2/27-3/1: SCREAM 7 Shocks the Box Office Back to Life

Mar 1, 2026

Paramount’s SCREAM 7 shored up the 2026 box office with a franchise-record opening weekend of $64.1M, leading all films in release to a total of $110.8M this weekend. After a strong start to the year, movie ticket sales have flagged in recent weeks, dropping from a year-over-year 28% advantage after three weeks to a mere 3% after eight weeks. This weekend was a marked improvement over last year’s ninth weekend, when CAPTAIN AMERICA: BRAVE NEW WORLD earned $14.9M in its third weekend and the total for all movies was $54.5M.

We expect SCREAM 7 to be the beginning of a solid run to close out the first quarter, continuing next Friday with the openings of Disney and Pixar’s HOPPERS and Warner Bros.’ THE BRIDE, Universal’s REMINDERS OF HIM on 3/13 and Amazon MGM’s PROJECT HAIL MARY on 3/20. If it goes as we expect, the quarter will finish 22% higher than last year’s Q1.

FIRST PLACE

SCREAM 7 is the current and latest entry of a 29-year-old horror franchise, which began in 1996 with the original SCREAM. The six movies to-date have grossed $521.7M domestically and $912.4M worldwide. Here is a recap of all seven SCREAM movies, both financially and critically.

THE SCREAM FRANCHISE: BOX OFFICE, BUDGETS AND REVIEWS

SCREAM 7’s strong start has pushed the seven-film series over $1B worldwide, placing it in rare company among horror franchises. THE CONJURING Universe’s nine films have earned $2.3B, ALIEN’s seven films have earned $2.0B, RESIDENT EVIL’s seven films have earned $1.3B, IT’s two films have earned $1.2B and SAW’s ten films have earned $1.0B. SCREAM is showing no signs of letting up, with SCREAM VI setting a new franchise record in 2023 by earning $108.4M domestic. SCREAM 7 will most likely do even better than that. Very few movie franchises get stronger with each release, but SCREAM is bucking that trend.

Kevin Williamson directs SCREAM 7, after having written the original SCREAM. Neve Campbell returns as Sidney Prescott, after sitting out SCREAM VI over a salary dispute. These moves came at the request of Spyglass Media Group, which pushed for a return to legacy characters after a fan backlash over cast departures. Neve Campbell had earned $2M – $3M for each of her previous five SCREAM efforts, whereas the headline stars of other horror franchise films had earned more. Jamie Lee Curtis for HALLOWEEN and Vera Farmiga for THE CONJURING are reported to have earned approximately $5M per feature. After Neve held out for similar compensation, it seems as if she has been able to match those earnings.

The plot of SCREAM 7 picks up after the events of SCREAM VI. Sidney Prescott returns to Woodsboro after a new Ghostface begins targeting people connected to the original 1996 killings. This time, the murders are meticulously staged to mirror crimes from across the franchise, suggesting the killer is obsessed not just with horror movies, but with the legacy of the survivors themselves. As bodies mount, Sidney teams up with Gale Weathers and a small group of new characters tied to Woodsboro High and the town’s past. The investigation uncovers a conspiracy rooted in resentment toward the “final girls” who profited from trauma while others were left behind. The killer manipulates true-crime culture and online fandom to frame the narrative in real time, turning the town into a spectacle once again. In the climax, Sidney confronts Ghostface in a showdown that forces her to face whether survival has made her a target forever—or finally gives her a chance to end the cycle.

The critics have given SCREAM 7 a 34% on Rotten Tomatoes, a new low for the franchise, whereas moviegoers were more charitable with a 78% rating. Here are some of the critics’ opinions. The Film Maven said, “Scream 7 is certainly the worst in the franchise, and while an eighth installment seems like a foregone conclusion, everything about this is sloppy, inconsistent, and tired.” The Film Verdict offers, “Unfortunately, the earlier, better Screams could handle both carnage and characterization, and the latter is sorely missing here.” The Hollywood Reporter opines, “There’s a rote quality to the proceedings that makes Scream 7 feel like a slog despite its high body count.” The Wrap gives the film a left-handed compliment, saying, “It’s not that ‘Scream 7’ is a bad ‘Scream’ movie. There are no bad ‘Scream’ movies (yet). Even the worst one is kind of alright, and this is the worst one.” All of that said, horror films seem to be immune to negative critical reviews, and the box office is booming for SCREAM 7.

