GODZILLA MINUS ZERO… Plus One Equals Number 1
GODZILLA MINUS ZERO from GKIDS jumped to the top of the box office in its North American debut with a weekend total of $31.6M. Add in $20.5M from Warner Bros.’ THE CAT IN THE HAT in its opening, the two films led a strong rebound from last weekend’s Halloween slump, posting another year-over-year weekend victory for 2026. The 45th weekend of 2026 produced $121.7M, compared to $81M last year when PREDATOR: BADLANDS led the way with $40M in its opening.
2026 has finished ahead of 2025 in 12 out of the past 15 weekends. This consistent year-over-year success underlines this year’s sustained strength. If the box office for each weekend over the past 15 had a 50-50 equal chance of exceeding that from last year’s matching weekend, the probability of 2026 winning 12 out of 15 times would be only 1.76%, or about 1 in 57. The habit of moviegoing appears to have taken root, extending well beyond the headlining blockbusters of SPIDER-MAN: BRAND NEW DAY and THE ODYSSEY.
We are holding to our end-of-year forecast of $10.3B in total domestic box office, which would make 2026 20% higher than 2025’s $8.55B. Next weekend the holiday spirit kicks off with Paramount’s EBENEZER, a new take on Dickens’ classic A Christmas Carol. On 11/20, Lionsgate will bring out THE HUNGER GAMES: SUNRISE ON THE REAPING, the next installment of one of the most successful movie franchises of all time after the Marvel and DC universes. Finally, on Wednesday 11/25 on the day before Thanksgiving, moviegoers will be have the option to laugh at Universal’s FOCKER-IN-LAW sequel and Disney Animation’s supernatural fantasy HEXED.
While this year’s Thanksgiving lineup should be strong, it will need to be to measure up with last year’s combination of ZOOTOPIA 2 and WICKED: FOR GOOD that produced a three-day weekend total of $188.7M. We expect this year’s grosses to come close to that number.
The previous four weeks from 10/9 to 11/5 have performed at a very healthy clip, up 31%in box office and 28% in attendance compared with the same four weeks last year.
THE LAST FOUR WEEKS
– 2026 vs. 2025
#1 - GODZILLA MINUS ZERO
GODZILLA MINUS ZERO from GKIDS was the #1 movie in theatres in its opening weekend, ringing up $31.6M at the box office and $63.0M globally. This film is the direct sequel to GODZILLA MINUS ONE from 2023. Toho Studios announced the project in November 2024 and revealed its title in November 2025. Toho and Robot Communications handled production, with Shirogumi creating the visual effects. Shot entirely in Japan, it is the first Japanese production filmed specifically for IMAX, using IMAX-certified digital cameras. GKIDS, acquired by Toho in 2024, distributes the film in North America. It opened in Japan on November 3rd and followed in North American three days later on November 6th, the first same-week release in these markets for a Japanese-produced Godzilla feature.
Toho’s GODZILLA is the longest continuously running movie in cinematic history. The original GODZILLA movie premiered on November 3, 1954 and celebrated its 72nd anniversary on Tuesday of this past week. Since then, Godzilla movies have grossed $2.9B in unadjusted-for-inflation worldwide ticket sales. GODZILLA MINUS ZERO reunites director, screenwriter and visual-effects supervisor Takashi Yamazaki, known for his work on RETURNER (2003 U.S. theatrical release), LUPIN III: THE FIRST (2020 U.S. release), and GODZILLA MINUS ONE (2023). His strength is integrating large-scale effects with recognizable human emotions, a combination that helped the previous film win the Academy Award for visual effects. He again holds the three central creative responsibilities, allowing the story, staging, and effects to develop together.
The central cast of GODZILLA MINUS ONE (2023) returns. Ryunosuke Kamiki plays as former kamikaze pilot Koichi Shikishima; American audiences also know his voice work in YOUR NAME (2017 U.S. commercial release) and SUZUME (2023). Minami Hamabe returns as Noriko, following GODZILLA MINUS ONE (2023) and SHIN KAMEN RIDER (2023). Sae Nagatani again plays their adopted daughter, Akiko. Returning supporting players include Hidetaka Yoshioka as engineer Kenji Noda, Yuki Yamada as Shiro Mizushima and Kuranosuke Sasaki as boat captain Seiji Akitsu. Significant additions include Masami Nagasawa, also a voice performer in YOUR NAME (2017), as meteorologist Makoto Aoyama, and Min Tanaka as scientist Kanji Murakami.
