‘Now You See Me: Now You Don’t’ Tops Global Box Office While ‘The Running Man’ Flops

Now You See Me: Now You Don't
Now You See Me: Now You Don't

Lionsgate’s “Now You See Me: Now You Don’t” claimed the top spot at the global box office, raking in $75.5 million. The film, which also led the domestic market, earned $54.2 million internationally across 64 territories.

Arriving nearly a decade after the last installment, the third “Now You See Me” proved popular with international audiences. Some of its strongest territories included China ($19.2 million), South Korea ($3.9 million), France ($3.5 million), and the U.K. ($3.2 million).

Directed by Ruben Fleischer, “Now You See Me: Now You Don’t” brought back franchise regulars Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco, portraying a group of Robin Hood-style illusionists. The production budget for the movie was $90 million.

Meanwhile, Sony’s “Demon Slayer: Kimetsu no Yaiba Infinity Castle” debuted in China with an impressive $52.4 million, pushing its cumulative global total to nearly $730 million and making it the fifth highest-grossing film of 2025.

Now You See Me: Now You Don't
Now You See Me: Now You Don’t

On the other end of the spectrum, Paramount’s R-rated adaptation of Stephen King’s dystopian novel, “The Running Man,” faltered at the worldwide box office. After a weak $17 million domestic opening, it earned only $11.2 million internationally from 58 markets, a disastrous return considering the film’s $110 million budget.

Directed by Edgar Wright, known for “Baby Driver” and “Shaun of the Dead,” and starring Glen Powell, the film’s top international markets included the U.K. ($3.3 million), Germany ($1.1 million), and Australia ($1 million).

Warner Bros.’ “One Battle After Another” surpassed $200 million globally after adding $1.4 million internationally. Directed by Paul Thomas Anderson and starring Leonardo DiCaprio, Sean Penn, and Chase Infiniti, the thriller earned strong critical acclaim.

However, with a $140 million production budget and extensive marketing costs, it remains one of 2025’s larger financial disappointments, as theater operators retain roughly half of ticket revenue.