7/24-7/26: THE ODYSSEY Continues Its Voyage

Jul 26, 2026

Christopher Nolan’s THE ODYSSEY continues to keep theatres busy, selling another $87.0M in tickets in its second weekend. With all films earning $141.6M this weekend, THE ODYSSEY’s share amounts to 61% of the total. Last weekend, THE ODYSSEY produced 64% of the total box office, underscoring how important this film has been in this important stretch of the summer. The only meaningful help this weekend came from Bleecker Street’s HADESTOWN: THE MUSICAL, which added $9.7M in its opening. Last year on this same weekend, the total box office was $185.4M, led by the $117.6M opening of THE FANTASTIC FOUR: FIRST STEPS.

Next weekend, Sony’s newest SPIDER-MAN sequel arrives with great expectations. At the end of 2026, we may well look back at July 31^st as the high point of the year. Showing intense pre-release interest, we expect SPIDER-MAN: BRAND NEW DAY to bring in $230M or more in its first three days and at least $700M for its entire run. The success of this one movie could be responsible for the total annual box office crossing $9B for the first time since before the pandemic.

Advance ticket sales for SPIDER-MAN are reaching historic heights, and the box office for the rest of the summer will be carried by the film. SPIDER-MAN is likely to be highest grossing movie of 2026, with total domestic sales hitting $700M by Labor Day.

THE ODYSSEY will be close behind it, having come out of the gate fast over the past two weeks and likely to continue with meaningful sales for the next few weeks. After the current stretch, we’ll have to wait until Christmas to see two movies putting up big numbers at the same time, with the dual openings of AVENGERS: DOOMSDAY and DUNE III on December 18^th. But for now, the industry is thankful to have the tandem of THE ODYSSEY and SPIDER-MAN: BRAND NEW DAY.

The Last Four Weeks – 2026 vs. 2025

#1 – THE ODYSSEY

Universal’s THE ODYSSEY dominated sales this weekend by earning $87.0M, a decline of only 30% in its second weekend. This brings its 10-day totals to $286.4M domestically and $639.6 worldwide. THE ODYSSEY’s opening was 50% higher than OPPENHEIMER’s 2023 opening, and after ten days has increased its lead to 64% ahead of Christopher Nolan’s last film.

The mood surrounding the film is overwhelmingly positive. Studio executives, analysts, and exhibition leaders are consistent in saying that THE ODYSSEY has performed even better than its optimistic pre-release expectations. Perhaps the biggest surprise has been its extraordinary business in IMAX theatres. Even IMAX CEO Rich Gelfond has acknowledged that they had underestimated demand, saying that he did not expect sales “to get this crazy,” including record presales with weeks of sold-out showtimes to see THE ODYSSEY in the premium IMAX 70mm format. Sales in IMAX alone account for 20% of the worldwide gross, with the 41 worldwide IMAX 70mm locations producing over $6M in ticket sales in the film’s opening weekend. The worldwide gross of $264M in its first three days was more than the $250M spent to make the film. Universal must be very pleased to have welcomed Christopher Nolan as one of their most famous and successful filmmakers, having worked together on OPPENHEIMER and now THE ODYSSEY. An attempt to organize online criticism over the film’s casting choices has had virtually no measurable effect on ticket sales.

Here is a list of Christopher Nolan’s six highest-grossing films to-date.

Christopher Nolan’s Highest-Grossing Movies

THE ODYSSEY has served as an extremely important bridge to SPIDER-MAN. Had it not stepped into this role, exhibitors would have experienced a steep decline in business during an important stretch of the summer.

THE ODYSSEY vs. OPPENHEIMER after 10 Days

#2 – MOANA

Disney’s MOANA held onto second place by selling an additional $10.5M, a decline of 41% from last weekend. After 17 days, Disney’s live-action remake of the 2016 animated original has earned $102.5M in the U.S. and Canada and $228.2M worldwide. After a somewhat modest drop of 41% in its third weekend, the trajectory for this film could result in a total domestic run of $150M and $350M globally. Sales of this magnitude would be a cause for celebration for most films, but Disney should be disappointed since they spent $250M to make MOANA and would need to reach $625M worldwide to break even on the project.

One challenge the film has had to overcome is negative reviews from critics, who gave it a dismal 31% rating on Rotten Tomatoes. Parents are known to pay close attention to movie reviews for a family film, having the responsibility to show a good time for not only their own kids but sometimes also a wider group of friends. A mom or dad wants to feel secure that a trip to the cinema will be worth the time and expense. Good reviews suggest that a movie is working on multiple levels, fun for both kids and parents. Many critics have commented that the new live-action MOANA is missing the vitality, humor, and emotional magic of the animated original.

With the cost of taking a family of four to a movie approaching $100 after factoring in concessions, some parents may have concluded that the new live-action MOANA was not worth the price. A 2018 Fandango survey of female moviegoers said that 85% of the time they are the decision-maker when choosing a kids’ movie to see in theatres. If MOANA had received better reviews, it would have done much better. With its July 10^th opening, MOANA also had to contend with the competition from TOY STORY 5 and MINIONS & MONSTERS, also targeted to appeal to family moviegoers. TOY STORY 5 has received a 92% rating from critics on Rotten Tomatoes, and MINIONS & MONSTERS secured a 91% from the same group. Given MOANA’s lowly 33% grade from critics, there were two viable alternatives to consider.

