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    Home » “Demon Slayer: Infinity Castle” Tops Box Office With $70M, Biggest Domestic Debut Ever For An Anime Film

    “Demon Slayer: Infinity Castle” Tops Box Office With $70M, Biggest Domestic Debut Ever For An Anime Film

    By SHOOTSunday, September 14, 2025No Comments388 Views
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    This image released by Sony Pictures Entertainment shows a scene from "Demon Slayer: Kimetsu no Yaiba – Infinity Castle." (Sony Pictures Entertainment via AP)

    By Jonathan Landrum Jr., Entertainment Writer

    LOS ANGELES (AP) --

    “Demon Slayer: Kimetsu no Yaiba – Infinity Castle” carved out a place in box-office history this weekend as the Japanese anime film sliced straight to No. 1 — outpacing the horror sequel “The Conjuring: Last Rites.”

    The Sony-owned Crunchyroll release shattered expectations with a mighty $70 million debut in North America, according to Sunday estimates from Comscore. That haul marks the biggest domestic opening ever for an anime film, surpassing “Pokémon: The First Movie,” which opened with $31 million in 1999.

    The film extended its meteoric run, scoring the biggest anime opening of all time with a $132.1 million weekend, according to Comscore. Crunchyroll and Sony rolled it out across North America and 49 international markets, pushing the global total to $177.8 million.

    “This performance by this particular film shows the unpredictability of the box office,” said Paul Dergarabedian, the senior media analyst for Comscore. “If we were sitting here, let’s say a month or even a couple of weeks ago, would we be thinking, ‘Wow, a Japanese anime film would be number one at the box office, overperform and bring in $70 million?’ If you predicted that, kudos to you.”

    The movie is the first in a three-film trilogy that brings the hit Shonen saga to its climactic showdown. The story follows Tanjiro Kamado, a kind-hearted boy who takes up swordsmanship after his family is slaughtered and his sister, Nezuko, is turned into a demon. Together, they fight a supernatural underworld of monstrous foes while clinging to what’s left of their humanity.

    The “Infinity Castle” opener hails from renowned studio Ufotable, whose lavish visuals and breakneck fight sequences have helped make the franchise a global sensation and juggernaut.

    The film’s domination also points to a September rebound after a sluggish August. Warner Bros.’ “The Conjuring: Last Rites,” which opened to $83 million last weekend, slipped to second with $26 million.

    The horror sequel has now scared up $131 million domestically.

    “This shows that two months of down trending box office can be totally reversed over the course of a couple of weekends,” Dergarabedian said.

    Focus Features’ “Downton Abbey: The Grand Finale” opened in third with $18.1 million. Set in the 1930s, the film finds Lady Mary embroiled in a public scandal as the Crawleys confront financial strain and the looming threat of social disgrace. While the aristocratic family adapts to change, the household staff prepares for a new chapter with the next generation leading Downton into the future.

    In fourth place, Lionsgate’s “The Long Walk” debuted with $11.5 million. Directed by Francis Lawrence, the adaptation of Stephen King’s first-written novel is a thriller that asks a chilling question: “How far would you go to survive?”

    Pixar’s “Toy Story (30th Anniversary)” brought Buzz, Woody and the gang back to the big screen, opening in fifth with $3.5 million across 2,375 theaters. Warner Bros.’ “Weapons” followed in sixth with $2.75 million, while Disney’s filmed musical “Hamilton” landed seventh with $2.2 million. “Freakier Friday” claimed eighth with $2.1 million.

    Rounding out the top 10: “Spinal Tap II: The End Continues” debuted with $1.6 million, narrowly edging “The Sound of Music (60th Anniversary),” which sang up $1.4 million.

    Dergarabedian said he expects more September good fortunes with the release of Jordan Peele’s horror film “HIM” next week and Paul Thomas Anderson’s “One Battle After Another” coming out this month.

    “September, after a very modest month of August, is proving to be an absolutely fantastic post-summer month for movies and for audiences and for movie theaters,” he said.

    Top 10 movies by domestic box office
    With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

    1. “Demon Slayer: Kimetsu no Yaiba – Infinity Castle” $70 million

    2. “The Conjuring: Last Rites,” $26 million.

    3. “Downton Abbey: The Grand Finale,” $18.1 million.

    4. “The Long Walk,” $11.5 million.

    5. “”Toy Story (30th Anniversary),” $3.5 million.

    6. “Weapons,” $2.75 million.

    7. “Hamilton,” $2.2 million.

    8. “Freakier Friday,” $2.1 million.

    9. “”Spinal Tap II: The End Continues” $1.6 million.

    10. “The Sound of Music (60th Anniversary),” $1.4 million.

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    Tags:box officeDemon Slayer: Kimetsu no Yaiba – Infinity Castle



    Review: “Lee Cronin’s The Mummy”

    Friday, April 17, 2026
    This image released by Warner Bros. Pictures shows Natalie Grace in a scene from "Lee Cronin's The Mummy." (Warner Bros. Pictures via AP)

    The tagline for "Lee Cronin's The Mummy" is "Some things are meant to stay buried." That also applies to the misguided "Lee Cronin's The Mummy," which should definitely stay deep underground for eternity. Let's face it, Mummy has always been the lamest of the classic, old-school monsters, a grunting, slow-moving and poorly bandaged zombie. Dracula has a bite, after all, and Frankenstein's monster has superhuman strength. What's Mummy going to do? Lumber us to death? Cronin evidently believes there's still life in this old Egyptian cursed dude, despite being portrayed as the dim-witted straight guy in old Abbott and Costello movies or appearing as high priest Imhotep in the Brendan Fraser franchise. So Cronin has resurrected The Mummy but grafted it onto the body of a demon possession movie. His Mummy is actually not a man at all, but a teenage girl who is controlled by an ancient demon and grunts a lot. "Lee Cronin's The Mummy" — the title alone is a flex, like he gets his name on this thing like Guillermo del Toro, John Carpenter or Tyler Perry? — is overly long, constantly ping-pongs between Cairo and Albuquerque, New Mexico, and after a sedate first half, plows into a gross-out bloodfest at the end that doesn't match the rest of the film. Cronin, behind the surprise 2023 horror hit "Evil Dead Rise," is weirdly obsessed by toes and teeth, and while he gets kudos for having an Arabic-speaking main actor (a superb May Calamawy) and portraying real-feeling Middle Eastern characters, there's a feeling that no one wanted to edit his weirder impulses, like some light, inter-family cannibalism. It starts with the abduction of a Cairo-based family's young daughter, who resurfaces eight years later in a 3,000-year-old sarcophagus, catatonic and showing... Read More

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