Well, Poseidon won’t be too pleased about it, but things continue to look up for Odysseus.
Christopher Nolan’s The Odyssey sacked another $87 million from moviegoers this weekend. So far, that means the film has taken $286.4 million from American audiences. And if we add that to its international earnings, we’ll find that the island of Ithaca is swimming in $639.6 million. That’s a salary of nearly $32 million for every year Odysseus was away from home.
Speaking of island-hopping protagonists, Moana maintained second place. The ocean washed up $10.5 million as the live-action remake went into its third weekend, bringing Moana’s domestic gain to $102.5 million and its worldwide cume to $228.2 million. Comparatively, the animated 2016 release had taken a total of $238.8 million by this point. Not terrible, of course, but releasing a live-action iteration of a movie that’s not even a decade old makes us wish someone would restore the heart of Disney creativity.
I doubt Disney is too pressed, though: The media giant ended up gaining the bronze medal alongside silver this weekend with Toy Story 5. Despite being out for six weeks, the animated film made $10 million. Its domestic cume now sits at $448.6 million, and its worldwide total officially crossed the $1 billion mark. That makes Toy Story 5 2026’s highest grossing movie so far, surpassing both Michael and The Super Mario Galaxy Movie.
Fourth place went to newcomer Hadestown: The Musical, which took $9.7 million in its debut. It turns out moviemaking is a far more profitable venture than charging an obol to cross the Styx.
And if anyone would happily serve Hades, it’d probably be the Minions. It makes sense, then, that Minions & Monsters is his underling by rank, taking fifth place with $9.6 million. In total, Minions & Monsters has summoned $155.4 million from domestic audiences—and $411.9 million worldwide.
Looking down the list at other newcomers, Motor City squealed into ninth place, taking $1.6 million. And Her Private Hell found that most of its showings were apparently private events, too, since it only earned $530,000. That’s enough for 14th place.
2 Responses
I’m disappointed with PluggedIn’s review of The Odyssey choosing to make specific mention of the inclusion of Elliot Page (as well as using his deadname) in the cast as a point of contention in the sexual content category, simply because the actor is transgender in real life. For the amount PluggedIn often laments gratuitous content in films, saying that the mere casting of an actor who happens to be transgender, which PluggedIn even specifically states has no bearing on the story or role itself, comes across as extremely gratuitous, discriminatory, and rather obtuse- especially because PluggedIn doesn’t make mention of casting choices whose actors display other choices or behaviours that us Christians disagree with; no mention of Jared Leto’s allegations in reviews with his inclusion, Brad Pitt’s accusations of domestic violence, etc. To point out the mere casting of transgender people regardless of whether or not it has any relevance to the content of the story only serves to fuel cultural and social division and discrimination. Just because some in our faith may have personal convictions against being transgender, it is not a mandate of our faith that we actively discriminate against anyone.
The distance between these PluggedIn reviews and the actual film has never been more obvious than with The Odyssey. This is a magificent film, sweeping in scope and epic in experience, yet your writer reduces it to a list of Christian phobias, a senseless compartmentalization that fails to understand the cohesive power of filmmaking.
And I agree with the previous poster regarding Elliott Page; why the irrelevant and gratuitous mention of a detail designed only to feed into the bigotries of certain Christians?
Is it too much to expect PluggedIn reviewers to act like adults speaking to other adults?