The story takes place in 1949, two years after the principal events of GODZILLA MINUS ONE (2023). Koichi, Noriko and Akiko are trying to establish a peaceful family life while Japan struggles to recover from the war and Godzilla’s destruction. A new creature, Ghidorah, threatens that recovery, forcing Noda’s disaster-response team to seek unconventional defenses. Godzilla’s eventual return creates a frightening possibility: humanity may need the monster responsible for its suffering to confront an even greater threat. The film expands its predecessor’s themes of survivor’s guilt, family responsibility and nuclear trauma while introducing tensions surrounding the American occupation.
Reception for the film has been positive, with the critics’ score on Rotten Tomatoes of 90% and audience rating of 96%. RogerEbert.com felt, “Minus Zero doesn’t quite reach the miraculous highs of its predecessor, but the old boy still has plenty of bite.” The Guardian raved that, “The movie’s extended climax features some of the most majestic CG monster action put to film.” Time Out liked the film with one desired tweak: “That final showdown, when it comes, is well worth the wait. If only it had been a bit shorter.” Finally, The Film Verdict praises the sequel for expanding the franchise’s possibilities while preserving its “appeal and exhilaration.”
The production cost of GODZILLA MINUS ZERO is estimated to have been $20M. This modest sum was sell spent, considering the nearly universal praise for the film’s special effects. The movie only needs to earn $50M in worldwide ticket sales to break even, which it has already achieved in its first week.
The natural comparison film for the sequel is its direct predecessor GODZILLA MINUS ONE from 2023. A comparison of the two movies will tell us whether the 2020’s reboot of the franchise is growing in popularity or in decline.
GODZILLA MINUS ZERO vs. GODZILLA MINUS ONE
#2 - THE CAT IN THE HAT
THE CAT IN THE HAT from Warner Bros. finished in second place in its opening with $20.5M in domestic sales and $30.5M globally. This is the Dr. Seuss character’s first fully animated theatrical feature. It reimagines the story from the 1957 book rather than continuing the plot in the 2003 live-action movie THE CAT IN THE HAT that preceded it. Warner acquired the animation rights in 2018, and DNEG Animation joined the production in 2024. The film launches the newly branded Warner Bros. Pictures Animation’s theatrical slate and is intended to establish a larger world of Dr. Seuss children’s book adaptations.
The only previous theatrically released feature film focused on The Cat in the Hat character was DR SEUSS’ THE CAT IN THE HAT, released by Universal on November 21, 2003. That movie opened with a 3-day North American box office of $38.3M and went on to earn $101.1M domestically and $134.0M worldwide. Directed by Bo Welch and starring Mike Myers, its production cost was $109.0M, making its limited international appeal at only 25% of its total gross particularly disappointing. Its critical reception was also poor, with a Rotten Tomatoes critic’s score of only 11% and 59% from audiences. This disappointment may explain the lengthy 23-year gap between films and the shift from live-action to animation. Because the two “The Cat in the Hat” books have sold over 24M copies, Warner Bros. clearly believed that the story still held the promise of being turned into a successful movie.
Erica Rivinoja and Alessandro Carloni directed the film and wrote its screenplay, with a screen story credited to Caroline Williams. Carloni previously co-directed KUNG FU PANDA 3 (2016) and held major story positions on HOW TO TRAIN YOUR DRAGON (2010) and HOW TO TRAIN YOUR DRAGON 2 (2014). Rivinoja makes her feature directing debut; her writing credits include CLOUDY WITH A CHANCE OF MEATBALLS 2 (2013) and BORAT SUBSEQUENT MOVIEFILM (2020). Producers Daniela Mazzucato and Jared Stern oversee the project, while Bill Hader serves as an executive producer.
