5/8-5/10: Mothers Keep THE DEVIL WEARS PRADA 2 on Top

May 10, 2026

In one of the closest battles in years for the weekend box office crown, THE DEVIL WEARS PRADA 2’s $43.0M in its second weekend edged out MORTAL KOMBAT II’s $40.0M in its opening, a ratio of 51.8% to 48.2%.

Not since September 2–4, 2022 has the top spot in the weekend box office come at such a slim margin, when Paramount’s TOP GUN: MAVERICK earned $6.0M in its 15^th weekend to win a 50.8% to 49.2% victory over Sony’s BULLET TRAIN with $5.8M in its 5^th weekend. That Labor Day frame was impacted by the first-ever National Cinema Day, when the industry offered $3 tickets to stimulate attendance in what had become one of the slowest weekends of the year. It worked, since on that Saturday along over 8 million tickets were sold, making it one of the best attended days of 2022. All this energy allowed MAVERICK to roar back into first place in its 15^th weekend.

This year, the deciding factor between the two top contenders was Mother’s Day, with PRADA 2 beating KOMBAT II on Sunday by $8.5M. Sunday actually was the best weekend day for PRADA 2 at $18.0M up an impressive 18% over Saturday. Credit Disney for smart scheduling. By choosing May 1^st to open its fashionable sequel, the studio positioned PRADA 2 to benefit from Mother’s Day weekend, a natural fit for a female-centric event film. MORTAL KOMBAT II, with its male-skewing audience, did not receive the same boost.

Together, these two films powered the total weekend box office to $162.1M, almost doubling the Mother’s Day weekend last year, when THUNDERBOLTS* led in its second weekend with $32.4M and all films earned $84.0M. At the time, many commented that there was no clear female-oriented film in theatres, something that Disney made sure to rectify this year with PRADA 2.

This marks the third consecutive weekend when the 2026 box office outperformed 2025, keeping up the momentum for 2026 to reach $9.0B in domestic market sales. While the box office next weekend will go down, it could still surpass the matching weekend from 2025. The next significant uptick will come over Memorial Day weekend when STAR WARS: THE MANDALORIAN AND GROGU opens.

Memorial Day 2025 landed a one-two punch of Disney’s LILO & STITCH ($146.0M) and Paramount’s MISSION: IMPOSSIBLE – THE FINAL RECKONING ($64.0M), driving the 3-day weekend to $264.0M and the 4-day holiday to an enormous $330.2M. These were the biggest 3-day and 4-day totals of the year. While no one expects Memorial Day 2026 to approach those same amounts, it would be a success if the current year minimizes the year-over-year drop.

THE LAST FOUR WEEKS – 2026 vs. 2025

#1 – THE DEVIL WEARS PRADA 2

Disney’s THE DEVIL WEARS PRADA 2 held on to the top spot for a second weekend in a row, grossing an additional $43.0M, a decline of 44% from last week’s opening three days. This brings its 10-day total to a healthy $144.8M domestically and a stylish $433.2M worldwide. The sequel is running far ahead of the original, having already sold more than the $326.6M earned by THE DEVIL WEARS PRADA in 2006. In fact, next weekend PRADA 2 should blow past the inflation-adjusted box office of the original, which would amount to $535.0M in current dollars. PRADA 2 is already enormously profitable, having a worldwide gross to production cost ratio of 4.3 to 1.

Under normal circumstances, a third film would be almost inevitable but the PRADA franchise faces a unique set of challenges. PRADA 2 has exceeded all expectations, in terms of both its box office and cultural impact. It has emerged as the most successful adult-skewing movie of the year. Several Hollywood writers have suggested that PRADA 2’s success is proof that movies that are based on legacy IP and targeted to older audiences have the potential to reel in large audiences. Some have compared it to TOP GUN: MAVERICK, in that both films marked successful returns for a long-dormant franchise.

