‘Toy Story 5’ Looks To Cross $300M, ‘Supergirl’ Flying Low With $40M Opening – U.S. Box Office Update - Deadline

SUNDAY AM: Toy Story 5 reigned supreme in its second weekend, not just in the U.S. with $70M, but around the world with a $159.1M WW take, rising the Disney/Pixar pic’s cume to $585M. Stateside, the Andrew Stanton movie is less than $3M from hitting the three-century mark. Toy Story 5‘s second weekend hold of -56% is spot on with that of Incredibles 2‘s. Incredibles 2 holds the record for the best opening of an animated film, and Toy Story 5 is second, so that ease isn’t bad at all. Imax screens contributed $900K around the world for a $24M haul for the large format exhibitor. Meanwhile, Warner Bros/DC Studios’ Supergirl became even more challenged over night with a $10.7M Saturday (-41% from Friday/previews), which is turning into a $38M domestic opening. Again, that isn’t the lowest 3-day start for a DC title, but it’s not good for a cosmo-hopping movie that cost $170M-$186M net before global spend. Supergirl‘s stateside start is lower than Disney/Marvel’s lowest, The Marvels ($46.1M) and it’s God awful close to DC disaster, Joker: Folie a Deux ($37.6M). Worldwide was horribly low with a $68M launch. More on that later. blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-dsk-tab-mid-article1-uid0' ) .setTargeting( 'pos', ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-article") .addSize(,,,,,,,,]) .exemptFromSleep() .setClsOptimization("minsize") ; }); Watch on Deadline if ( !window.pmc.harmony?.isEventAdScheduledTime() ) { pmcCnx.cmd.push(function() { pmcCnx({ settings: { plugins: { pmcAtlasMG: { iabPlcmt: 2, } } }, playerId: '32fe25c4-79aa-406a-af44-69b41e969e71', playlistId: '0199e506-e642-7728-8264-463efe71337b', }).render("connatix_contextual_player_div"); }); } else { // This should only be get called when page cache is not cleared and it's event time. window.pmc.harmony?.switchToHarmonyPlayer(); } The only nice thing to say about Supergirl is that she did very well in premium format screens with 51% of her gross coming from Imax ($7.4M) and PLFs. The Craig Gillespie movie was shot for Imax, and the exhibitor says that with a near 20% share of the weekend, it’s the highest opening weekend indexing of any superhero movie in Imax history. If that’s the case, all the more reason for more premium format screens so movies can make more money. Global Imax take for Supergirl was $10.9M, with $3.5M from overseas and $250K from China. AMC Lincoln Square with $126K so far is the top grossing venue for Supergirl. This was followed by AMC Burbank, AMC Empire New York, AMC Universal Citywalk Los Angeles, AMC Century City Los Angeles, AMC Disney Springs Orlando, AMC Grove Los Angeles, AMC Metreon San Francisco, AMC Veterans Expressway Tampa, and Santikos Palladium San Antonio. blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-dl-mid-article-inject2-uid1' ) .setTargeting( 'pos', ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-article2") .addSize(,,,,,]) .exemptFromSleep() .setClsOptimization("minsize") ; }); With the tepid opening of Paramount’s Jackass: Best and Last, the lowest start ever in the franchise at $8.4M (though it was cheap at $10M before P&A), it’s also possible that most people are saving their money to blow over July 4th when Illumination/Universal’s Minions & Monsters is expected to rule with potential $100M over five days, if not more. Some wonder if it was bad to put Supergirl on this date wedged between Toy Story 5 and Minions and Monsters. The answer is an absolute “No”: The marketplace needed a fanboy live-action film. Supergirl is getting bullied by competition, rather she’s being bullied by fanboys and critics as not being good enough. It’s hard to live in cousin Superman‘s shadow. Even though the overall domestic weekend for all movies at $158M is -32% off last weekend when Toy Story 5 rallied the biggest frame of the year with $231.3M, note the annual and summer box office is still wonderfully intact. At $4.7B for the Jan. 1-June 28 period, the motion picture industry is +15% over 2025, and only -9% off the same frame in 2019 which had already hit $5.5B. This summer has officially crossed $2.1B, +17% over last summer at this point in time, and near even with 2019’s hot wave. The Invite (A24) 7 theaters Fri $156K Sat $123K Sun $99K 3-day $379K/PSA $54,1K Wk 1As we told you previously the Olivia Wilde directed sex comedy has the fourth best opening theater average YTD. SATURDAY AM: Yes, Disney/Pixar’s Toy Story 5 is still ruling the box office with a second weekend around $70M+ depending on how big the turnout from families remains today. However, this weekend is about the upset of Warner Bros/DC Studios’ $170M-$186M net production Supergirl, which is filing $40M domestic, another exhibit of how finicky fanboys and fangirls can be when it comes to big screen superhero properties. Global looks to hover around a $75M start with $11M so far abroad from 78 markets/40,000 screens. CinemaScore yesterday was a B-, which is lower than DC’s Ezra Miller tabloid impacted The Flash (B), Aquaman and the Lost Kingdom (B), Ryan Reynolds’ 2011 bomb Green Lantern (B), Shazam: Fury of the Gods (B+), and Marvel Studios’ rock bottom The Marvels (B CinemaScore). Definite recommend on Screen Engine/Rentrak’s PostTrak is 52%, which is low for a planned summer tentpole of this magnitude. blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-dsk-tab-mid-articleX-uid2' ) .setTargeting( 'pos', ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-articleX") .addSize(,,]) .exemptFromSleep() ; }); In a further deep-dive on PostTrak, men who showed up at 59% gave Supergirl a very low definite recommend at 45% while women at 41% were a bit better at 62%. Note, Supergirl was never expected to be Superman ($125M). Tracking was originally seeing $50M+, which was still way too low for this property. Tracking firms saw this