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‘Spider-Man: Brand New Day’ Poised for One of the Biggest Box Office Openings of All Time
There’s a lot of chatter about where the MCU is headed, but one thing’s crystal clear: people still adore Spider‑Man, especially Tom Holland’s version. The buzz around the new film, “Spider‑Man: Brand New Day,” is so strong that early tracking suggests its opening weekend could sit in the top five of all time, even outpacing the massive $260 million domestic debut of “No Way Home.” The hype isn’t built on nostalgia—no surprise returns of the older Spider‑Men—just a simple question: what does Peter Parker do after losing his mentors and watching the world forget him? Sony’s marketing leans into that personal angle, asking how Holland’s Peter will reconnect with MJ, Ned, and figure out his place as both a regular kid and a hero. That focus, paired with a solid cast that’s proven chemistry, is resonating with audiences. Critics are also leaning in, giving the movie a strong 89 percent on Rotten Tomatoes, which is a rare combo of critical approval and fan excitement for a Marvel release right now. The numbers back it up. Trackers are penciling in about $195 million domestic and $465 million worldwide for the opening, numbers that would eclipse the biggest releases since “Zootopia 2.” Even the presale data beats “Deadpool & Wolverine,” and the film’s PG‑13 rating widens its family appeal. Add in the draw of Zendaya and Sadie Sink, plus solid overseas interest—including in China, where “No Way Home” never hit theaters—the potential is huge. If it just meets those benchmarks, it’s already a massive win for Sony. But should it surpass the global opening of “No Way Home,” the lack of competition this August could clear a path for “Brand New Day” to become the first non‑Avengers superhero movie to break the $2 billion barrier, cementing another historic moment for the Spider‑Man franchise.
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‘Spider-Man: Brand New Day’ Review: Sensational Spidey Sequel Is as Good as It Gets
The new Spider‑Man sequel leans into Peter Parker’s heart rather than his powers. After the events that erased his existence, Tom Holland’s Peter is a lone workaholic, swinging through New York to keep the city safe while nobody really knows the guy behind the mask. He’s still pinging his old friends—Ned and MJ—but the real oddball companionship comes from the Punisher, who treats the kid‑hero like a mischievous sidekick and adds a surprisingly funny, if grim, contrast. The villain is a telepathic body‑hopper hunting something called V‑Max, hopping from one random mind to another—including the low‑tier Scorpion—just to get it. The scheme feels a bit flimsy when you step back, but the film doesn’t get hung up on the mechanics. Instead, it lets the characters’ loneliness drive the story, pairing Peter’s isolation with the Punisher’s own misery, and making their eventual clash feel oddly poignant. Performance‑wise, Holland and Jon Bernthal click in a way that feels both comic and genuine. Bernthal’s Punisher is a bitter, middle‑aged curmudgeon who still manages to be oddly endearing when he’s around Spider‑Man. Zendaya and Jacob Batalon have smaller but well‑placed moments, and the script finds clever ways to weave MJ and Ned back into Peter’s life without undoing the “No Way Home” ending. A surprise cameo from Sadie Sink adds a secret‑identity buzz that keeps the audience guessing. All in all, “Brand New Day” stands out as one of the stronger MCU entries lately. It’s less about flashy set‑pieces and more about a fragile hero trying to stay good despite the personal cost. The movie’s energy builds steadily, the stakes feel real, and even with a few plot gaps, the emotional core lands solidly—making it a genuinely satisfying Spidey outing.
Christopher Nolan’s ‘The Odyssey’ Defeats the Trolls
Christopher Nolan’s new epic “The Odyssey” smashed expectations, pulling in roughly $264 million worldwide its opening weekend and about $124 million just in the U.S. It’s his biggest non‑Batman debut and the strongest opening for an R‑rated film outside the “Deadpool” and “It” franchises. Despite a months‑long social‑media backlash from far‑right voices over casting choices—some of which were based on misinformation—the movie still earned an A CinemaScore and a near‑perfect audience rating on Rotten Tomatoes. The film’s success also rode a wave of premium‑format enthusiasm. Over half of all tickets sold were for IMAX, Dolby, 70 mm or other upscale experiences, with IMAX alone contributing roughly $28 million domestically and $51 million globally, the second‑largest IMAX haul ever after “Avengers: Endgame.” That premium push helped push the film toward a potential $1 billion worldwide run, especially as competition eases in the coming weeks. Nolan’s draw proved to be more than just his name. Universal’s marketing blitz—podcast spots, talk‑show appearances, and even a cameo on a morning news program—kept the conversation focused on the film’s artistry rather than the controversy. The result was a clear signal that echo chambers, even those amplified by high‑profile figures, can’t derail a well‑crafted, widely appealing blockbuster. In short, “The Odyssey” turned the expected cultural‑war flashpoint into a box‑office triumph, showing that strong storytelling, strategic promotion, and audience appetite for premium cinema can outweigh the noise of online trolls.
