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    Home » ‘Superman’ Flexes Its Might in Second Weekend with $57.3 million

    ‘Superman’ Flexes Its Might in Second Weekend with $57.3 million

    By SPWMonday, July 21, 2025No Comments325 Views
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    This image released by Warner Bros. Pictures shows David Corenswet in a scene from "Superman." (Warner Bros. Pictures via AP)

    By Jake Coyle, Film Writer

    NEW YORK (AP) --

    James Gunn’s “Superman” showed staying power in its second weekend at North American box offices, collecting $57.3 million in ticket sales and remaining the No. 1 movie in cinemas, according to studio estimates Sunday.

    None of the week’s new releases — “I Know What You Did Last Summer,” “Smurfs,” and “Eddington” — came close to touching Warner Bros. and DC Studios’ superhero success. “Superman” dipped 54% from its domestic opening, an average decline for a big summer film.

    In two weeks, “Superman” has grossed $406.8 million worldwide, a good start for the movie DC Studios is banking on to restart its movie operations. A big test looms next weekend, when the Walt Disney Co. releases Marvel’s “The Fantastic Four: First Steps.”

    Strong audience scores and good reviews should help propel the $225 million-budgeted “Superman” toward profitability in the coming weeks. For Warner Bros. and DC Studios, “Superman” is key to kicking off a 10-year plan for the comic book adaptation studio. Co-heads Gunn and Peter Safra were tasked with rehabilitating the flagging operation. Next on tap are the films “Supergirl” and “Clayface” in 2026.

    But “Superman” is far from flying solo in theaters right now. Universal Pictures’ “Jurassic World: Rebirth” came in second this weekend, with $23.4 million in its third week of release. The seventh “Jurassic” movie, this one starring Scarlett Johansson, held its own despite the competition from “Superman.” In three weeks, it accrued $648 million worldwide.

    Apple Studios and Warner Bros.’ “F1: The Movie” has also shown legs, especially internationally. In its fourth weekend, the Brad Pitt racing drama dipped just 26% domestically, bringing in $9.6 million in North America, and another $29.5 million overseas. Its global total stands at $460.8 million.

    But both of the biggest new releases — Sony Pictures’ “I Know What You Did Last Summer” and Paramount Pictures’ “Smurfs” — fell flat.

    “I Know What You Did Last Summer” opened with $13 million, a fair result for a movie budgeted at a modest $18 million, but a disappointing opening for a well-known horror franchise. The film, directed by Jennifer Kaytin Robinson, is set 27 years after the 1997 original. Teenagers played by Madelyn Cline and Chase Sui Wonders are again haunted for covering up a car accident.

    The movie’s reviews (38% “fresh” on Rotten Tomatoes) were poor for “I Know What You Did Last Summer” and audiences graded it similarly. The film notched a “C+” on CinemaScore. The original collected $72.6 million in its domestic run in 1997.

    Paramount Pictures’ “Smurfs” debuted in fourth place this weekend with $11 million. The latest big-screen reboot for the woodland blue creatures prominently features Rihanna as the voice of Smurfette. But reviews (21% “fresh” on Rotten Tomatoes) were terrible. Audiences were kinder, giving it a “B+” on CinemaScore, but the $58 million-budgeted release will depend largely on its international sales. In 56 overseas markets, “Smurfs” earned $22.6 million.

    Ari Aster’s “Eddington” opened with $4.2 million on 2,111 screens for A24. Since its premiere at the Cannes Film Festival, “Eddington” has been particularly divisive. The pandemic-set Western features Joaquin Phoenix as the right-wing sheriff of a small New Mexico town who faces off with its liberal mayor (Pedro Pascal).

    While Aster’s first film, 2018’s “Hereditary” ($82.8 million worldwide against a $10 million budget) helped establish A24 as an indie powerhouse, but the less-than-stellar launch of “Eddington” marks the second box-office disappointment for Aster. His 2023 film “Beau Is Afraid” cost $35 million to make but collected just $12.4 million worldwide. “Eddington” cost about $25 million to produce. Audiences gave it a “C+” on CinemaScore. None of Aster’s previous films have been graded higher.

    Yet collectively, Hollywood is enjoying a very good summer. According to data firm Comscore, the 2025 summer box office is up 15.9% over the same period last year, with the year-to-date sales running 15% ahead of 2025. Summer ticket sales have amassed about $2.6 billion domestically, according to Comscore.

    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. “Superman,” $57.3 million.
    2. “Jurassic World Rebirth,” $23.4 million.
    3. “I Know What You Did Last Summer,” $13 million.
    4. “Smurfs,” $11 million.
    5. “F1: The Movie,” $9.6 million.
    6. “How to Train Your Dragon,” $5.4 million.
    7. “Eddington,” $4.3 million.
    8. “Elio,” $2 million.
    9. “Lilo & Stitch,” $1.5 million.
    10. “28 Years Later,” $1.3 million.
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    Tags:box officeDC StudiosJames GunnUniversalWarner Bros.



    Station Film Signs Directorial Duo The Dynamic Jewo

    Tuesday, April 21, 2026

    Station Film has signed director duo The Dynamic Jewo, consisting of Carlos Wigle and Aron Fried, for commercial representation in the U.S. Station becomes the first official representation roost for the directing team which is well known for the ongoing comedy campaigns for Morgan & Morgan, the largest injury law firm in the country, which hilariously communicates the firm’s expansive capabilities and resources. That work, which the two also write, perfectly reflects their strength for classic sitcom style storytelling.

    “The Dynamic Jewo are a natural fit for Station,” said Stephen Orent, founding partner, Station Film. “They are talented comedy directors and we know, appreciate and have a strong track record collaborating with some of the best. Their work leans into the conventions of classic comedy directing – strong writing, casting and performance, elevated by filmmaking craft. They have a great sense of humor, too, and a thorough understanding of what it takes to get great work made from their background as creatives. They are a real find, and we are happy to have them on board.”

    The Dynamic Jewo moniker is as unique as the relationship of the duo behind it, and a conscious decision to lean into their roots. Wigle and Fried first met when they were kids at Jewish summer camp where they struck up a life-long friendship. They attended ad school together at Art Institute of California, San Diego, and went on to become an award-winning creative team at DDB; Fried later worked at 72andSunny and at startups such as TOMS and Dollar Shave Club, while Wigle held roles at Anomaly and McCann. They soaked up the craft of directing, working with many of the industry’s top comedy helmers before pitching themselves to Morgan & Morgan... Read More

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