One could argue that the decades-long gap between the first and second PRADA and TOP GUN films has been a factor in their success, having intensified interest in seeing their characters return. Of course, many who came to see the sequel were too young to have seen the original in theatres. Ironically, that same effect would not impact a PRADA 3 movie, since any such film would be made much more quickly. On June 22, Meryl Streep will turn 77 and would likely be in her 80s when a third film enters production. Reports surrounding PRADA 2 indicated that the core cast — Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci — committed themselves to an “all of us or none of us” pact for the sequel, and would likely hold fast to that for any additional movies.

That would leave Disney with a very small window to create PRADA 3, as opposed to PRADA 2. There is also the challenge of finding a script strong enough to justify another return. Even TOP GUN 3, which many considered to be a lock after the smashing success of TOP GUN: MAVERICK, is stuck in development limbo four years later. Recent reports suggest that its screenplay is still evolving, with Tom Cruise not yet having approved a final version. That likely places TOP GUN 3 at least two years away from theaters. A similar delay would probably doom PRADA 3.

What works in the sequel’s favor is that PRADA 2 was wisely designed to support continuation. Its themes — fashion media disruption, AI influence, billionaire ownership of media, and generational workplace conflict — are ongoing issues that could easily fuel another chapter. The audience’s appetite is clearly there. The question now is whether Disney can move quickly enough to capitalize on it before this window closes.

THE DEVIL WEARS PRADA 2 vs. THE DEVIL WEARS PRADA

#2 – MORTAL KOMBAT II

MORTAL KOMBAT II from Warner Bros. opened with $40.0M, good enough for close second place finish. The film also did quite well in foreign markets, lifting its worldwide opening weekend to $63.0M. This is a direct sequel to the 2021 action movie MORTAL KOMBAT, with both stories based on the landmark 1992 video game created by Ed Boon and John Tobias. Known for brutal combat and its signature “Fatality” finishers, MORTAL KOMBAT has become the best-selling fight-first video game franchise of all time, having sold over 100 million copies worldwide.

Warner Bros. had originally scheduled the movie’s release on October 24, 2025, but last August announced plans to delay it until May 8, 2026. Their move was less about production delays and more about the studio’s confidence in the film. WB execs thought that the sequel had the potential to become a summer season theatrical event, going beyond the modest success of the original and its niche audience of gamers. The original opened in April 2021, when moviegoing was being held back by COVID-19 concerns. WB released that movie both in cinemas and on HBO Max at the same time, having a clearly negative effect on theatrical grosses. Even so, that film managed $42.3M domestically and $84.4M worldwide, which was seen as strong enough to justify a sequel.

Simon McQuoid returns as the director of his own sequel, after a career of high-end commercial work. While McQuoid’s return gives the sequel continuity, the studio encouraged the filmmaker to go bigger, embrace the mythology more aggressively, and deliver the tournament structure fans felt was missing from the original. Returning cast members include Lewis Tan, Jessica McNamee, Josh Lawson, Mehcad Brooks, and Hiroyuki Sanada. The biggest addition is Karl Urban as Johnny Cage, arguably the franchise’s most recognizable actor and a clear sign of Warner Bros.’ intention to push the sequel to a higher level of commercial success.

Narratively, MORTAL KOMBAT II finally centers on the actual Mortal Kombat tournament itself, with Earthrealm’s champions battling Outworld for the fate of humanity. This is a direct course correction from the 2021 film, which largely functioned as a prologue and origin story. The sequel leans heavily into the core premise audiences expect: escalating fights, larger stakes, and a cleaner competitive framework. The story reportedly deepens the conflict involving Liu Kang, Scorpion, and Sub-Zero while expanding the fighter roster to better mirror the ensemble appeal of the games.

From a production standpoint, Warner Bros. clearly increased its investment after seeing the original film’s strong HBO Max performance and respectable pandemic-era global box office. While official figures have not been confirmed, industry estimates place the budget around $80M, up significantly from the approximately $55M spent on the 2021 film. The impact of this additional spending are visible on screen, with larger set pieces, more elaborate fight choreography, and upgraded visual effects—areas where the original earned both praise and criticism.

