SUMMER 2026 WRAPS UP AS THE BIGGEST EVER WHILE SPIDER-MAN: BRAND NEW DAY IS KNOCKING ON THE DOOR OF #1 ALL-TIME; PRACTICAL MAGIC 2 Takes the Lead This Weekend

Sep 13, 2026

Warner Bros.’ PRACTICAL MAGIC 2 opened with $30M to knock Sony’s SPIDER-MAN: BRAND NEW DAY out of the top spot that it had held for six consecutive weekends. Ironically, this happened on the same weekend when SPIDER-MAN was on the verge of becoming the highest- grossing movie of all time in the domestic market. With $935.2M to date, SPIDER-MAN is only $1.5M behind the $936.7M record set by STAR WARS: EPISODE VII - THE FORCE AWAKENS that has stood for ten and a half years. The chart below gives the current top five domestic market movies of all time.

5 Highest-Grossing Movies of All-Time in the Domestic Market

As early as tomorrow, BRAND NEW DAY will pass THE FORCE AWAKENS to cap off a record-breaking summer for theatrical exhibition. The 2026 summer domestic box office totaled $4.765B, edging past the previous record of $4.756B set in 2013. The industry defines the summer box office season as running from the first Friday in May through Labor Day weekend. The current summer’s “win” comes with the following caveats. The 2026 season covered 130 days, seven more than in 2013—and the earlier figures have not been adjusted for inflation over the past thirteen years. It took the actual Labor Day Monday total of $23.2M to nudge 2026 past 2013 by $9.0M, or less than 0.2%.

The summer of 2026 was also 10% higher than the $4.35B earned in the summer of 2019. After adjusting for the increase in ticket prices since 2019, we see that attendance in the summer of 2026 was 16% below that of the same period in 2019.

Even after factoring in those qualifications, 2026 marks a major step forward for the industry. Each of the four months this summer exceeded $1.0B at the box office, with August setting an all-time record at $1.28B. This demonstrates that audiences turn out given a steady and diverse supply of appealing films.

This weekend actually came in significantly below the same weekend in 2025, with a total box office of $83.4M compared to $147.4M last year at this time. This is the second weekend in a row to produce less than in 2025. This will not be repeated next weekend, as Sony’s RESIDENT EVIL should open with at least $40M, while last year’s 38th weekend of the year was led by Sony’s DEMON SLAYER: INFINITY CASTLE in its second weekend with only $17.3M and all films together totaled $73.8M.

When we widen the lens from a one-weekend focus, the last four weeks are still showing positive momentum, up 40% in box office and 36% in attendance compared to last year.

THE LAST FOUR WEEKS – 2026 vs. 2025

#1 – PRACTICAL MAGIC 2

PRACTICAL MAGIC 2 finished in first place, conjuring up $30M from its opening weekend in the U.S. and Canada and $46.0M worldwide. PRACTICAL MAGIC 2 is Warner Bros.’ long-awaited follow-up to PRACTICAL MAGIC, the 1998 romantic fantasy that disappointed at the box office initially but wound up becoming a cult favorite through home video, cable television, streaming and annual Halloween viewing. PRACTICAL MAGIC was released on October 16, 1998, and earned $13.1M in its debut weekend and $46.7M overall. Its worldwide totals were $68.3M. Its enduring popularity on VHS, DVD, cable and streaming is estimated to have produced an additional $105M in revenue from merchandise sales and licensing revenue, including an estimated $60M to $70M returned to the studio. Warner Bros. announced its plans to make a sequel in June 2024, 26 years after the original opened in theaters.

Sandra Bullock returns as Sally Owens, the more cautious and domestically settled of the two sisters. Bullock is best known for SPEED (1994), WHILE YOU WERE SLEEPING (1995), MISS CONGENIALITY (2000), THE BLIND SIDE (2009), GRAVITY (2013) and THE LOST CITY (2022). Nicole Kidman reprises Gillian “Gilly” Owens, Sally’s more adventurous sister. Kidman’s best-known films include DAYS OF THUNDER (1990), TO DIE FOR (1995), EYES WIDE SHUT (1999), MOULIN ROUGE! (2001), THE HOURS (2002), COLD MOUNTAIN (2003) and AQUAMAN (2018).

