Last weekend, the video game adaptation sequel The Super Mario Galaxy Movie, which features the voices of Chris Pratt, Anya Taylor-Joy, and Jack Black, officially became the first movie of this year to cross the billion-dollar mark. This big 2026 milestone comes from, unsurprisingly, an animated sequel, which has become customary in recent box office history, following in the footsteps of the likes of China’s Ne Zha 2, Inside Out 2, and Zootopia 2. But The Super Mario Galaxy Movie isn’t the only big-budget blockbuster to reach new heights this week.
It has now been reported that Antoine Fuqua’s musical biopic, Michael, has hit the $900 million mark in global box office gross, thanks largely to an impressive run in overseas markets. Aside from the U.S., the movie has performed well in the UK, France, Germany, Brazil, Mexico, and Australia, earning over $30 million from each. This examination of the early career of the King of Pop might have faced controversy for its omission of certain controversies, but that hasn’t stopped an uncanny lead performance from Jaafar Jackson (Michael’s real nephew) and the promise of some iconic musical numbers from enticing many millions to head to the theater.
So what’s next for Michael? Earlier this week, the film became available on digital platforms for the first time and can be rented or purchased on platforms like Prime Video and Apple TV. At the box office, the hunt for more glory isn’t over yet, with Michael primed to make history this weekend. If the film can bridge the $11 million gap between it and the box office phenomenon Bohemian Rhapsody, then Michael will become the highest-grossing musical biopic ever. Already, Michael is one of the 100 highest-grossing movies of all time.
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.
The Box Office Is Currently a Horror Playground
Sure, Michael is hitting $900 million, and The Super Mario Galaxy Movie has passed the $1 billion mark, but it’s an altogether different genre taking the box office headlines. Thanks to a pair of YouTubers-turned-feature film directors in Curry Barker and Kane Parsons, no one can stop talking about Focus Features’ Obsession and A24’s Backrooms. The former is the first film this century to make over $200 million on less than a $1 million budget, and the latter has broken many records as well, including 20-year-old Parsons becoming the youngest director to ever hold the #1 spot on the North American charts.
Michael is currently available to watch in theaters and to rent or purchase on PVOD. Stay tuned to Collider for more movie news.
