Sony and Marvel’s blockbuster, Spider-Man: Brand New Day, remained firmly in first place over the Aug. 14-16 weekend, adding another $70 million domestically in its third frame. That brings the film to an extraordinary $785.8 million in North America after just 17 days and $2.022 billion worldwide.
With additional strength from Universal’s The Odyssey and newcomers The End of Oak Street and PAW Patrol: The Dino Movie, the domestic box office generated approximately $160.1 million for the weekend.
That’s a dramatic improvement over the same weekend in 2025, when the overall marketplace totaled $90.7 million and Weapons led with $24.5 million.
More importantly, this is now the third consecutive weekend in which 2026 has outperformed the comparable weekend in 2025, a streak that began, not coincidentally, with the arrival of Brand New Day.
The late-summer surge has August tracking toward becoming the highest-grossing August in box office history, reminding us that audiences don’t necessarily care whether Hollywood considers a release corridor “prime” as long as the movie feels like an event.
Spider-Man keeps rewriting the record book
Brand New Day declined 51% from its $145 million second weekend, a solid hold considering the enormous numbers involved.
The film needed only 16 days to cross $750 million domestically, faster than any movie previously released.
During the past week alone, it passed Black Panther at $700.4 million, Top Gun: Maverick at $722 million, and Avatar at $785.2 million on the all-time domestic chart.
With $785.8 million after Sunday, Brand New Day now ranks as the fourth highest-grossing movie in domestic box office history, behind only Spider-Man: No Way Home at $814.9 million, Avengers: Endgame at $858.4 million and Star Wars: The Force Awakens at $936.7 million.
And No Way Home is suddenly within striking distance.
At the same point in their theatrical runs, Brand New Day stands at $785.8 million after 17 days compared with $613.6 million for No Way Home. Even The Force Awakens had earned “only” $742.2 million through its first 17 days.
The one thing working against Peter Parker now is the calendar.
As schools reopen nationwide, weekday grosses will inevitably begin declining. According to Screendollars, roughly half of U.S. K-12 students will have returned to class by Aug. 17, rising to approximately 70% by Aug. 24.
But strong audience response and repeat viewing should keep Brand New Day swinging well into September.
‘The Odyssey’ crosses $500M domestic
Christopher Nolan’s The Odyssey continued its own remarkable run, finishing second with $23.2 million in its fifth weekend, dropping just 27%.
After 31 days, the Universal epic has reached $504.7 million domestically and $1.291 billion worldwide.
The movie has already surpassed The Dark Knight Rises to become Nolan’s highest-grossing film globally and is now closing in on The Dark Knight for the filmmaker’s domestic crown.
Its longevity may be just as impressive as its opening. After debuting with $123.5 million, The Odyssey followed with weekends of $90 million, $51 million, $31.5 million and now $23.2 million.
In other words, while Spider-Man has become the headline-grabbing phenomenon, Nolan’s adaptation of Homer is quietly putting together one of the strongest theatrical runs of the year.
‘The End of Oak Street’ finds $21M opening
Warner Bros.’ sci-fi survival thriller The End of Oak Street debuted in third place with $21 million.
Written and directed by It Follows filmmaker David Robert Mitchell, the movie stars Anne Hathaway and Ewan McGregor as parents whose already-struggling suburban family suddenly faces a considerably larger problem when their entire neighborhood is transported from 1982 into a prehistoric landscape populated by dinosaurs.
Maisy Stella and Christian Convery play their children.
Produced by J.J. Abrams’ Bad Robot and Jackson Pictures, the $80 million production spent roughly two years in post as filmmakers integrated its dinosaurs and prehistoric environments into the suburban setting.
The movie also underwent a late title change from Flowervale Street to The End of Oak Street before finally landing its August release.
Early response has been encouraging, with an 86% Rotten Tomatoes critics score and a 78% verified audience score, according to Screendollars.
With an estimated $80 million production budget, however, the film will need substantial international support and staying power to reach the roughly $200 million worldwide level Screendollars estimates it needs to break even theatrically.
The pups bring dinosaurs to fourth place
Paramount’s PAW Patrol: The Dino Movie opened close behind in fourth place with $20.5 million domestically and $47 million globally.
It’s the third theatrical adventure based on Spin Master’s preschool franchise, following PAW Patrol: The Movie and PAW Patrol: The Mighty Movie.
Director Cal Brunker returns for the third installment, which finds Ryder and the pups crash-landing on a tropical island populated by dinosaurs. Naturally, Mayor Humdinger eventually complicates everything by awakening a dormant volcano.
The film carries an estimated $40 million production budget and arrives from a franchise that has been extremely efficient theatrically. The previous two movies cost a combined $56 million and earned approximately $349.4 million worldwide.
Early audience reaction is also strong, with Screendollars citing a 96% audience score on Rotten Tomatoes.
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KATSEYE brings its fandom to theaters
Rounding out the top five was Trafalgar’s music documentary KATSEYE: Wild Hearts, which opened with $4 million from just 724 domestic locations.
Directed by Nadia Hallgren, the 80-minute documentary follows multinational girl group KATSEYE from the pressure of the Dream Academy competition and training process through its rapid rise as a global pop act.
The film combines new interviews, rehearsals, backstage material, archival footage and fan-submitted videos while examining the injuries, online criticism and emotional pressure that accompanied the group’s success.
With an estimated production budget of only $3 million, the theatrical release doesn’t need blockbuster numbers to work financially. Its $4 million domestic start already puts it well on the way.
2026 box office gains momentum
The bigger story remains the overall health of theatrical exhibition.
Through Aug. 13, the 2026 domestic box office stood at approximately $6.55 billion, up 19% from the same point in 2025, while estimated attendance was up 13%.
Screendollars has now raised its full-year domestic projection to $9.7 billion, roughly a 12% increase over 2025, and finally pushes the marketplace beyond the $9 billion annual ceiling it has struggled to break for years.
And next weekend offers another favorable comparison. The equivalent 2025 frame produced only $78.6 million overall.
Unless Peter Parker suddenly forgets how to swing, 2026 appears headed toward its fourth consecutive year-over-year weekend victory.
For the moment, Spider-Man: Brand New Day isn’t just the biggest movie in theaters.
It’s setting the tempo for the entire marketplace.