Warner Bros. specifically shaped MORTAL KOMBAT II to improve on the first film’s biggest weakness: narrative cohesion. Early Rotten Tomatoes numbers suggest progress, with the sequel rating 65% with critics and 90% with audiences versus 55% and 85% respectively for the original. Several critics have praised the sequel’s unapologetically over-the-top approach. The New York Times wrote, “The spectacle — its eardrum-shattering, eye-popping pyrotechnics … is its own reward.” RogerEbert.com noted that the film, “makes good on its grisly promise whenever its meat-puppet protagonists stop talking and start pummeling each other.” Meanwhile, The Film Verdict called it, “delightful nonsense.” Not all reactions were positive, however. Variety described the film as “an old-school video-game trash extravaganza” weighed down by “a sludgy excuse for a story.”

With an estimated $80M production cost, MORTAL KOMBAT II will need to generate a box office of $200M worldwide to reach profitability. After a $63.0 global weekend of , it has a realistic chance to hit that mark, though next weekend’s results will most likely determine the long-term outcome. A steep drop in its second weekend could doom its chances.

The original MORTAL KOMBAT remains the clearest benchmark. Warner Bros. fully expects the sequel to outperform its predecessor. There are no longer any COVID-era limitations on the box office, the new movie will have a proper 45-day exclusive theatrical window before it lands on streaming, the storyline of the sequel is thought to be superior, and a cool $25M more was spent on its production. While a third movie could follow, MORTAL KOMBAT II will almost certainly need to do more the original’s $84.4M worldwide total to justify that investment.

#3 – MICHAEL

Lionsgate’s MICHAEL finished in third place by grossing an additional $36.5M in its third weekend, a drop of only 33%. After 17 days, the Michael Jackson musical biopic has grossed $240.5M in the U.S. and Canada and a spectacular $577.4M worldwide. While THE DEVIL WEARS PRADA 2 has dominated headlines in the past two weekends, MICHAEL could prove to be the bigger long-term story. Lionsgate must be ecstatic with the results as their film, having justified its massive $155M production budget, which was an enormous gamble for an independent studio to make. After just 17 days, the worldwide gross-to-production-cost ratio already stands at 3.7 to 1, making the film handsomely profitable for both Lionsgate and Universal, which handled international distribution.

MICHAEL is now positioned to become at least the second-highest-grossing musical biopic of all time, trailing only BOHEMIAN RHAPSODY’s $910.8M worldwide haul in 2018. What makes MICHAEL’s performance even more remarkable is the disconnect between critics and audiences. The film holds only a 39% Rotten Tomatoes critics score, yet audiences have embraced it with a stunning 97% audience rating. That audience enthusiasm is being driven less by traditional storytelling than by the experience of seeing a Michael Jackson/Jackson 5 concert spectacle on the big screen.

The storyline of the movie cuts off at the peak of Jackson’s career, which many reviewers criticized as a weak attempt to avoid the darker controversies of the singer’s later years. However, that decision also resulted in audiences being able to leave the theatre exhilarated rather than emotionally drained. In many ways, that creative choice explains both the weak critics’ score and the film’s enormous commercial success.

Ironically, a potential MICHAEL 2 could produce the exact opposite reaction. A sequel dealing with Jackson’s decline and controversies would likely earn stronger critical respect and possibly even Academy Award attention, but it could come at the expense of the crowd-pleasing entertainment value that powered the first film. Lionsgate now faces a difficult business decision regarding any sequel. The studio has to recognize that a follow-up almost certainly would not approach the grosses of MICHAEL. The question becomes whether audiences will show up in similar numbers to watch the downfall of an icon after enthusiastically embracing the rise of arguably the greatest musical performer of all time.

We would not be surprised if a MICHAEL 2 were to earn one half the amount of the current MICHAEL, causing Lionsgate to slash the production budget from MICHAEL’s elevated $155M level. Reports indicate that there is substantial footage from MICAHEL’s original, longer cut that could be repurposed for a sequel, which would help financially. However, any new production would have to walk carefully through a field of landmines stemming from moral controversies and potential lawsuits that forced an additional $15M in reshoots on MICHAEL itself.

