{"id":4330,"date":"2026-07-16T16:08:24","date_gmt":"2026-07-16T16:08:24","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4330"},"modified":"2026-07-16T16:08:24","modified_gmt":"2026-07-16T16:08:24","slug":"from-michael-to-the-bride-the-good-the-bad-and-the-meh-of-the-2026-box-office-so-far","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4330","title":{"rendered":"From \u2018Michael\u2019 to \u2018The Bride\u2019: The Good, the Bad and the Meh of the 2026 Box Office (So Far)"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tThe box office finally feels like its old self again. Years after the pandemic brought the film industry to its knees, moviegoing is back thanks to sleeper hits like \u201cObsession\u201d and \u201cBackrooms\u201d and successful sequels like \u201cThe Super Mario Galaxy Movie,\u201d \u201cToy Story 5\u201d and \u201cThe Devil Wears Prada 2.\u201d<\/p>\n

Read more Amelia Dimoldenberg\u2019s F1 Series \u2018Passenger Princess\u2019 Returning for Season 2 This Month<\/a><\/p>\n

\n\tThere have been a few costly misfires (RIP, \u201cMoana\u201d and \u201cMasters of the Universe\u201d), but domestic ticket sales are up 10% from 2025, according to Rentrak. And Hollywood is having its hottest summer since COVID, with revenues for the four-month season expected to surpass the $4 billion mark for the first time since the \u201cBarbenheimer\u201d phenomenon of 2023.<\/p>\n

\n\tThere\u2019s still plenty to come, from \u201cThe Odyssey\u201d to \u201cDune: Part Three\u201d and \u201cAvengers: Doomsday.\u201d But before those blockbuster hopefuls land in theaters, here\u2019s a look at what sizzled and fizzled during the first six months of the year.<\/p>\n

\n\t\tThe Good\t<\/h1>\n

\n\t\tThe Super Mario Galaxy Movie \t<\/h3>\n

\nGlobal box office<\/strong> $1 billion
Budget<\/strong> $110 million<\/p>\n

\n\tMario, Luigi, Princess Peach and Yoshi powered up the box office, giving Illumination and Nintendo another super smash. The sequel couldn\u2019t quite match the box office returns of its predecessor, and critics were chillier this time too. But with a budget of just over $100 million (cheap for an animated film), \u201cThe Super Mario Galaxy Movie\u201d proved that audiences want to keep returning to the Mushroom Kingdom. And with more than 200 Mario-related games in circulation, there are plenty of stories left to tell.<\/p>\n

\n\t\tProject Hail Mary\t<\/h3>\n

\nGlobal box office<\/strong> $683.3 million
Budget<\/strong> $200 million<\/p>\n

\n\tAndy Weir\u2019s bestseller about a desperate mission to the outer realms of space was adapted into a blockbuster hit for Amazon MGM Studios, validating the company\u2019s recent decision to invest more heavily in the theatrical movie business. Released in March, when competition was less fierce, the sweet and funny sci-fi adventure was bolstered by rave reviews and word of mouth. It also demonstrated that Ryan Gosling\u2019s appeal extends beyond Barbieland; the actor\u2019s name above the title encouraged audiences to turn up for a movie about a lonely scientist who bonds with an alien life-form that looks like a heap of granite. Talk about star power.<\/p>\n

\n\t\tMichael\t<\/h3>\n

\nGlobal box office<\/strong> $1 billion
Budget<\/strong> $155 million<\/p>\n

\n\tWhat controversy? Costly reshoots, behind-the-scenes drama and a critical pile-on couldn\u2019t stop \u201cMichael\u201d from moonwalking to box office glory. Reviewers complained that \u201cMichael\u201d paints a sanitized portrait of Michael Jackson (the movie ends before he is accused of child molestation), but audiences didn\u2019t want a warts-and-all story about the King of Pop. They\u2019d rather hear his greatest hits \u2014 in this case, \u201cThriller,\u201d \u201cBillie Jean\u201d and \u201cBeat It\u201d \u2014 from the comfort of plush recliners. A certified crowd-pleaser, \u201cMichael\u201d surpassed \u201cBohemian Rhapsody\u201d ($911 million) as the highest-grossing musical biopic of all time, and outpaced \u201cOppenheimer\u201d ($975 million) as the largest film about a real-life figure. Lionsgate is expected to greenlight at least one more movie about the singer. That could be tricky as the next chapter of Jackson\u2019s story is where things get really dark.<\/p>\n