The movie cost $40M to make, and therefore, it will need to earn $100M globally to be profitable on ticket sales. That is assured after its strong $64.1M domestic opening. While plans for a SCREAM 8 have not yet been confirmed officially, the word on the street is that the next chapter is already in early development, having been greenlit by Spyglass and Paramount and targeted for a late 2027 or early 2028 release window. We offer the following comparison of SCREAM 7 to its immediate predecessor, SCREAM VI.

SCREAM 7 vs. SCREAM VI

SECOND PLACE

Sony’s animated sports film GOAT finished in second place in its third weekend by earning $12.0M over the past three days. This amount was 29% lower than last weekend, and brings its 17-day totals to $74.0M domestically and $130.5M globally. The film is holding well from week to week as it has the family film marketplace almost exclusively to itself, with only ZOOTOPIA 2 in its 14^th week to challenge it. GOAT will face stiff competition next weekend with the opening of Disney and Pixar’s HOPPERS. Still, GOAT has done very well so far, crossing over $100M in worldwide box office. For an animated movie with original IP (i.e., not based on an existing franchise), this is considered a very strong showing. The box office and audience response could influence Sony’s decision on whether to pursue a sequel. The audience grade on Rotten Tomatoes is a solid 93%, and the film is benefiting from positive word of mouth, but its $80M production cost has set the bar for profitability at $200M in worldwide ticket sales. Since HOPPERS will take up a lot of the audience beginning next weekend, it may be a challenge for GOAT to get there. Sony may still decide to make a sequel, perhaps with a lower production budget or by choosing a more favorable release date.

GOAT vs. SPACE JAM after 17 Days

THIRD PLACE

Warner Bros.’ WUTHERING HEIGHTS finished #3 with a third weekend gross of $7.0M, down 50% from last weekend. This takes the romantic drama’s 17-day totals to $73.4M domestically and $192.0 worldwide. Its projected final box office of $210M worldwide is much higher than PRIDE & PREJUDICE’s 2005 total $120.9M. While movies made from romance novels of the 19^th century are a narrow genre, they fit into the wider group of serious adult films, which have been among the weakest-performing movies of the last five years. After the pandemic, family films have come roaring back, and horror is as profitable as ever. Meanwhile, movies geared towards audiences 25 and older have struggled to return to their pre-COVID results. By earning $200M+ worldwide, WUTHERING HEIGHTS gives hope that interest in serious adult films may be returning.

WUTHERING HEIGHTS vs. PRIDE & PREJUDICE after 17 Days

FOURTH PLACE

Trafalgar’s concert film TWENTY ONE PILOTS: MORE THAN WE EVER IMAGINED finished in fourth place by bringing in $3.7M in its opening weekend. Twenty One Pilots is an American musical duo from Columbus, Ohio, formed in 2009. The current lineup consists of vocalist/multi-instrumentalist Tyler Joseph and drummer Josh Dun. Known for blending alternative rock, hip-hop, pop, electronic, and indie influences, the band built a global fan following, also known as the “Skeleton Clique,” who is drawn to their emotionally candid lyrics and high-energy live performances.

Their breakthrough came with the 2015 album Blurryface, which included the massive hits “Stressed Out” and “Ride”. “Stressed Out.” After winning a Grammy in 2017 for Best Pop Duo/Group Performance, they achieved multi-platinum status on the worldwide stage. Twenty One Pilots’ music often explores anxiety, faith, identity, and self-doubt, themes that resonate strongly with younger audiences. Their concerts are theatrical and interactive, featuring elaborate staging and crowd participation. Over the past decade, they’ve become one of the most commercially successful and creatively distinctive acts in modern alternative music.

