The summer box office is off to a sizzling start — and it’s only getting started.

Over the weekend, domestic ticket sales topped $161 million, a nearly 88% improvement over the same three-day frame in 2025. Disney and 20th Century Studio’s “The Devil Wears Prada 2” led the pack, adding $41.6 million during its second week, followed by Warner Bros.′ “Mortal Kombat II,” which snared $38.5 million during its opening. Lionsgate’s “Michael” brought in another $37.9 million in its third week in theaters.

The weekend was bolstered by new releases like Amazon MGM’s “The Sheep Detectives” and Paramount’s “Billie Eilish — Hit Me Hard and Soft: The Tour” as well as holdovers from Universal’s “The Super Mario Galaxy Movie,” which is in its sixth week, and Amazon’s “Project Hail Mary,” which is in its eighth week.

Together, they made for a standout weekend at the movies as the industry chases a $10 billion annual U.S. box office.

“The second weekend in May often provides solid returns from newcomers that bridge the gap between the opening weekend of the summer and the important Memorial Weekend coming up in about 2 weeks,” said Paul Dergarabedian, head of marketplace trends at Comscore. “But the impressive long-term playability of ‘The Super Mario Galaxy Movie’ and ‘Project Hail Mary’ serve as a reminder of the vital importance of holdover strength to the overall health of the industry.”

Of the top 10 performers of the weekend, seven were returning titles. Five of those films reported a drop in ticket sales of less than 50% from the prior weekend, according to data from Comscore.

For box office analysts this is an important metric. Typically, movies will see a 50% to 70% drop each weekend. When ticket sales post smaller declines week after week, it means a film is generating strong word-of-mouth buzz and new moviegoers are buying tickets — or that audiences are returning to see the film again.

“The Devil Wears Prada 2” saw a 46% drop in second-week ticket sales, “Michael” declined just 30% between its second and third week in theaters, and “The Super Mario Galaxy Movie” saw a 45% dip from its fifth to sixth weekend. Most impressive is “Project Hail Mary,” which fell just 23% in its eighth week. Ticket sales for Neon’s “Hokum” were down 49% in its second week.

These trends bode well for the domestic box office. Through Sunday, the 2026 calendar has generated $3.02 billion, a 16% jump from the same period last year, Comscore data shows.

“From a high-level view, it’s fair to suggest escapism and ease of access may be important factors,” said Shawn Robbins, director of analytics at Fandango and founder of Box Office Theory. “Historically, while ticket prices have also increased over time, going to the theater remains one of the more affordable out-of-house entertainment options for individuals, couples, and families who may or may not have spring and summer vacation plans in flux due to other economic uncertainties and hardships.”

Ticket sales still lag from 2019 levels, the last true benchmark before the pandemic stymied moviegoing. At this point in the year in 2019, the box office had secured $3.8 billion domestically. However, more than $720 million of that was from the record-breaking release of Disney and Marvel’s “Avengers: Endgame.”

The summer movies season, which runs from the first weekend in May through Labor Day in September, is also about to get a boost from several blockbuster titles.

Disney’s first new Star Wars theatrical release in seven years arrives in late May with “The Mandalorian and Grogu.” It will be followed by Pixar’s “Toy Story 5″ in June alongside Warner Bros. “Supergirl.” Then in July, Disney has the live-action “Moana,” Universal is set to release Christopher Nolan’s “The Odyssey” and Sony’s “Spider-Man: Brand New Day.”

“Ebbs and flows will naturally occur within the full year’s box office narrative as they always have,” Robbins said. “Momentum is as good as the most recent hit or misfire, but the bottom line right now is that the industry is enjoying something near a best-case realistic scenario with so much success on the books before the heart of a high-potential summer movie season fully arrives”

CNBC

History is littered with stories of the man behind the man — the one who was pulling the strings, orchestrating the movements, watching it all happen. Though text at the start of “The Wizard of the Kremlin,” directed by Olivier Assayas, informs us that this film is a “work of fiction with artistic intent,” it is based, in part, on the story of such a man: Vladislav Surkov, a Russian politician and businessman who was a close aide to the Russian president Vladimir Putin until being abruptly dismissed in 2020. Surkov was considered by some to be both an éminence grise in the Kremlin and a spin doctor, manipulating the media to maintain control.

His avatar in this movie is Vadim Baranov (Paul Dano), a man with a gentle demeanor and sophisticated taste in art and literature. The screenplay, which Assayas wrote with Emmanuel Carrère based on Giuliano da Empoli’s 2022 novel, introduces us to Baranov via an American journalist and scholar of Russia named Lawrence Rowland (Jeffrey Wright). Rowland has written an article about Baranov in Foreign Affairs magazine — “Vadim Baranov and the

Invention of Fake Democracy” — and it seems to have attracted the attention of Baranov himself. While in Moscow in 2019, Rowland exchanges messages over social media regarding the 1924 proto-Orwellian novel “We,” by the Bolshevik writer Yevgeny Zamyatin, with a person he does not know. Accepting his correspondent’s invitation to talk in person, he travels to their country home, and discovers that it is Baranov himself.

