7/3-7/5: Family Film Duo of MINIONS & MONSTERS and TOY STORY 5 Dominates July 4th Holiday Weekend

Jul 5, 2026

MINIONS & MONSTERS claimed the top spot over the Independence Day holiday weekend by earning $36.4M from Friday to Sunday, after its head start on Wednesday and Thursday. All movies in release sold $121.3M, compared to last year’s July 4^th holiday total of $155.6M, which was led by JURASSIC WORLD: REBIRTH’s $92.0M opening.

The Independence Day holiday presents certain challenges for moviegoing, as potential customers are occupied with family barbecues, community parades and fireworks and other celebrations. This year, two significant factors influenced the comparison to last year’s box office. Whereas last year’s July 4^th fell on a Friday, the holiday this year came on Saturday, typically the best day for movie ticket sales of the week. As a result, the holiday may have limited some of the box office revenue that would otherwise be expected for a Saturday. On the bright side, this year’s weather was blazingly hot from the Midwest to the Northeast, which may have encouraged the public to seek some relief in the air-conditioned auditoriums of their local theatre. No matter how hot it was, the July 4^th 2026 box office was not able to measure up to 2025.

With the calendar having shifted to third quarter, the industry enters the heart of the summer season with considerable momentum and optimism for what lies ahead. The next four weeks come with an impressive lineup of major new releases, including MOANA (7/10), THE ODYSSEY (7/17), and SPIDER-MAN: BRAND NEW DAY (7/31). These tentpoles will fuel the summer box office and bring good cheer throughout the rest of the third quarter.

THE LAST FOUR WEEKS – 2026 vs. 2025

#1 – MINIONS & MONSTERS

Universal and Illumination’s MINIONS & MONSTERS, the latest sequel in the animated franchise, finished in first place with $36.4M domestically. Having opened on Wednesday, its five-day totals stand at $63.4M domestically and $159.9M globally, which is a disappointing 48% lower than the five-day domestic opening totals of DESPICABLE ME 4, which also opened on the Wednesday before the July 4^th weekend in 2024.

MINIONS & MONSTERS is the seventh feature film in Universal and Illumination’s DESPICABLE ME/MINIONS series. The previous six films have earned $1.953B domestically and $5.634B globally, making it one of the most successful movie franchises of all time. Here are the box office details for the prior six films.

DESPICABLE ME/MINIONS Franchise History

Directed by Pierre Coffin, with Patrick Delage as co-director. Previously, Coffin was also involved as director or co-director of DESPICABLE ME (2010), DESPICABLE ME 2 (2013), MINIONS (2015), and DESPICABLE ME 3 (2017). The voice cast includes Pierre Coffin as the Minions, along with Allison Janney, Christoph Waltz, Jeff Bridges, Jesse Eisenberg, Zoey Deutch, Bobby Moynihan, Phil LaMarr, and Trey Parker.

Unlike previous movies in the franchise, MINIONS & MONSTERS turns away from the storyline of the Minions serving an evil mastermind to tell a story about their discovery of the magic of filmmaking. Set in 1920s Hollywood, the film follows the lovable yellow troublemakers as they accidentally become silent movie stars before attempting to produce their own monster movie. Their filmmaking ambitions quickly spiral out of control when they unleash real monsters, forcing the Minions to save the world from the chaos they have inadvertently created. The result is an adventure that blends slapstick comedy, classic horror, and a heartfelt celebration of the birth of the movie industry.

What makes MINIONS & MONSTERS so different from every previous film in the series is its focus on creativity. Earlier stories centered on the Minions assisting colorful supervillains, from Scarlet Overkill to a young Gru. This time, their motivation is artistic, steeped in the nostalgia of Hollywood in the era of silent films. By turning the Minions into filmmakers, Illumination delivers its most creative and visually inventive chapter yet, broadening the series beyond its familiar formula of dutiful henchmen while maintaining the anarchic humor and nonstop physical comedy that have made the Minions a worldwide hit.

This dramatic plot shift risks alienating its core audience, who could arrive expecting to see another episode of the traditional formula for the series. Younger audiences might not understand the many silent-film references, while critics could view the concept as an unnecessary departure from the proven strengths of the series. The good news is that MINIONS & MONSTERS is receiving some of its best reviews in franchise history. On Rotten Tomatoes, critics have given the movie a grade of 91% while audiences have chimed in with a 76% rating. The New York Post said, “Minions, while the opposite of realistic, are a rarity in the constructed world of animation. The viewer leaves really believing that those little dandelion CGI blobs had a blast making their movie, and they can’t wait for the next one.” The Film Verdict opined, “I wasn’t expecting a reference to the 1895 short Workers Leaving the Lumière Factory in Minions & Monsters, but it just goes to show that, even in their seventh big-screen outing, those miniature yellow blobs still have some surprises up their sleeves.” The Detroit News felt, “Minions & Monsters is spirited fun, romping its way through the annals of cinema history and wrapping itself up before overstaying its welcome.” Slant Magazine said, “The film does at least freshen up the series formula, slyly using the kid-favorite Minions to smuggle in a celebratory message about the theatre-going experience and the enduring power of cinema.”

