SPIDER-MAN:BRAND NEW DAY Crosses $850M Domestically and $2.2B Worldwide

Aug 23, 2026

Sony and Marvel’s SPIDER-MAN: BRAND NEW DAY continued its record-breaking run at the box office, finishing in first place for the fourth consecutive weekend by adding $39.0M to its already massive domestic total. This year’s SPIDER-MAN movie is the undisputed story of the summer, delivering a welcome boost to the theatrical market. Sony’s INSIDIOUS: OUT OF THE FURTHER added even more punch to the weekend total, which came in at $122.5M for all films. This performance compares favorably with last year’s 34th weekend which produced only $78.6M, led by $18.0M from Netflix’s KPOP DEMON HUNTERS and not much after that.

2026 has produced four consecutive weekend wins compared to the matching weekends last year. In fact, this summer has produced sustained momentum in the quantity and quality of new movie releases and corresponding box office results. Of course, SPIDER-MAN is the shining light among this summer’s releases, but THE ODYSSEY, TOY STORY 5, and others have played an essential supporting role.

SPIDER-MAN has been amazing, hitting the $800M mark in the domestic market in its 19th day in theatres and passing $850M this weekend. Its ability to hold the spotlight has transformed this movie from a singular hit to a box office phenomenon. Each weekend adds another layer to the cake.

The good times should continue next weekend with a fifth consecutive box office victory compared with 2025. However, Labor Day weekend from September 4–6 could come in below the matching weekend of September 5-7 from 2025, when THE CONJURING: LAST RITES opened to a surprisingly strong $84.0M, and all films earned $124.6M. This year’s Labor Day release calendar looks a little thin by comparison.

The industry is fully appreciating the bounty of SPIDER-MAN, which has blown past all pre-release expectations and carried the box office for the past month. Even so, even a film as successful as SPIDER-MAN cannot do it all on its own, and new films will be needed to take the 2026 box office to new heights. This is especially true as summer turns to fall.

THE LAST FOUR WEEKS – 2026 vs. 2025

#1 - SPIDER-MAN: BRAND NEW DAY

SPIDER-MAN: BRAND NEW DAY continues to move the turnstile with an additional $39.0M in ticket sales, a 45% drop from last weekend. It has taken first in each of its four weekends in theatres and has a good chance to make it five wins in a row next weekend. This winning streak has not been accomplished since AVATAR: FIRE AND ASH won first place for five weekends in a row beginning on the weekend before Christmas in 2024. Before that, BARBIE finished #1 in its first four weekends in the summer of 2024.

SPIDER-MAN’s 24-day totals stand at $854.9M domestically and $2.220B worldwide, passing SPIDER-MAN: NO WAY HOME to take the crown as the highest-grossing SPIDER-MAN movie in history. BRAND NEW DAY is now the third movie on the all-time list of box office earners, only a few million behind AVENGERS: ENDGAME’s $858.4M in 2019.

5 Highest-Grossing Movies of All Time at the Domestic Box Office

Will BRAND NEW DAY become the highest grossing movie of all time in the domestic market? The answer will come from the movie’s performance over the next two weekends. During its last full week from Friday, August 14th to Thursday, August 20th, BRAND NEW DAY earned $100.1M, a decline of 51% from the $205.7M it earned over the previous 7 days. If its box office decline in each of the next two weeks is similar its decline over last week, BRAND NEW DAY will wind up finishing behind THE FORCE AWAKENS.

Consider as well that studios commonly re-release their highest-grossing films in future years, and that grosses from these re-releases are added to the lifetime totals of a movie. AVATAR is one such example, having had two re-releases that added $35.4M combined to the box office of its original release. Should this SPIDER-MAN fall just short, we can well imagine that Sony will be tempted to come back with a re-release of BRAND-NEW DAY so it can be the highest-grossing domestic release of all time. If they do, would Disney then come back with a 15th anniversary release of THE FORCE AWAKENS in 2030? In a town where image is everything, walking away with “best ever” bragging rights is an important motivating factor. Here is how the race stands after 24 days.