\n\t\tObsession\t<\/h3>\n

\nGlobal box office <\/strong>$426 million
Budget <\/strong>$750,000<\/p>\n

\n\t\u201cObsession\u201d more than lived up to its name at the box office, catching fire with Gen Z crowds to become a wildly profitable indie sensation. The low-budget horror film, directed by 26-year-old YouTube creator Curry Barker, started strong with $17 million in North America. Then something remarkable happened: Ticket sales continued to rise, resulting in four consecutive weekends that were larger than its debut. What\u2019s even more impressive is \u201cObsession\u201d wasn\u2019t cannibalized by Kane Parsons\u2019 \u201cBackrooms,\u201d another scary movie by a YouTuber that cost almost nothing to produce. Together, their success showed that younger audiences don\u2019t just spend time on Tik-Tok and social media. They go to the movies too.<\/p>\n

\n\t\tThe Bad\t<\/h1>\n

\n\t\tSupergirl\t<\/h3>\n

\nGlobal box office<\/strong> $115 million
Budget <\/strong>$170 million<\/p>\n

\n\tThe story of Superman\u2019s young cousin never achieved liftoff, brought down by miserable reviews and a lack of familiarity with Krypton\u2019s far less famous refugee. Sure, some of the people hating on \u201cSupergirl\u201d are misogynistic trolls, but the main reason the film bombed is that moviegoers have grown more discerning about what comic book movies they\u2019ll pay to see. Top-tier heroes like Batman and Spider-Man will get them through the door; one of Superman\u2019s relatives is a tougher sell.<\/p>\n

Read more \u2018Today\u2019 Show Intruder Arrested After Allegedly Lunging at Craig Melvin and Yelling Racial Slur<\/a><\/p>\n

\n\t\tMelania\t<\/h3>\n

\nGlobal box office <\/strong>$16.7 million
Budget<\/strong> $40 million<\/p>\n

\n\tRecognizing the universal relatability of Melania Trump, Amazon MGM Studios shelled out $40 million for a glossy look at our first lady\u2019s inaugural prep. The MAGA faithful came out, and \u201cMelania\u201d made $16.7 million at the box office, which would be an impressive number for a documentary if it hadn\u2019t cost more than twice that to produce and another $35 million to promote. But this was never about making money; it was about satisfying an audience of one. Good luck with those regulatory approvals, Jeff Bezos!<\/p>\n

\n\t\tStar Wars: The Mandalorian and Grogu\t<\/h3>\n

\nGlobal box office<\/strong> $340 million
Budget<\/strong> $165 million<\/p>\n

\n\tBaby Yoda is adorable, but a big-screen star, he is not. Older audiences who grew up with the original \u201cStar Wars\u201d trilogy bought tickets for \u201cThe Mandalorian and Grogu,\u201d but the Force didn\u2019t resonate with younger crowds. Based on a Disney+ television series, the film was the franchise\u2019s first theatrical release in seven years. Instead of reviving the space saga as a viable cinematic property, \u201cThe Mandalorian and Grogu\u201d stands to become the lowest-earning \u201cStar Wars\u201d movie of all time \u2014 a distinction that had belonged to 2018\u2019s ill-fated spinoff \u201cSolo: A Star Wars Story\u201d ($392 million).<\/p>\n

\n\t\tThe Bride!\t<\/h3>\n

\nGlobal box office<\/strong> $23.9 million
Budget<\/strong> $90 million<\/p>\n

\n\tWho had the brilliant idea to spend that much <\/em>money on \u201cThe Bride!,\u201d an artsy, genre-bending take on the Bride of Frankenstein? Director Maggie Gyllenhaal\u2019s feminist, punk-rock adaptation \u2014 following Frankenstein\u2019s monster (Christian Bale) and his reanimated-corpse lover (Jessie Buckley) as deranged outlaws on the run \u2014 sounded fun on paper. In execution? Not so much. When \u201cThe Bride!\u201d opened in theaters, it was DOA. It didn\u2019t help that the film was released in close proximity to Guillermo del Toro\u2019s Oscar-winning \u201cFrankenstein,\u201d starring Jacob Elordi. In the end, the scariest thing about \u201cThe Bride!\u201d was the massive write-down that Warner Bros. was forced to take.<\/p>\n

