4/17-4/19: MARIO Scores a Rare Box Office Three-Peat

Apr 19, 2026

Universal’s THE SUPER MARIO GALAXY MOVIE outran all other movies for a third straight weekend by grossing $35.0M over the past three days. Last year, only two titles were able to pull off a three-peat: Marvel’s CAPTAIN AMERICA: BRAVE NEW WORLD beginning on the weekend of February 14-17, 2025 and Disney’s LILO & STITCH starting on May 23-25, 2025.

With commendable support from PROJECT HAIL MARY in its fifth weekend and LEE CRONIN’S THE MUMMY in its opening, the weekend overall was able to produce $90.6M. This lands significantly below the same weekend last year when Warner Bros.’ SINNERS opened to $48.0M and led all films to $135.8M. It’s worth also remembering that this weekend last year was the long Easter holiday weekend.

The last two weekends have seen the 2026 box office momentum slow by comparison to 2025. This was to be expected since last year A MINECRAFT MOVIE and SINNERS opened at this time to huge numbers. Beyond MARIO, no movies of significance have been released that would keep the engines of 2026 revving. We expect to see an upturn next weekend with the much-anticipated opening of Lionsgate’s MICHAEL followed after that by the arrival of Disney’s THE DEVIL WEARS PRADA 2. Both of these movies will do well and should result in the next two weekends outperforming their 2025 counterparts.

Despite the relative softness of the last two weeks, the four-week period ending on Thursday 4/16/2026 has still outperformed the matching four weeks from 2025, with an increase of 21% at the box office and 18% in attendance.

The Last Four Weeks – 2026 vs. 2025

Having just returned from this year’s CinemaCon conference, we were struck by the star power on display and the number and quality of the films presented by the studios. The assembled audience was delighted to see filmmakers Steven Spielberg, James Cameron, Christopher Nolan, Ryan Coogler, Jon Favreau, Denis Villeneuve, J.J. Abrams and Alejandro González Iñárritu. If you were looking for the stars, the A-listers Tom Cruise, Ryan Gosling, Zendaya, Timothee Chalamet, Michael B. Jordan, Tom Hanks, Tim Allen, Robert DeNiro, Sandra Bullock, Nicole Kidman, Johnny Depp, Pedro Pascal, Robert Downey Jr, Dwayne Johnson, Jack Black, Kevin Hart, Chris Evans, and many others step out on stage to promote their upcoming projects. Studio heads, directors and stars proclaimed that the reason why they make their films is to have them seen by audiences on the big screen. The films scheduled for release for the remainder of this year have the potential to push the 2026 box office through the $9B glass ceiling for the first time since 2019. Up, up and away!

#1 – THE SUPER MARIO GALXY MOVIE

Getting very comfortable in first place is Universal’s THE SUPER MARIO GALAXY MOVIE, which has remained at the head of its class for all three weekends it has played in theatres. This weekend it added another $35.0M, a decline of 49% from last weekend, bringing its 19-day totals to $355.2M domestically and a solid $747.5M globally. While it continues to slip further behind the 2023 original THE SUPER MARIO BROS. MOVIE, it is running slightly ahead of last year’s A MINECRAFT MOVIE, which was the top movie of 2025. At this point in its release, MARIO GALAXY is 19% behind the original MARIO and a slim 1% ahead of A MINECRAFT MOVIE. MARIO GALAXY’s ability to cancel out the financial impact of MINECRAFT is strategically important, by helping maintain the lead that the 2026 box office has built up over last year.

THE SUPER MARIO GALAXY MOVIE vs. A MINECRAFT MOVIE after 19 Days

MARIO GALAXY is performing as well as anyone could reasonably have hoped for, and keeping theatres busy in the build up towards the summer movie season. The movie has already become profitable, standing now at a terrific 6.8 to 1 ratio of worldwide box office gross to production budget. That ratio will continue to increase and improve over the weeks ahead. While it will not get to the even more amazing 14 to 1 ratio that THE SUPER MARIO BROS MOVIE achieved, MARIO GALAXY will still be extremely profitable and the future of the franchise is secure.

Universal might do even better with an eventual MARIO 3 release if it brings it out on an even more lucrative summer weekend, when weekday attendance would be boosted by the legions of students who would be for the summer. In one tempting scenario, what if MARIO 3 were to be released on Wednesday, June 27, 2029? If so, it would be highly unlikely to see another studio go up against it with a competing family-oriented movie. On the other hand, studios and filmmakers can sometimes be very superstitious about their release dates, and they could instead opt for the now-established pre-Easter release date of Wednesday, March 28, 2029, following in the footsteps of the two earlier films.

