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Box Office: Anime ‘Demon Slayer Infinity Castle’ Nabs Record $70M U.S. Opening
The film is among a slew of new wide releases gracing the marquee this weekend, including 'Downton Abbey: The Grand Finale,' while 'The Conjuring: The Last Rites' Hits $333 million globally.


Talk about an unexpected September bloom at the box office that continued this weekend with a cornucopia of new offerings, led by the record-smashing U.S. debut of the Japanese anime sequel Demon Slayer: Kimetsu no Yaiba – the Movie Infinity Castle. The Sony-owned Crunchyroll is handling the movie.

The pic came in well ahead of expectations with an estimated $70 million, including a huge Friday haul of $33 million, to score the top opening ever for an anime title at the North American box office. It’s also Sony’s best showing in recent times. Overseas, it earned another $30 million or so for a global tally approaching $400 million (it rolled out in Japan in July, followed by other select markets).

It’s the second strong weekend in a row for moviegoing after a miserable August, save for a special singalong screening toward the end of the month of KPop: Demon Hunters, the most-watched English-language film in the history of Netflix.

Tracking had suggested the Demon Slayer would open to $35 million to $40 million; others thought $50 million was far more likely. But it com in even higher as the appetite for the genre grows in theh U.S., and after being embraced by critics and audiences alike.

Demon Slayer: Kimetsu no Yaiba Infinity Castle is the first feature film in the three-part cinematic trilogy representing the final battle of the hugely popular, award-winning anime shonen series from famed animation studio Ufotable. The film has likewise done record-smashing business in Japan, where it debuted in July.

Directed by Haruo Sotozaki, Infinity Castle adapts the final arc of Koyoharu Gotouge’s best-selling manga series. Voice cast regulars Natsuki Hanae (Tanjiro), Akari Kitō (Nezuko), Hiro Shimono (Zenitsu) and Yoshitsugu Matsuoka (Inosuke) return as the Demon Slayer Corps embarks on a climactic assault against the demon king Muzan Kibutsuji. The film was co-financed by Aniplex, a subsidiary of Sony Group. International distribution comes from Toho, Aniplex and Crunchyroll, with Imax releases planned in over 40 territories worldwide.


The film also posted historic results for Imax in Japan; ditto for Imax screens in North America.

Warner Bros. and New Line’s juggernaut The Conjuring: Last Rites — which finished Sunday with a near-franchise best $333 million in global ticket sales — fell 69 percent domestically in North America for a domestic total of $131.1 million after competing with Demon Slayer for younger moviegoers. Overseas, it raked in a huge $60.5 million as it cleared the $200 million mark at the foreign box office for a worldwide tally of $332.9 million in its first 13 days.

The final big screen adaptation of the beloved British show Downton Abbey placed third with a domestic debut of $18.1 million, in line with expectations. Downton Abbey: The Grand Finale is likewise benefiting from glowing reviews and audience. Overseas, the movie opened to $12.3 million from its first 31 markets, led by the U.K., for a worldwide start of $30.4 million.


Lionsgate’s dystopian The Long Walk, based on a Stephen King novel, opened in fourth place with an estimated $11.5 million. The pic earned a B+ CinemaScore, not unusual for the genre. Demon Slayer and Grand Finale each received an A.

In celebrating the 30th anniversary of Pixar’s seminal animated film Toy Story, Disney is rereleasing the movie this weekend to strong numbers. The pic rounded out the top five with a pleasing $3.5 million domestically for a global total of $5.2 million. And in its second weekend, the rerelease of the filmed adaptation of Lin-Manuel Miranda’s Hamilton took in another $2.2 million for total new earnings of $15 million. Disney also did well by a special 60th anniversary rerelease of The Sound of Music, which earned $1.5 million in North America.


Rob Reiner’s sequel Spinal Tap II: The End Continues started off with an estimated place with $1.7 million to come land at the bottom of the top 10 chart. The sequel to Reiner’s cult-classic mockumentary earned an A- CinemaScore.
 
There is no real box office champion this year, is there? At least . . . so far?


We have been tracking at the Box Office Prediction game

And Minecraft and Lili and Stitch are clear United States winners, both over $400 million domestic
 
We have been tracking at the Box Office Prediction game

And Minecraft and Lili and Stitch are clear United States winners, both over $400 million domestic

^ Not a superhero comic book movie among them.

