Last week, 2026 got its first billion-dollar movie, as the video game adaptation sequel The Super Mario Galaxy Movie officially crossed the $1 billion mark at the box office. Following in the footsteps of its predecessor, The Super Mario Bros. Movie, the animated sequel is the first film of the year to achieve this box office milestone, although the upcoming fifth installment in the beloved Toy Story franchise is sure to follow suit.
But The Super Mario Galaxy Movie isn’t the only film to achieve billion-dollar status this month. Having now passed the $676 million mark globally, split between a domestic haul of $218 million and a further $458 million from overseas markets, The Devil Wears Prada 2 has now helped the franchise pass the billion-dollar line at the box office, with the 2006 original turning in $326 million in worldwide revenue. Last weekend, the sequel helped itself to another $1.3 million domestically in its lowest week-to-week drop since last month.
Although the return of Meryl Streep, Anne Hathaway, Stanley Tucci, and Emily Blunt to their now iconic roles proved too enticing to miss for global audiences, the film faced a mixed critical reception upon arrival. “This sequel doesn’t stand on its own, it’s merely an addendum,” one critic wrote, which was a complaint many had about the film. However, this was all some others needed, with Collider’s own Taylor Gates calling the film “a near-perfect blend of nostalgia and newness.” “I don’t think I’ll be quoting this one as frequently as the first,” she added, “but I certainly see myself grabbing some popcorn and peanut M&M’s for a pretty epic double-feature in the future.”
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
Parasite
Everything Everywhere
Oppenheimer
Birdman
No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Anne Hathaway Returns This Summer in One of the Year’s Biggest Movies
After finally delivering the fashionably late Devil Wears Prada 2, Hathaway is ready to bring audiences one of the cinematic events of the year as part of a stacked ensemble in Christopher Nolan‘s most ambitious film yet, The Odyssey. Set for theatrical release on July 17 and based on Homer’s ancient Greek epic, the film will feature Hathaway in a supporting ensemble alongside the likes of Tom Holland, Robert Pattinson, Lupita Nyong’o, Zendaya, Charlize Theron, Jon Bernthal, Mia Goth, Elliot Page, Benny Safdie, and more, with Matt Damon taking the lead role of Odysseus, the King of Ithaca.
Make sure to stay tuned to Collider for all the latest box office updates.