THE SUPER MARIO GALAXY MOVIE vs. THE SUPER MARIO BROS. MOVIE after 19 days

#2 – PROJECT HAIL MARY

Amazon MGM’s sci-fi thriller PROJECT HAIL MARY continues to defy gravity by holding onto second place in its fourth weekend, selling $20.5M in new tickets, a decline of only 15% from last weekend. This brings its 31-day totals to $285.1M domestically and $573.1M globally. The film has shot past its target of $500M in worldwide ticket sales to become profitable, and will continue to pad its totals for at least a few more weeks. PROJECT HAIL MARY has already achieved a 2.9 to 1 ratio of worldwide gross to production cost.

Grossing one half a billion dollars was a high bar to jump over, and Amazon must be pleased with the returns it has seen on the bet it placed on the movie. Amazon will realize additional benefits on its “already-paid-for” blockbuster when PROJECT HAIL MARY opens on PVOD services, followed by availability on Amazon Prime Video. This is a strategic victory for Amazon against its formidable competitor Netflix, which does not have a comparable plan to use theatrical releasing as a key part of its revenue strategy for its movies.

Another benefit from PROJECT HAIL MARY will be the attention it receives when it is nominated for major awards by the Golden Globes and Academy of Motion Pictures Arts and Sciences. Both Best Picture and Best Actor awards are within reach, as well as other supporting and technical categories. A factor that could work against its chances is the relatively early March 20^th release date, which could make the movie feel less relevant in the minds of awards voters. Typically, the awards-candidate films in a given year are released towards the end of the year, so they are fresh in the minds of voters. However, last year’s SINNERS overcame its early release date to achieve awards success, and PROJECT HAIL MARY could follow in those footsteps. Another famous precedent for an early release that we successful with awards voters is SILENCE OF THE LAMBS. It was released on February 14, 1991 and would up taking home five Academy Awards including Best Picture, Best Director (Jonathan Demme), Best Actor (Anthony Hopkins), and Best Actress (Jodie Foster). This all happened at the 64th Academy Awards held on March 30, 1992, more than one year after the film’s release. However, this is certainly the exception to the rule. Of the last 15 Best Picture Oscar Winners, only two titles were released in the first half of the year: NOMADLAND in 2020 and EVERYTHING EVERYWHERE ALL AT ONCE in 2022.

Academy Awards Winners for Best Picture – Last 15 Years

Amazon MGM is proud of PROJECT HAIL MARY, as it has become the highest-grossing movie the studio has ever released in theatres. Amazon’s Executive Chairman Jeff Bezos has touted his studio’s film by calling it “outstanding” and “amazing” in social posts, showering particular praise on Ryan Gosling’s performance. At the recently concluded CinemaCon, Amazon MGM devoted 10 minutes of their stage presentation to PROJECT HAIL MARY, and thanked exhibitors for their role in its success. Normally, an already released movie might only be mentioned briefly, even if it were a big success. Directors Chris Miller and Phil Lord and its star Ryan Gosling were all brought out on stage to dazzle the audience with their presence. Consider the fact that Amazon has a virtually unlimited budget to spend later in the year when it will come time to run “For Your Consideration” marketing campaigns to support the film with potential awards voters.

PROJECT HAIL MARY vs. THE MARTIAN after 31 Days

#3 – LEE CRONIN’S THE MUMMY

Warner Bros.’ horror film LEE CRONIN’S THE MUMMY opened in third place, bringing in $13.5M domestically and $34.0M worldwide. This film is a clean break from the more recent Mummy films, placing the classic character in an original story that leans into its R-rating and horror potential.

Filmmaker Lee Cronin was hired based on his single calling card, the EVIL DEAD RISE movie he directed which shows Cronin’s ability to produce gripping horror that builds over the course of the film. This was exactly the direction that Universal was seeking, rather than the action-adventure tone of Tom Cruise’s THE MUMMY from 2017 or the swashbuckling treasure hunt of Brendan Fraser’s THE MUMMY from 1999. The new movie focuses on burial rituals, curses, and mythological foundations, which is closer to the roots established in the 1932 original starring Boris Karloff which was slow, atmospheric, and unsettling.