Signs of the downward slide in quality and interest in that genre, and as Spielberg once predicted, it too will go the way of the once omnipresent Western, a genre that--despite attempts to subvert tropes and paint darker, grittier pictures of its elements in the 1960s--eventually wore out its welcome with more inferior content than anything remotely good. The difference is that the 21st century superhero genre had--on average--more money injected into their productions (generally treated as A-list films) than the majority of Westerns, even at their peak of popularity. With that kind spending--and increasingly poor creative results--it was only a matter of time before the slide occurred.

A significant part of 2025's movie going audiences did not find the majority of superhero films must-see events.
 
Super-hero movies had a moment they probably should never have had. Expectations for them became way to high. My hope is that they make enough that we keep getting a few every year. Quality films do not need a budget so high that they require an 800,000 dollar return to make money.
 
^ Not a superhero comic book movie among them.

Signs of the downward slide in quality and interest in that genre, and as Spielberg once predicted, it too will go the way of the once omnipresent Western, a genre that--despite attempts to subvert tropes and paint darker, grittier pictures of its elements in the 1960s--eventually wore out its welcome with more inferior content than anything remotely good. The difference is that the 21st century superhero genre had--on average--more money injected into their productions (generally treated as A-list films) than the majority of Westerns, even at their peak of popularity. With that kind spending--and increasingly poor creative results--it was only a matter of time before the slide occurred.

A significant part of 2025's movie going audiences did not find the majority of superhero films must-see events.
"Not a superhero comic book movie among them."???

Yeah, not the top 2, which this year, went to "kids" properties (i..e. films that appealed to people when they first encountered these as kids, and even young adults who had fond memories.

Superman is #3

But true.. this year's crop isn't as hyped as i anticipate Avengers Doomsday will be next year, as well as Spiderman.

Superman is in fact #3, with Fantastic 4, Captain AMerica (from the people who made the Disney Plus series we both loved), and Thunderbolts at the bottom.
 
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Wow, that's all it's made? I thought Downton Abbey was a huge worldwide cultural phenomenon and everybody would be rushing to the theaters to see it.
 
Wow, that's all it's made? I thought Downton Abbey was a huge worldwide cultural phenomenon and everybody would be rushing to the theaters to see it.
The first film grossed $194 million in 2019 with a $20 million budget. But that was before Covid. In 2022, the second film grossed $92 million with a $40 million budget. The third film's budget is $50 million. I read that the third film's marketing budget was $7.5 million. They spent that just on trailers on TV. I read that in Deadline, THR, etc., but I think they removed that article. The marketing budget for the previous two films is probably the same.
 
Super-hero movies had a moment they probably should never have had. Expectations for them became way to high.

Studio philosophy has always been to clone & "go bigger" in the wake of an unexpected success (critical and/or financial), which is what happened early in this century in the wake of the massive success of Raimi's Spider-Man in 2002 (taking in $825,820,712 worldwide). While a Marvel-based film which preceded it--1998's Blade was profitable ($131,211,897 worldwide), it was not on the global blockbuster level as the Raimi classic, which rocked the industry into the pattern of the "go big" superhero film, even if some IPs did not justify such treatment..As seen in the superhero films of 2025, so much was spent on the films, but in most cases, there's no torrential flood of audiences perceiving the films' creative output as worth the investment, hence the criticism of superhero movies in recent years.


My hope is that they make enough that we keep getting a few every year. Quality films do not need a budget so high that they require an 800,000 dollar return to make money.

Its doubtful studios--even in the face of one underperforming superhero film after another this year--will ever use a modest budget to produce a film (various sources claim the forthcoming Avengers: Doomsday has a production budget alone soaring past $450,000,000). Its also doubtful studios will resist the belief that bloated, would-be "epic" concepts (and the budgets usually attached to said concepts) are what audiences always want out of a superhero film.
 
Exactly. There's no reason why a Spider-Man film done with the feel of one of the Netflix series with a effects budget big enough to make Spider-Man's web slinging look real and film on a few more locations couldn't be highly successful.
 
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If Warner Bros. sells Netflix after such a great year, Zaslav will prove once again that he is an enemy of art.
 
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