With the Michael Jackson biopic, Michael, reclaiming the number-one spot at the domestic box office this weekend, the second position was snatched up by fellow holdover hit The Devil Wears Prada 2. Both blockbusters outperformed last weekend’s champion, Mortal Kombat II, which dropped to number four, below the breakout horror hit Obsessions. Meanwhile, The Sheep Detectives posted a surprisingly solid second-weekend hold and Guy Ritchie delivered his worst domestic box-office debut in nearly two decades with In the Grey. Michael passed the $700 million mark this weekend as it entered the home stretch on its path to the coveted $1 billion mark, and The Devil Wears Prada 2 passed a majestic milestone of its own.
The sequel, which was released two decades after the first movie, brought back the central cast and key creative forces. Director David Frankel, screenwriter Aline Brosh McKenna, composer Theodore Shapiro, and cinematographer Michael Ballhaus all returned. The original film’s cast members — Meryl Streep, Anne Hathaway, Stanley Tucci, and Emily Blunt — each reprised their roles in the sequel, which cost a reported $100 million to produce. The first film grossed around $325 million worldwide against a reported budget of $40 million. It holds a 76% score on Rotten Tomatoes and has emerged as something of a generational classic in the two decades since its debut.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Here’s How Much ‘The Devil Wears Prada 2’ Has Grossed So Far
The Devil Wears Prada 2, on the other hand, holds a “Certified Fresh” 78% score on Rotten Tomatoes. The aggregator’s consensus reads, “Meryl Streep still wears Miranda Priestly like a finely-tailored suit in this sinfully enjoyable sequel, which is dressed to the nines in off-the-rack wish fulfillment and some trenchant observations about the state of modern media.” In its third weekend, the movie grossed around $18 million domestically and another $50 million from international markets. The movie has now made around $175 million in North America and another $370 million in overseas territories, for a cumulative global haul of nearly $550 million. This is greater than the $400 million haul of The Housemaid and the $351 million haul of It Ends with Us — two recent literary adaptations. Hathaway will next be seen in perhaps an even bigger blockbuster, Christopher Nolan‘s The Odyssey. Stay tuned to Collider for more updates.
