Blab Entertainment
Scary Movie 6 Opens at $105 M Worldwide, A24s Backrooms Surges to $196 M, Masters of the Universe Falls Short
On the weekend of June 5‑7, 2026, horror once again claimed the top spot at the box office. The sixth instalment of the long‑running Scary Movie franchise topped the U.S. chart with a $55 million domestic haul, bringing its worldwide total to $105 million – the franchise’s best opening in its 26‑year history.
Directed by Michael Tiddes and written by the Wayans brothers and collaborators, the comedy‑parody opened in 3,490 theaters. Deadline reports that it pulled in $24.7 million on its first day, setting a new franchise record.
Across the board, horror titles dominated the weekend’s chart. A24’s science‑fiction psychological thriller Backrooms finished third worldwide with $195.8 million. The film, directed by Kane Parsons and released on May 29, has become A24’s highest‑grossing movie ever. With a modest $10 million production budget, Backrooms is one of the most profitable releases of the year.
Fourth‑place Obsession, a Focus Features thriller about a love‑turned‑obsession, has accumulated $224.7 million worldwide after a month in theaters. Produced for under $1 million, the film now holds the record for the studio’s highest‑grossing release.
In contrast, Masters of the Universe, the long‑anticipated live‑action adaptation of the 1980s Mattel toy line, earned $29.3 million domestically and $54.3 million worldwide. The film’s production budget is reported to be upwards of $200 million. Industry analysts note that a movie typically needs to earn two to 2.5 times its budget to break even, suggesting that Masters of the Universe will require a strong long‑term run to justify its cost.
Deadline also reports that the largest demographic for Masters of the Universe was viewers aged 45‑54, indicating that the film resonated more with older fans of the franchise than with younger audiences. The result echoes a pattern of recent 1980s revivals that have underperformed, such as Tron: Ares and The Running Man.
Other titles on the chart included The Mandalorian and Grogu, which fell to sixth place with a global total of $293.6 million, and Michael, a Michael Jackson biopic that reached $888 million worldwide, becoming Lionsgate’s highest‑grossing film.
The weekend’s overall box office was up 13.3 % compared with the same period last year, reflecting a broader rebound in theater attendance as audiences return to cinemas.
In addition to the major releases, the animated horror‑comedy The Amazing Digital Circus: The Last Act opened to $20.7 million. The film, which compiles the eighth and ninth episodes of the YouTube series The Amazing Digital Circus, is part of a growing trend of YouTube creators moving into theatrical releases.
Looking ahead, the industry is preparing for several high‑profile releases. Supergirl and The Odyssey are slated for summer 2026, and the first Super Mario Galaxy movie has already crossed the $1 billion mark.
In summary, the weekend underscored the continued strength of horror and its derivatives at the box office, while a high‑budget action‑fantasy struggled to find a wide audience. The data suggest that studios may continue to invest in horror‑based properties and in projects that can appeal to older fan bases.
Directed by Michael Tiddes and written by the Wayans brothers and collaborators, the comedy‑parody opened in 3,490 theaters. Deadline reports that it pulled in $24.7 million on its first day, setting a new franchise record.
Across the board, horror titles dominated the weekend’s chart. A24’s science‑fiction psychological thriller Backrooms finished third worldwide with $195.8 million. The film, directed by Kane Parsons and released on May 29, has become A24’s highest‑grossing movie ever. With a modest $10 million production budget, Backrooms is one of the most profitable releases of the year.
Fourth‑place Obsession, a Focus Features thriller about a love‑turned‑obsession, has accumulated $224.7 million worldwide after a month in theaters. Produced for under $1 million, the film now holds the record for the studio’s highest‑grossing release.
In contrast, Masters of the Universe, the long‑anticipated live‑action adaptation of the 1980s Mattel toy line, earned $29.3 million domestically and $54.3 million worldwide. The film’s production budget is reported to be upwards of $200 million. Industry analysts note that a movie typically needs to earn two to 2.5 times its budget to break even, suggesting that Masters of the Universe will require a strong long‑term run to justify its cost.
Deadline also reports that the largest demographic for Masters of the Universe was viewers aged 45‑54, indicating that the film resonated more with older fans of the franchise than with younger audiences. The result echoes a pattern of recent 1980s revivals that have underperformed, such as Tron: Ares and The Running Man.
Other titles on the chart included The Mandalorian and Grogu, which fell to sixth place with a global total of $293.6 million, and Michael, a Michael Jackson biopic that reached $888 million worldwide, becoming Lionsgate’s highest‑grossing film.
The weekend’s overall box office was up 13.3 % compared with the same period last year, reflecting a broader rebound in theater attendance as audiences return to cinemas.
In addition to the major releases, the animated horror‑comedy The Amazing Digital Circus: The Last Act opened to $20.7 million. The film, which compiles the eighth and ninth episodes of the YouTube series The Amazing Digital Circus, is part of a growing trend of YouTube creators moving into theatrical releases.
Looking ahead, the industry is preparing for several high‑profile releases. Supergirl and The Odyssey are slated for summer 2026, and the first Super Mario Galaxy movie has already crossed the $1 billion mark.
In summary, the weekend underscored the continued strength of horror and its derivatives at the box office, while a high‑budget action‑fantasy struggled to find a wide audience. The data suggest that studios may continue to invest in horror‑based properties and in projects that can appeal to older fan bases.