From there, “The Wizard of the Kremlin” largely takes the form of a story within a story. Baranov walks Rowland through his life, explaining what Rowland got right and what he got wrong in his article, though it feels as if Baranov is rummaging back over his life looking for the answer to a question he can’t quite articulate to himself.

It begins with Baranov’s student days in the early 1990s, in the heady “new Russia,” just after Soviet communism had collapsed. Everything felt possible and money flowed freely. As Baranov recalls it, those days felt like a never-ending bash, or maybe an orgy, where you might watch a naked man on a leash follow a punk rock singer around at a house party. As an avant-garde theater student and then director, Baranov lived a life of art and poetry with his girlfriend, Ksenia (Alicia Vikander). When the vulgar but fun Dmitri Sidorov (Tom Sturridge), the inventor of Russia’s first commercial bank, enters their lives, things grow brighter, then more sour.

But Baranov moves on, taking a job in trashy reality television production, and this is where the historical tale begins to take shape. “The Wizard of the Kremlin” is really a movie about how Russia went from those heady post-Soviet days to the rise of the oligarchy to, eventually, the establishment of Vladimir Putin (a mostly chilling Jude Law) as president, a former K.G.B. officer who valued power over money. The oligarchs who choose Putin as Boris Yeltsin’s successor realize too late that this man will not be their pawn. “What interests me is restoring integrity to the Russian Federation,” he tells Baranov. And that means consolidating power — in himself.

Baranov, with his talent for weaving a story, is useful to Putin, and at this point he has little idealism left. As he grows nihilistic, believing that truth is whatever he wishes to make of it, so does his country. A background in theater and reality TV proves useful: He turns out to be a communications genius, figuring out how to manipulate political theater to not just represent reality, but invent it. They call him “the new Rasputin.”

As you may already have surmised from the casting, “The Wizard of the Kremlin” is not in Russian; the actors speak in English, which suggests this is an account of Russian history intended for non-Russian audiences. Even with its 136-minute running time, that’s a lot of ground to cover, so it moves at a good clip. This has an interesting dramatizing effect: We see history progress through Baranov’s eyes in broad arcs, and figures like Putin, who often occupy daily headlines, become more like characters in a play.

And while that can result in the oversimplification of a person, it can also be useful when trying to figure out why a person does the things they do. In a play or a movie, people have roles, psychological traits and motivations that drive their character arcs. Here, the lightly fictionalized version of an authoritarian is driven not by the desire for something like money, like the oligarchs, but by the desire for power. Projecting an image of strength is part of that desire; propaganda is the means by which one does this.

It’s a useful framework for understanding leaders around the world, and Baranov is the ideal cipher, someone who intimately understands how easily people’s minds are swayed and molded. That peek behind the curtain is the greatest strength of “The Wizard of the Kremlin,” and also its scariest element: The notion that in an age where truth can be manufactured, the people doing the manufacturing hold so much of reality in their hands. But even they can also be tossed aside when they stop being useful to the powerful. And then what was the point of all that wizardry?

The New York times

Manchester City striker Erling Haaland is to make his feature acting debut, in an animated film as the voice of a Viking – called Haaland.

According to the Hollywood Reporter, the Norwegian international is to play “an animated version of himself” in Viqueens, directed and co-written by Harald Zwart, the Dutch-Norwegian director of The Karate Kid and Agent Cody Banks.

The film’s IMDB synopsis describes Viqeens’ storyline thus: “To return a stowaway, two courageous Viking girls go from Norway to China. Discovering secrets, becoming proficient with dragon kites, fireworks and kung fu, and realising that friendship’s gifts surpass anything taken from adversaries.”

Zwart said: “Erling has already become a kind of real-life Viking icon around the world – powerful, fearless and uniquely Norwegian. Bringing him into this universe as himself gives the film an unexpected energy and authenticity that felt completely right for this story.”

Zwart has already secured musician Rita Ora and Yellowjackets’ Ella Purnell as its leads, named Hedvig and Ingrid, as well as chatshow host Alan Carr in a smaller role as “a lyrically challenged royal scribe”.

Haaland, who joined Manchester City in 2022 from Borussia Dortmund, is leading the race for the Golden Boot, having scored 26 goals so far in the 2025-26 Premier League season.

Viqueens is due for release around Christmas.

The Guardian