PRACTICAL MAGIC 2 was directed by Danish filmmaker Susanne Bier, an Academy Award winner for the international drama IN A BETTER WORLD (2011). Her previous theatrical directing credits include BROTHERS (2004), AFTER THE WEDDING (2007), THINGS WE LOST IN THE FIRE (2007), LOVE IS ALL YOU NEED (2012), SERENA (2015) and BIRD BOX (2018). She also directed Kidman in the television productions THE UNDOING (2020) and THE PERFECT COUPLE (2024), while BIRD BOX (2018) starred Bullock. As a result, Bier had already established a working relationship with both of the leading actresses in the sequel.

Joey King plays Sally’s daughter Kylie Owens. King is known for THE CONJURING (2013), WISH I WAS HERE (2014), THE KISSING BOOTH (2018), BULLET TRAIN (2022) and A FAMILY AFFAIR (2024). Maisie Williams, best known for television’s GAME OF THRONES (2011–2019), plays Sally’s other daughter, Antonia; her film credits include THE FALLING (2015), THE NEW MUTANTS (2020) and THE OWNERS (2020). Stockard Channing and Dianne Wiest return as the Owens aunts, Frances and Jet. Channing is best known for GREASE (1978) and SIX DEGREES OF SEPARATION (1993), while Wiest’s major films include HANNAH AND HER SISTERS (1986), THE LOST BOYS (1987), PARENTHOOD (1989), EDWARD SCISSORHANDS (1990) and BULLETS OVER BROADWAY (1994).

Set approximately 25 years after the first film, PRACTICAL MAGIC 2 finds Sally’s daughters Kylie and Antonia entering adulthood while confronting their inherited magical abilities. Sally has attempted to protect them from the Owens family history, but Kylie begins uncovering secrets about the family’s powers and the curse that causes tragedy for the men the Owens women love. After Kylie’s boyfriend falls into a coma, she travels to England searching for the origin of the curse and a way to break it. Sally, Gillian, Frances and Jet are drawn into the struggle, which brings the family into contact with scholar Ian Wright and the dangerous warlock Thomas Lockland. The plot expands the story into a multigenerational confrontation involving the origins of Owens' magic, concealed family history and the sacrifices required to protect its youngest generation.

Early reviews for PRACTICAL MAGIC 2 have been mixed-to-negative. The film stands at 39% on Rotten Tomatoes with critics, while audiences rate it a higher 92%. The New York Post said, “Beyond the cheap sell of seeing beloved characters again, 'Practical Magic 2' is not an especially entertaining movie.” The AV Club thought, “Even if Practical Magic was a beloved part of your childhood, it’s hard to see what would excite you about this sequel.” The Film Verdict concluded, “The finished product shares many of the original film’s flaws, from careening shifts in tone to not enough screen time for Stockard Channing and Dianne Weist as Sally and Gillian’s wise, eccentric aunts.” One of the more upbeat reviews from USA Today said, “Bier, like Griffin Dunne previously, isn’t afraid to get a little dark and weird with the magic. Toss in a smattering of talented actresses and you’ve got a witches’ brew that’s fairly satisfying.” Interestingly, the original PRACTICAL MAGIC also received poor reviews and currently stands with a 30% critics’ score on Rotten Tomatoes, despite its cult success. This suggests that immediate critical reaction may be less important to the sequel’s long-term prospects than audience response and the loyalty of the original’s fan base.

The production of PRACTICAL MAGIC 2 reportedly cost approximately $75M net after production incentives. That is a substantial but controlled budget for a star-driven fantasy feature requiring elaborate sets, period-style production design and visual effects. The original reportedly also cost $75M, which would equal $153.6M in today’s dollars. This makes the current movie a real bargain. Bullock and Kidman have acknowledged that the film faced budget limitations, such as determining how extensively the production could recreate the Owens house and the first film’s magical environment. The sequel will have to gross $188M worldwide to get to profitability, and after its opening weekend results, it will need to hold up well for several more weeks to get there. For a comparison film, we turn to the original, of course.

