Led by “Captain America: Brave New World” (Disney), the conjunction of Valentine’s Day falling on Friday and the Presidents Day weekend boosted U.S./Canada grosses to by far the best in 2025 so far. With over half ($88.5 million) of the weekend’s box office draw going to the latest Marvel release, theaters took in around $156 million. That’s 50 percent better than any weekend so far this year.
That counts as double relief for theaters. The needed strong total raises year-to-date numbers to 22 percent ahead of last year so far, and it also comes with reaffirmation that Marvel remains vital.
With its B- Cinemascore, the worst for an MCU film, as well as mostly bad reviews, there was real concern the first of three franchise releases (compared to only one, “Deadpool & Wolverine” last year) in 2025 might fall flat. How it holds remains to be seen, but despite the headwinds it seemed to face, its gross is at or above expectations. This reboot took some risks, with Anthony Mackie replacing Chris Evans as the title hero. Worldwide the $180 million production took in $192 million initially.
Though “Captain America” dominated, the weekend was aided by a diverse line up, including two other new wide releases going head to head with Marvel, not something often done. And Valentine’s Day also boosted other titles, including a nearly unheard of second weekend increase for #3 “Heart Eyes” (Sony).
Sony, which has been on a roll of late (their sleeper comedy “One of Them Days” as well gives them three of the top eight this weekend) has second place with “Paddington in Peru” with $13 million. The third entry in the family series (the previous two distributed by Miramax and Warner Bros.), though not initially quite as strong as hoped, compares well with the two earlier films (the second opened to $11 million in 2016). The British-based series skews popular overseas (“Paddington” was released at Christmas 2024 in most territories). Like its predecessors, the third “Paddington” got an A Cinemascore, so it has the potential of having a strong multiple ahead.
Also new, at #5, is the Chinese smash “Ne Zha 2” (CWC). In only 660 theaters, it grossed $7.3 million, a stellar $11,000 per theater. The animated film grossed an astounding $1.1 billion in its first week in China before expanding elsewhere. It is easily the biggest film of the year so far, a position that likely won’t be overtaken for months. Tops for 2024 was “Inside Out 2” at $1.7 billion.
“Heart Eyes” was one of two openers last weekend that seemed, if it had a normal drop, of falling into the disappointing category. But with an $18 million budget, it remained wait and see. Helped by its Valentine’s Day setting, the quirky hybrid slasher/comedy/rom-com film increased $10 million. It was a risky decision, but particularly with its smart positioning (released the week before to gain momentum), it’s another nice boost for Sony’s increasing efforts to make lower-budget original films.
The rest of the world saw the timely release of “Bridget Jones: Mad About the Boy.” The Working Title/Miramax/Studio Canal production was distributed in most of the world by Universal and grossed $32.3 million in multiple territories. But in the U.S., it premiered on Thursday on Peacock, skipping theatrical.
Even more so than “Paddington,” the success of the “Bridget Jones” franchise has come from foreign interest. The last “Bridget Jones” film in 2016 grossed $24 million in the U.S./Canada, only 11 percent of its international total.
The cost of marketing for a domestic wide release like this is usually in the $20 million or higher range. That’s likely more than Universal would have gotten back in film rental. It’s disappointing for theaters (every new release even with modest results helps), but a bigger blow to exhibitors is what appears to be the studio’s priorities. Focus Features’ very successful “Nosferatu” debuted on Peacock less than two months after it first opened in theaters. That’s warp speed; three months is considered above average.
Universal is hardly absent from screens. “Dog Man” in its third weekend is #4 with $9.7 million, down 30 percent. “Love Hurts,” though it disappointed in its opening, managed to keep its second weekend drop to 25 percent for sixth place, with $4.4 million.
Just behind, “Mufasa: The Lion King” (Disney, $4.2 million) and “One of Them Days” ($3 million) both rose four percent. “Companion” (WB) and the second weekend of “Becoming Led Zeppelin” (Sony Pictures Classics) round out the top 10.
The specialized front saw decent openings for two films. The annual package of Oscar Nominated Short Films did $840,000 in 320 theaters, about the same as last year. The Canadian “Universal Language” (Oscilloscope) did well with $41,000 in two New York/Los Angeles locations.
Otherwise, the specialized action is mainly awards-oriented. “A Complete Unknown” (Searchlight) added $1.1 million, now at $71 million total. “The Brutalist” (A24) and “I’m Still Here” (Sony Pictures Classics) both grossed a little over $400,000.
