Insidious and Spider-Man Dominate Weekend Box Office

Four New And Holdover Titles Are Splitting The Same Weekend, And The Screen Math Is Getting Genuinely Crowded.

Insidious: Out of the Further pulled off something the franchise rarely does. It beat out Spider-Man: Brand New Day to the No. 1 spot at the box office on Friday. That win won’t last the weekend, though. Marvel’s web-slinger is still projected to finish on top once Sunday’s numbers are in.

Insidious Wins Friday, But It’s The Franchise’s Softest Opening In Over A Decade

The sixth Insidious film grossed $10.6 million on Friday from 3,303 North American theaters. Sony projects a three-day weekend of $23.7 million. That’s a real number, but it’s also the franchise’s lowest domestic debut since 2015’s Insidious: Chapter 3 opened to $22.7 million, and it lands below 2023’s The Red Door, which opened to $33 million.

The film carries an $18 million production budget, and horror remains one of the most dependable genres at the box office. It should turn a solid profit regardless of the dip. Critics gave it a 59% on Rotten Tomatoes, with The Hollywood Reporter’s Frank Scheck writing that the film “proves routine in its elaborate plot machinations.”

Director Jacob Chase follows a young mother who discovers she can travel into a dimension called the Further, and bring the demons who live there back into the real world. Lin Shaye returns alongside Amelia Eve, Brandon Perea, Maisie Richardson-Sellers, Sam Spruell, Island Austin, and Joseph Lopez.

Only one other film in the six-movie franchise has ever opened outside the top spot. Overseas, Out of the Further is tracking toward $26 million across 64 territories, reportedly posting the best horror opening day ever recorded in the Philippines.

Mutiny Opens Soft After A Rough Week

This weekend’s other new wide release, Mutiny, landed in fourth place Friday with $2.8 million from 2,703 screens. Lionsgate is targeting a $7.4 million opening.

That’s below comparable Jason Statham vehicles like 2024’s The Beekeeper ($16.5 million) and 2025’s A Working Man ($15 million), though it’s still ahead of Shelter ($5.2 million), an earlier 2026 release in the same genre lane.

Statham stars as Cole Reed, a man framed for his billionaire boss’s murder who uncovers an international conspiracy aboard a cargo ship. Jean-François Richet directs. Chaneil Kular, Annabelle Wallis, Ramon Tikaram, Jason Wong, and Simon Kluth round out the cast.

The soft number arrives just days after Amazon accidentally leaked the full film on Prime Video, an error that triggered piracy across multiple territories before the film ever reached theaters.

Spider-Man Keeps Setting Records Anyway

Spider-Man: Brand New Day settled for second on Friday with $9.8 million, a steep 47% drop from the prior weekend. It’s still projected to finish first overall with roughly $36.5 million by Sunday, pushing its domestic total to approximately $852 million.

The film continues to add to an already historic run, having recently become the fastest movie ever to cross $700 million domestically.

The Odyssey Holds Steady In Its Sixth Weekend

Christopher Nolan’s The Odyssey finished third Friday with $5 million domestically. It’s projected to add roughly $18.5 million through the weekend, a 22% drop from the prior frame, pushing its North American total to about $538 million.

Between The Odyssey and Brand New Day, the two films are effectively splitting the available IMAX screens this month, a genuinely unusual scheduling squeeze for two films this large running at once.

The End Of Oak Street Cools In Its Second Weekend

The End of Oak Street rounded out fifth place with an estimated $2.2 million Friday. The prehistoric thriller is projected to add $8 million through its sophomore weekend, a steep 62% drop, bringing its North American total to roughly $37 million.

Joanthan P. Moustakas

Jonathan P. Moustakas founded The Cinema Group in 2020 during the challenges of the pandemic, after losing the vital ability to find community in theaters and escape through the captivating magic of cinema. Feeling profoundly cut off from the vibrant film community he cherished, he sought to create a welcoming home for dedicated cinema fans while providing engaging, daily curated content that resonates with their passions. Years later, The Cinema Group has blossomed from a small collective of loyal fans into a thriving brand that reaches millions of audiences every month across a diverse array of platforms and mediums.

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