It was a tale of two new releases at the global box office this weekend, with Pixar soaring high and Maggie Gyllenhaal's passion project crashing hard.
Disney and Pixar's animal adventure Hoppers powered to No. 1 with $88 million globally, delivering an encouraging result for an original animated film and signaling that audiences are ready to embrace new stories from the beloved animation studio .

Meanwhile, this weekend's other major new release—director Maggie Gyllenhaal's R-rated The Bride! —was D.O.A. with just $13.6 million worldwide, a tragic start for a film carrying a $90 million production budget .

'Hoppers': A Long-Awaited Original Hit for Pixar

Hoppers generated $42 million overseas from 40 territories, complementing its $46 million domestic opening . The film follows a young girl named Mabel who, through a groundbreaking scientific procedure, swaps her consciousness with a beaver to become a secret agent in the animal kingdom . The voice cast includes Jon Hamm, Bobby Moynihan, Piper Curda, and Danny DeVito .

After struggling with non-franchise fare in recent years, Hoppers is primed to be Pixar's first original hit in nearly a decade . This marks the largest debut for original animation since the studio's 2017 musical fantasy Coco, which became a powerhouse with $823 million by the end of its theatrical run .
Given exceptional reviews and strong audience scores, box office watchers predict Hoppers will enjoy a long life in theaters. The film currently holds a 84% critics score and a 93% audience score on Rotten Tomatoes .

Top overseas markets for the weekend were:
  1. United Kingdom: $6.4 million
  2. Mexico: $3.7 million
  3. France: $3.6 million
  4. Germany: $3.6 million

The result is particularly significant for Pixar, which has seen several recent original films—including Onward, Luca, Soul, and Turning Red—go straight to Disney+ during the pandemic or underperform in theaters . With Hoppers, the studio proves that audiences will still show up for original stories when they're given the big-screen treatment they deserve .

'The Bride!': A Costly Miscalculation
In stark contrast, Warner Bros.' The Bride! opened to disastrous numbers. Maggie Gyllenhaal's follow-up to her acclaimed directorial debut The Lost Daughter managed just $13.6 million worldwide against its massive $90 million budget . The film opened with $8 million domestically and $5.6 million overseas .
The R-rated musical horror comedy reimagines the classic Bride of Frankenstein story, with Penélope Cruz starring as the Bride, alongside Christian Bale, Peter Sarsgaard, and Annette Bening . Despite the star-studded cast and Gyllenhaal's pedigree as a filmmaker, the film failed to connect with audiences .
Reviews were mixed, and audience scores suggest word-of-mouth won't rescue the film in subsequent weeks. For Warner Bros., the result represents a significant financial blow, though the studio can take solace in the performance of other recent releases .

The Global Box Office Landscape
The weekend results highlight the continued dominance of family-friendly fare and the challenges facing R-rated original films aimed at adult audiences. While Hoppers proved that families will turn out for quality animation, The Bride! joins a long list of prestige adult-skewing films that have struggled to find audiences in the post-pandemic marketplace .

Other holdovers rounding out the top five include:
  1. Sinners (in its fourth weekend)
  2. One Battle After Another (in its sixth weekend)
  3. Marty Supreme (in its third weekend)
  4. F1 (in its second weekend)

Exact figures for those films were not included in the initial report.

Looking Ahead
For Pixar, Hoppers represents a crucial validation of the studio's creative direction and theatrical strategy. With Toy Story 5 arriving in June and Incredibles 3 targeting 2028, the studio has proven it can still launch new franchises while maintaining its legacy properties .
For Gyllenhaal and Warner Bros., The Bride! will likely be written off as a noble failure—a bold, original vision that simply didn't find its audience. Whether it gains a second life on streaming remains to be seen.