This time of year, we’re often reminded that the mantra “goodwill toward men” should be celebrated year-round, but times are tough. Seriously, it’s rough out there. Especially in theatrical exhibition which didn’t hit the $10 billion overall figure theater owners were hoping for. In fact, the business barely beat 2024’s $8.57 billion figure. That means it’s time for a frank assessment of the box office year.
And our late holiday gift to you is an edition of the 2025 box office winners and losers. Now, don’t get nervous. We’ll only be stating the obvious. There are few surprises, and we tried to be as kind as possible. It’s not malicious.
We swear.
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Keeping all that in mind…
Winner: James Gunn and Peter Greco
There were skeptics, but James Gunn‘s “optimistic” vision of “Superman” worked at the worldwide box office, pulling in $616 million. It also earned bragging rights, surpassing the totals of any of Marvel Studios’ three releases. Now, can they do it again with “Supergirl”? We’ll see.
Winner: Warner Bros. Theatrical
They tried to come for Warner Bros. toppers Pam Abdy and Michael De Luca after “Mickey 17” disappointed in regard to its budget (it still made $133 million, it just cost too much). And “The Alto Knights” bombed big time (WBD CEO David Zaslov greenlit that one, not them), but the duo were ready. They also may have been a tad lucky. The studio had a string of massive wins, including “Sinners” ( $367 million worldwide), “Final Destination: Bloodlines” ($315 million), “A Minecraft Movie” ($958 million), the aforementioned “Superman,” “Weapons” ($269 million), “Conjuring: The Last Rites” ($494 million) and, as a distributor only, “F1: The Movie” ($630 million). Did “One Battle After Another” break even at $205 million? No, but on the Paul Thomas Anderson sliding scale, it was somehow close enough. The studio earned $4 billion worldwide by September. Wowza.
Loser: Auteurs who tried to go Hollywood-ish
Darren Aronofsky’s “Caught Stealing”? Nope. Kogonada’s “A Big Bold Beautiful Journey”? A historic bomb for Margot Robbie and Colin Farrell. Derek Cianfrance’s “Roofman”? Solid reviews, but either not prestigious or not commercial enough. Only amazing accounting and insane pre-sales could result in it being break-even. All three filmmakers tried to go broader, and it simply didn’t work.
Loser: Lionsgate…until a much-needed turnaround
The Santa Monica-based distributor had a very rough year until it saw signs of life in September. “Shadow Force,” “Den of Thieves 2: Pantera,” “Hurray Up Tomorrow,” “Flight Risk,” “Good Fortune,” and “From the World of John Wick: Ballerina” were all box office misfires and/or severe disappointments (that’s being kind). “The Strangers: Chapter 2” arguably broke even (maybe), and the vibes improved with “The Long Walk” ($62 million global off a $20 million budget and pre-sales). After an equally rough 2024, things may have finally turned around with legitimate hits, “Now You See Me Now You Don’t” and “The Housemaid.” Next year? Potential breakouts in “Michael” and “The Hunger Games: Sunrise on the Reaping.”
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A version of this feature originally appeared in The Breakdown Newsletter. For industry commentary, awards takes and box office insight, sign up here. It’s free.
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Loser: “Mission: Impossible – The Final Reckoning”
For the first time, a “Mission: Impossible” movie will not make the year-end box office top 10 list. Intended as Tom Cruise‘s last go-around as Ethan Hunt, “The Final Reckoning” couldn’t blame a finncial loss on losing IMAX screens to “Oppenheimer” as “Dead Reckoning: Part One” did in 2023. This time, the public capped their wallets at $591 million. Still sounds like a hit, right? Well, with a budget of anywhere between $300-400 million (we’re pretty sure which number its closer to), the movie ended in the red. Paramount wants Cruise to return for another “Top Gun,” but we’re not so sure he’ll topline a “Mission” movie again anytime soon.
Winner: James Cameron
It goes without saying: never, ever bet against James Cameron. “Avatar: Fire and Ash” may not have opened as big as “Avatar: The Way of Water,” but when you’re going to hit $1 billion global after less than three weeks, you’ve still got a massive hit on your hands. Will it hit $2 billion? Probably not, but it might come close. And once again proves that whatever the cultural zeitgeist, Cameron and “Avatar” will find a way to deliver.
Loser: Edgar Wright
We love Edgar Wright as a filmmaker, but he’s now delivered two box office misfires in a row. “Last Night in Soho” cost $43 million and earned just $22 million worldwide. His “The Running Man” reboot cost $110 million and took in just $68 million. If he were a woman or a PoC filmmaker, he’d be in “director’s jail” (oh you bet they would). Maybe it’s time for “Baby Driver 2?” Too soon?
