Right now, we’re getting into the slower time for the box office season. The big blockbusters have all been released during the hottest months, and now it’s time for the overall system to cool down back to springtime levels and eventually winter slump..
But before we get there, we have a horror movie called Weapons that continues to dominate, adding $25 million at this week’s box office. That comes with a 40% drop from last week. Now, while a 40% drop sounds significant, remember—many movies have much steeper declines. The bigger they are, the mightier they fall.
For a film in the horror genre to drop less than 50% is a massive achievement. And don’t forget—it cost well below the amount of money it’s making to actually create the film. That means nothing but profit for Zach Cregger, and nothing but goodwill from the horror community, which is still giving it massive kudos and big numbers on Rotten Tomatoes.
FREAKIER FRIDAY couldn’t beat the true Weapon of the weekend box office..
New Line’s movie earned an $18.2 million opening day from 3,202 locations — including $5.7 million from previews — and putting it on course for a $40 million opening weekend.
“Weapons” is only the 14th horror movie since 1981 to earn an A- or higher on CinemaScore, and becomes the second Warner horror film this year alongside Ryan Coogler’s “Sinners,” which earned the third horror A in CinemaScore history, to reach that mark.
I just saw the movie Weapons. Zach Cregger made a decent film that’s worth talking about, but quite frankly, I’m not sure I’m in the camp of people giving it the 100% Rotten Tomatoes score.
I’ll say this first: the movie’s not forgettable. The characters are not forgettable. Josh Brolin does a great job as Archer Graff. Julia Garner brings a lot of depth to Justine Gandy, and Alden Ehrenreich’s Paul Morgan—cop, ex-boyfriend, and conflicted soul—adds another layer to the story. There are a few protagonists, and plenty of antagonists. It’s not your typical flow. It’s more akin to Midsommar or Hereditary than your standard horror flick. It’s deeply unsettling, profoundly disturbing, and strangely funny.
But a problem exists in the characters.. there was a lot of development–but we did not end up even liking any of them. No one was … ready for our acceptance..
But sadly, for me, in the end, it’s more of a miss than a dead-center bullseye.
Let me explain. The movie does a few things very well. It doesn’t take itself too seriously at points when it shouldn’t. Even during the dramatic final conclusion—one of those moments in any film where you’d expect the audience to be on the edge of their seats—it slips in a scene that would go well with a laugh-track. If you had put some Benny Hill music over that scene, it would have completely lost credibility.
But here’s the thing: while you’re laughing, you drop your guard… and then it hits you with a horrific, graphic, gory scene. That’s what Cregger does best here—he lulls you in with a little levity, only to jab at you when you least expect it. It’s not light after all. It’s mostly dark. He mocks your frivolity.
It’s tough to do a movie review without spoilers, and I’m not going to spoil anything. I will say this: the most memorable character in this movie is one you don’t even see in the previews. I did myself a huge favor by avoiding spoilers altogether. The reviews I skimmed beforehand were short, vague, and gave me nothing concrete, and I’m glad for it. I recommend you do the same.
That said, I can’t help but wonder if the marketing and buildup to this film were a bit over the top compared to what it actually delivers. We were led to expect a Stranger Things-esque production—mystery, vibe, nostalgia—and yes, we definitely get a vibe. In fact, much of the film is bright and sunny, like Hereditary, using that unsettling trick of placing horror under a blue sky. Cregger nails that.
The flow works. The storyline is interesting. The acting is superb (despite not ending up liking many characters)..
There are moments that put you on the edge of your seat, and there are moments that make you wince and cringe at what’s unfolding on the screen. But then… it just ends. And that’s the biggest jab of all.
If you expect a solid ending, depending on your point of view, you might get it. But I think a lot of people walked out of the theater wanting something different. That’s strange, because up until the wrap, the movie was going well.
The run-up to Weapons had everyone thinking it would be the horror movie of the year. For me, it’s one of the good ones. But we’ll wait until year’s end to decide if it really earns that crown.
Two new trailers are out this week–one for a sequel and the other revealed at Comic Con in San Diego for a Stephen King short..
First the King..
Written by are StrangeDarling‘s JT Mollner, The Long Walk stars Cooper Hoffman (Licorice Pizza), Charlie Plummer (Spontaneous), Judy Greer (Jurassic World), Mark Hamill (Star Wars, The Fall of the House of Usher) The Long Walk is one of numerous novels King published under the pseudonym, Richard Bachman — a list that also includes The Running Man, which has its own adaptation coming later this year from Edgar Wright. Originally published in 1979, King cites it as the first novel he ever wrote sometime in the late 1960s, years before Carrie ever hit shelves, and was initially collected in 1985’s The Bachman Books.
Next we roll on to FNAF..
