The U.S. box office delivered a weekend of surprises, resets, and reality checks as Lionsgate’s Now You See Me: Now You Don’t emerged as the clear victor in a crowded frame. The long-awaited third film in the magician-heist series outperformed expectations, pulling ahead of Paramount’s ambitious action thriller The Running Man and the fast-declining sophomore weekend of Predator: Badlands, the critically adored but increasingly front-loaded reboot of the iconic franchise.
‘Now You See Me: Now You Don’t’ Opens at No. 1 With a Sleek $21.3M
Eight years after the franchise’s last entry, Now You See Me: Now You Don’t proved that audience appetite for stylish trickster entertainment hasn’t faded. The film debuted with $21.3 million from 3,403 theaters, a solid restart for a series with a long dormant period.
Its real magic, however, came from overseas markets. With $54.2 million earned across 64 international territories, the film’s global launch reached $75.5 million, marking an important win for Lionsgate after a string of underperformers.
Executives credit the blend of original cast members — Jesse Eisenberg, Woody Harrelson, Isla Fisher, Dave Franco — and a fresh slate of younger stars, including Justice Smith, Dominic Sessa, and Ariana Greenblatt. The mix appears to have expanded the film’s demographic reach, especially toward younger moviegoers who were not part of the franchise’s original wave.
‘The Running Man’ Stumbles to $17M Opening Despite Star Power
Paramount’s The Running Man, pairing Glen Powell with visionary director Edgar Wright, debuted with a disappointing $17 million from 3,534 locations — far below internal studio hopes of crossing the $20 million mark.
The film’s international weekend of $11.2 million lifted its global total to $28.2 million, but with a $110 million production budget, the film is facing an uphill climb. Analysts cited a narrower male-skewing audience (63% male, 70% ages 18–44) and less-than-expected traction among general audiences as key factors behind the sluggish start.
This marks the first significant box-office setback for Powell after a string of major successes, and adds pressure to Wright, who has been aiming for a large commercial rebound since Last Night in Soho released under pandemic constraints.
‘Predator: Badlands’ Drops 68% as Front-Loaded Run Catches Up
After a strong first weekend, 20th Century Studios’ Predator: Badlands saw a steep 68% decline, earning $13 million in its second frame. Its domestic total now stands at $66.3 million, with a worldwide gross of $136.3 million.
Despite strong reviews and franchise recognition, the film’s heavy drop indicates a front-loaded performance typical of genre reboots. With a $105 million budget, profitability remains uncertain without strong holds in the coming weeks.
Steady Performers: ‘Regretting You,’ ‘Black Phone 2,’ ‘Nuremberg,’ and ‘Sarah’s Oil’
In the crowded mid-range:
Regretting You earned $5 million in its fourth weekend, pushing its domestic tally to $45.9 million — a consistent result for an adaptation-driven drama.
The Black Phone 2 added $2.65 million, taking its domestic total to $74.7 million and continuing Blumhouse’s streak of dependable long-tail horror performers.
Nuremberg managed $2.43 million, showing slight improvement in theater count and maintaining a respectable hold.
Sarah’s Oil collected $2.34 million, showing notable stability and continuing to attract adult audiences.
Neon’s ‘Keeper’ Opens to a Soft $2.5M
Neon’s latest horror outing, Keeper, opened to a muted $2.5 million from 1,950 screens. Audiences reacted sharply — a rare D+ CinemaScore and poor word-of-mouth suggest a quick fade.
Compared to Osgood Perkins’ recent breakout with Longlegs and the solid opening of The Monkey, the result is subdued. However, with a small $6 million budget, the film may still find value in digital and streaming windows.
Anime & Indie Titles Hold On: ‘Bugonia’ and ‘Reze Arc’
Both Bugonia and Chainsaw Man — The Movie: Reze Arc earned $1.6 million, dropping 53% week-on-week. While nearing the end of their theatrical cycle, each continues to contribute incremental totals, reflecting the dependable niche appeal of anime and specialty titles across North America.
Milestone: ‘One Battle After Another’ Crosses $200M Worldwide
Paul Thomas Anderson’s star-powered thriller One Battle After Another surpassed $70 million domestic and crossed $200 million global after eight weekends. Though critically acclaimed and driven by Oscar conversation, the film’s $140 million budget sets a steep benchmark for break-even, making awards-season longevity crucial for stronger recovery.
A Weekend of Stabilization Before the Thanksgiving Surge
The total domestic box office reached just over $75 million, slightly higher than the same frame last year. Analysts describe this weekend as a transitional moment before the Thanksgiving corridor, typically one of the industry’s most lucrative periods.
Universal’s strategic re-release of Wicked, which added $1.2 million, signals the studio’s move to prime audiences ahead of the highly anticipated Wicked: For Good opening next weekend. “We’re in the calm before the Thanksgiving storm,” says ComScore analyst Paul Dergarabedian. “Things are about to heat up.”
With Now You See Me: Now You Don’t reviving a dormant franchise, The Running Man struggling to find early momentum, and Predator: Badlands losing altitude, the weekend delivered a reshuffling of the domestic box office landscape.
As the market braces for the holiday rush led by Wicked: For Good, this weekend’s results highlight a familiar truth: timing, audience alignment, and franchise goodwill remain the crucial variables in the year-end box office race.
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