PRACTICAL MAGIC 2 vs. PRACTICAL MAGIC

#2 - SPIDER-MAN: BRAND NEW DAY

Sony’s SPIDER-MAN: BRAND NEW DAY added $8.4M to its historic totals, falling 54% from last weekend and finishing in second place after six straight #1 finishes. This brings its 45-day totals to $935.2M domestically and $2.452B worldwide. Soon to be the all-time domestic box office champ, it will set almost every record that can be attached to any film. Together with Universal's THE ODYSSEY, these two films have helped lift the 2026 summer box office to the highest ever. Perhaps somewhat lost in this is Tom Holland’s extraordinary 2026.

Tom Holland has enjoyed a year that few actors ever achieve. Now 30 years old, he has held leading roles in the top two movies of the year: SPIDER-MAN: BRAND NEW DAY and THE ODYSSEY. These two pictures have grossed approximately $4.14B worldwide, with $2.452B for SPIDER-MAN and $1.684B for THE ODYSSEY. Holland’s career films have earned almost $12B worldwide, the most ever for an actor at the age of 30 or younger.

SPIDER-MAN: BRAND NEW DAY confirms Holland as one of the world’s most bankable leading men. His fourth solo outing as Peter Parker delivered the biggest domestic opening weekend ever, reached $1B globally in only six days, and spent six consecutive weekends at the top of the domestic box office. It has earned approximately $935.2M domestically and $2.452B worldwide, ranking as 2026’s biggest global release and will be the highest-grossing domestic movie of all time. The performance elevated Holland’s SPIDER-MAN series beyond being merely another Marvel success and established it as one of theatrical exhibition’s most valuable modern franchises. His compensation for his role in this film is estimated at $100M, comprised of a $20M salary and as much as $80M in performance bonuses and backend participation.

Holland has also broadened his dramatic credentials by playing Telemachus, the son of Odysseus, in Christopher Nolan’s THE ODYSSEY. The film has reached $1.684B worldwide, including more than $1B internationally, while becoming the highest-grossing IMAX release ever. Appearing opposite Matt Damon, Anne Hathaway, Robert Pattinson and Zendaya allowed Holland to participate in an ambitious filmmaker-driven epic far removed from the Marvel universe. Together, his two films helped carry the domestic summer box office to a best-ever $4.761B. Professionally, 2026 represents the moment he graduated from being a popular young star to one of the defining movie personalities of his generation.

Holland also celebrated a major personal milestone with Zendaya during the year. Unlike the Travis Kelce/Taylor Swift very high-profile Madison Square Garden wedding on July 3rd, mystery surrounded the nuptials between him and Zendaya. Zendaya’s stylist, Law Roach, revealed on March 1, 2026, that the wedding had already occurred. Holland seemingly confirmed the marriage on June 16, 2026, but declined to provide the date or other details. Reports indicate they held a larger wedding celebration at Beaverbrook in England in August 2026, but their private legal or family ceremony apparently occurred earlier.

Zendaya also appeared in both SPIDER-MAN: BRAND NEW DAY and THE ODYSSEY. Her on-screen relationship with Peter Parker in the last four SPIDER-MAN movies is often cited by critics and fans as one factor in making the franchise so popular. Her role in THE ODYSSEY is much less significant and came about only after Christopher Nolan asked her to appear in his movie. Playing Athena, the goddess of wisdom and Odysseus’s traditional protector, is a small role and is described as an extended symbolic cameo. Her desire to work with Nolan and Holland on the set appealed to her.

Zendaya is also having quite a 2026, in addition to her appearance in the two blockbusters. She has been nominated for her third Best Actress Emmy for EUPHORIA, starred in THE DRAMA and later this year will appear in a significant role in DUNE III. Holland and Zendaya are the ultimate incarnation of the term “power couple”.

SPIDER-MAN: BRAND NEW DAY vs. STAR WARS: EPISODE VII – THE FORCE AWAKENS after 45 Days

#3 – THE ODYSSEY

Universal’s THE ODYSSEY continues its amazing run, landing in third place this weekend with an additional $7.4M, a decline of 42% from last weekend. After eight full weeks and nine weekends (59 days), Christopher Nolan’s epic has earned $600.1M domestically and $1.684B worldwide.