By ending the first film where they did, the filmmakers delivered an entertaining crowd-pleaser that left audiences uplifted. But that creative decision also leaves Lionsgate with the far more difficult challenge of accurately portraying one of the most tragic and depressing final chapters in entertainment history. From a purely business standpoint, there is a compelling argument to walk away now. From a storytelling standpoint, there is also a strong argument that the full story still needs to be told.

MICHAEL vs. BOHEMIAN RHAPSODY after 17 Days

#4 – THE SHEEP DETECTIVES

THE SHEEP DETECTIVES from Amazon MGM finished in fourth place, opening to $15.9M. This is one of the more unusual studio releases of 2026, blending a family film, murder mystery, and talking-animal comedy into a surprisingly sophisticated whodunit. Based on the 2005 novel Three Bags Full by Leonie Swann, the film follows a flock of sheep attempting to solve- the murder of their beloved shepherd after years of secretly listening to him read detective novels aloud. The project was originally titled THREE BAGS FULL: A SHEEP DETECTIVE MOVIE before Amazon MGM simplified the title for broader commercial appeal.

The film is directed by Kyle Balda, best known for directing animated hits including MINIONS, DESPICABLE ME 3, and MINIONS: THE RISE OF GRU. THE SHEEP DETECTIVES marks a major stylistic shift for Balda, moving from broad animated comedy into a hybrid live-action mystery with darker comedic undertones. The screenplay was written by Craig Mazin, whose previous credits include CHERNOBYL and THE LAST OF US, giving the film a far more prestigious pedigree than its premise initially suggests.

The cast is unusually deep for a mid-budget family mystery. Hugh Jackman stars as shepherd George Hardy and remains best known for LOGAN, THE GREATEST SHOWMAN, and the X-MEN series. Nicholas Braun, widely recognized from HBO’s SUCCESSION, co-stars alongside Nicholas Galitzine from THE IDEA OF YOU and RED, WHITE & ROYAL BLUE. The voice cast includes Julia Louis-Dreyfus, Bryan Cranston, Patrick Stewart, and Bella Ramsey, giving the film a mix of prestige comedy and genre credibility.

The plot of the film unfolds when the sheep discover that their beloved shepherd has been mysteriously murdered. A flock of unusually intelligent sheep then set out to solve the crime themselves. Using clues gathered from years of listening to detective novels read aloud, the sheep investigate suspicious villagers while trying to uncover the killer before another death threatens their quiet rural community.

The movie reportedly required a combination of real sheep, animatronic doubles, and CGI enhancements. Trainers worked extensively with live animals during filming, but many scenes still required digital augmentation because sheep naturally tend to wander unpredictably and rarely “hit their marks” during takes. One of the biggest internal debates involved how intelligent the sheep should appear. Some executives wanted them to behave almost entirely like humans, while others argued the comedy worked better if the sheep still retained animal instincts. The final version split the difference: the sheep are capable of deduction and emotional reasoning, but they still panic at loud noises, become distracted by food, and occasionally behave like an actual flock. Early test screenings were reportedly much darker and stranger than the final theatrical version. Audiences loved the mystery elements but found some philosophical monologues by the sheep confusing. Amazon MGM pushed for more humor and warmth during post-production to broaden family appeal.

Critically, the film is one of the biggest success stories of the spring. Rotten Tomatoes critics’ scores are an extremely high 93%, with audiences at 97% in early reviews. Newsday gives the film high praise, saying, “Agatha Christie meets E.B. White in a talking-animal whodunit filled with warm humor and cuddly charm.” The New York Times adds, “Not only is ‘The Sheep Detectives’ delightful, but it’s funny and emotionally complex and, dare I say, unusually deferential toward the noble sheep, frequently cast as brain-dead losers in cinema’s barnyards.” Mashable sums it up best by concluding, “It’s a feel-good movie that’s sure to delight all ages.” The Hollywood Reporter plays the role of the black sheep by suggesting that, “Despite the (brief) presence of Hugh Jackman and a top-flight voice cast, the movie never achieves the level of magic for which it’s desperately straining. “

From a production standpoint, THE SHEEP DETECTIVES reportedly carried a production cost of $75M, a sizable investment for a quirky ensemble mystery without established franchise IP. That budget largely went toward the extensive visual effects work needed to create expressive talking sheep, combined with the high-profile cast and extensive location production. This means that it will have to do $187.5M worldwide to break even.