Winner: Timonthee Chalamet
Is Chalamet the new King of Christmas? After “Marty Supreme,” he might be. Already a hit for A24, the Best Picture contender has taken in over $33 million in just five days of wide release. It’s the second best performing title of the end of year holiday frame, and should be far past $50 million by the time the Critics Choice Awards arrive on Sunday. This after Chalamet’s “Wonka,” took $634 million worldwide in December 2023 and “A Complete Unknown” began its $140 million this time last year. Maybe that’s one reason “Dune Part Three” isn’t budging off its December 2025 date it currently shares with…“Avengers: Doomsday.” Or maybe they have a “Dune” blimp or two (or 100) up their sleeves.
Winner: Elle Fanning
After a streaming detour during and after the pandemic, Elle Fanning has found success again on the big screen. She starred alongside Chalamet in “Complete Unknown” last year, and 2025 gave her two significant success stories. She starred as the leading “human” (sort of) in Dan Trachtenberg’s “Predator: Badlands” which became the biggest “Predator” movie of all time earning $184.2 million. Joachim Trier’s “A Sentimental Value” has been an international art house hit taking in $12 million so far with major markets and Oscar nominations to come. A pretty great year for Fanning whose last big theatrical release was “Maleficent: Mistress of Evil” in 2019.
Winner: Amanda Seyfried
The Emmy winner had not starred in a wide-release theatrical feature since the long-forgotten “The Art of Racing” in 2019. She and her agent received an early Christmas present with “The Housemaid,” which should earn at least $80+ million domestically and, as noted, is a big hit for Lionsgate. Searchlight’s “The Testament of Ann Lee” doesn’t look like it will do gangbusters even on the prestige circuit, but she might get an Oscar nomination out of it. Not bad.
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Loser: MUBI
After the massive success of “The Sustance,” the U.K.-based streamer and distributor picked up several major prestige titles to continue its theatrical endeavors in the U.S. To suggest it has not gone well is an understatement. Critically acclaimed Sundance favorite “Lurker’ was effectively dumped at the end of August and only earned $633,000 (we’re still pissed about that one). Despite starring “it” actors Josh O’Connor and Paul Mescal, “The History of Sound” took in only $841,000 partially thanks to a bad September release date. MUBI massively overpaid for Lynn Ramey’s “Die, My Love” at Cannes shelling out $24 million for multiple territories. Despite Jennifer Lawrence and Robert Pattinson‘s publicity tour, it earned just $5.5 million domestically. One tiny silver lining? Kelly Reichardt’s “The Mastermind” took in $1.1 million at the U.S. box office. Her highest domestic grosser to date. That’s something, right?
Losers (sad edition): The quality indies that couldn’t break through
“Splitsville,” “Twinless,” “Jane Austin Wrecked My Life,” “Oh, Hi!,” “The Wedding Banquet,” “Sorry, Baby,” “East of Wall,” “Rebuilding,” “Love, Brooklyn,” and “Plainclothes” all disappointed in one aspect or another at the art house box office. A few had bad release dates, but the indie-art house market is struggling, and we’ve reached the “we’re genuinely worried” stage.
Winner: Jonathan Bailey
An out gay male actor, the star of “Wicked” ($757 million global), “Jurassic World Rebirth” ($869 million global), and “Wicked for Good” ($503 million global)? Let’s keep this going, Jonathan! Wait, a break? Now? No! Momentum Jonathan! Momentum!
Winner: Tim Robinson
A24 may have discovered a new movie star. Despite the presence of Paul Rudd, not many thought the “I Think You Should Leave” star could flip “Friendship” into a legit hit. Boy, were they wrong. Tim Robinson’s fanbase helped turn a $2 million budgeted arthouse comedy into a $16 million global grosser for the mini-major. Robinson is busy prepping the second season of “The Chair Company” for HBO, but he should also be heading back to the big screen. Hint, hint.
Winner: Crunchyroll is a godsend for Sony Pictures
Anime made Sony Pictures’ year. “Demon Slayer -Kimetsu no Yaiba- The Movie: Infinity Castle” earned $134 million and $349.5 million worldwide for the Culver City mainstay (its complete overseas tally including non-Sony markets is $770 million). “Chainsaw Man – The Movie: Reze Arc” took in $43 million in the U.S. and over $113 million worldwide. Both were Crunchyroll acquisitions. Let’s hope someone bought the division’s execs a cake and popped some champagne to celebrate.
Winner: Lindsay Lohan
She hadn’t starred in a theatrical release in 12 years. Her last “hit,” where she had a leading role and wasn’t playing herself, was 20 years ago. And yet, almost effortlessly, without a hint of the paparazzi drama that plagued her in the ’00s, Lindsay Lohan reunited with Jamie Lee Curtis to make “Freakier Friday” a rare live-action Disney hit that wasn’t an animated remake. Sure, it was a long-awaited, nostalgia-pumped sequel, but it still earned $153 million worldwide. So, she’s…back?
