Sony Owns the Box Office Weekend: ‘Insidious: Out of the Further’ Surges as ‘Spider-Man: Brand New Day’ Climbs Toward History

Table of Contents

Toggle

Sony Owns the Weekend: ‘Insidious: Out of the Further’ Surges & ‘Spider-Man: Brand New Day’ Inches Toward History

It’s a Sony weekend. The studio claimed the top two spots at the domestic box office, with Insidious: Out of the Further scaring up a strong $23.7 million opening at 3,303 theaters while Spider-Man: Brand New Day pulled in $36.5 million in its fourth frame across 4,006 sites. The one-two punch capped a remarkably resilient summer for theatrical movies.

The Insidious sixquel actually led Friday with $10.6 million, edging out Brand New Day’s $9.8 million for the day, before the Spider-Man blockbuster reclaimed the top spot for the full weekend. It’s the fifth time the horror franchise has opened north of $20 million—only the 2010 original debuted lower, at $13.2 million—and it confirms the series is pumping on all cylinders.

Spider-Man’s Sneaky Run Toward the Record Books

The headline number out of this weekend, though, belongs to Spider-Man: Brand New Day, which continues the story thread of Spider-Man: No Way Home. With a running domestic cume on track for $852.4 million by Sunday, the Destin Daniel Cretton film—the highest-grossing movie of Zendaya’s career—is poised to overtake Avengers: Endgame’s $858.3 million and become the second highest-grossing movie ever at the domestic box office. A caveat worth noting: Endgame is getting a September reissue, so the math could shift again before either title settles.

Globally, the picture is different. Endgame at roughly $2.7 billion worldwide still towers as Tom Holland’s highest-grossing movie, and Brand New Day has plenty of runway but isn’t threatening that mark. Still, the domestic climb is a genuine historic milestone—for a fourth weekend of release to be drawing this kind of crowd is rare, and it speaks to how event-sized this Spider-Man run has become.

The ‘Insidious’ Machine Keeps Humming

The Insidious franchise is a masterclass in efficient horror. The sixquel earns a C+ CinemaScore—identical to its predecessor, Insidious: The Red Door—and the series’ best grades remain the B+ posted by Insidious 2 and Insidious 3. Horror audiences notoriously show up early and then fade fast, and that’s exactly what the numbers show: the highest domestic total in franchise history is Insidious 2 at $83.5 million, followed by Red Door at $82.1 million.

The demos tell the real story of who carries this franchise. Women made up 57% of the opening audience—with a robust 58% “definite recommend” and an even stronger 62% among women under 25—and the film over-performed in the South Central and West regions, which accounted for 46% of its gross. Latino and Hispanic moviegoers led the charge at 42%, followed by Caucasian (26%), Black (16%) and Asian American (9%) viewers. AMC Burbank was the single top-grossing venue after the first day.

Its social footprint was enormous: a 282.2 million social-media universe across TikTok, Facebook, Instagram, X and YouTube, well ahead of Red Door’s pre-release 182 million and Sony’s January horror 28 Years Later: The Bone Temple at 195 million. That reach is a leading indicator, not a lagging one—these audiences convert, which is part of why the franchise keeps getting made.

The Rest of the Top Five

Behind the Sony pair, The Odyssey kept its astonishing theatrical run rolling with $18.5 million in its sixth frame (down a light 22%), pushing its domestic cume to roughly $538 million—well on its way to a projected $575 million domestic finish, which would make it Christopher Nolan’s highest-grossing movie ever. PAW Patrol: The Dino Movie took fourth with $8.5 million in its second weekend (down 58%, cume $34.8 million), while The End of Oak Street rounded out the top five with $8 million (down 62%, cume $36.9 million).

Further down the chart, Jason Statham’s R-rated Mutiny opened to $7.4 million in sixth, above his early-2026 Shelter debut and earning a solid B+ CinemaScore, and A24’s Tony expanded to just under $4.8 million with huge weekend-to-weekend growth as word of mouth builds for the Anthony Bourdain film. The original The Fast and the Furious also returned via reissue for $3.3 million.

What It Means for the Season

All told, the weekend is tracking to roughly $126.5 million—another $100 million-plus frame for 2026, and a staggering 61% ahead of the same weekend a year ago, when Netflix’s Kpop Demon Hunters – Singalong led the chart with a then-notable $19.2 million. The compare illustrates just how hot this summer has been: the industry has repeatedly blown past year-ago benchmarks, and horror plus superheroes is proving to be the reliable engine behind much of it.

Why the Horror Rebound Keeps Landing

There’s a reason studios keep betting on horror in the late-summer window. It’s a low-budget, high-ceiling category where even modest openings become franchise lifelines, and the audience—disproportionately young, female and diverse—shows up reliably while mainstream titles chase bigger swings. Sony knows this playbook cold, having programmed horror in late August before; as recently as 2016, Don’t Breathe opened to $26.4 million and finished its Stateside run at $89.4 million. That kind of efficiency is why the Insidious series can afford to keep its budgets lean while still producing theatrical events.

The franchise’s endurance is also a lesson in how to evolve without losing an identity. Each entry has stretched the mythology—this one leaning into a PG-13 zombie twist and a new family—while keeping the atmospheric dread that made the first film distinctive. Whether the C+ CinemaScore is a warning or simply par for the horror course depends on who you ask; the genre’s grading curve is famously harsh, and audiences who love these movies tend not to wait for a consensus.

The Bigger Picture for Theatrical

For anyone reading tea leaves about the health of movie theaters, this is about as encouraging a stretch as the year has produced. You have a nostalgia-adjacent superhero sequel in its fourth weekend still drawing nine-figure domestic totals, a horror franchise opening well north of $20 million in a traditionally quiet slot, and a prestige epic (The Odyssey) holding with a drop of just 22% in its sixth frame. That three-way strength isn’t a fluke—it’s what a healthy, broad-based theatrical market looks like.

The wildcard remains the Avengers: Endgame domestic record. Brand New Day is projected to slip past that $858.3 million mark imminently, but the September reissue means the two titles will almost certainly trade the #2 and #3 slots around a bit rather than settle in a clean order. Either way, the headline holds: this is the closest any film has come to touching Marvel’s domestic juggernaut since Endgame itself, and it’s doing it on the strength of a genuinely crowd-pleasing theatrical run.

What to Watch Next Week

Momentum looks likely to carry into early September. Insidious: Out of the Further should hold respectably given its franchise’s steady burn, Brand New Day has the reissue bump and Labor Day frames working in its favor, and Odyssey continues its slow-and-steady march toward Nolan’s personal box-office milestone. Add a Labor Day holiday to the mix and the tail of this summer could stay well above seasonal norms.

The bigger takeaway is the durability of theatrical. An Insidious movie opening north of $20 million in late August, a Spider-Man sequel still pulling nine-figure domestic totals in its fourth weekend, and Nolan’s Odyssey refusing to fade all add up to a market that’s healthier than the doomsayers predicted. For anyone who likes rooting for movie theaters, it’s a genuinely good stretch to be watching.