MOANA (2026) vs. MOANA 2 (2024) after 17 Days

#3 – TOY STORY 5

TOY STORY 5 from Disney/Pixar continues its record-breaking run, adding $10.5M in its sixth weekend, a drop of only 27%. After 38 days, the Pixar sequel has earned $448.6M domestically and now $1.02B worldwide. This domestic total is an all-time high for the five TOY STORY movies, and is close to surpassing the $1.07B global record set by TOY STORY 3 in 2010. The chart below recaps the box office history of the TOY STORY movies.

TOY STORY Box Office History

The first four TOY STORY movies together have an enviable global gross to production cost ratio of 4 to 1. In a summer that has seen two other family films fall short of expectations, TOY STORY 5 has been a shining star. The best could be yet to come for this 31-year-old franchise.

TOY STORY 5 vs. TOY STORY 4 after 38 Days

#4 – HADESTOWN: THE MUSICAL

Bleecker Street’s HADESTOWN: THE MUSICAL finished in fourth place with opening weekend ticket sales of $9.7M. This cinematic event is a live recording of the Tony Award-winning Broadway musical, filmed in its London West End staging reuniting the five original performers from its Broadway run: Reeve Carney, Eva Noblezada, André De Shields, Amber Gray, and Patrick Page. After years of fan demand for a high-quality recording, the film is receiving a North American theatrical release. The original stage musical was created by singer-songwriter Anaïs Mitchell and directed for the stage by Rachel Chavkin and won eight Tony Awards, including Best Musical and a Grammy for Best Musical Theater Album.

The film was directed by Brett Sullivan, one of the industry’s leading directors of live theatrical captures. His previous filmed productions include WAITRESS: THE MUSICAL (2023) starring Sara Bareilles, as well as numerous stage productions for television and home entertainment. Rather than turning the live musical into a cinematic reimagining, Sullivan preserves the intimacy and energy of the live performance while using cinematic camera movements and editing to bring audiences closer to the performers.

The lead role of Orpheus is played by Reeve Carney, best known for THE TEMPEST (2010) and the television series PENNY DREADFUL (2014-2016). Eva Noblezada, known for YELLOW ROSE (2019) and her Tony-nominated Broadway performances, plays Eurydice. André De Shields, celebrated for decades of stage work including THE WIZ (1978 Broadway revival) and his Tony Award-winning performance in HADESTOWN, performs as Hermes. Amber Gray, acclaimed for NATASHA, PIERRE & THE GREAT COMET OF 1812 on Broadway, returns as Persephone, while Patrick Page, known to film audiences for IN THE HEART OF THE SEA (2015) and numerous Shakespeare productions, reprises his commanding role as Hades.

The story intertwines two Greek myths: the tragic romance of Orpheus and Eurydice and the turbulent marriage of Hades and Persephone. Set in a stylized, Depression-era industrial underworld infused with American folk, jazz, blues, and New Orleans musical influences, Orpheus descends into Hadestown in an attempt to rescue Eurydice after she makes a desperate bargain with Hades. As Hermes narrates the tale, the musical explores themes of love, hope, sacrifice, labor, power, and humanity’s tendency to repeat history. Rather than presenting mythology as fantasy, the production frames it as a timeless reflection on economic inequality and the resilience of hope.

Critical reception has been outstanding. At release, HADESTOWN: THE MUSICAL held a 100% Rotten Tomatoes critics score based on its initial reviews. Note that with only 24 reviews accounted for, that score may drift down slightly over time. The audience gives it a 98% rating with over 50 comments so far.

Since it was a direct filming of the stage performance, production costs only amounted to a modest $5M. This means the movie release will become profitable if it earns $12.5M at the box office, and based on its opening three days, it is well on its way. A strong comparison is HAMILTON (2025), which also presented an acclaimed stage production with its original cast. Both productions rely on dynamic cinematography to enhance—not replace—the theatrical experience while allowing audiences worldwide to enjoy a landmark Broadway performance. One difference is that HAMILTON premiered on Disney+ in 2020 during the heart of the pandemic.

HADESTOWN: THE MUSICAL vs. HAMILTON

#5 – MINIONS & MONSTERS

Universal and Illumination’s MINIONS & MONSTERS finished in fifth in its fourth weekend, scooping up $9.6M in new sales and dropping 29% from last weekend. This brings its 26-day totals to $155.4M domestically and $411.9B globally. While M&M has only earned 53% of DESPICABLE ME 4’s domestic box office in the same period, the new movie will still be profitable. Its worldwide gross stands at $411.9M, which is almost five times the $85M spent to make it. We estimate that the movie will wind up earning $450M for its entire run, pushing that ratio closer to 5.5 to 1.

On the other hand, Universal must feel some disappointment with a falloff of 47% from DESPICABLE ME 4’s box office, causing some concern about future movies in the MINIONS/DESPEICABLE ME franchise. Much has been made of the fact that three family films have overlapped in the marketplace over the past month, including TOY STORY 5 and MOANA. Perhaps the studios would have made more money if they had spaced out their releases over the entire summer. Still, starting with the June 19^th release of TOY STORY 5, these three films have produced a combined domestic gross of $707.5M, providing a welcome start to the summer.

MINIONS & MONSTERS vs. DESPICABLE ME 4 after 26 Days