Based on Scott Cawthon’s blockbuster horror game series, Five Nights at Freddy’s 2 is again directed by acclaimed returning filmmaker Emma Tammi (The Wind, Blood Moon). The first film followed Mike, a troubled young man who reluctantly takes a job as a night security guard at an abandoned theme restaurant, Freddy Fazbear’s Pizzeria, hoping it will help him retain custody of his young sister. That fateful decision instead drags him into the black heart of a supernatural nightmare. Mike’s story continues in the upcoming sequel. One year has passed since the supernatural nightmare at Freddy Fazbear’s Pizza…
And this one what Blumhouse is basing some major hopes on..
Clark Kent, move out the way move out the way! It’s p Christmas in July for comic book fans.
Fantastic Four, premiering today with amazingly high scores on Rotten Tomatoes, is finally here — and it’s been a long time coming. Marvel fans have been eagerly anticipating this film for years.
Speaking of that Rotten Tomatoes score, critics are giving it an 89% rating, while fans are even more enthusiastic, pushing it up to 92%. These numbers are already running higher than those for the new Superman movie.
According to reports from Deadline, Fantastic Four is off to a blazing start, with early projections suggesting a $56 million Friday night opening. That sets the stage for a potential $125 million weekend, with some conservative estimates placing the domestic total just shy of $130 million over three days.
Interestingly, Deadline also reports that Superman drew 31% parents and only 9% kids under 12. In contrast, Fantastic Four is pulling in 7% kids under 12 and a whopping 93% general audience — with a particularly strong showing from the under-35 crowd. That younger audience turnout could be significant.
Marvel, for all its past dominance, has been teetering on the edge of audience fatigue. There’s been talk that people are feeling “comic-booked out” when it comes to theaters. But Fantastic Four might just be the spark the Marvel brand needs to reignite excitement during this comic book–spectacular summer of 2025.
The Superman has officially soared this weekend. Early estimates suggest James Gunn’s blockbuster is heading toward a final tally between $120 to $130 million, and the cape is flying high.
Audiences are being rocked with excitement, even as critics and fans alike debate the film’s flow. Some say it’s a little sloppy, jumping around enough to make you feel like you’ve landed in the same mysterious void that opens in the movie. But most moviegoers? They don’t care. Why? Because this is the epitome of the summer blockbuster—high-octane action, purposeful humor, and a fresh yet respectful take on one of pop culture’s most iconic figures.
This is Superman rising from the ashes.
The last several years haven’t been kind to the Man of Steel on the big screen. He’s struggled to find his footing, with stories that never quite soared. But James Gunn seems to have cracked the code. He studied the character, honored the mythos, and delivered something that has people, casual fans and diehards alike, talking.
Reports from movie theaters across the country point to something we haven’t seen in a while: true excitement. Not just from fanboys and fangirls, but from entire families. Kids are being introduced to Superman for the first time, and parents are feeling a sense of nostalgia that only the red cape can bring.
There’s something special in the air with this film. Whether it needs to make $700 million or not is beside the point—for now, Superman isn’t just the Man of Steel… he’s the Man of the Blockbuster..
James Gunn May Have Just Cracked the Code on Superman…
After years of hit-or-miss attempts to do justice to the ultimate man of justice, Superman might finally be soaring again—this time, thanks to James Gunn.
Early indicators suggest this could be a box office juggernaut. The film has already raked in $21 million in previews alone, and despite some critics sharpening their snark, audiences are embracing the Man of Steel with open arms. As of this writing, the film is holding an impressive 95% audience score on Rotten Tomatoes.
Could this be the biggest movie of the summer?
Even the political sphere is feeling the ripple. Former President Donald Trump posted an image of himself in full Superman regalia—on the official Truth Social White House account—seemingly trying to ride the cape-tails of the film’s buzz. It’s no surprise either, as Gunn has openly acknowledged that his Superman will dip into the realm of politics.
But beyond the numbers, beyond the politics, there’s one question left that really matters:
In North America, the holiday tentpole is reporting an estimated five-day domestic opening of $147.3 million, including $91.5 million for the three-day weekend.
In North America, Rebirth ranks as the fourth-best showing ever for the July Fourth holiday, both in terms of the five-day and three-day number.
Let’s face it: horror movies almost never win Oscars. In fact, they’re the black sheep of the film industry—looked down on, snubbed by critics, and ignored during awards season. But here’s the twist: vampires, zombies, and masked killers might just be keeping Hollywood alive.
Let’s not forget: horror has always been the genre the so-called “serious” critics roll their eyes at. But those same critics might owe their careers—and their fancy premieres—to the very genre they dismiss. Without horror keeping theaters afloat, where would people even go to watch those “Oscar-worthy” art films?
So here’s to horror: the genre that fills seats, pays the bills, and keeps the popcorn popping.
Long live the monsters. Let the vampires bite. And may the zombies keep on rolling.