Bill Hader voices the Cat, bringing experience from CLOUDY WITH A CHANCE OF MEATBALLS (2009), INSIDE OUT (2015) and FINDING DORY (2016), alongside his television work on “Saturday Night Live” and “Barry.” Xochitl Gomez, known for DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2022), voices Gabby; newcomer Tiago Martinez plays her younger brother, Sebastian. America Ferrera, whose best-known films include HOW TO TRAIN YOUR DRAGON (2010) and BARBIE (2023), voices their mother, Carmen. Matt Berry, a voice performer in THE WILD ROBOT (2024), plays their fish, Waffles. Quinta Brunson, best known for “Abbott Elementary”, plays Sherrie from human resources; Giancarlo Esposito voices the Cat’s boss, Mr. Hoogeboom. Bowen Yang, Tituss Burgess and Paula Pell round out the principal ensemble.
The story expands the familiar rainy-day visit by The Cat in the Hat character into an adventure about family upheaval and imagination. The Cat works for the Institute for the Institution of Imagination and Inspiration, an organization that sends unusual agents to cheer up children. His enthusiasm produces excellent happiness ratings but disastrous mess ratings, leaving his job—and magical hat—in jeopardy. His final assignment involves Gabby and Sebastian, who resent moving to a new home after their mother changes jobs. A stolen time-reversing device, the Go-Backer, draws them into fantastical worlds within their moving boxes, where the siblings confront their feelings about their mother, each other and the life they left behind.
Critical reception has been varied, with critics on Rotten Tomatoes giving it a 46% grade while audiences were more satisfied with their 87% Popcornmeter score. Here is a sampling of critics' reviews. The Hollywood Reporter opined, “The film, while an improvement over the misbegotten 2003 live-action version starring Mike Myers, proves more taxing than enjoyable.” Variety felt, “You can feel the film working too hard to turn him into an ingratiating mascot.” They find Hader’s friendly interpretation insufficiently mischievous. TheWrap said, “The film is so inoffensive it makes no impression at all.” A fan of the film was the Next Best Picture, which countered with, “Excellent, colorful animation and a game voice cast keep the film entertaining.”
The production budget was a sizeable $86M, which will require the movie to make $215M in worldwide sales to make a profit. Given its lukewarm opening weekend of $30.5M globally, the film could struggle to hit that milestone. Its performance next weekend will determine how many theatres will still be playing the movie when the Thanksgiving week begins, and maximizing that count will be critical to its long-term grossing potential.
For a comparison, we are going to use the inflation-adjusted numbers from DR. SEUSS’ THE CAT IN THE HAT in 2003. While that film lost money, the new feature was made with hopes of doing much better. Because both had relatively expensive production budgets, the ultimate winner in this contest will come down to which film captures a bigger audience.
THE CAT IN THE HAT vs. DR. SEUSS’ THE CAT IN THE HAT
#3 - DRUMMER BOY
DRUMMER BOY, released by Angel Studios, finished in third place with an opening weekend domestic box office of $9.3M. The film is a faith-based historical musical set during the American Revolution. The filmmakers built a Christmas musical around the Revolutionary War, an unusual backdrop for a holiday release.
Brothers Ben and Joel David Smallbone directed the film from a screenplay by Richard L. Ramsey, with original music by Joel and Luke Smallbone, the duo behind KING + COUNTRY. Ben previously directed PRICELESS (2016), JOHNNY CASH: THE REDEMPTION OF AN AMERICAN ICON (2022), and HOMESTEAD (2024); Joel co-directed and starred in UNSUNG HERO (2024). The project was developed over approximately eight years and filmed in Ireland.
Joel stars as Jeremiah Clem, following leading roles in PRICELESS (2016), JOURNEY TO BETHLEHEM (2023), and UNSUNG HERO (2024). Relative newcomer Lucas Leach plays his younger brother Benjamin, while India Brown, best known for television’s INVASION, plays the enslaved Emmaline. The supporting cast includes Ioan Gruffudd, from TITANIC (1997) and FANTASTIC FOUR (2005), as their father Nathaniel; Melora Hardin, from THE ROCKETEER (1991) and television’s “The Office,” as their mother Rachel; Iain Glen, from RESIDENT EVIL: EXTINCTION (2007) and “Game of Thrones,” as Major John Ambrose; and Charles Esten, known for “Nashville” and “Outer Banks,” as Lord Balfour. Beth Easdown plays Lady Elizabeth Balfour, and singer Beverley Knight plays Margaret.
