ROBOT