coming before summer even fired off: If there were any wobbly event films there were was going to be Amazon MGM Studios’ Masters of the Universe ($29.4M), Supergirl and Universal Amblin’s Disclosure Day. It was clear from most of these pics’ marketing campaigns that they didn’t have any stickiness, and would be challenged in expanding any demos beyond older men. Disclosure Day wound up beating its $30M range opening with a $44.5M U.S./Canada start, which was within the range of Spielberg sci-fi properties, and wound up pulling in the filmmaker’s older skewing faithful. James Gunn and Peter Safran are tasked at DC Studios with delivering filmmaker driven fare that isn’t cookie cutter ala the previous DC titles. They’re also very vigilant about development, no matter how slow the process will be, even killing some impossibly threaded projects that they initially announced in their Gods and Monsters phase 1 when they took the job. A feature adaptation of Tom King and Bilquis Evely’s very visceral and edgy graphic novel Supergirl: Woman of Tomorrow seemed like an appropriate second production that would clearly one-up over any previous iteration of Superman’s cousin that we saw in previous iterations, i.e., the 1984 big screen bomb Supergirl (from original Superman movie producer Alexander Salkind, bit of trivia — it wasn’t released by Warners Bros at the time, rather TriStar), as well as the Greg Berlanti produced, Melissa Benoist starring series which portrayed Kara Zor-El as a career woman. Supergirl: Woman of Tomorrow was True Grit set in a Guardians of the Galaxy outer-space. Safran and Gunn entrusted Craig Gillespie who has a knack for female empowered properties, i.e. the Oscar winning I, Tonya; Cruella and the Emmy winning Hulu series Pam & Tommy. How could anything go wrong on paper? Clearly, this wasn’t a Stephen Sondheim inspired musical like Joker: Folie a Deux. Where to begin? The biggest complaints from fanboys at a Burbank press screening last Monday was that they had zero patience for Gillespie’s homage: They didn’t want to see any nods to Guardians of the Galaxy or Mad Max and Furiosa. Been there, done that and don’t ever do that again. Krem the villain was too two dimensional and out of Hellraiser. Jason Momoa as Lobo was welcome, but not funny enough. Give ’em something fresh like Kane Parson’s Backrooms and Curry Barker’s Obsession. But there’s a horrible reality and that’s that there is a toxicity among fanboys and critics with female-led superhero and action films. Captain Marvel got away with it with a $153.4M domestic opening because she was a bridge to Avengers: Endgame back in the pre-Covid heyday of superhero movies. But you can see in the comments there was a nastiness. Wonder Woman was able to repel such naysay as she’s a beloved superhero who never got her big screen debut. There was a huge want from female moviegoers to see a Wonder Woman movie like they wanted to see a Barbie movie. Also, audiences couldn’t deny Gal Gadot as being a dead ringer for Diana of Themyscira. Critics and fans have their gripes with the pint size House of the Dragon actress Milly Alcock as Kara (PostTrak audiences at 26% said she was the reason why they went to see the movie versus 49% who said they bought tickets because it’s part of a franchise they love). There’s also the factor of too much Super too soon. Supergirl arrives exactly a year after Superman and next summer we have the sequel to the Man of Steel and Lex Luther movie, Man of Tomorrow, on July 9, 2027. blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-dsk-tab-mid-articleX-uid3' ) .setTargeting( 'pos', ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-articleX") .addSize(,,]) .exemptFromSleep() ; }); Supergirl took over all the Imax but split the showtimes on the PLFs with Toy Story 5. Imax reps 23% of ticket sales so far with PLFs at 26% for a 49% market share overall for large format screens. 3D reps 95 of the gross. Even play throughout the U.S. for the Gillespie movie but best in the West, South, South Central, and East. The AMC Lincoln Square in NYC is Supergirl‘s top grossing theater with $88K. Diversity demos are 40% Caucasian, 30% Hispanic and Latino, 17% Black, and 8% Asian American. Men over 25 led at 41%, women over 25 at 26%, men under 25 at 18%, and women under at 15%. It’s said you need three demos to become a hit, and clearly that under 25 Gen Z/Gen Alpha bunch are not showing up here. Warners really wanted to connect with the under 25 female demographic and did a big push with Ulta Beauty stores and associated products. A24’s $10M pick-up of Olivia Wilde’s Sundance adult comedy, The Invite, grossed $156K yesterday at seven locations, on its way to a estimated 3-day of $384K or $54,8K per screen average. That would rank as the fourth best opening screen average YTD for the Annapurna production after A24’s The Moment ($106,9K) and Pillion ($60,4K) as well as Magnolia’s Maddie’s Secret ($58,2K). The Wilde, Seth Rogen, Penelope Cruz and Edward Norton starring movie is playing in four runs in LA and three in NY. The AMC Century City led the way on Friday with $30K. Very good limited launch here. Still the overall weekend at the box office isn’t that bad with the 26th frame of the year grossing around $158M for all titles. That’s the second-best post Covid for this late June weekend after 2022’s $190M. FRIDAY PM: Disney/Pixar Studios’ Toy Story 5 is holding onto No. 1, as we knew it would, but pre-weekend estimates were a bit high. The second weekend now is looking more like $74M at 4,425 sites, which would get the Andrew Stanton-directed animated mover over the $300M domestic in 10 days. And that’s nothing to whine about. The pic’s second Friday is looking like $22M. At $74M, that’s a -54% second-weekend hold, which is close to the -56% second weekend hold of Incredibles 2 ($80.3M), which was coming off the record domestic opening for an animated movie ($182.6M).