‘How to Train Your Dragon’ tops US box office with $83.7M
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According to Comscore estimates Sunday, the Universal live-action adaptation of the beloved animated franchise soared to a strong $83 million debut in North America.

LOS ANGELES — “How to Train Your Dragon” took flight at the box office this weekend, proving that some remakes still have teeth.

The Universal live-action adaptation of the beloved animated franchise soared to a strong $83.7 million debut in North American theaters, according to Comscore estimates Sunday. The film, directed by franchise veteran Dean DeBlois, follows the unlikely friendship between a young Viking named Hiccup (Mason Thames) and a dragon called Toothless.

The reboot easily outpaced 2019’s “How to Train Your Dragon: The Hidden World,” which opened with $55 million. The latest film earned more than $114.1 million internationally, bringing the global total to $197.8 million.

“This is yet another example of a live-action remake really delivering on the promise of the marketing,” said Paul Dergarabedian, the senior media analyst for Comscore. “I think the longevity and playability of some of these films particularly in the summer has been nothing short of miraculous.”

“How to Train” also claimed the No. 1 spot ahead of Disney’s “Lilo & Stitch,” which slipped to second place after topping the charts for three weekends. That hybrid live-action remake added another $15 million, pushing its domestic total past $386.3 million.

“Materialists,” a modern-day New York love story starring Dakota Johnson, Pedro Pascal, and Chris Evans, rounded out the top three films of the week with a $12 million debut. The romantic dramedy features Johnson as a savvy matchmaker caught between two suitors: a broke, struggling actor who happens to be her ex, and a wealthy “unicorn” who seems too good to be true.

“Mission: Impossible — The Final Reckoning” slid to fourth place, taking in $10.3 million and avoiding a dip into single-digit territory.

The John Wick spinoff “Ballerina” fell to fifth place with $9.4 million, despite strong reviews from both critics and audiences. Directed by Len Wiseman, the action film stars Ana de Armas and features Keanu Reeves reprising his role in a supporting turn.

Dergarabedian said “Ballerina” could have a surge later down the line similar to 2014’s “John Wick.”

“It took a while for that franchise to really catch on,” he said. “You saw a huge outpouring of interest for the first ‘John Wick’ when it hit home video or streaming, I should say, and I think the same will happen here.”

In sixth place, “Karate Kid: Legends” earned $5 million followed by “Final Destination: Bloodlines” at seventh with $3.9 million. Wes Anderson’s latest “The Phoenician Scheme” brought in $3 million eighth place. “The Life of Chuck,” based on a Stephen King story, placed ninth with $2.1 million.

Rounding out the top 10 was “Sinners.” The Ryan Coogler film starring Michael B. Jordan, drew $1.4 million – which is impressive since the movie is available to watch at home through online and digital platforms after being released two months ago.

Overall, the box office is up 23% from this point in 2024.

Dergarabedian said he’s looking forward to films in the coming weeks that could have a positive presence at the box office, such as “Eilo,” “F1,” “Superman” and “28 Days Later.”

Top 10 movies by domestic box office

With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

  1. “How to Train Your Dragon,” $83.7 million
  2. “Lilo and Stitch,” $15.5 million.
  3. “Materialists,” $12 million.
  4. “Mission: Impossible – The Final Reckoning,” $10.3 million.
  5. “From the World of John Wick: Ballerina,” $9.4 million.
  6. “Karate Kid: Legends,” $5 million.
  7. “Final Destination: Bloodlines,” $3.9 million.
  8. “The Phoenician Scheme,” $3 million.
  9. “The Life of Chuck,” $2.1 million.
  10. “Sinners,” $1.4 million.

Copyright 2025 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.     

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