This is not their first appearance on the big screen, having had an earlier concert film TWENTY ONE PILOTS: CINEMA EXPERIENCE which earned a total domestic box office of $875,000 in 2022. Their popularity has only grown increased since then so a new concert movie seemed warranted. This film is a recording of the band’s February 2025 concert in Mexico City at Estadio GNP Seguros, with 65,000 fans in attendance. It was directed by Mark C. Eshleman, the group’s longtime creative collaborator. The film marks a celebration of over 15 years of the duo’s rise from small venues to massive arenas and stadiums — a meta-narrative arc woven into the concert footage. The film includes behind-the-scenes moments — from arrival in Mexico City to pre-show preparations. Tyler Joseph and Josh Dun offer intimate commentary reflecting on their journey and what the moment means.

Critics have not weighed in on the film, but audiences have given the film a perfect 100% score on Rotten Tomatoes. The movie was made for an estimated $3M, which will allow it to be very profitable, especially after adding in downstream revenues from streaming.

We chose not to use the band’s previous movie as a comparison, but instead selected BTS: YET TO COME IN CINEMAS from 2023. It showcases BTS’s massive free show at the Busan World Expo in October, where they performed before more than 50,000 fans. Both films were distributed by Trafalgar Releasing.

TWENTY ONE PILOTS: MORE THAN WE EVER IMAGINED vs. BTS: YET TO COME IN CINEMAS

FIFTH PLACE

Neon’s EPIC: ELVIS PRESLEY IN CONCERT broke into the top five in its second weekend by grossing $3.5M. The film’s release began last weekend with playdates in 325 theatres, where it earned $3.2M and had an average per location of almost $20K per location. This weekend, it expanded to 1,940 and saw its overall ticket sales increase by 9%. The Baz Luhrmann-directed cinematic experience brings The King back to the big screen in an entirely new way. EPIC is neither a traditional concert film nor a standard documentary — Baz Luhrmann calls it a new kind of cinematic “tone poem” representing Elvis’s life and performances. Elvis appears only via restored archival concert footage and interviews — there’s no new scripted narrative.

While preparing for his 2022 biopic ELVIS starring Austin Butler, Baz Luhrmann unearthed 65+ hours of unseen concert footage from Warner Bros.’ archive deep in the Kansas City salt mines owned by the Hunt family, the owners of the Kansas City Chiefs football team. Much of this material was decayed or silent and had to be restored painstakingly including synching up the images with audio. Much of the footage comes from Elvis’s sold-out Las Vegas residency (1969–76), with other scenes taken from performances during his 1972 U.S. tour. Audiences can expect over 20 iconic songs performed live, capturing both Presley’s prowess and showmanship. Rare backstage interactions show Elvis’ offstage personality, filled with humor, humility and a rapport with crew and fans. Luhrmann intentionally avoids a typical “talking head” narrative, letting Elvis’s voice and performances guide the storytelling. The film highlights rarely seen moments like Presley in his famed 1957 gold lamé jacket performance.

With only raw footage to work with, Baz Luhrmann collaborated with editor Jonathan Redmond to shape it into an emotional arc, blending performances and personal moments. Instead of strict chronology, the film interweaves clips from different eras to emphasize themes of artistry and vulnerability. EPIC first debuted at the Toronto International Film Festival on September 6, 2025, where it received a very warm reception. The live sequences were praised for their visceral energy — audiences react as if Presley is performing in the room. Many coverage pieces note that the film is shifting public perception of Elvis’s later career, reminding audiences of his unique charisma and musical impact.

EPIC is a hit with both critics and audiences, having scores of 96% and 99% respectively on Rotten Tomatoes. It cost $11M to make the movie, given the technical and narrative challenges that needed to overcome. In order to give the “King” his proper send-off, the film was specially presented in IMAX with Laser for its first week, highlighting its spectacular concert sequences. Rather than comparing this film to musical biopics BOHEMIEN RHAPSODY, ROCKETMAN, or even Baz Luhrmann’s ELVIS, we have chosen JUDY from 2019, which also focused on the life of a music legend, Judy Garland.

EPIC: ELVIS PRESLEY IN CONCERT vs. JUDY

Where Are We as of 2/26/2026

After the first eight weeks of 2026, the current year’s domestic box office stands at 103% compared with 2025, 125% compared with 2024, 98% compared with 2023, and 73% compared with 2019.