THE ODYSSEY has enjoyed one of the most remarkable theatrical runs of the modern era. After opening to $264.1M worldwide, the largest global debut of Christopher Nolan’s career, the epic demonstrated exceptional staying power throughout the summer. Nearly two months after its July 17th release, it has still come in third place on this weekend’s box office rankings. That is an extraordinary accomplishment for a lengthy, adult-oriented historical epic in the heart of the summer season. In fact, this weekend it finished ahead of SPIDER-MAN: BRAND NEW WORLD for the first time.

The film has now earned approximately $1.684B worldwide, including more than $1.0B from international markets. This makes it Nolan’s highest-grossing film, surpassing THE DARK KNIGHT RISES, OPPENHEIMER and THE DARK KNIGHT, and ranks among the 15 biggest worldwide releases in motion-picture history. Even more impressively, THE ODYSSEY became the first movie that was neither a sequel nor a remake to earn more than $1.0B internationally since AVATAR in 2009. It has also just passed JURASSIC WORLD’S $1.67B to become Universal’s highest-grossing movie release of all time.

THE ODYSSEY has been equally important for its ability to showcase the power of the theatrical experience. Shot entirely with IMAX cameras, it has sold over $457M in IMAX alone, establishing a new record for the format. Demand for its limited IMAX 70mm presentations remains so popular that many theatres are extending its IMAX runs through September 30th. The 41 worldwide locations with the ability to play IMAX 70mm have generated $78M in box office receipts. Rather than functioning as merely another summer blockbuster, THE ODYSSEY has become a cultural event—one that persuaded audiences to seek out premium screens, accept a long running time and experience a centuries-old story on the largest canvas possible. Its run reinforces Nolan’s unique standing as a filmmaker whose name, visual ambition and commitment to theatrical exhibition can sell an expensive original production on a franchise-sized scale.

THE ODYSSEY vs. THE DARK KNIGHT RISES after 59 Days

#4 – RUNNER

RUNNER, the action-comedy thriller released theatrically by Angel Studios, opened in fifth place with $6.7M. Angel Studios did not develop or finance RUNNER. The independent production was assembled by Jeffrey Greenstein’s A Higher Standard, Nickel City Pictures, Broken Road Productions and Industry Entertainment. A Higher Standard introduced the project to international buyers at the American Film Market in November 2024, before filming began.

After the film was completed in Australia in May 2025, its producers sought a U.S. theatrical distributor. The picture was submitted to Angel Studios and evidently received the support required through the Angel Guild, the company’s membership group that evaluates potential acquisitions. Angel subsequently negotiated a licensing agreement with the producers for U.S. theatrical distribution. The acquisition was publicly announced at CinemaCon on April 13, 2026, when Angel dated RUNNER for September 11, 2026. The production companies retained rights to the underlying film, while Angel acquired rights to market and release it in the United States. Angel later confirmed that it was releasing the film worldwide, beginning with the U.S. theatrical opening.

RUNNER represents a deliberate departure and expansion for Angel from their normal slate of films. Although the company is associated with faith-oriented films, RUNNER is a violent mainstream action thriller. Its life-saving storyline, redemption theme and emphasis on sacrifice apparently gave it enough alignment with Angel’s “stories that amplify light” philosophy to secure Guild support.

The director is Scott Waugh, a former stunt performer who specializes in large-scale action. His previous directing credits include ACT OF VALOR (2012), NEED FOR SPEED (2014), 6 BELOW: MIRACLE ON THE MOUNTAIN (2017), HIDDEN STRIKE (2023) and EXPEND4BLES (2023). Waugh’s stunt background is evident in RUNNER’s elaborate car chases, hand-to-hand fights and practical action sequences.

Alan Ritchson stars as Hank Malone, a physically imposing former soldier now living quietly on a houseboat in Australia. Ritchson is best known for the television series REACHER (2022–) and the films TEENAGE MUTANT NINJA TURTLES (2014), TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS (2016) and THE MINISTRY OF UNGENTLEMANLY WARFARE (2024). Owen Wilson plays Ben Bishop, Hank’s eccentric and talkative traveling companion. Wilson’s best-known films include WEDDING CRASHERS (2005), CARS (2006), MARLEY & ME (2008), MIDNIGHT IN PARIS (2011) and WONDER (2017).

