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’Coyote vs. Acme’ manages No. 2 with $15.4M as Tom Holland’s Spider‑Man climbs global ranks and ‘Dog Stars’ is put to sleep

Coyote vs. Acme opened to a modest $15.4m and finished second at the weekend box office, while Tom Holland’s Spider‑Man keeps climbing the global charts and a project called Dog Stars has been put to sleep.

By Lee Coombs/

JUST IN

’Coyote vs. Acme’ manages No. 2 with $15.4M as Tom Holland’s Spider‑Man climbs global ranks and ‘Dog Stars’ is put to sleep
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DEVELOPING STORY

THE STORY

The latest weekend box office tally delivered a mixed picture for studios. Jacob Elordi’s new thriller, associated with Ridley Scott, settled into second place with $15.4 million — a performance one trade called “box office scraps.” Meanwhile, Tom Holland’s Spider‑Man: Brand New Day continued its remarkable global run, surpassing Titanic and Ne Zha 2 to reach fourth on the all‑time worldwide list and closing in on Avatar 2’s total. The Hollywood Reporter also notes that a title called Dog Stars has been put to sleep, capping an eventful frame for theatrical releases.

Weekend snapshot

Coyote vs. Acme opens to modest returns as Spider‑Man extends its global push

The weekend box office returned a clear two‑tier outcome: a fresh release grabbed headlines for underwhelming results, while an established franchise continued its upward march. Jacob Elordi’s latest thriller, linked to Ridley Scott, landed in second place with a $15.4 million take. Trade coverage described that number as modest — a sign the picture failed to catch fire at the box office. At the same time, Tom Holland’s Spider‑Man: Brand New Day kept drawing audiences overseas and domestically, moving past major catalogue titles to claim a place among cinema’s biggest grossers. The juxtaposition illustrates how powerful franchise momentum still is in today’s theatrical marketplace, even as mid‑budget entries struggle to gain traction.

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Underperformance

Jacob Elordi’s thriller falls short of expectations

The new Jacob Elordi thriller did not find the box-office lift studios hoped for with a wide launch. Reporters summarised its weekend as ‘settling for box office scraps,’ highlighting the gap between anticipation and reality for this release. While the title carried the imprimatur of Ridley Scott’s involvement in some capacity, that association did not translate into major commercial returns during its opening frame. The $15.4 million finish positions the film as a modest performer in a crowded release calendar, and the result will likely prompt close analysis from distributors about marketing, audience reach and the viability of similar mid‑budget projects in the current climate.

Franchise dominance

Spider‑Man’s Brand New Day keeps climbing — now fourth on the all‑time global list

Tom Holland’s latest outing continued to demonstrate the staying power of superhero fare. According to box office reporting, Brand New Day climbed past two significant benchmarks — James Cameron’s Titanic and the Chinese animated hit Ne Zha 2 — to secure the fourth spot on the all‑time global chart. That advance puts the film within sight of another major title, Avatar 2, underscoring the film’s extraordinary worldwide resonance. For studios and exhibitors, the performance reinforces a simple truth of the current market: tentpole franchises, backed by global marketing and built‑in audience recognition, remain the clearest path to blockbuster grosses.
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International context

Tallying the global heavyweights: what Brand New Day overtook

The climb into the upper ranks of the global chart is especially notable because Brand New Day displaced culturally and commercially significant films. Titanic is one of the most recognisable box office names globally, while Ne Zha 2 represents a major international animated success. Passing both titles on the cumulative list signals Brand New Day’s broad reach across markets. While the report did not include specific regional breakdowns or final totals, the milestone marks how contemporary blockbusters continue to build momentum over weeks and months, amassing grosses that can eclipse storied predecessors.

Market implications

What the results mean for studios and mid‑budget films

This weekend’s results emphasise the gulf between high‑profile franchises and standalone releases. With a mid‑budget thriller collecting $15.4 million and being characterised as scraping for box office, the economics facing such films look challenging. The success of Brand New Day, by contrast, highlights how franchise entries can absorb marketing spend, secure international distribution, and sustain long runs that push them up all‑time lists. For distributors and filmmakers, the message from the frame is familiar: in an environment dominated by established IP, getting visibility for original or small‑scale projects demands sharp positioning and often luck. How studios react to these signals could shape release strategies in the months ahead.

Behind the headlines

‘Dog Stars’ put to sleep — a quiet closing note to the weekend

The Hollywood Reporter account also notes that a title called Dog Stars has been put to sleep. The phrasing in the report frames the situation starkly, signalling an end to the project’s theatrical life or distribution plans. The brief mention provides a counterpoint to the blockbuster narratives around Brand New Day and underscores the uneven fortunes of releases this season. Beyond the line in the report, no further details were supplied about reasons or next steps for Dog Stars, leaving its future open in the wake of the weekend’s box office developments.

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