Coyote vs. Acme finally opens; Brand New Day goes for five straight and passes Titanic worldwide

Brand New Day passed Avengers: Endgame on Tuesday, exactly when we said it would once the weekend came in at $39 million against the $42.4 million that would have done it by Sunday. It sits second on the all-time domestic list at $866,496,542. The weekend drops have improved every frame, from -60% to -51% to -45%, and this week’s weekdays came in at -50% to -53% against the same days last week, the same footing that -45% came off. Force Awakens went -37.8% into its fifth weekend and Endgame -42.6%. We are calling -42% to -48%, or $20–24M.

The new variable is Coyote vs. Acme. Insidious and Mutiny took horror and R-rated screens on Aug 21 and barely grazed this, and no family title has opened against the run since PAW Patrol on Aug 14. A Looney Tunes hybrid on 95% reviews takes families, and families are the part of this audience that has been carrying its Saturdays: the Friday-to-Saturday build was +71% last weekend, second on the chart only to PAW Patrol.

This is also the first weekend of the run where the record-holder’s number is out of reach. Force Awakens’ $26.3 million fifth weekend is eighth all-time and Brand New Day is not getting there. That barely matters. At day 27 it is $46.8 million clear of Force Awakens at the identical point, a gap that widened by $4.6 million across Monday to Wednesday, and it needs $70,165,683 to take the record. Force Awakens made $116,974,288 after its own day 27.

Worldwide is where the movement lands this weekend. At $2.24 billion it is sixth all-time, and Titanic’s $2,257,906,828 and Ne Zha 2’s $2,260,176,370 are $18 million and $20 million away, so both go down by Sunday and this becomes the fourth-biggest release in history. As for where it ends up: our model has $906.9M–$981.8M on 2.62x legs, we expect the top half of that and north of $950 million, and that takes the all-time domestic crown off Force Awakens in the back half of September, with worldwide landing near $2.4 billion and passing Avatar: The Way of Water for third of all time. $900 million domestic is a first-week-of-September number.

When we previewed last weekend, Boxoffice Pro had Coyote vs. Acme at $5–11M. It went to $9–12M on Friday and $10–15M on Wednesday, and Deadline now has exhibition calling it plus or minus $15 million against a $7–10M read three weeks ago. A number moving that far that late usually keeps moving, so we are going higher: $14–17M.

The case for it is not complicated. It is certified fresh at 95% on 137 reviews, it took $400,000 in sneaks last weekend off a marketing spend Ketchup could actually afford, and the family lane on Aug 28 is empty. PAW Patrol: The Dino Movie is in week three, Minions & Monsters is down to 808 sites and Moana to 620. Three years of people demanding to see the movie Warner Bros. shelved is the kind of thing that usually just stays online. The presales say this one got out.

The money behind it is strange enough to state plainly. Warner Bros. Discovery took a $30 million write-down on a finished $70 million production in November 2023. Ketchup bought global rights for $50 million in March 2025 and recouped under $20 million selling foreign. Its biggest opening to date is The Day the Earth Blew Up at $3.2 million, its previous Looney Tunes rescue. A $15 million weekend here is about five times the biggest the company has ever had, and it would be the loudest argument anyone has made this year that a shelved film is an asset and not a tax line. Below $11 million and the cult was always louder than the audience.

Disney put The Dog Stars here as counterprogramming to a Spider-Man and Odyssey summer, and it arrives on 3,300 theaters carrying 120 Imax and 675 PLF screens, a serious premium footprint for a net $70 million production. It also arrives at 40% on 111 reviews. Boxoffice Pro calls it stalled at $8–12M and Deadline has it $10–14M; we are at $9–12M, because reviews decide an adult drama’s Saturday and this one does not have them.

Deadline’s own comp is The Amateur, which opened to $14.8 million and legged 2.8x to $40.8 million domestic and $96 million worldwide on a $60 million budget, with better reviews and a spring release. Ridley Scott’s directed openings run from Gladiator II’s $55.5M and The Martian’s $54.3M down to The Last Duel’s $4.8M, and this belongs in the lower half of that alongside Napoleon’s $32.8M. On 2.6x to 2.8x legs a $10 million opening finishes at $25–30M domestic. With $15 million of a $25–30M global debut coming from 55 territories, international has to carry this one.

This series drops hard in week two every single time: -58.0% for The Last Key, -60.6% for The Red Door, -65.7% for Chapter 2 and -67.8% for Chapter 3. Out of the Further is going to the steep end of it. It was the only wide release on the chart whose Saturday came in under its Friday, it has a C+ CinemaScore against a 59% Tomatometer, and that shape sets the second-weekend drop far more reliably than the opening figure does. We are calling -62% to -68%, or $8–10M.

None of which is a problem for Sony. $66.5 million worldwide against an $18 million budget means this was profitable theatrically before its second Friday. Our model has $64.5M–$72.5M domestic on 2.71x legs, better legs than any sequel in the series has managed, off the worst CinemaScore any of them has carried. We said $58–63M last week and we are staying under our own model.

The Odyssey keeps posting the shallowest declines on the board. Its weekend drops read -27%, -43%, -38%, -26% and -17%, its weekdays this week fell just -25% and -34% against the same days last week, the smallest on the chart, and it held -20% from Saturday to Sunday, the best of any top-five title on the frame. Seven weeks in, an R-rated Nolan epic is still pulling a Sunday audience. -25% to -32% puts it at $13–15M.

Its fifth weekend, $23,606,885, is already the ninth-biggest fifth weekend ever recorded, which is a strange sentence to write about a film that opened to $123 million. If Brand New Day lands where we think it does, 2026 will own two of the ten biggest fifth weekends in history, from films released five weeks apart. On the finish: the model says $533M–$609M with a $567M midpoint, and we called $600 million live last week. It still is. At $547.2 million through 41 days on this curve, the midpoint is light and $600M is the better number.

The End of Oak Street and PAW Patrol: The Dino Movie opened the same day within $756,000 of each other, $21,010,488 against $20,254,688, which makes them the cleanest same-week pair on the 2026 chart. Two weeks on, Oak Street leads $40.5 million to $37.8 million and is the one giving ground: its weekdays are running -56% to -59% week over week against PAW Patrol’s -50% to -52%, and it is doing that on an $85 million budget against $40 million. A -45% third weekend gives $4.5–5.5M and a $50 million domestic finish, right where we had it last week.

PAW Patrol has the best-behaved audience on the chart and the worst timing. Its Friday-to-Saturday build was +97% last weekend, the biggest of any wide release for the second week running, so the weekend shape is completely intact and back-to-school has only taken the weekdays. What it has not had until now is anyone competing for those families, and Coyote vs. Acme lands on exactly this audience. -45% to -55% puts it at $4–5M. $60–70M domestic still holds, and $150 million worldwide stays the number that matters on a $40 million production.

Nobody published a tracking range on Finding Emily. Boxoffice Pro’s Aug 7, Aug 14 and Aug 21 grids all skip it while carrying titles down to $500,000, and Deadline, Variety and THR have run reviews and date items with no projection attached. So this is a real unknown carrying a 93% Tomatometer on 42 reviews into the one lane on the late-August chart nobody else is in. $4–7M is the range we would set, and the width of it is honest.