Lionsgate’s “Now You See Me: Now You Don’t” topped the global box office chart with $75.5 million. The film also reached number one in the domestic market and grossed $54.2 million internationally in 64 territories.
The third installment in the series, “Now You See Me,” released nearly a decade after its predecessor, performed well among international ticket buyers. The highest grossing regions include China ($19.2 million), South Korea ($3.9 million), France ($3.5 million), and the United Kingdom ($3.2 million). Now You See Me: Now You Don’t, directed by Ruben Fleischer, saw series mainstays Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco reprise their roles as a group of Robin Hood-like illusionists. The film cost $90 million to make.
Sony’s “Demon Slayer: Kimetsu no Yaiba: Infinity Castle” was released in China with a huge box office revenue of $52.4 million. It currently ranks as the fifth highest-grossing film of 2025, having earned nearly $730 million.
Paramount’s R-rated film adaptation of Stephen King’s dystopian novel, The Running Man, was a disaster at the global box office. The film was a failure in domestic release with $17 million, but grossed $11.2 million internationally from 58 foreign markets. Considering “Running Man’s” $110 million budget, this is a disastrous result. The film is directed by Edgar Wright, who directed “Baby Driver” and “Shaun of the Dead,” and stars Glen Powell. Top markets for “The Running Man” included the United Kingdom ($3.3 million), Germany ($1.1 million) and Australia ($1 million).
and Warner Bros.’ “One Battle After Another” topped $200 million at the global box office after earning an additional $1.4 million at the worldwide box office. The thriller was directed by Paul Thomas Anderson and starred Leonardo DiCaprio, Sean Penn, and Chase Infinity. Although it received the highest reviews of the year, its $140 million budget made it one of the big flops of 2025. Theater owners kept half of the ticket sales, and Warner Bros. spent tens of millions of dollars on top of production costs to promote the film, putting the film in a major bind.