The film cost $85M to make, a franchise low after aligning all numbers to account for inflation over time. This means that MINIONS & MONSTERS should reach profitability after earning $215M in global ticket sales. Even though Universal had hoped for a higher domestic opening 5-day total than $63.4M, it will certainly reach profitability. For a comparison film, we go back to DESPICABLE ME 4 from 2024, the last entry in the franchise.

MINIONS & MONSTERS vs. DESPICABLE ME 4

#2 – TOY STORY 5

TOY STORY 5 from Disney and Pixar slid into second in its third weekend by bringing in $31.0M, a decline of 56%. This brings its 17-day totals to $366.3M domestically and $764.3M globally. Its 56% drop from last weekend results from the direct hit it took from MINIONS & MONSTERS, which opened this weekend and appeals to a similar audience. TOY STORY 5 will take another blow next weekend when MOANA opens. As it stands now, after 17 days in release, this latest chapter of the TOY STORY saga is the highest grossing movie in the series. The question remains, can it stay that way after MOANA, yet another family film, arrives next weekend to challenge it? At that point, studios will have three high-profile family-oriented movies on offer, vying for the same demographic.

The initial success of TOY STORY 5 shows the deep affection moviegoers have for the 31-year-old franchise. The updated storyline that introduces a tech-focused iPad rival to the traditional toys seems to be resonating with audiences, who have given the film a 95% rating on Rotten Tomatoes. After this weekend, the movie has crossed the $625M global gross target to make it profitable from ticket sales.

While Disney and Pixar have yet to make a public statement about another sequel in the works, the financial success of this film would seem to justify at least one more film. Andrew Stanton, the director of TOY STORY 5 and a key creative force behind the franchise, has been the most optimistic about the potential for more TOY STORY movies. In recent interviews, he said that he believes there could be “two more movies’ worth” of stories left to tell, adding that the characters could continue evolving through new owners and stages of life. While he emphasized that nothing has been decided, he clearly does not view TOY STORY 5 as a final chapter. Tom Hanks, the voice of Woody, recently said he would only return if another installment offered something “great, new, and fresh.” He acknowledged the franchise’s commercial strength but said another sequel should exist because of its story—not simply because it would make money.

We suspect that the creative team at Pixar is already in discussions about possible storylines for the next TOY STORY. As Stanton indicated, he clearly does not see TOY STORY 5 wrapping up the franchise. TOY STORY is one of the few franchises that has earned the chance to conclude on its own terms, giving audiences the opportunity to enjoy their favorite characters while delivering an emotionally fulfilling farewell.

TOY STORY 5 vs. TOY STORY 4 after 17 Days

#3 – YOUNG WASHINGTON

YOUNG WASHINGTON, the historical action-drama distributed by Angel Studios, grossed $20.8M domestically in its opening weekend, finishing in third place. Jon Erwin directed and co-wrote YOUNG WASHINGTON. Erwin is best known for directing I CAN ONLY IMAGINE (2018), AMERICAN UNDERDOG (2021), JESUS REVOLUTION (2023) and ORDINARY ANGELS (2024). His films frequently blend inspirational themes with historical or real-life stories. YOUNG WASHINGTON explores the formative years of George Washington during the French and Indian War, decades before he became commander of the Continental Army and the first President of the United States. Rather than focusing on Washington after he had become a legendary figure, the film depicts him as an ambitious, inexperienced young officer whose early military successes and failures helped shape his leadership. The film premiered on June 13^th at the Tribeca Festival in New York, before opening in theatres across the country on July 3^rd.

The character of George Washington is played by William Franklyn-Miller, taking on his first headline role in a major studio feature. Supporting roles are played by Ben Kingsley, Andy Serkis, Kelsey Grammer and Mary-Louise Parker. Kingsley is best known for his performances in GANDHI from 1982, SCHINDLER’S LIST from 1993 and the IRON MAN films throughout the 2000’s. Serkis gained fame in THE LORD OF THE RINGS trilogy, THE BATMAN from 2022, and KING KONG from 2005. Grammer played Frasier Crane in the famous 1990’s TV series Frasier, as well as starring in X-MEN: THE LAST STAND from 2006. Parker starred in the Showtime series Weeds, FRIED GREEN TOMATOES from 1991 and RED from 2010.

