The final weekend of December 2025 arrived with a vibrant mix of reigning blockbusters and new releases testing their potential against holiday crowds. If Hollywood needed a reminder that theatrical momentum can survive in an era of on-demand convenience, the Christmas weekend performance proved that big-screen spectacle — when done right — still draws audiences in large numbers. And at the centre of this weekend’s theatrical pulse stood James Cameron’s sci-fi epic Avatar: Fire and Ash, a film that has not just sustained its opening enthusiasm but expanded it into waves of repeat viewership.
Across the three-day core weekend, Fire and Ash collected an estimated $64 million domestically, and when counting extended Christmas holiday traffic beginning Thursday, the figure rises to $88 million. In just ten days, it has generated $217.7 million in North America, while its worldwide earnings have soared past $760 million, placing it among the top-grossing films of the year even before January legs kick in. What sets this hold apart — and what analysts are calling a textbook Cameron curve — is the drop. A slim 28% decline from its debut weekend tells its own story in a market where major tentpoles regularly fall 60% or more after opening. Cameron’s franchise has historically behaved like a seasonal wave: less front-loaded than Marvel-style blockbusters, but built for longevity, premium screens and repeat viewership. The first two Avatar films famously dominated weekend charts for seven straight frames each. Exhibitors are quietly predicting a similar run here, barring any surprise January breakouts.
Right behind it, Zootopia 2 continued showing uncommon staying power for an animated sequel this deep into release. With $20 million this weekend and a domestic total now comfortably above $321 million, its performance underscores Disney’s regained footing in the family animation space after recent box office turbulence. It has now crossed $1.4 billion globally, positioning itself as one of the most commercially successful animations of the decade. Holiday matinee appeal and cross-generational familiarity have kept its decline curves gentle, a scenario exhibitors love during festive windows when family bookings are crucial for occupancy.
The most refreshing story of this frame, however, came from the independent corner of the market. A24’s Marty Supreme — a sports dramedy led by Timothée Chalamet — expanded nationwide after a limited run and landed at $17.5 million over the weekend. With its four-day holiday total at $27 million, it now stands at $28.29 million domestically. For a non-IP film in a season packed with sequels and brand titles, that number holds weight. It represents the second-largest opening in A24’s history, trailing only Alex Garland’s Civil War. The studio invested unusually heavily in this project, with a production budget reported near $70 million, marking it as a major theatrical bet rather than a boutique indie rollout. Early response has been positive — a B+ CinemaScore, enthusiastic social chatter and a youthful audience base, with 65% of viewers under 35, fuelled by Chalamet’s very public promotional blitz. The coming weeks will decide whether its buzz-friendly opening converts into real legs, but it has already proven that originals, when marketed with personality and anchored by a bankable star, can stand tall even against event tentpoles.
Further down the chart, Sony’s action-comedy reboot Anaconda launched with $14.6 million weekend / $23.7 million holiday total, also pulling in $20 million from overseas markets for a $43.7 million global debut. Starring Paul Rudd and Jack Black, the film leans into meta humour and jungle chaos inspired by the 1997 cult classic. Reviews have been divided, holding at 51% on Rotten Tomatoes with a B CinemaScore, signalling decent but not explosive word-of-mouth. With a $45 million production budget, it begins in manageable territory — neither a runaway hit nor a commercial disappointment — and may lean on family-adult crossover traffic into January.
Focus Features’ musical drama Song Sung Blue made a gentler entrance, earning $7.6 million over the traditional weekend and $12 million across the Christmas frame. Starring Hugh Jackman and Kate Hudson, the film resonated strongly with older moviegoers, a demo Hollywood has struggled to pull back since the pandemic. The A CinemaScore is a promising signal. With 65% of its audience female and more than half aged over 55, this is the type of film that builds slowly, fuelled by community recommendations, local theatre nights and awards chatter rather than opening-week urgency.
Completing the Top 10, Lionsgate’s The Housemaid added $15.4 million for a $46.46 million domestic total, Paramount’s SpongeBob: Search for SquarePants sits at $38.17 million, and Universal’s Wicked: For Good continues its run with $331.62 million cume, while Five Nights at Freddy’s 2 crosses $118.9 million, gradually winding down.
For Hollywood, this weekend is more than a collection of numbers. It is a snapshot of theatrical behaviour at the end of 2025 — premium blockbusters still command the largest slices, family animation remains a dependable engine, and the right original title can still cut through noise with style, star power and cultural pulse. The industry steps into the new year with much-needed momentum, and as awards screenings, winter holds and new slate titles kick in, January could be far livelier than tradition suggests. For now, Pandora glows bright at the summit — and the multiplex feels alive again.
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