\n\t\tThe Meh\t<\/h1>\n

\n\t\tHoppers\t<\/h3>\n

\nGlobal box office <\/strong>$372 million
Budget<\/strong> $150 million<\/p>\n

\n\tWhen \u201cHoppers\u201d landed in theaters, the cartoon creature feature was hailed as Pixar\u2019s first original hit in nearly a decade. Since 2017\u2019s \u201cCoco,\u201d the animation empire has struck out or failed to live up to expectations with new ideas including \u201cElio,\u201d \u201cLightyear\u201d and \u201cElemental.\u201d (Sequels like \u201cInside Out 2\u201d and \u201cToy Story 5,\u201d on the other hand, have never been hotter.) Despite great reviews and a decent $45 million debut, \u201cHoppers,\u201d the story of an animal-loving student who transfers her mind into a robotic beaver so she can talk to other critters, didn\u2019t have a long life at the box office, at least compared with 2023\u2019s \u201cElemental.\u201d That film started much slower, with $29 million, but managed to climb to nearly $500 million globally. Though a step in the right direction, \u201cHoppers\u201d underscores the persistent challenges facing fresh animated fare. And that\u2019s a larger problem because family entertainment empires like Disney can\u2019t just rely on aging franchises.<\/p>\n

\n\t\tThe Breadwinner\t<\/h3>\n

\nGlobal box office<\/strong> $20 million
Budget<\/strong> $25 million<\/p>\n

\n\tAudiences didn\u2019t exactly find the funny in \u201cThe Breadwinner,\u201d a family comedy starring Nate Bargatze as an incompetent dad. Although the movie wasn\u2019t a complete financial disaster, \u201cThe Breadwinner\u201d wasn\u2019t able to galvanize even the fans who regularly sell out the comedian\u2019s stadium tours. Part of Bargatze\u2019s charm is his clean, all-audience humor, but families were more interested in seeing basically anything else in theaters. Comedies are already endangered at the box office, and \u201cThe Breadwinner\u201d did little to encourage Hollywood to keep trying to make us laugh.<\/p>\n

\n\t\t28 Years Later: Bone Temple \t<\/h3>\n

\nGlobal box office <\/strong>$58.5 million
Budget<\/strong> $63 million<\/p>\n

\n\tThe post-apocalyptic franchise is looking positively zombified. Released just seven months after \u201c28 Years Later,\u201d this bleak thriller was too quick to offer up another round of undead carnage. \u201cBone Temple\u201d enjoyed some of the series\u2019 best reviews, but its marketing campaign and storyline weren\u2019t distinctive enough from its predecessors\u2019. Moreover, the $63 million price tag was a little lofty for a genre that thrives on low-budget scares.<\/p>\n

\n\t\tDisclosure Day\t<\/h3>\n

\nGlobal box office <\/strong>$228 million
Budget<\/strong> $110 million<\/p>\n

\n\tSteven Spielberg set out to prove he was still the king of the summer box office with this alien conspiracy thriller. Reviews were solid, with critics praising the plot twists and action sequences. However, the director has spent much of the past decade focusing on adult dramas like \u201cBridge of Spies\u201d and \u201cThe Fabelmans,\u201d and is no longer as closely associated with the blockbuster genre he helped create. If \u201cDisclosure Day\u201d was to succeed, it needed to appeal to younger moviegoers. But they were more interested in what YouTube-trained 20-somethings like Kane Parsons (\u201cBackrooms\u201d) and Curry Barker (\u201cObsession\u201d) were producing. Spielberg may be a directing god, but as a commercial draw, he looks a lot more mortal.<\/p>\n

Read more Matt Damon Shocked Robert Pattinson on \u2018The Odyssey\u2019 Set by \u2018Screaming and Screaming\u2019 to Blow His Voice Out and Sound Older: \u2018A Complete Psycho\u2019<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

From “The Bride” to “Michael,” here\u2019s a look at what sizzled and fizzled during the first six months of the year.<\/p>\n","protected":false},"author":1,"featured_media":4329,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-4330","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film"],"yoast_head":"\nFrom \u2018Michael\u2019 to \u2018The Bride\u2019: The Good, the Bad and the Meh of the 2026 Box Office (So Far) - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4330\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"From \u2018Michael\u2019 to \u2018The Bride\u2019: The Good, the Bad and the Meh of the 2026 Box Office (So Far) - 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