The Spider-Man Brand New Day box office run is heading toward a milestone few films ever approach. In its second weekend, the Sony and Marvel Studios release is tracking toward $135 million to $140 million or more across 4,487 theatres, which would mark the third-largest sophomore frame in domestic history.

Only two films have posted bigger second weekends: Star Wars: The Force Awakens at $149.2 million in 2015 and Avengers: Endgame at $147.3 million in 2019. A result in the projected range would push past Avengers: Infinity War, which managed $114.7 million in 2018.

The Numbers Behind the Hold

The second Friday came in around $40 million, a 76 percent drop from a record-setting opening Friday and preview day that reached $169.8 million.

That percentage sounds steep, but it reflects the size of the launch rather than weakness. When a film front-loads that heavily, a sharp Friday decline is arithmetically unavoidable.

The addition of premium large format and Imax screens for the second frame has helped stabilise the weekend, giving the film access to higher-priced auditoriums it had to share previously.

Outpacing Endgame

By the close of Sunday, the ten-day cumulative total could reach $650.8 million at the high end.

That figure would put the film roughly 5 percent ahead of where Endgame stood at the same point. The Russo brothers’ feature finished its initial theatrical run at $858.3 million domestically.

A complication sits behind that comparison. Endgame is scheduled for a re-release in September, which raises the question of whether it can hold onto its position as the second-highest-grossing film ever domestically, trailing only The Force Awakens at $936.6 million.

Brand New Day had already set one record, becoming the fastest film to cross half a billion dollars domestically in seven days. Endgame took eight.

The Rest of the Chart

Second place goes to Universal’s The Odyssey, now in its fourth weekend across 3,603 theatres. The film is projected at $28.5 million, down 44 percent, bringing its running total to $458.1 million with $8 million on Friday.

That trajectory carries its own milestone. The Odyssey is on course to pass The Dark Knight Rises and become Christopher Nolan’s highest-grossing film worldwide.

Third belongs to One Night Only, Universal’s romantic comedy from Will Gluck, playing at 3,012 sites. Friday brought $2.9 million including $1.35 million in previews, with a three-day estimate of $6 million.

Fourth is Disney’s Toy Story 5, still holding at 2,660 locations in its eighth weekend. An estimated $4.3 million, down 36 percent, lifts its cumulative total to $470.8 million.

Fifth goes to Searchlight’s Super Troopers 3 at 2,760 theatres, with $1.8 million on Friday and a projected $4 million for the weekend.

The Rom-Com Gamble

One Night Only arrived carrying a specific hope, and a specific precedent.

Its $1.35 million in combined preview grosses matched exactly what Gluck’s Anyone But You did in its Thursday night previews before Christmas 2023. That film opened to $6 million and went on to a remarkable 14.7 times multiple over the holiday period.

The premise is unusual enough to stand out. Callum Turner and Monica Barbaro play two New Yorkers searching for connection on the single night of the year when premarital sex is legal.

Reviews have not been kind, with a 47 percent Rotten Tomatoes score sitting below Anyone But You’s 53 percent. That may matter less than usual, since the target audience for this kind of film has historically ignored critics. Distributors were hoping for a figure above $10 million.

Super Troopers Returns

Searchlight’s threequel faces a harder comparison than its predecessor enjoyed.

Super Troopers 2 opened on April 20 in 2018, a date chosen for obvious reasons given the franchise’s audience, and before the Disney and Fox merger closed. It surprised the industry with $1.35 million in previews and a $15.1 million opening against a crowd-funded $13.5 million budget.

This time previews came in around $350,000, and Searchlight is not reporting them officially. Critics landed at 32 percent despite a substantial promotional push at Comic-Con two weekends ago that included a world premiere and a beer pong pub activation.

Also in Theatres

Horror Section released Eli Roth’s Ice Cream Man across 1,671 theatres, with expectations in the low single millions and no previews reported.

The premise involves a pleasant summer town unravelling after an ice cream vendor begins serving children treats with disturbing consequences. Reviews have been poor at 29 percent.

What August Looks Like

Brand New Day is positioned to dominate not just this weekend but the remainder of the month.

For everyone else, the strategy is riding the traffic rather than competing with it. Summer’s final stretch works best when a genuine event film pulls audiences into theatres and smaller titles catch people already there.