Pixar/Disney’s Toy Story 5 scored an estimated $160m number one North American box office debut in the biggest opening weekend of 2026 so far, the highest unadjusted bow in the 31-year franchise, and the second-highest animated opening weekend of all time behind Incredibles 2.
Opening in 4,425 sites, the latest instalment in Pixar’s $3.6bn-plus global franchise (including the 2022 pandemic-era Lightyear spin-off) produced the highest opening weekend since Warner Bros’ A Minecraft Movie in April 2025, the fifth-highest debut by a PG-rated film (the first in the franchise due to carry the rating due to thematic elements), and the highest opening day including Thursday since Deadpool & Wolverine in July 2024.
By comparison, Toy Story opened on $29.1m in November 1995, Toy Story 2 earned $80.1m in November 1999, Toy Story 3 opened in June 2010 on $110.3m, and Toy Story 4 debuted in June 2019 on $120.9m and at $434m remains the top earner in the series in North America.
This is a powerhouse debut from Toy Story 5. When adjusted for inflation it ranks behind Toy Story 3 on $169.6m, and marginally ahead of Toy Story 2 and 4.
Overall Toy Story 5 drove a mighty $230m session that finished 80% ahead of the same weekend in 2025 and propelled year-to-date box office to $4.46bn, up 14% on last year by the same stage. Summer box office could reach $4bn for only the second time since the pandemic and currently tracks 15.2% ahead of 2025.
Toy Story 5 earned strong reviews and an A CinemaScore from audiences. Andrew Stanton directed and McKenna Harris co-directed the story that sees the familiar gang of toys confront the threat of electronic toys. Tom Hanks, Tim Allen and Joan Cusack reprise their roles as Woody, Buzz Lightyear and Jessie and are the voice cast includes Conan O’Brien, Greta Lee, and Tony Hale.
Disney executives reported that premium formats accounted for 40% of ticket sales, with Imax generating 8% on $11.5m for the format’s fourth-best three-day bow by an animated title. Overall, 2D accounted for 89%. There was a 57%-43% female-male split across all screenings, and the under-12 crowd took the lion’s share on 25%, followed by the 25-34 bracket on 22% and the nostalgic 35-44 audience on 20%.
‘Obsession’, ‘Backrooms’ both cross $300m worldwide
Universal/Amblin’s Disclosure Day from Steven Spielberg ranked second but took a heavy drop of 62% as $17m from 3,824 elevated the tally to $78.3m after two weekends. The long-legged Obsession placed third in its sixth session after a typically sturdy hold, dropping 25% for $14.2m from 3,053 and a $215.8m running total for Focus Features. The horror smash that cost $750,000 to make has now crossed $300m worldwide.
Right behind Curry Barker was Kane Parson’s Backrooms on $7.3m from 2,851 after a 37% decline for A24 resulting in $175.2m after four weekends. Backrooms too has surged past $300m at the global box office. Paramount’s Scary Movie rounded out the top five, earning $6.7m from 2,725 in its third weekend after a 53% drop for $97.6m. The horror spoof will cross $100m by next weekend.
There were two new arrivals in the top 10. Neon opened Adrian Chiarella’s Sundance horror Leviticus in eighth place on $2.7m from 1,076, and A24 debuted Michael Sarnoski’s 35mm revisionist adventure drama The Death Of Robin Hood starring Hugh Jackman at number nine on $2.6m from 1,762. Jodie Comer, Bill Skarsgård and Murray Bartlet also star.
In limited release John Early’s food influencer comedy drama and 2025 TIFF world premiere Maddie’s Secret opened on $58,200 for IFC Center’s biggest opening weekend in more than two years and the New York site’s sixth highest of all time. It expands to Los Angeles this week and arrives in further markets on July 3. Early and Kate Berlant lead the cast.
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