‘Spider-Man: Brand New Day’ swings past $2B worldwide

The latest Spider-Man film is on the verge of becoming the fourth movie to cross $800M in North America.

Tom Holland in Spider-Man: Brand New Day
Tom Holland in Spider-Man: Brand New Day. / Sony

Hello! Welcome to The Box Office Report for the weekend of Aug. 14-16, 2026.

1. Spider-Man: Brand New Day

Weekend gross: $70M
Total domestic gross: $785.8M
Last weekend: 1st
Percent drop: 51

For the third straight weekend, the box office was dominated by Spider-Man: Brand New Day. The latest Spidey film has made quick work of the record book, with a $70 million third-weekend haul bringing director Destin Daniel Cretton’s movie up to $785.8 million in North America. As long as that estimate holds, Brand New Day will bump the original Avatar ($785.2 million) out of the No. 4 spot on the all-time domestic chart.

From there, Brand New Day should easily become only the fourth film to crack $800 million in North America, joining Spider-Man: No Way Home ($814.9 million), Avengers: Endgame ($858.4 million) and Star Wars: The Force Awakens ($936.7 million). Spider-Man: Brand New Day continues to outpace the seventh Star Wars film, which sat at $742.2 million after its third weekend. Do Tom Holland and the gang have the box office strength to not only pass The Force Awakens but also become the first film to gross $1 billion in North America alone?

Brand New Day already added the honor of ticking past the $2 billion mark on the global level. It’s only the seventh film to ever swing to that height, passing Spider-Man: No Way Home’s $1.921 billion worldwide total.

2. The Odyssey

Weekend gross: $23.2M
Total domestic gross: $504.7M
Last weekend: 2nd
Percent drop: 27

After Spider-Man: Brand New Day, we have a trio of films in the $20 million range, with The Odyssey leading two new releases. Christopher Nolan’s film crossed the $500 million mark in North America this weekend. This gives the director two films in this club. Of course, when The Dark Knight cracked $500 million back in 2008, it and Titanic were the only two members of that club. The Dark Knight now sits at No. 20 while The Odyssey has moved up to No. 23.

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3. The End of Oak Street

Weekend gross: $21M
Total domestic gross: $21M
Last weekend: New release
Percent drop: NA

The End of Oak Street, the fantastic Twilight Zone-meets-Jurassic Park movie from director David Robert Mitchell, appears to have done just enough this weekend to outgross PAW Patrol: The Dino Movie and claim the No. 3 spot at the box office. The End of Oak Street’s opening weekend itself almost outgrossed the entire worldwide haul of Mitchell’s previous biggest hit, It Follows, which topped out at $23.2 million.

4. PAW Patrol: The Dino Movie

Weekend gross: $20.5M
Total domestic gross: $20.5M
Last weekend: New release
Percent drop: NA

PAW Patrol: The Dino Movie scored the lowest opening weekend for the franchise, with its $20.5 million debut trailing 2021’s PAW Patrol: The Movie ($26 million) and 2023’s PAW Patrol: The Mighty Movie ($30 million). There had to be at least one confused family this weekend who experienced a dinosaur movie mixup involving The End of Oak Street and PAW Patrol: The Dino Movie, right?

5. Katseye: Wild Hearts

Weekend gross: $3.95M
Total domestic gross: $3.95M
Last weekend: New release
Percent drop: NA

The documentary about girl group Katseye opened in just 724 theaters this weekend, giving it a theater average gross of $5,456. Not an impressive number on its own, but had Katseye: Wild Hearts opened wide, it might’ve had a debut number in the mix with The End of Oak Street and PAW Patrol: The Dino Movie.

Beyond the Top Five

  • One Night Only: The Sex Purge movie fell 64 percent from its $5.5 million opening weekend. One Night Only’s $2 million second weekend dropped director Will Gluck’s latest down to ninth place.

Box office numbers via The Numbers and Box Office Mojo based on Sunday estimates.

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Popculturology is a publication of The Omnicosm.
Issue No. 485

Popculturology is written and produced by Bill Kuchman.
Copyediting by Tim Kuchman.

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