A strong comparison film would be BABE from 1995. Like BABE, it gives human characteristics or traits to something that isn’t human, in this case, farm animals, while balancing humor with surprising emotional sincerity. Both films appeal simultaneously to children and adults through intelligent writing and emotional warmth.

THE SHEEP DETECTIVES vs. BABE

#5 – BILLIE EILISH – HIT ME HARD AND SOFT: THE TOUR

Paramount’s BILLIE EILISH-HIT ME HARD AND SOFT: THE TOUR finished fifth in its opening weekend with a gross of $7.5M. This concert documentary is based on performances from Billie Eilish’s HIT ME HARD AND SOFT worldwide tour, with most filming taking place during her 2025 Manchester arena shows. The project became a major theatrical event because it paired Eilish with legendary filmmaker James Cameron, who co-directed the film with Eilish. Cameron reportedly approached Eilish and her team about experimenting with immersive live-concert filmmaking using advanced 3D technology, searching for a contemporary music project that could showcase theatrical 3D beyond large-scale science-fiction films like AVATAR. Eilish’s visually driven concerts and cinematic stage design made her an ideal fit. Cameron utilized advanced camera systems developed through his Lightstorm production company.

The film features Billie Eilish performing songs from her HIT ME HARD AND SOFT album, along with earlier tracks including “Bad Guy,” “Happier than Ever,” and “Ocean Eyes.” Given her accomplishments, it is remarkable that Eilish is still only 24 years old, born on December 18, 2001. She became one of the youngest global music superstars ever after the release of her 2019 debut album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? The singer swept all four major categories at the 2020 Grammy Awards, and has won 10 Grammy Awards overall. Eilish became the youngest artist ever to record a James Bond movie theme with “No Time To Die,” and has won two Academy Awards for Best Original Song for NO TIME TO DIE and BARBIE. As of 2026, she has sold 74 million albums worldwide.

Those achievements are even more notable considering Eilish has openly discussed living with Tourette syndrome. She went public in 2018 after fans noticed physical tics during interviews online. Diagnosed as a child, Eilish has explained that her symptoms primarily involve physical tics such as blinking, jaw clenching, shoulder movements, and head motions that can intensify stress or exhaustion. She has said performing often reduces the tics because she becomes fully immersed in the music and stage performance, though touring fatigue and anxiety can make symptoms more noticeable offstage. She has been praised for her openness about the condition and efforts to correct misconceptions and educate younger audiences about Tourette syndrome.

The film also features her brother and longtime collaborator Finneas O’Connell. Billie Eilish previously starred in the documentary BILLIE EILISH: THE WORLD’S A LITTLE BLURRY, while Finneas is best known for his extensive songwriting and producing work with Billie, including contributions to BARBIE and NO TIME TO DIE. Unlike a traditional backstage documentary, the film is designed primarily as an immersive concert experience, placing audiences “inside” the arena through sweeping 3D visuals and intimate stage-level camera placements.

Critically, the film has received strong reviews with a 93% critics score and 99% audience score on Rotten Tomatoes. The Toronto Star praised “the extraordinary connection she has with her fans,” while The Hollywood Reporter highlighted its, “vivid footage” and intimate camera work. The Travers Take called the collaboration between Eilish and Cameron, “a delicious irony,” while Empire Magazine cleverly wrote, “Who was it made for? Everyone.”

The production was expensive for a concert film due to Cameron’s immersive 3D technology and extensive camera setups, carrying an estimated cost of $20M. The film will need to earn $50M worldwide to become profitable. As a comparison title, the film aligns less with TAYLOR SWIFT: THE ERAS TOUR and more with the immersive visual style and artistic presentation of Beyoncé’s RENAISSANCE: A FILM BY BEYONCÉ.

BILLIE EILISH – HIT ME HARD AND SOFT: THE TOUR vs. RENAISSANCE: A FILM BY BEYONCE