NEWS

The weekend delivered a buoyant and expanded frame, with the top fifteen combining for £13,807,924. That marks a 16% rise from last weekend and places this session as the 20th best of the year. The market was energised by a trio of new releases that arrived with meaningful scale, while several holdovers continued to carve out notable year and all time placements.

Aardman Animations has always occupied a singular place in British cinema. Its films do not chase spectacle or scale. They chase warmth, craft and a sense of British identity that audiences recognise instantly. From the runaway success of Chicken Run to the enduring affection for Wallace and Gromit, Aardman has built a theatrical legacy defined not by size but by character.

The weekend delivered a steady and elevated frame, with the top fifteen combining for £11,652,119. That marks a 2% rise from last weekend and places this session as the 28th best of the year. The market was driven decisively by one major new opener, with Resident Evil alone accounting for 36% of the entire top fifteen. Several fresh titles added breadth to the chart, while a handful of holdovers continued to build noteworthy all time and year specific placements.

For nearly twenty five years, the Resident Evil films have grown from a modest videogame adaptation into one of the most enduring presences in modern action horror. What began as a modest early 2000’s videogame adaptation grew into a long running cycle of industrial dread, apocalyptic spectacle and globe spanning chaos. The series has survived changes in audience taste, shifts in horror fashion, the rise of prestige titles, the arrival of streaming dominance and the recent re

The weekend delivered a buoyant and much‑needed upswing, with the top fifteen combining for £11,454,509. That marks a 36% rise from last weekend’s muted frame and places this session as the 28th best weekend of the year.

The weekend delivered a sharply diminished frame, with the top fifteen combining for £7,350,017. That marks a severe 77% drop from last weekend’s elevated totals and places this as the second weakest weekend of the year. A trio of new releases entered the chart, though none were able to counterbalance the steep declines across the board, while several major holdovers continued to inch toward notable all time placements.

The market delivered a steady frame, with the top fifteen combining for £13,038,855. That is down 1% from last weekend and places this session as the 23rd best of the year. A cluster of new releases added breadth across multiplexes and specialty venues, while several major holdovers continued to climb the all time charts and deliver notable late run resilience.

Across six releases and more than a decade of shifting horror tastes, the Insidious franchise has remained one of the most quietly persistent fixtures of the UK market. It has survived the rise of prestige horror, the surge of microbudget viral sensations, the analogue creep of Backrooms style storytelling, and the new wave of digital folklore that powers titles like Weapon and Sinners. Through all of this, Insidious has held its place as a dependable theatrical draw. It is a

The chart eased into a quieter frame, with the top fifteen combining for £13,171,842. That is a 21 percent decline from last weekend and places this as the 21st best weekend of the year. Even with the softer market, several new releases added fresh movement while major holdovers continued to build notable all time placements.

The weekend delivered a lively but sharply reduced frame, with the top fifteen combining for £15,913,210. That places this weekend as the 11th best of the year, down 39 percent from last weekend’s elevated preview supported totals. A trio of new releases added fresh texture to the chart, while several major holdovers continued to carve out notable positions on the all time rankings.