SPIDER-MAN: BRAND NEW DAY vs. SPIDER-MAN: NO WAY HOME and STAR WARS: EPISODE VII – THE FORCE AWAKENS after 24 Days

#2 - INSIDIOUS: OUT OF THE FURTHER

INSIDIOUS: OUT OF THE FURTHER, the latest entry in Sony’s INSIDIOUS horror franchise, finished in second place in its opening weekend by taking in $25.3M domestically and $60.3M worldwide. This is the sixth film in the supernatural-horror franchise created by Australian filmmakers James Wan and Leigh Whannell. Rather than continuing the Lambert family’s story after INSIDIOUS: THE RED DOOR (2023), the new installment introduces Gemma, a single mother whose unusual connection to the Further creates a new path for the series. Blumhouse Productions, Atomic Monster, Stage 6 Films and Screen Gems produced the 106-minute feature, with Jason Blum, James Wan, Leigh Whannell and Oren Peli all serving as producers.

Collectively, the five previous films have earned $339.7M domestically and $731.4M worldwide, on combined production budgets that add up to $42.5M. This gives the franchise an amazing worldwide gross-to-production ratio of 17 to 1. Sony describes the franchise as having netted more than $740M, after adding in revenue from all sources above and beyond Sony’s share of ticket sales. Here is how the box office flowed from the five previous films.

INSIDIOUS FRANCHISE BOX OFFICE HISTORY

Jacob Chase directed and wrote the screenplay for INSIDIOUS: OUT OF THE FURTHER, based on a story credited to Chase and David Leslie Johnson-McGoldrick. Chase previously wrote and directed the five-minute horror short LARRY (2017), which attracted Amblin Partners and was morphed into his feature-directing debut COME PLAY in 2020. That film followed a lonely creature that enters the human world through smartphones and tablets. Its combination of supernatural horror, family relationships, and a monster crossing from one realm into another made Chase a logical choice for the INSIDIOUS series. INSIDIOUS: OUT OF THE FURTHER is only his second theatrically released feature as director.

This INSIDIOUS goes in an entirely new direction from previous chapters and required an all-new cast with one notable exception. Amelia Eve stars as Gemma, a young mother who discovers that she can enter the Further and retrieve its inhabitants. Eve is best known for playing Jamie in the 2020 Netflix limited series “The Haunting of Bly Manor.” Brandon Perea, best known for NOPE (2022) and TWISTERS (2024), plays a major supporting role. Maisie Richardson-Sellers, whose credits include THE KISSING BOOTH 2 (2020), THE KISSING BOOTH 3 (2021) and the television series “DC’s Legends of Tomorrow” from 2016–2022, plays Claire.

The notable exception is Lin Shaye, who returns as Elise Rainier, the psychic medium who has managed to appear in every INSIDIOUS movie despite the character’s death in the first INSIDIOUS. Shaye’s extensive career includes A NIGHTMARE ON ELM STREET (1984), THERE’S SOMETHING ABOUT MARY (1998), and all the INSIDIOUS series. Sam Spruell, known for THE HURT LOCKER (2009), SNOW WHITE AND THE HUNTSMAN (2012), and TAKEN 3 (2015), portrays the new demon, Cyrus. Laura Gordon, best known for SAW V (2008) and LATE NIGHT WITH THE DEVIL (2024), and young performer Island Austin complete the principal ensemble.

The new direction has Gemma raising her young daughter in the same New England house where she grew up. She discovers that she can astral-project herself into the Further, the shadowy purgatorial world inhabited by lost souls and demonic entities. Unlike previous travelers, however, Gemma can bring beings from the Further back into the physical world. Her ability attracts Cyrus, a theatrical and manipulative demon who intends to use her as a gateway. As the boundary between the two realms collapses, Elise attempts to guide Gemma and protect both mother and daughter. The premise effectively reverses the familiar haunted-house formula: the danger is no longer confined to the Further because Gemma can unknowingly release it into everyday life.

