Over the Memorial Day weekend, Star Wars made its theatrical debut with The Mandalorian and Grogu. It managed to pull in some solid numbers domestically, although the story is very different overseas. Two newcomers, Passenger and I Love Boosters, also made their debut, but they didn't set the box office on fire. In fact, the best story of the week might be Obsession, which had an incredible second weekend hold.

The Top 10 earned a combined $216.9 million this weekend. That's down 33.9% from last year, when Lilo & Stitch and Mission: Impossible – The Final Reckoning debuted.

Debuting at #1, The Mandalorian and Grogu debuted with a solid $81.6 million ($98 million four-day) in 4,300 theaters. The debut is nowhere close to the openings of the sequel trilogy, and it's slightly below Solo ($84.4 million three-day, $103 million four-day).

The big reason why this is a solid number despite opening below Solo is due to the budget difference. Mandalorian cost $165 million, while Solo cost a staggering $275 million budget. Besides, given the fact that this a continuation of a Disney+ series, the potential to go big is always limited.

For being Star Wars' return to the big screen in 7 years, it's a solid, not great start. Disney saw the toy sales for Grogu, and decided that a theatrical continuation of the series could print some money. That's why the film emphasized the most pivotal things: action sequences, and how cute Grogu is. That's what led to the show's success in the first two seasons, even if some of the hype died down after the third season.

Jon Favreau's box office track record is very impressive, and it's another big reason why Disney felt confident in bringing the series to theaters. Not all TV continuations pay off in the big screen (the second X-Files movie comes to mind), but there's also a bunch that succeeded (The Simpsons, Sex and the City, Downton Abbey, etc.). The fact that it could open to these numbers is a testament that the show is still in people's minds. Even if reviews (62% on RT) left some money on the table.

According to Disney, 63% of the audience was male. Even though this film aimed to attract families, it doesn't look like it succeeded at that; a massive 75% of the audience was 25 and over. They gave it a solid "A–" on CinemaScore, the same grade as Solo and the prequels. Given the film's reception and how TV continuations perform, it's unlikely Mandalorian can hold well over the next few weeks, especially with big hitters coming in its way. Hell, it didn't even hold like a family film over the weekend (the film dropped 15% on Sunday and 25% on Monday, while Solo dropped 0.6% on Sunday and 24% on Monday). Right now, it should still hit $200 million domestically, making it the lowest-grossing live-action Star Wars film in the market. A fine, but not great performance. Why isn't it great? Go to the overseas section.

At the end of the day, Mandalorian is not going to be the norm for theatrical Star Wars moving forward. Disney has already locked in Starfighter for May next year, which will star Ryan Gosling. It's a whole new story, and one that many insiders believe can be a return to top form. Let's see if it pays off.

In second place, we have the word-of-mouth phenomenon Obsession. The film over-performed projections last week, and it also managed to pull in an "A–" on CinemaScore, a rare score for horror. The weekday numbers were very impressive, which led many to ponder how it would hold on its second weekend. Once again, the film defied logic.

Obsession added $23.9 million ($31.9 million four-day) on its second weekend. Yes, it increased 39%, an incredible hold for any film. While Memorial Day helped soften the drop, films don't usually increase on this weekend regardless. This just doesn't usually happen! That shows that the film's word of mouth is doing wonders.

Through Monday, Obsession has earned an incredible $62.3 million domestically. It long recouped its $750K budget, and it's soaring well past that. It's gonna face some major horror competition next week with Backrooms, but even with that, Obsession is practically set to reach $100 million domestically, becoming Focus Features' highest-grossing film. And given how the film has proved everyone wrong, there's a very slight chance that it could make its way to almost $150 million domestically. That will make it one of the biggest ROIs in film history.

In third place, Michael eased just 21%, adding $20.6 million ($27.1 million). The film has danced all the way to $321.3 million domestically, and it's set to get all the way to $375 million. An astounding performance.

The Devil Wears Prada 2 eased 29%, earning $12.7 million ($16.2 million four-day). The film's domestic total stands at $199.7 million, and it should finish with around $230 million domestically.

In fifth place, Amazon MGM's The Sheep Detectives eased an insane 4%, earning $9.2 million ($12.3 million four-day). The film has amassed $46.8 million domestically, and it looks to make its way to $60 million.