DRUMMER BOY follows the Clem family as the American Revolution turns a shared struggle for survival into a bitter division over loyalty and freedom. After their father, a British naval officer, is killed during an attack at sea, brothers Jeremiah (Joel Smallbone) and Benjamin (Lucas Leach) grow up with their mother in the American colonies. When revolution comes, Jeremiah believes that honoring their father means remaining loyal to Britain, while Benjamin embraces the Patriot cause. Benjamin, who has lost part of one leg, wants to fight but instead becomes a regimental drummer under Major John Ambrose (Iain Glen), who recognizes that his musical ability gives him an important place among the soldiers. The brothers’ opposing choices put their family bonds at risk as the war brings their competing convictions into direct conflict.
The story also follows Emmaline (India Brown), an enslaved young woman whose search for freedom gives the Revolution’s promises a more personal meaning. Her storyline places the struggle against slavery alongside the colonists’ demand for independence, broadening the film’s central question of who gets to be free. As battle and loss test the divided family, music becomes a means of expressing grief, sustaining faith and keeping hope alive. The emotional conflict extends beyond which army will prevail: Jeremiah and Benjamin must reckon with what their loyalties have cost them and whether forgiveness can bridge the gulf between them. Their relationship anchors a musical drama about the human consequences of war and the possibility of reconciliation.
Rotten Tomatoes reports a disappointing 50% critics’ score. As is almost always the case for an Angel Studios’ movie, the audience score was much better, coming in at 94%. We were only able to find a few reviews on the movie. RogerEbert.com said, “What’s surprising and gratifying here isn’t the tale or its individual components. It’s the big swings the film takes, some of which connect powerfully.” Variety describes the film as, “a confident, mostly pleasing throwback to original screen musicals of yore.” The Illinois Times complained that, “It’s the musical interludes that undo the film.”
DRUMMER BOY had a production cost of only $10M, even though the finished product feels like a much more expensive production. The storyline is American-centric, so the movie will most likely not have much traction internationally. That being said it only needs to earn $25M to be theatrically profitable, so after its $9.3M opening weekend, it seems to be well on its way.
For comparison, we have selected YOUNG WASHINGTON, also produced by Angel Studios, which experienced a successful theatrical run following its July 3rd premiere earlier this year. YOUNG WASHINGTON is a strong comparison due to its similar setting in eighteenth-century America and its shared themes of warfare, personal sacrifice, and inspiration.
DRUMMER BOY vs. YOUNG WASHINGTON
#4 - YOU CAN SEE EVERYTHING
A24’s remarkable documentary YOU CAN SEE EVERYTHING had another solid weekend, finishing in fourth place in its fourth weekend with an additional $8.9M. After 24 days, the film has sold $79.8M domestically and become the fifth highest-grossing non-concert-related documentary of all time.
TOP FIVE HIGHEST GROSSING DOCUMENTARY FEATURES (NON-CONCERT RELATED)
Oscar buzz continues to surround the film. The prediction market Kashi lists YOU CAN SEE EVERYTHING as having a 19% chance of winning the Best Picture Oscar at next year’s Academy Awards. The only film Kalshi shows as having a better chance of winning is Christopher Nolan’s THE ODYSSEY.
YOU CAN SEE EVERYTHING’s Oscar chances were somewhat overshadowed this weekend when a representative of the Directors Guild of America announced that its annual awards would limit the movie to competing for an Outstanding Directorial Achievement in Documentary, and not the Outstanding Directorial Achievement in Theatrical Feature Film category. A Variety report on this announcement explained that the DGA was simply enforcing its established exclusion for documentaries, rather than making any judgement about the quality of the film. Still, awards circles are seeing the DGA decision as a setback for YOU CAN SEE EVERYTHING, with the potential to impact its chances with Academy voters.