The story begins when Hank accepts what appears to be a straightforward courier assignment: transporting a donor liver from Brisbane Airport to a critically ill child awaiting surgery at a Gold Coast hospital. The organ arrives with Ben, who insists on accompanying it. Their mission turns into a violent race against time when cartel gunmen attempt to steal the liver for Damian’s dying mother. Hank and Ben must survive betrayals, motorcycle gangs, shootouts and vehicle chases while keeping the organ viable long enough to reach the hospital.

Critics have for the most part been receptive to the picture giving it a 71% rating on Rotten Tomatoes. Audiences very much like the film with an 88% on the Popcorn Meter. Here is a sampling of critic’s opinions. Variety said “This clunky vehicle doesn’t transcend its limitations — Wilson and Ritchson’s efforts are the duct tape holding it together — but it’s much better than anyone could have expected. “The Hollywood Reporter weighed in with “The brutality becomes off-putting after a while... On the plus side, Ritchson and Wilson display a winning chemistry, their contrasting physicality and acting styles working perfectly for their characters.” RogertEbert.com felt that “It has a certain weirdo charm that makes it far more watchable than it has any right to be. “The Daily Beast had a harsher take on the film “A second-hand affair that runs out of gas almost as soon as it kicks into gear.”

The production cost for the film is reported to have been approximately $70M. Based on its domestic opening of $6.7M, it has no chance of approaching profitability. Angel is shielded from the financial fallout that this creates, since it did not finance the making of the film, and only acted as its distributor.

RUNNER vs. PLANE

#5 – COYOTE VS ACME

COYOTE VS. ACME from Ketchup Entertainment finished fifth in its third weekend, bringing in $6.2M and dropping 48%. This brings its 17-day totals to $47.8M domestically. More than your average release, industry insiders are very interested in analyzing the potential profit and loss of this film. Box office pundits are fascinated by COYOTE VS. ACME because its theatrical run has become a referendum on Hollywood decision-making. Warner Bros. shelved the completed film for a potential tax write-off even after it conducted early test screenings. As a result, it became a symbol of an industry willing to bury finished work for financial reasons. Ketchup Entertainment’s rescue allowed moviegoers to deliver their verdict.

The results have been encouraging, with COYOTE VS. ACME opening two weeks ago with $15.9M domestically, the biggest debut in Ketchup’s history. In its third weekend, it earned another $6.3M, a decline of 48% over its second weekend. Now with a 17-day total of $47.8M domestically, we can forecast its ultimate gross and profitability. Both Warner Bros. and Ketchup Entertainment have used financial engineering to reduce risk.

It’s time to look at their decisions. Our projection has the film reaching $62M domestically and, with $30M coming in from foreign territories, will collectively take the film to a total box office gross of $92M globally. If that happens, here are the potential financial outcomes.

COYOTE VS. ACME PROFITABILITY

As the breakout above shows, Warner Bros. probably made the right decision to write off and take a $20M loss when it sold the film to Ketchup for $50M. If they had released the film themselves and it had earned the same $92M that we are estimating Ketchup's release will make, WB would have lost $24M on the project versus the $20M they were able to write off after the sale.

Ketchup will earn around $11M on the film if it grosses $92M worldwide, after spending $50M to acquire the rights, getting back $20M of that for reselling the foreign rights. If there is a loser here, it will most likely be the patchwork of companies put together by V10 on behalf of Ketchup that distributed the movie in foreign markets after spending $20M to acquire those rights. We estimate that they will lose $7M after factoring in the total international box office and downstream rights. The big winners here are the fans who wound up having the opportunity to see the film in theatres and exhibitors that took home their share of the $46M in box office sales and profits from add-on concessions sales.

Pundits are watching whether an independent distributor can release a major studio’s unwanted film. A finish close to $100M worldwide could encourage similar rescue deals. Every dollar earned therefore becomes evidence in a larger debate over whether studio executives—or audiences—should decide which of their completed films deserve to be seen.

COYOTE VS. ACME vs. THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE after 17 Days