Lead
Now You See Me: Now You Don’t opened to a $21.3 million domestic weekend, outpacing Glen Powell’s Edgar Wright collaboration The Running Man, which finished with $17 million. The magic-heist sequel also added $54.2 million from 64 international territories this weekend, lifting its global total to $75.5 million. The results offer Lionsgate a rare win after a string of underperformers and set a different early tone for Paramount’s $110 million gamble on The Running Man.
Key Takeaways
- Now You See Me: Now You Don’t earned $21.3 million domestically in its opening weekend and $54.2 million internationally across 64 territories, for a $75.5 million worldwide total.
- The Running Man debuted to $17 million domestically and $11.2 million internationally, totaling $28.2 million against a reported $110 million production budget.
- Predator: Badlands fell 68% in weekend two, collecting $13 million and bringing its domestic run to $66.3 million; its global total stands at $136.3 million on a $105 million budget.
- Indie horror Keeper opened to $2.5 million (seventh place) against a $6 million budget and received a D+ audience grade.
- Paramount’s Regretting You took fourth with $4 million in week four (domestic total $44.9 million); The Black Phone 2 added $2.6 million to reach $74.7 million after five weeks.
- One Battle After Another crossed $70 million domestic and $200 million worldwide after eight weekends, versus a $140 million production cost and an estimated ~$300 million breakeven threshold.
- Total domestic grosses for the weekend were just over $75 million, slightly ahead of the same frame last year ($73.2 million).
Background
The Now You See Me franchise returned after a nine-year gap; the new installment, directed by Ruben Fleischer, reunites Jesse Eisenberg, Woody Harrelson, Isla Fisher and Dave Franco as a quartet of magicians targeting corrupt elites. Lionsgate financed the $90 million production amid a run of recent flops, making a strong opening particularly significant for the studio’s near-term slate. A fourth franchise installment is reportedly in development, and the studio has other tentpoles queued, including adaptations and a Michael Jackson biopic slated for future release dates.
The Running Man is an Edgar Wright-directed, Glen Powell-led adaptation of Stephen King’s 1979 dystopian novel — the second major screen take after the 1987 Arnold Schwarzenegger film. Paramount spent an estimated $110 million on the picture; the film was greenlit and produced before David Ellison’s Skydance assumed greater control of Paramount in August. Early studio hopes targeted an opening north of $20 million.
Main Event
Now You See Me: Now You Don’t secured the weekend box-office crown with $21.3 million domestically. International receipts surged, adding $54.2 million from 64 territories for a worldwide weekend tally of $75.5 million. Industry trackers flagged the franchise’s overseas strength as a key driver of the result: the sequel’s global performance eased pressure on Lionsgate after recent underperformers like Ballerina and Good Fortune.
The Running Man finished second with $17 million domestically and $11.2 million internationally, totaling $28.2 million worldwide. That return is concerning given its $110 million production cost and Paramount’s expectation that the film would open above $20 million. The film skewed male (63%) and younger: 70% of viewers were between 18 and 44.
Predator: Badlands suffered a steep 68% second-week drop, adding $13 million domestically to reach $66.3 million after two weeks. The film has earned $136.3 million globally against a $105 million budget. Analysts pointed to the franchise’s niche audience and mixed critical response as factors in the steep decline.
Smaller releases underperformed: Keeper, a Neon-distributed indie horror by Osgood Perkins, opened to $2.5 million and a D+ audience grade, a far weaker start than Perkins’ prior openings. Midrange titles such as Regretting You and The Black Phone 2 continued gradual runs, while auteur-driven One Battle After Another reached several box-office milestones but still faces sizable write-down risk relative to its $140 million price tag.
Analysis & Implications
Lionsgate’s $90 million Now You See Me sequel showing suggests that legacy franchises with clear brand recognition can still mobilize audiences, especially overseas. The international split — $54.2 million of the weekend’s $75.5 million — underscores the continuing importance of non-U.S. markets to franchise profitability and studio calculus on sequels.
Paramount’s The Running Man underperformance raises questions about mid-budget adult action fare in a crowded marketplace. A $110 million production spend creates a high bar for profitability; with a $28.2 million global opening, Paramount will be reliant on sustained holds, ancillary windows and international growth to recoup costs.
For franchise and tentpole strategy, the weekend reinforces a bifurcation: established IP and returnable franchises can outperform when international appetite is strong, while original or reimagined adaptations face higher risk unless they achieve breakout domestic traction. Studios may re-evaluate greenlight thresholds and marketing spends for adult-targeted action films versus IP-driven spectacles or lower-cost indies.
The overall modest weekend total — just over $75 million — signals that studios are still vulnerable outside major event releases. With Thanksgiving and holiday releases approaching, the next two weeks will be critical: successful counterprogramming or a single blockbuster can quickly re-shape studio forecasts for the season.
Comparison & Data
| Title | Weekend Domestic | International This Weekend | Worldwide Total | Production Budget |
|---|---|---|---|---|
| Now You See Me: Now You Don’t | $21.3M | $54.2M | $75.5M | $90M |
| The Running Man | $17.0M | $11.2M | $28.2M | $110M |
| Predator: Badlands (wk 2) | $13.0M | — | $136.3M | $105M |
| Keeper | $2.5M | — | — | $6M |
The table highlights how international revenue reshapes the profitability picture: Now You See Me’s international intake accounts for roughly 72% of its weekend gross. By contrast, The Running Man’s weaker overseas hold and lower studio confidence after a $110 million spend create a more precarious near-term outlook. The steep second-week drop for Predator is notable for a franchise picture that opened with high expectations.
Reactions & Quotes
Industry analysts framed the weekend as both a surprise win for franchise resilience and a cautionary tale about high-budget adaptations.
This is still a viable franchise. The international audience really delivered for the film.
Paul Dergarabedian, Comscore (market analysis)
Dergarabedian emphasized the overseas contribution as decisive for the sequel’s early success. He noted that international market strength can offset middling domestic numbers for established properties.
This thing is dead in the water. It doesn’t have enough traction to survive the coming holiday season.
Jeff Bock, Exhibitor Relations (box-office analyst)
Bock was referring to The Running Man, warning that current momentum may not carry through the competitive holiday window. His comment signals concern among exhibitors and analysts about the film’s hold potential.
Unconfirmed
- Whether Now You See Me’s weekend will translate into long-term franchise revival or merely a temporary bump for Lionsgate remains uncertain and will depend on future legs and ancillary revenue.
- Reports of the precise timeline and financing for a fourth Now You See Me installment have not been publicly confirmed beyond development notices.
- The exact break-even calculations for several titles, including One Battle After Another’s roughly $300 million target, are studio estimates and may vary with distribution and ancillary deals.
Bottom Line
Last weekend’s box-office outcomes underline the continued strategic importance of international markets and recognizable IP. Now You See Me: Now You Don’t delivered a commercially meaningful opening bolstered by overseas receipts, offering Lionsgate relief after recent misfires. For Paramount and The Running Man, the weak start creates immediate pressure to find revenue in later windows and territories.
As the industry moves into the holiday season, studios will be watching retention rates and early Thanksgiving performance closely: a single breakout next week could reshape season-long projections. For now, the weekend is a reminder that brand familiarity plus global appeal can still outpace star-driven original adaptations in a tight marketplace.
Sources
- Variety — industry reporting and weekend box-office data
- Comscore — market-research firm (comment from head of marketplace trends)
- Exhibitor Relations — box-office analysis and industry commentary