Every time there’s a Toy Story sequel, the reaction is somewhere along the lines of ‘why do we need this? It’s perfect as is! Leave it alone!” Yet he we are, over 30 years since the original film, and we’re only our fifth film, and it is the first franchise in history with at least five films where every film has scored an A or higher CinemaScore. Toy Story 2 landed a PIXAR-best A+ CinemaScore, Toy Story 3 was nominated for Best Picture at the Academy Awards, and Toy Story 4 became the highest-grossing film in the franchise. They aren’t rushing these films, and they’re only making them when they have a sound concept. That’s why Toy Story 5 was always going to be great: the trust PIXAR has built with their audience for their premiere series over the course of generations.
To the surprise of nobody, it opened at #1. The film focuses primarily on Jessie, and it uses the depth from her Toy Story 2 development to continue the franchise while pushing Buzz and Woody to more supporting roles. This ultimately hurts the screentime of the traditional supporting toys, such as Rex, Slinky, and Hamm, but it did give the franchise a fresh perspective as they explore the idea of abandonment through Jessie’s checkered past with Emily, and Bonnie’s newfound interest in technology. A modern story told through a new lens has allowed the PIXAR cornerstone to open to a massive $312M global opening, with $164M being domestic. These, of course, are estimated figures, and DSR is going to predict that this particular film will overperform its estimates thanks to Father’s Day walkups. Not only is it a family picture that encourages bringing your kids to the movies, but a property that people in their 20s and 30s grew up on, and is of more interest to them than more modern franchises like Zootopia or Inside Out.
This would represent the second-largest opening in PIXAR history, behind the long-awaited follow up to The Incredibles. But instead of a decade and a half gap of a film that ended on the Underminer cliffhanger, Toy Story didn’t see a significant period of time between its first and second films, with the second film coming out in 1999. Incredibles 2 made $181M domestically in its opening weekend. That said, Toy Story 5 did surpass its global opening, marking the largest global opening in PIXAR history. Toy Story 5 making over $100M more than Incredibles II internationally in its opener is more than enough to give Woody his hat. This also shattered Toy Story 4’s record for largest global opening for a Toy Story, in a time where far fewer people are going to the movies than they were in 2019. This did not, however, top Zootopia 2’s $560M opening weekend global record for an animated picture set in 2025. Zootopia is seemingly a much larger property abroad than Toy Story. Regardless, it’s not a question of whether or not Toy Story will become the third billion dollar film of the year (assuming Michael legs out another $40M. With its performance in Russia and Japan, it should, but it’s already down to #10 in the U.S. and grossing just $2.1M), but when it will become the next billion dollar film.
From space ranger to extra-terrestial disclosure, Disclosure Day finished in second place with an approximated 61% drop. Not disastrous, certainly not compared to the recent second weekend drops of Masters of the Universe and Scary Movie, but certainly an above average drop that doesn’t necessarily bode well for hopes of a box office profit. The film has made just over $160M in its first week and a half globally, around half of its estimated breakeven point. It’s not out of the realm of possibility that this can become a slight hit for NBCUniversal, but it’s not a guarantee either at this point. The film seems to have stronger legs internationally than domestic.
For Spielberg, this is a film that’ll do well on Peacock and should it recoup enough of its marketing, turn a quick streaming profit. With the legacy that comes with being the biggest director in Hollywood history, he’ll have zero issues funding what he does next, presumably the western he keeps talking about making. More concerning is Emily Blunt, who is sensational in the film, as she has now had two major box office disappointments during the summer season in the three years since Oppenheimer, as 2024’s The Fall Guy, also with Universal, did not turn a box office profit. While certain tentpoles like The Devil Wears Prada 2 are certainly buying her time, the lack of a non-franchise hit outside of Nolan since her A Quiet Place breakout is becoming somewhat alarming in terms of her reputation of bankability at the box office. That’s before we even consider the massive loss A24 took on The Smashing Machine.
Disclosure Day should see a similiar second life to other recent Spielberg offerings such as The Fabelmans and West Side Story, whose receptions weren’t exactly unanimously praised but struggled when being compared to movies such as Raiders of the Lost Ark, Schindler’s List, Jaws, Saving Private Ryan, and Close Encounters of the Third Kind. When you’re being compared to the previous work of the director and the director made a laundry list of the most beloved films of all-time, it’s hard to breakthrough. The general consensus around West Side Story and Fabelmans after a few years is that they’re strong offerings in his later catalogue.
In spots 3-7, we have five holdovers we’ve talked extensively about in previous Box Office Reports, which you can browse at your leisure elsewhere on the site. Obsession is still making 80% of its opening weekend total at the box office in its sixth weekend at the box office. It has now, alongside the fourth place finisher Backrooms, surpassed the $300M global threshold. Obsession is notable because it’s coming close to breaking the record set in 2002 by My BIg Fat Greek Wedding for most weekends in the box office top ten without ever hitting #1. Other holdovers, which we explored in last week’s edition, are some of the least leggy movies of recent memory, Scary Movie and Masters of the Universe. Scary Movie seems to have enough legs to at least get to $100M domestic, a very good total for the film, but MOTU not so much. Let’s just say that if the She-Ra movie teased gets made, it’s because Jeff Bezos has enough money to choose to re-live his childhood. The other holdover is Star Wars: The Mandalorian and Grogu, which is already below $4M over a holiday weekend in just its fifth weekend. Already set to be under 2,000 theatres this week, the film is trailing the worldwide cume of Solo: A Star Wars Story by over $70M, making it poised to become the lowest earning Star Wars film of the Disney era.
The only films left to mention in the top ten are #8 and #9, NEON and A24’s latest offerings of Leviticus and The Death of Robin Hood. Leviticus is getting the better reviews of the two, and its horror premise really lends itself to Pride Month. The Australian horror uses a supernatural element to make two boys, who both are hiding their desires behind their religious identity, gravitate toward their desire toward each other, despite the religious community having objections to certain lifestyles. Meanwhile, Death of Robin Hood stars Hugh Jackman as Robin Hood with a unique angle: Robin Hood assesses his life as a vigilante and feels regret for the way his life went. This film, getting raved for Jackman’s performance and its cinematography, is directed by Michael Sarnoski, best known for Pig and A Quiet Place: Day One.
Coming out next week is Supergirl, though the unfortunate release date means it’ll likely be bludgeoned by a Toy Story film that’s going to infinity and beyond for the next few weeks. The early reactions to Supergirl say that it feels more akin to a Mad Max offering than Gunn’s Superman, so maybe strong word-of-mouth for something unique within the genre can at least help it leg out, perhaps? Of course, this is all contigent on how general audiences feel when they see the film this week. The bigger superhero story is that of Spider-Man: Brand New Day, which has already made a surplus of $40M domestically in pre-sales. Whether it can make the near $2B that Spider-Man: No Way Home made remains to be seen, but it’s a strong start. Tom Holland and Zendaya are going to have a great July regardless, as The Odyssey is also smashing pre-sale records. We’ll cover all of this extensively in the coming weeks.
Photo credit: Disney PIXAR.
Jameus Mooney is an entertainment writer for Comicbook Clique, having covered the entertainment industry for years. You can follow him on Twitter here, and Letterboxd here. You can also listen to his horror podcast, The 2:17 Horror Podcast, at the DeathArts XIII YouTube channel.