Perhaps the most remarkable fact regarding the very successful franchise is that none of the previous five films have ever received good grades from either critics or the audience. The average Rotten Tomatoes critics score of the previous five movies is a subpar 47%, with the average audience score at 57%. We are pleased to say that the newest entry raises the bar a bit with a 60% critics score and a 71% from the audience. Here are some examples of critics' thoughts. IndieWire thought the film was “Direly, dreadfully boring, ‘Insidious: Out of the Further’ has money on the brain. So do most things, but this time, it’s way too conspicuous and underserving of the epochal year Blumhouse-Atomic Monster is having between ‘Backrooms’ and ‘Obsession’.” The Guardian felt, “Chase takes all of this hokum too seriously and the film eventually dips into a harried spectacle of dodgy effects and ghost-foiling tactics that seem to be improvised on the fly.” RogerEbert.com said, “It has a real Spirit Halloween fire sale vibe as far as its haphazard variety and wildly fitful effectiveness.” The Film Verdict complimented the film, saying, “Chase finds organic ways to set up his scary set pieces, whether it’s the dentist’s office where Gemma works or a claustrophobic maze-like scene that coincidentally resembles a recent horror hit about endless spaces.”

The film had a reported production cost of $18M. In a nod to their ancestral roots in Victoria, Australia, franchise creators James Wan and Leigh Whannell chose to shoot the film there. The Victorian government reported that filming generated approximately $29M in Australian Dollars (equal to $20.6M USD) in economic activity and created more than 500 local jobs. The first four movies in the franchise were shot in and around Los Angeles and the fifth was shot in Georgia. This is yet again an example of production fleeing Los Angeles, and perhaps the U.S. overall. INSIDIOUS: OUT OF THE FURTHER will only have to earn $47M in worldwide sales to be profitable. Based on its global total of $60.3 after only three days, this has already been surpassed.

The franchise continues to be a huge moneymaker for Sony and future additions are likely. For a comparison, we will use the immediate predecessor INSIDIOUS: BEYOND THE RED DOOR to give us a sense of where the franchise financials are headed. So far, OUT OF THE FURTHER is underperforming THE RED DOOR.

INSIDIOUS: OUT OF THE FURTHER vs. INSIDIOUS: THE RED DOOR

#3 - THE ODYSSEY

Universal’s THE ODYSSEY chugged along in third place, adding $19.5M to its impressive run in theatres, a drop of only 17% from last weekend. In five full weeks plus this weekend, Christopher Nolan’s creation has grossed $539.1M domestically and $1.446B worldwide. Before this weekend, the only remaining personal best box office record that Nolan had not yet achieved with this movie was to outsell THE DARK KNIGHT’s domestic total of $534.9M. After this weekend, that final hurdle has been overcome, with THE ODYSSEY now standing as Nolan’s highest-grossing film both domestically and worldwide.

Christopher Nolan’s Six Highest-Grossing Movies

THE ODYSSEY is the second highest grossing film in the U.S. and Canada for 2026, and the twentieth highest-grossing domestic film of all time. The film has held up particularly well, with 70MM IMAX showtimes continuing to sell out. This weekend’s drop from last weekend was only 17%.

As for any successful film, we have to ask the question whether there is room for a sequel or prequel. From a purely financial point of view, a follow-up movie would be likely because THE ODYSSEY’s worldwide sales of $1.446B have made it an enormously valuable property for Nolan and Universal. Homer’s mythology provides several possible directions:

1. THE ILIAD could serve as a prequel depicting the Trojan War.

2. THE TELEGONY, an ancient continuation of Odysseus’s story, could provide the basis for a sequel.

3. A newly crafted storyline that follows Tom Holland’s Telemachus could be created, a next generation of sorts.

However, these possibilities are fan and media speculation, rather than projects in development. Nolan stated that the exhausting production of THE ODYSSEY pushed the limits of his stamina and he will take at least three years before making another movie. He rarely makes conventional sequels outside THE DARK KNIGHT trilogy and generally prefers to move on to a different subject. Regardless, theatres around the world can't wait for the next offering in the Nolan universe of films.

THE ODYSSEY vs. THE DARK KNIGHT RISES after 38 Days

#4 - PAW PATROL: THE DINO MOVIE

PAW PATROL: THE DINO MOVIE from Paramount and Spin Master finished fourth in its second weekend with $9.1M, dropping 55%. This brings its 10-day totals to $35.4M domestically and $103.4M globally. International sales represent 66% of its total worldwide box office, underscoring PAW PATROL’s position as a global children’s property. When looking at the film's financial performance, we must step back and take into account that the movie is only one part of a larger business encompassing toys, television, streaming, games and licensing.

