Box Office Showdown: ‘Deadpool & Wolverine’ Roars Back to the Top as ‘Blink Twice’ and ‘The Crow’ Falter

Not all heroes wear capes—or have the box office numbers to prove it. As summer winds down, the box office saw some unexpected twists and turns, with returning champions dominating while new releases struggled to make a mark.

Deadpool & Wolverine Reclaims the Throne

After briefly ceding its top spot last weekend, Deadpool & Wolverine has stormed back to the number one position, raking in $18.3 million in its fifth weekend. The Marvel blockbuster has proven its staying power, with a domestic total nearing $580 million and a global haul of $1.221 billion. The film’s relentless momentum has solidified it as one of the year’s biggest hits, showing that the combination of Ryan Reynolds’ Deadpool and Hugh Jackman’s Wolverine was exactly what audiences were craving.

Meanwhile, Alien: Romulus, which momentarily snatched the crown from Deadpool & Wolverine, slipped to second place with $16.2 million, marking a significant 61% drop in its sophomore weekend. Despite the decline, the sci-fi horror film has managed to bring in around $225 million globally, offering a glimmer of hope for the revival of the Alien franchise.

New Releases Struggle: ‘Blink Twice’ Disappoints, ‘The Crow’ Crashes

Newcomers to the box office had a rough weekend. Zoë Kravitz’s directorial debut Blink Twice opened in fourth place with a modest $7.3 million. The psychological thriller, starring Channing Tatum and Naomi Ackie, didn’t quite hit the high notes that many anticipated. Despite receiving strong critical reviews, audiences were less enthusiastic, giving the film a B- CinemaScore, which likely contributed to its underwhelming opening. The film, produced for a relatively modest $20 million, is not in financial jeopardy, but its lukewarm debut signals a tougher road ahead in a crowded market.

The Crow, a reboot of the cult classic 1994 film, failed to soar at the box office, landing at a disappointing eighth place with $4.6 million. Starring Bill Skarsgard as the titular character, this modern-day reimagining couldn’t capture the magic of the original, despite its $50 million budget. The film was overshadowed by the 15th-anniversary re-release of Tim Burton’s Coraline, which grossed $5.1 million and took seventh place. The Crow’s B- CinemaScore and critical panning suggest that the film will have a hard time recovering, both financially and in terms of audience reception.

Faith-Based Films Find an Audience

In contrast to the struggles of Blink Twice and The Crow, the faith-based film The Forge opened to a solid $6.6 million, rounding out the top five. Distributed by Sony’s Affirm Films and produced by the Kendrick brothers, The Forge garnered an A- CinemaScore, the highest among this weekend’s new releases. The film’s success highlights the continued strength of faith-based cinema in the U.S. market, particularly as other genres struggle to connect with audiences.

Other Notable Performances

Sony’s It Ends With Us, starring Blake Lively, continued to perform well, taking third place with $11.9 million. The film’s domestic total has now reached $120.8 million, with global earnings of $242.6 million, surpassing the lifetime box office of several other female-led films. This consistent performance reflects a strong connection with its target audience, helping to sustain its box office run.

Universal’s Twisters came in sixth place with $6.2 million, bringing its domestic total close to $250 million. The disaster film has held steady in the top ten, maintaining a strong presence even as the summer box office season comes to a close.

Final Thoughts: Summer’s Final Act

As the summer box office season winds down, established franchises and faith-based films continue to hold their ground, while new offerings like Blink Twice and The Crow struggle to find their footing. With Deadpool & Wolverine and Alien: Romulus leading the charge, it’s clear that audiences are gravitating toward familiar faces and franchises. However, the mixed performances of new releases serve as a reminder of the challenges that original films and reboots face in a landscape dominated by established IPs.

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