Marvel Studios’ Thunderbolts led the global box office for a second straight weekend, adding $34 million overseas and $67.1 million globally. Its total stands at $272.2 million across all markets, with $143 million from international territories and $128.5 million from North America.
The film is holding stronger than several recent Marvel Cinematic Universe titles. While Captain America: Brave New World, The Marvels, and Ant-Man and the Wasp: Quantumania experienced sharp second-week declines, Thunderbolts dropped just 55 percent from its opening weekend. This figure sits slightly above the franchise average but is considered a solid result given the franchise’s recent volatility.
Budgetary pressure remains a factor. With a production cost of $180 million and marketing expenses topping $100 million, the title is expected to rely on sustained box office interest. Studio insiders indicate that continued momentum through late May is essential, as upcoming competition could shift audience attention.
The project, directed by Jake Schreier, brings together characters introduced across various Marvel properties. The cast features Florence Pugh, Sebastian Stan, Wyatt Russell, David Harbour, Hannah John-Kamen, Lewis Pullman, Olga Kurylenko, and Julia Louis-Dreyfus. Their characters—Yelena Belova, Bucky Barnes, John Walker, Red Guardian, Ghost, Bob, Taskmaster, and CIA director Valentina Allegra de Fontaine—form a reluctant team, each with conflicting loyalties and complicated histories.
The narrative places emphasis on fractured allegiances, setting it apart from the typical origin-driven format found in earlier franchise films. Thematically, the film leans into moral ambiguity and consequence, with characters who operate in legal and ethical gray zones. Critics have noted that the ensemble functions less as a united front and more as a gathering of unstable alliances, which has drawn positive response from fans looking for variation within the genre.
Internationally, Thunderbolts is performing best in the United Kingdom ($15.5 million), China ($13.8 million), and Mexico ($11.2 million). South Korea, Australia, and Brazil follow closely. The film has yet to open in several smaller markets, and localized campaigns are expected to help extend its theatrical life.
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In the United States and Canada, no new wide releases entered the market over the weekend, giving Thunderbolts a clearer path to repeat at No. 1. This absence of major new competition has benefited holdovers across the board, particularly high-performing titles such as A Minecraft Movie and Sinners.
Warner Bros.’ A Minecraft Movie has crossed $900 million globally, reaching $909.6 million after six weekends. The domestic total sits at $409 million, with $500.6 million from overseas. The film is now the highest-grossing Hollywood title of the year and ranks second among video game adaptations, trailing only The Super Mario Bros. Movie, not adjusted for inflation.
Starring Jack Black and Jason Momoa, Minecraft has managed to sustain interest thanks to its appeal among families, school-age children, and gaming enthusiasts. Its performance has been consistent during school holidays and benefited from minimal genre competition. Box office trackers report strong midweek attendance in North America and repeat viewings in Latin America and parts of Europe.
The film’s marketing campaign focused heavily on digital platforms and partnerships with popular online creators. Analysts believe this strategy proved successful in reaching the intended audience without relying on traditional television advertising. Merchandise tie-ins and in-game promotional events have further strengthened engagement.
Ryan Coogler’s Sinners added another $21.1 million in its fourth weekend. Domestically, the film stands at $214.9 million, with $68.9 million from international territories. Its total worldwide gross is now $283.3 million. The supernatural vampire film stars Michael B. Jordan and has become a hit particularly in urban U.S. markets.
The film’s North American performance has significantly exceeded expectations. It opened strongly and has continued to draw crowds in major cities, with significant word-of-mouth helping to sustain attendance. Theater chains in the U.S. report higher-than-average per-theater averages in metropolitan areas, where younger adult audiences have shown particular enthusiasm.
Outside the U.S., Sinners has registered modest numbers in Europe and Australia. While its international earnings are relatively small compared to its domestic haul, the consistency of its weekly totals has surprised some observers. The film’s atmospheric visual style and focus on character dynamics have attracted viewers looking for a horror experience grounded in psychological themes.
Coogler and Jordan have built a creative partnership that includes Fruitvale Station, Creed, Black Panther, and Creed II. Their latest work continues that streak, combining genre elements with emotional storytelling. Sinners departs from superhero action in favor of a slower, more introspective horror tone. Marketing materials leaned into this distinction, positioning the film as a character-focused supernatural thriller rather than a jump-scare-driven release.
Elsewhere in the top tier, Amazon MGM Studios’ The Accountant 2 drew $6.1 million in its fourth weekend, lifting its domestic total to $50.9 million. The sequel continues to attract steady attendance among adults familiar with the original 2016 film. Its performance has been described as steady rather than spectacular, but consistent scheduling and modest expectations have made it a success for the distributor.
IFC’s Clown in the Cornfield debuted at $3.7 million, landing within the weekend’s top five. The low-budget slasher arrived with minimal fanfare but found traction with horror fans thanks to regional promotional events and screenings tied to social media engagement. Its strategy of opening in midsize cities and college towns has helped build early momentum, and its expansion into more theaters next week could lead to stronger second-week numbers.
Lionsgate’s Shadow Force and Vertical Entertainment’s Fight or Flight each brought in roughly $2 million. Both films had limited openings with minimal promotional campaigns. Final rankings between the two will be confirmed once official tallies are released. These modest launches reflect the studios’ approach of targeting niche audiences rather than wide commercial success.
At the specialty box office, A24’s Friendship, a bromantic comedy starring Tim Robinson and Paul Rudd, achieved the highest per-theater average for an indie film this year. It opened in six cinemas with a per-location average of $75,137. Industry observers suggest this performance could lead to a wider rollout in the coming weeks.
The movie has been promoted primarily through online channels, podcast interviews, and comedy-centric platforms. Rudd and Robinson have appeared in several media segments to discuss the project, which centers on two middle-aged men reevaluating their friendship during a chaotic weekend getaway. Early reviews have pointed to a mix of absurdist humor and emotional sincerity.
Looking ahead, theater owners and distributors anticipate a stronger turnout as May progresses. A number of high-profile releases are on the calendar, including Final Destination: Bloodlines, Mission: Impossible – The Final Reckoning, Disney’s live-action Lilo & Stitch, and Sony’s Karate Kid: Legends. Pre-sales for several of these titles suggest heightened demand, and early tracking data shows encouraging signs for wide appeal.
Comscore analyst Paul Dergarabedian noted the quiet nature of the current box office weekend while pointing to the potential for record-setting figures as summer approaches. Distributors are closely monitoring audience response to upcoming sequels and franchise entries to evaluate theatrical demand moving into June.
While early 2025 has featured fewer breakout hits, the sustained performance of select titles—Thunderbolts, Minecraft, and Sinners among them—has helped theaters maintain consistent foot traffic. Several mid-budget films and independent features have also shown signs of renewed interest in varied genres, offering a counterbalance to franchise fatigue that has been cited in previous quarters.