The movies’ greatest value is not necessarily their box office performance. Each film serves as a global advertisement that stimulates toys, licensing, streaming engagement and new television viewing. That is why Spin Master describes the movies as an incitement for the add-on revenue streams of toys, entertainment and digital games. PAW PATROL continues to generate more than $1B annually in worldwide retail sales. Time reports that more than 100,000 different PAW PATROL products have been created and that the property has produced more than $15B in retail sales.

PAW PATROL has also been one of the most successful preschool television series of the past generation. It was a hit almost immediately after its August 2013 Nickelodeon premiere and even today is the highest-rated preschool series on American television among children ages 2–5. The series has produced approximately 300 episodes across 13 seasons. Nickelodeon and Spin Master have already ordered seasons 14 and 15, guaranteeing at least 26 additional episodes and extending the program for several more years. PAW PATROL also acts as an evergreen preschool property: children continually age out of it, but a new generation enters the target audience every year. That makes it more durable than many movie-dependent franchises and practically guarantees a new and devoted audience year after year after year.

We also cannot overstate the importance of the partnership between Spin Master and Paramount that provides solid financial footing for all the PAW PATROL IP. Spin Master owns the core property and operates the toy, entertainment and digital businesses, while Paramount and Nickelodeon participate in television distribution, movies and non-toy licensing royalties. David Ellison, the Chairman and CEO of Paramount and Skydance, is a personal fan of the show. Speaking shortly after taking control of Paramount, Ellison used his own daughter’s enthusiasm for PAW PATROL to explain how Paramount might extend its characters through artificial intelligence. He said the industry could be about three years away from allowing his daughter to speak with Skye, one of the key members of the Paw Patrol, in a real-time, AI-generated conversation lasting 20 minutes.

The financial performance of THE DINO MOVIE is an indicator of the health of the franchise. As of its first ten days, THE DINO MOVIE is generating 92% of the domestic box office that its predecessor THE MIGHTY MOVIE did in its first ten days. THE DINO MOVIE would wind up earning $188.7M worldwide if we extrapolate the current 8% decline from THE MIGHTY MOVIE. This would result in a healthy $4.7M to 1 global gross-to-production-cost ratio and indicate that the new film is solidly profitable. Another theatrical film is almost guaranteed, and we expect Paramount to crank out a new chapter every three years. If we are right, look for another PAW PATROL adventure in 2029.

PAW PATROL: THE DINO MOVIE vs. PAW PATROL: THE MIGHTY MOVIE

#5 - THE END OF OAK STREET

Warner Bros.’ THE END OF OAK STREET finished fifth with a weekend total of $9.0M, dropping 57%. This brings its ten-day totals to $38.0M domestically and $86.0M worldwide. Our current thoughts about THE END OF OAK STREET come down to the following: can a film from a major studio and with solid audience appeal overcome a modest start to earn enough to be profitable? The film opened with $21M domestically and $47M worldwide, a respectable result but not the breakout Warner Bros. had been hoping for. An original dinosaur adventure starring Anne Hathaway and Ewan McGregor was expected to do better. Its second weekend’s gross of only $9.0M and a drop of 57% are not helping the situation.

The financial picture is complicated. Its $85M production cost means that it needs to earn well at the box office to become profitable. We project that it would need to earn $200M worldwide to get there.

Industry observers appear encouraged by the film's reviews and its ability to distinguish itself from franchise-heavy summer programming. Critics and audiences are known to complain about sequel- and franchise-itis, asking studios to come up with original stories. Both Warner Bros. and OAK STREET’s creative team are to be congratulated for their efforts. Critics have responded positively to its ambition, spectacle and Hathaway's performance, although the film's Spielberg/Jurassic Park influences have generated some criticism.

The biggest concern is legs. A $21M opening gives the film a reasonable foundation, but it needs strong week-to-week hold to move beyond a niche success story. Before the movie’s release, TheWrap noted that Warner Bros. was coming off a string of disappointing 2026 openings, making THE END OF OAK STREET particularly important for the studio. We think that it is premature to sign off on the film entirely, since it will continue to play in most of its locations through Labor Day. We are hopeful that THE END OF OAK STREET will wind up doing pretty well, but perhaps not as much as needed to be a financial success. Strong international play, positive word-of-mouth and a long domestic run are now essential. Next weekend, the film will have to avoid a drop of more than 40% from this weekend. Dropping at a faster rate would put the film in critical condition.

THE END OF OAK STREET vs. SUPER 8 after 10 Days