Box office tracking for the weekend is pointing to a mixed but lively theatrical slate, where familiar franchises, nostalgia plays and internet-born hits are all competing for attention.
As Deadline puts it, the frame is being driven by “an unusual mix of legacy comedies, nostalgic franchise revivals and YouTube-driven animation.” That split is clearly showing up in audience expectations.
Paramount and Miramax’s reboot of Scary Movie is shaping up as the headline performer. Industry estimates put it at around US$40 million in North America and roughly US$70 million worldwide, which is a strong return for a straight theatrical comedy in today’s market.
That level of opening would make it one of the biggest comedy launches in years outside of franchise hybrids like superhero-led titles. The film brings back the Wayans brothers and sticks closely to the spoof formula that defined the early run of the series. The rollout is wide, with roughly 3,400 theatres and previews starting Thursday afternoon. A key factor here is audience turnout beyond pre-sales. Studios are leaning on walk-up business to push it to the top of the weekend chart.
The appeal is broad by design, with early tracking suggesting a mix of Black and Latino-Hispanic audiences alongside a wide split across male and female viewers in both younger and older age groups. With a reported US$30 million budget, the film is also positioned to significantly boost the franchise’s global total, potentially pushing it towards the $1 billion mark.
In second place, tracking is Amazon MGM’s Masters of the Universe, which is looking at around US$30 million domestically and more than US$50 million worldwide. The film leans heavily into 1980s nostalgia, which naturally draws in an older male audience who grew up with the original toy line and animated series, while trying to widen its reach through a family-friendly tone.
Directed by Travis Knight, the film stars Nicholas Galitzine as He-Man, with Camila Mendes, Idris Elba and Alison Brie in supporting roles, and Jared Leto appearing as Skeletor.
It is rolling out across more than 80 international markets, including the UK, Germany, Brazil and Japan. Premium large-format screens are part of the strategy, even as competition for IMAX space remains tight. Early reception has been relatively positive, and the international footprint will be key to its overall performance.
A different kind of release is also in play with The Amazing Digital Circus, which is moving from viral online success to a full theatrical launch via Fathom Entertainment. The film is forecast to take around US$15–18 million in the US from just over 2,200 cinemas, driven heavily by Gen Z audiences who already followed the series online.
The original series built enormous reach on YouTube, with billions of views, before expanding further on streaming platforms where it briefly ranked among the most-watched shows globally.
That digital momentum is now translating into ticket sales. The story centres on characters trapped inside a circus-themed virtual reality world controlled by an unstable AI, a concept that has already proven highly shareable with younger audiences.
Elsewhere, A24’s Backrooms is expected to hold steady in its second weekend, with projections in the US$32–37 million range domestically. Even with a typical week-to-week drop, the film’s performance will depend on how far its older-skewing audience carries it.