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‘Avatar Aang: The Last Airbender’ Review: A Powerful but Rushed Chapter in One of the Great Modern Sagas
The new animated film drops us back into the world of Avatar right after the original series, before the events of Korra. It’s built for people who grew up with the show, sprinkling in familiar faces like the cabbage merchant and a Kyoshi warrior, but the story leans on the deeper history of the characters rather than just cameos. Aang, now an adult and the founder of Republic City, is still haunted by the genocide that wiped out his people, and the movie follows his attempt to bring back airbending by tracking down a magical staff and a surviving Airbender named Tagah. The plot centers on a non‑bender rebellion called the Denied, who believe the staff will level the playing field. Aang’s guilt and the pressure to fix the past drive him into a risky quest, forcing him to make choices that echo the series’ long‑standing theme: the cycle of violence must be broken, even at great personal cost. The film’s emotional core is Aang’s reckoning with his survivor’s guilt, and for fans who know where his decisions lead, the stakes feel weighty. Visually, the movie shines. The animation is fluid, the fight sequences are dynamic, and the larger set pieces hold their own against many live‑action blockbusters. Because it’s only 99 minutes, the story feels compressed—supporting characters get little development beyond their usual jokes and combat, and the narrative sometimes rushes past moments that could have lingered. That tight runtime makes the film feel more like a fan‑focused episode than a fully fleshed‑out feature. In short, the film delivers a visually impressive, emotionally resonant chapter for longtime fans, but newcomers may find the story undercooked and the ensemble underused. It’s a bold attempt to continue an epic saga, and while it doesn’t quite hit every note, it offers enough payoff to keep the Avatar world alive and moving forward.
ChatGPT ad delivery struggles are testing advertiser patience
OpenAI's ad business is facing a challenge as marketers who invested in ads on ChatGPT are experiencing under-delivery issues. Despite the initial excitement and fear of missing out on the AI visibility boom, advertisers are now reporting that their ads are not being delivered as promised. This is a concern for OpenAI, as it has been a few months since they started testing ads on the platform. Some marketers committed to spending up to $250,000 on ads, but now they are not seeing the expected results. This under-delivery issue is likely to test the patience of advertisers, who may start to question the effectiveness of OpenAI's ad business. The company needs to address this issue to maintain the trust of its advertisers and ensure the long-term success of its ad business. The fear of missing out, or FOMO, was a key factor in driving initial investment in ChatGPT ads. However, if OpenAI cannot deliver on its promises, this FOMO may wear off, and advertisers may start to look elsewhere. OpenAI needs to resolve the under-delivery issue and demonstrate the value of its ad business to retain the support of its advertisers. The under-delivery issue is a significant challenge for OpenAI, as it has the potential to impact the company's revenue and growth. If advertisers are not seeing the expected results, they may reduce their spending or cancel their ad campaigns altogether. This could have a ripple effect on OpenAI's business, making it harder for the company to attract new advertisers and maintain its existing relationships. OpenAI's global head of ads is likely under pressure to resolve the under-delivery issue and get the ad business back on track. The company needs to work closely with its advertisers to understand their concerns and develop solutions to address the under-delivery issue. By doing so, OpenAI can rebuild trust with its advertisers and ensure the long-term success of its ad business.
Variety·1 minEddie Peng and Ewan Mitchell to Lead Action Feature ‘The Healer,’ Highland Film Group Launching in Cannes (EXCLUSIVE)
Eddie Peng and Ewan Mitchell are set to star in the action film "The Healer," marking the directorial debut of Can Aydin, known for his work as a stunt coordinator on major projects. The film is being produced by Highland Film Group and 66cc, which will handle international sales during the Cannes Film Festival. Aydin has previously contributed to notable titles such as "Thunderbolts" and Disney's "Obi-Wan Kenobi" series, bringing a wealth of experience to this new project. The collaboration between Peng and Mitchell is anticipated to generate excitement, given their rising profiles in the film industry. Highland Film Group is actively promoting "The Healer" as part of its lineup at Cannes, aiming to attract international buyers and showcase the film's potential. With a focus on action, the film is expected to leverage Aydin's expertise in choreography and stunt direction to deliver thrilling sequences.