A24 had hoped the film’s unusual format would earn an exception. Variety reports that studio insiders and several awards strategists believed its blend of nonfiction and staged storytelling might allow it to compete in both DGA categories. The guild rejected that interpretation; it remains eligible for documentary directing. The practical concern is losing a major opportunity to build momentum. Variety notes that the theatrical feature award is a powerful predictor of the directing Oscar. The exclusion removes a potentially valuable endorsement for Nathan Fielder and Lance Oppenheim, although a DGA documentary win could still strengthen the film’s campaign.
YOU CAN SEE EVERYTHING vs. FAHRENHEIT 9/11 after 24 Days
#5 - RAMAYANA: RISE OF A LEGEND
RAMAYANA: RISE OF A LEGEND, an Indian-produced action movie released in North America by Sony, finished fifth in its opening weekend with $8.7M domestically and $55.7M worldwide. It has earned $12.2M domestically since its official release last Thursday. The film is a live-action adaptation of the ancient Sanskrit epic attributed to Valmiki. It was produced by Namit Malhotra’s Prime Focus Studios with Yash’s Monster Mind Creations. Director Nitesh Tiwari previously co-directed CHILLAR PARTY (2011) and directed BHOOTHNATH RETURNS (2014), DANGAL (2016), CHHICHHORE (2019) and BAWAAL (2023). He co-wrote the screenplay with Shridhar Raghavan, approaching the material as the first chapter of a large-scale cinematic epic.
Ranbir Kapoor plays Rama, following his leading roles in BARFI! (2012), SANJU (2018), BRAHMĀSTRA: PART ONE—SHIVA (2022) and ANIMAL (2023). Sai Pallavi, known for PREMAM (2015), FIDAA (2017), LOVE STORY (2021) and AMARAN (2024), plays Sita. Yash, the star of K.G.F: CHAPTER 1 (2018) and K.G.F: CHAPTER 2 (2022), portrays Ravana and also serves as a producer. Ravie Dubey plays Lakshman; Arun Govil is King Dasharatha; Lara Dutta plays Kaikeyi; and Rakul Preet Singh appears as Shurpanakha. Sunny Deol, known for GADAR: EK PREM KATHA (2001) and GADAR 2 (2023), is credited as Hanuman, although reviewers note that he does not appear onscreen in this installment.
The story follows the parallel destinies of Rama, the virtuous prince of Ayodhya, and Ravana, the powerful ruler of Lanka whose grievances and ambition lead him toward tyranny. As Rama prepares to inherit his father’s throne, palace intrigue instead sends him into a 14-year exile, accompanied by Sita and his devoted brother Lakshman. Their forest life becomes entangled with Ravana’s sister, Shurpanakha, setting off a chain of confrontation and revenge. The film culminates in Sita’s abduction and the confrontation involving the great bird Jatayu, leaving Rama’s rescue mission and the war against Ravana for the next chapter.
Rotten Tomatoes lists a 76% Tomatometer from 49 reviews and a 93% audience score. Here is a sampling of the critics’ reviews. The Guardian said, “Here is a thoroughly engaging, rousing and spectacular Indian epic melodrama.” The National felt the relationship of the main characters was a positive saying, “Their heartwarming, old-school chemistry makes you want to root for them.” The National enjoyed the relationship of the main characters, saying, “Their heartwarming, old-school chemistry makes you want to root for them.” The Hollywood Reporter opined, “Given that the Ramayana was an introduction to literature for many of us … the nostalgia does only half the job.” Finally, RogerEbert.com commented that, “The movie’s computer-generated visual compositions still look cheap and inert.”
The production cost of the film is reported to be $250M, a substantial investment for a non-Hollywood produced title. Two movies were shot at one time, driving the total cost for both movies to $500M. This film is only part one of a two-part epic. The $250M budget translates to a target box office of $625M worldwide to be profitable theatrically. The minor contribution of $8.7M from its North American opening is small potatoes compared to its global sales. For a comparison film we are using RRR because both use Indian storytelling, major stars and elaborate visual effects to pursue a worldwide audience.
RAMAYANA: RISE OF A LEGEND vs. RRR
Where Are We as of 11/5/2026
BOX OFFICE AND ATTENDANCE – 44 WEEKS YEAR TO DATE