The movie is set during the French and Indian War and follows Washington as he confronts military setbacks, political intrigue, and life-or-death decisions that test his courage and character. Along the way, he learns invaluable lessons about leadership, humility, and perseverance while earning the respect of both allies and rivals. By chronicling the hardships that shaped his moral compass and strategic brilliance, the film presents the origins of the man who would later command the Continental Army and become America’s first president.

Critics seem to agree that the film is only so-so, standing with a rather poor 58% rating on Rotten Tomatoes. Audiences have a better opinion at 92%. Here are some excerpts from the critics’ reviews. The Hollywood Reporter said, “Feeling much longer than its two hours, Young Washington suffers from the stiff, stodgy quality of so many historical dramas, especially those concerning that particular period of history.” Variety felt, “Young Washington is just competent enough to create that crisp tug of schoolkid patriotism the books we read as children provided. Nothing wrong with that, as long as you’re not an adult confusing feel-good heroism with the lessons of history.” The Wall Street Journal simply states, “Most of the characters are flat, and the portrayals are stagey.” While not giving an overall positive review, The Film Verdict does complement the film’s action scenes by saying, “Erwin’s most impressive achievements here are the battle sequences; between Kristopher Kimlin’s photography and David de Vos’ editing, they capture both the chaos of war and the specific fighting styles of the era.”

YOUNG WASHINGTON has an estimated production cost of $25M, which is in line with the spending on other major releases from Angel Studios. This means profitability will require $63M in worldwide ticket sales. On the one hand, Angel now counts 2.2M Angel Guild Members who should provide some support for this movie. On the other hand, YOUNG WASHINGTON’s U.S.-centric story will not generate much interest from international markets. Based on its opening weekend of $20.8M, it will need to hang in for most of July to reach that number.

For a comparison film, we have chosen THE PATRIOT from 2000. While Mel Gibson in his prime gave that film a financial edge, both films are period epics set in colonial America, feature realistic battle sequences, examine the birth of American leadership, and appeal to audiences interested in U.S. history, patriotism, and inspirational historical figures. While THE PATRIOT is fictionalized and set during the Revolutionary War, YOUNG WASHINGTON serves as a prequel of sorts to that era by depicting the military experiences that molded George Washington decades earlier.

YOUNG WASHINGTON vs. THE PATRIOT

#4 – SUPERGIRL

Warner Bros. and DC Studios’ SUPERGIRL fell to fourth place in its second weekend with $9.6M in new sales, a very steep decline of 74% from last weekend’s disappointing $38M opening. This brings its 10-day totals to $58.5M domestically and $100.5M worldwide. This is the second movie released under the new DC Universe, following last year’s successful relaunch of SUPERMAN. While DC’s leaders James Gunn and Peter Safran had hoped the character of SUPERGIRL could become a new attraction in their studio’s arsenal, Safran has acknowledged that the movie “didn’t meet our box office expectations.” But Safran also emphasized that the DCU roadmap remains intact, supporting their filmmaker’s vision of an interconnected, multi-year series of films that will include CLAYFACE, LANTERNS, and MAN OF TOMORROW.

The immediate problem is that SUPERGIRL cost a very expensive $170M to produce, which projects out to a target global box office of $425M to turn a profit. After seeing results from its first 10 days in theatres, we expect SUPERGIRL to finish with a sizeable loss of $100M or more. This comes at a time when Paramount is finalizing its $111B takeover of Warner Bros. and surely Paramount hoped to see more from a major release out of DC Studios, a prime asset in Warner Bros.’ portfolio.

SUPERGIRL vs. LOGAN after 10 Days

#5 – DISCLOSURE DAY

DISCLOSURE DAY, Steven Spielberg’s sci-fi drama from Universal, slotted into fifth place this weekend after bringing in $6.0M in new sales and falling only 24%. After 24 days, the film’s totals are $101.5M domestically and $216.6M worldwide. After suffering steep declines in the past two weekends, the 27% drop this weekend is a welcome sign that the picture may still have some life ahead of it and convince most exhibitors to keep it playing on their screens for another week or two. Next weekend has no new release vying for the same audience, but Christopher Nolan’s THE ODYSSEY opens on 7/17, and its arrival will surely spell the end of DISCLOSURE DAY’s box office run.

DISCLOSURE DAY cost $115M to produce, projecting out to a target break-even figure of $290M in global box office, which it will not reach. No one is laying the lack of box office performance of DISCLOSURE DAY on Spielberg’s doorstep. At age 79, Spielberg has made it clear he has no plans to retire. In recent interviews, he said he doesn’t think about how many films he has left to make and prefers to focus on projects that genuinely inspire him. He currently is attached to several new projects: the director and producer of an Untitled Western in early stages of development, the executive producer of GREMLINS 3 slated for 2027, producer of a film titled BIG TREE and producer of DEATH OF A SALESMAN.

DISCLOSURE DAY vs. CONTACT after 24 Days