The cast of the new movie is led by Jack Reynor (TRANSFORMERS: AGE OF EXTINCTION from 2014), who plays a journalist named Charlie Cannon. Laia Costa (VICTORIA from 2015) plays Charlie’s wife Larissa, and the mother to their daughter Katie, played by Natalie Grace. In the story, Chalie and Larissa and their two children are living in Egypt when they are visited by a woman who appears to have magical abilities. The woman lures their daughter Katie away and kidnaps her. Eight years later, the parents receive word that their daughter has been found but is barely alive and in a catatonic state. When they bring her home and reunite, they realize that Katie is being haunted by an ancient demon, as the body horror story depict her peeling uncovered when the mummified bandages come off. The film draws heavily on demonic possession, comparable to classic movies of this genre including THE EXORCIST or HEREDITARY.

Critics are thumbs down on the film, giving it only a 46% rating on Rotten Tomatoes. Thankfully, audiences are responding more favorably with a 76% score on the popcorn meter. Here is a sampling of what critics had to say. RogerEbert.com thinks “You’ll definitely squirm, but mostly out of boredom.” The Film Verdict suggests, “Cronin is never not going for effect here, but the onslaught of cracking bones, skin peeling, and teeth removal gets tiresome fast, as the movie figuratively asks the audience, ‘Am I freaking you out?’ every 30 seconds.” The Wall Street Journal recommends, “It is advisable not to see the movie immediately after a meal. Or, really, ever.” To be fair, not everyone disliked the picture. TheWrap praises its director by saying, “Cronin has an uncanny knack for human mutilation, which would probably be a bad thing in any other context, but if you’re making gross-out horror movies, it’s practically a requirement.”

The production budget was slim for a major studio Mummy movie, coming in at $23M. This means that the movie will become profitable after it earns $58M in global ticket sales. After its opening weekend of $13.5M in North America and a global total of $34.0M the movie is well on its way to profitability. Mummy movies have historically done well overseas, where they have earned two-thirds of their box office. THE MUMMY has scored 60% of its total gross from foreign markets continuing its reliance on overseas markets.

The question becomes whether or not this thematic shift from action-adventure to straight horror will be well-received by audiences. For comparison, we have chosen the 1999 reboot of THE MUMMY starring Brendan Fraser. While the films take different approaches, they are both Mummy movies. The opening weekend tells us that people prefer action with their Mummy, rather than horror.

LEE CRONIN’S THE MUMMY vs. THE MUMMY

#4 – THE DRAMA

A24’s romance THE DRAMA secured fourth place in its third weekend by bringing in $4.8M and falling 44%. This brings its 17-day total to $39.7M domestically. For Zendaya, this film is vying with CHALLENGERS for the title of becoming her highest-grossing film after the SPIDER-MAN and DUNE blockbusters. At this point, THE DRAMA has sold 105% of CHALLENGERS’ domestic box office, and is outpacing the earlier movie in its third weekend. If this trend continues, THE DRAMA will come out slightly ahead, but it’ll be close. In terms of worldwide box office, Zendaya has shown strength in foreign markets where CHALLENGERS took in 48% of its total gross and THE DRAMA’s has generated 54% of its worldwide sales. In terms of profitability, THE DRAMA is hands down the winner because of its much lower $28M production budget compared to the $55M spent to make CHALLENGERS.

THE DRAMA vs. CHALLENGERS after 17 Days

#5 – YOU, ME & TUSCANY

Universal’s romantic comedy YOU ME & TUSCANY slid into fifth place in its second weekend, bringing in $3.8M and dropping 51%. This brings its 10-day totals to $14.4M domestically. Its 51% drop this weekend was the highest of any film in the top ten and is concerning when considering its potential while it plays in theatres. TUSCANY is falling behind the results of the film we chose to compare it with, UNDER THE TUSCAN SUN. In fact, it is losing to the 23-year-old film’s unadjusted domestic box office after 10 days, by only selling $14.4M versus YOU ME & TUSCANY’s $20.7M. Its saving grace may be the fiscal restraint used when making the movie, with a budget of only $18M which is comparable to that of UNDER THE TUSCAN SUN over two decades ago.

While this film may not earn the $45M worldwide it would need to be profitable, its fiscal downside is limited as well. However, the lesson people draw from the movie is to see it as yet another example of a rom com that has struggled at the box office in the post-pandemic era. Studio heads have finite budgets for production and marketing. When deciding where to invest their resources, decisions have to be made on which projects to fund with the potential for the greatest returns while minimizing potential losses. The current that is running away from making rom coms can be traced back to a series of risk/reward decision studios have made in the last five years. Hollywood loves success and until there is another breakout on the order of the $80M earned by ANYONE BUT YOU in 2023, the expectations for rom coms will remain low.

YOU, ME & TUSCANY vs. UNDER THE TUSCAN SUN