Debuting in sixth place, Paramount's Passenger opened with $8.7 million ($10.3 million four-day) in 2,534 theaters. That's better than André Øvredal's prior film The Last Voyage of the Demeter ($6.5 million), so that's something.

The film cost just $15 million, so the path to profitability isn't difficult. At the same time, however, the release date was poor in hindsight. While Paramount couldn't predict that Obsession would over-perform every possible projection, they still chose to release it the week prior to Backrooms. With a lack of buzz, a generic premise and weak reviews (44% on RT), audiences knew which horror film not prioritize.

According to Paramount, 54% of the audience was male, and 69% was in the 18-34 demographic. They gave it a weak "B–" on CinemaScore, and the incoming competition will prevent it from legging out. Expect this to finish with around $20 million domestically.

Mortal Kombat II continues losing steam very quickly. It had the worst drop in the Top 10 at 55%, for a $6 million weekend ($7.6 million four-day). The film has taken in $74.2 million, and it looks like it will finish with less than $85 million domestically. At the very least, it has already passed the 1995 film ($70.4 million) to become the highest-grossing Mortal Kombat title.

In eighth place, Neon's I Love Boosters debuted with $3.7 million ($4.7 million four-day) in 1,750 theaters. That's below Boots Riley's prior film Sorry to Bother You ($4.2 million), and that film started at 805 theaters.

It's tough to ask for better numbers, given the niche premise and low marketing spend. Riley found a cult following in Sorry to Bother You, but usually your follow-up should come when the iron is hot. Perhaps 8 years was a logn time to maintain curiosity, even when he had his Prime Video series I'm a Virgo in the meantime. At the very least, reviews (92% on RT) showed that he still has the goods here.

According to Neon, 56% of the audience was female. They gave it a solid "B" on CinemaScore, which is fine for a film like this. Boosters could hold well in the next few weeks, but it won't overtake Sorry to Bother You ($17.4 million) in the market.

The Super Mario Galaxy Movie eased 28%, for a $3.2 million weekend ($4.2 million four-day). The film has earned $424.7 million so far.

Rounding out the Top 10 was Project Hail Mary on its tenth weekend. It added $2.6 million ($3.5 million four-day), which is a 33% drop. The film has earned a dazzling $340.4 million.

Two of last week's newcomers, In the Grey and Is God Is, saw their audiences flee, as they dropped 68% and 60%, respectively, failing to score $1 million this weekend. They have earned $5 million and $4 million, and they're gone after this week.

Black Bear released drama Tuner in 4 theaters, where it earned a solid $104,420 ($126,323 four-day). That's a pretty good $26,105 per-theater average (or $31,580 four-day). The film will expand over the next few weeks.

OVERSEAS

While The Mandalorian and Grogu saved some face domestically, the same couldn't be said overseas.

The film debuted with $69 million overseas, for a $167.1 million four-day launch. On one hand, it connected in usual strong markets for the franchise like the UK ($7.1M), Germany ($6.5M), Japan ($4.9M), moderate performances in Australia ($4.6M), Mexico ($3.9M), and France ($3.8M), and disappointed in Spain ($2.4M), Italy ($2M) and Brazil ($1.3M). In China, it flopped with just $4.6 million, but that's a market that struggled to attract the franchise.

The numbers aren't quite great, especially as it opened in pretty much all major markets besides South Korea. Solo debuted to similar numbers and failed to hit $400 million worldwide. Even with the toy sales, Mandalorian cost $165 million, so it still needs to hit that mark to avoid embarrassment.

Michael added $28.2 million overseas, for a $790 million worldwide run. The best markets are the UK ($60M), France ($44.4M), Germany ($29.6M), Mexico ($29M), Brazil ($28.4M), Italy ($27.1M), Australia ($26.7M), and Spain ($24M). As previously mentioned, only Japan is left, and that market will determine if it hits $1 billion.

The Devil Wears Prada 2 added $16.5 million overseas, for a marvelous $611.8 million worldwide. Given its holds, it looks like hitting $700 million worldwide is more likely than not.

Obsession added $8.6 million overseas for a $84.6 million worldwide total. The best markets are the UK ($5.2M), Italy ($1.8M), Mexico ($1.5M), Netherlands ($1M), and Brazil ($970K). Notably, it held insanely strong across the very few markets it opened at, suggesting word of mouth is also working overseas. There's a lot of markets left, which means Obsession has a chance to earn over $200 million worldwide.