Top 10 (3 day grosses)
1. Captain America: Brave New World (Disney) NEW – Cinemascore: B-; Metacritic: 42; Est. budget: $180 million
$88,500,000 in 4,105 theaters; PTA (per theater average): $21,559; Cumulative: $88,500,000
2. Paddington in Peru (Sony) NEW – Cinemascore: A; Metacritic: 65; Est. budget: $90 million
$13,000,000 in 3,890 theaters; PTA: $3,342; Cumulative: $13,000,000
3. Heart Eyes (Sony) Week 2; Last weekend #2
$10,000,000 (+20%) in 3,102 (no change) theaters; PTA: $3,224; Cumulative: $21,531,000
4. Dog Man (Universal) Week 3; Last weekend #1
$9,730,000 (-30%) in 3,334 (-553) theaters; PTA: $2,918; Cumulative: $66,816,000
5. Ne Zha 2 (CMC) NEW – Metacritic:; Est. budget: $83 million
$7,300,000 in 660 theaters; PTA: $11,061; Cumulative: $7,300,000
6. Love Hurts (Univeral) Week 2; Last weekend #3
$4,370,000 (-25%) in 3,055 (no change) theaters; PTA: $1,430; Cumulative: $12,289,000
7. Mufasa: The Lion King (Disney) Week 9; Last weekend #4
$4,158,000 (+4%) in 2,240 (-705) theaters; PTA: $1,856; Cumulative: $240,800,000
8. One of Them Days (Sony) Week 5; Last weekend #6; also on PVOD
$2,975,000 (+4%) in 1,357 (-694) theaters; PTA: $2,192; Cumulative: $43,511,000
9. Companion (WB) Week 3; Last weekend #5
$1,870,000 (-38%) in 1,022 (-2,223) theaters; PTA: $1,761; Cumulative: $18,760,000
10. Becoming Led Zeppelin (Sony Pictures Classics) Week 2; Last weekend #7
$1,817,000 (-30%) in 1,039 (+670) theaters; PTA: $1,749; Cumulative: $5,494,000
Other specialized/independent titles
Films (limited, expansions of limited) are listed by week in release, starting with those opened this week; after the first three weeks, only films with grosses over $5,000 are listed. Metacritic scores and initial film festivals recorded when available. After week two, per theater averages only listed for expanding films with under 100 theaters.
OPENING (platform)
Universal Language (Oscilloscope) NEW – Metacritic: 84; Festivals include: Cannes, Toronto, New York 2024
$41,120 in 2 theaters; PTA: $20,560
OPENING (wide)
Oscar Nominated Short Films (Shorts) NEW
$840,445 in 320 theaters; PTA: $2,626
HOLDOVERS
Parthenope (A24) Week 2
$38,551 in 14 (+10) theaters; PTA: $2,754; Cumulative: $70,457
Armand (IFC) Week 2
$40,025 in 230 (+228) theaters; PTA: $174; Cumulative: $65,975
A Woman is a Woman (Rialto) REISSUE Week 2 1
$15,779 in 1 (no change) theater; PTA: $15,779; Cumulative: $34,545
No Other Land (no distributor) Week 3
$62,975 in 27 (+5) theaters; Cumulative: $267,579
Presence (Neon) Week 4
$56,000 in 32 (-554) theaters; Cumulative: $6,870,000
I’m Still Here (Sony Pictures Classics) Week 5
$406,160 at 469 (-235) theaters; Cumulative: $3,370,000
The Last Showgirl (Roadside Attractions) Week 6
$43,480 in 30 (-53) theaters; Cumulative: $4,681,000
A Complete Unknown (Searchlight) Week 8
$1,080,000 in 730 (-575) theaters; Cumulative: $70,807,000
Nosferatu (Focus) Week 8 also on PVOD
$76,000 in 90 (-377) theaters; Cumulative: $95,501,000
Babygirl (A24) Week 8; also on PVOD
$92,751 in 262 (+110) theaters; Cumulative: $28,060,000
The Brutalist (A24) Week 9
$412,301 in 348 (-767) theaters; Cumulative: $14,139,000
The Room Next Door (Sony Pictures Classics) Week 9
$23,831 in 20 (-32) theaters; Cumulative: $2,383,000
The Seed of the Sacred Fig (Neon) Week 11
$15,000 in 12 (-75) theaters; Cumulative: $802,971
Flow (Janus/Sideshow) Week 12; also on VOD
$56,400 in 73 (-88) theaters; Cumulative: $4,154,000
Conclave (Focus) Week 17; also on VOD and streaming
$38,000 in 200 (-34) theaters; Cumulative: $32,132,000
Anora (Neon) Week 18; also on VOD
$57,000 in 218 (-9) theaters; Cumulative: $15,423,000