The Sheep Detectives added $5.6 million overseas for a $85.6 million worldwide total. The best markets are the UK ($8.8M), Germany ($4.7M), Australia ($3.8M), Japan ($2.6M), China ($2.4M), and Mexico ($1.6M).

Passenger debuted with $4.8 million overseas, for a $15.1 million worldwide start. Very soft starts in Mexico ($785K), UK ($440K), France ($420K) Australia ($372K), Brazil ($225K), Italy ($240K), and Spain ($204K). Looks like the domestic market will have to do the heavy lifting.

FILMS THAT ENDED THEIR RUN THIS WEEK

Movie Release Date Studio Domestic Opening Domestic Total Worldwide Total Budget Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D) May/8 Paramount $7,011,311 $9,901,485 $25,801,485 $20M A rare James Cameron L. Paramount's Billie Eilish – Hit Me Hard and Soft: The Tour (Live in 3D) has been pulled from theaters after just 2 weeks with just $9.9 million domestically and $25.8 million worldwide. Despite Eilish's popularity, the film was insanely front-loaded, and died after pretty much after the opening weekend. Crazy stuff in there.

THIS WEEK

Yes, The Mandalorian and Grogu pulled in a good debut. But it ain't repeating at #1 on its second weekend.

That's because A24 is ready to launch Backrooms, based on the creepypasta and web series. Kane Parsons, who created the web series, is directing the film, and it's starring Chiwetel Ejiofor and Renate Reinsve. Trailers have built an insane amount of buzz, higher than any other A24 production. Pre-sales are also very strong, indicating there's a big debut on its way. Needless to say, passing Civil War ($25.5 million) as A24's biggest debut is practically guaranteed. The question is how high it can go?

Sony is releasing the family comedy The Breadwinner, which marks Nate Bargatze's film debut. It follows a man who, after his wife ends up landing a deal on Shark Tank, has to become a stay-at-home dad. Mmm, where did we see this story before? The premise and the trailers hope to attract families, but it still feels like something we've seen so many times. It doesn't help that comedies have had their ups and downs in theaters recently.

Focus Features is also releasing the war drama Pressure, which follows General Dwight D. Eisenhower and Group Captain James Stagg as they face an impossible choice: launch the largest and most dangerous seaborne invasion in history (D-Day) or risk losing the war altogether. There's been a surprising amount of adult dramas succeeding recently, with the obvious comparison being Nuremberg. Perhaps there's an audience for this in theaters.

Finally, Lionsgate is releasing John Carney's new film Power Ballad in limited release, starring Paul Rudd and Nick Jonas as two singers who fight each other after the latter steals a song from the former to revive his career. Carney is well known for doing crowd-pleasers, has great reviews (89% on RT) and it looks like a fun time. But will audiences show up?

STREAMING DATA

Figures for the week of May 11 to May 17 on Netflix:

No. Movie Year Studio Weeks in Top 10 Views Runtime Hours Viewed 1 Swapped 2026 Netflix 3 26,400,000 1:42 44,800,000 2 Remarkably Bright Creatures 2026 Netflix 2 20,300,000 1:54 38,600,000 3 The Crash 2026 Netflix 1 11,700,000 1:35 18,500,000 4 Apex 2026 Netflix 1 10,600,000 1:35 16,800,000 5 Goat 2026 Sony 1 9,200,000 1:40 15,400,000 6 My Dearest Assassin 2026 Netflix 2 6,200,000 2:09 13,400,000 7 KARTAVYA 2026 Netflix 1 4,700,000 1:49 8,600,000 8 KPop Demon Hunters 2025 Netflix 48 3,800,000 1:40 6,400,000 9 Mother's Day 2016 Open Road 4 3,300,000 1:58 6,500,000 10 Stolen Baby: The Murder of Heidi Broussard 2026 Netflix 1 2,900,000 1:27 4,200,000

Swapped maintained the top spot on its third week with a strong 26.4 million views. Taking its 17-day tally to 80.6 million views, far higher than any prior Skydance Animation production.

Remarkably Bright Creatures saw an increase in viewership on its second weekend, seeing 20.3 million views. That takes the lifetime total to 30.7 million views.

Apex added 10.6 million views, for a total of 105.2 million views in its first four weeks.

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