Until last weekend, only one movie released in 2026 had hit the coveted $1 billion mark. The video game adaptation sequel The Super Mario Galaxy Movie, which features the voices of Chris Pratt, Anya Taylor-Joy, and Jack Black, just edged past the milestone as its theatrical run came to an end, becoming the latest recent animated sequel to do so, following the likes of China’s Ne Zha 2, Inside Out 2, and Zootopia 2. Many had expected the next film to hit this milestone to be Toy Story 5, but the King of Pop has officially gotten there first.
Although an uncanny lead performance from Jaafar Jackson (Michael’s real nephew) earned widespread praise, Antoine Fuqua’s musical biopic, Michael,faced enormous backlash from critics upon arrival. However, the shiny musical experience proved enticing enough to earn praise from fans and calls for a sequel. Lionsgate film chief, Adam Fogelson, previously confirmed that a sequel was in development, saying, “We are really excited about the progress we’re making with respect to a second ‘Michael’ film. All the conversations that we’ve been having with all of the appropriate parties continue to go exceptionally well.” A sequel would inevitably have to tackle some of the more controversial aspects of Jackson’s life, which the first film almost entirely ignored.
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.
‘Michael’ Makes Box Office History
Thanks to its run in overseas markets after an impressive display in domestic theaters earlier this year, Michael has now surpassed the $1 billion mark, split between $629.8 million overseas and $371.8 million domestically. This milestone is particularly significant, as it marks the first biopic to achieve such a feat, as well as being Lionsgate’s first billion-dollar movie. Recently, Michael also became the biggest film based on a real person in cinema history, surpassing Christopher Nolan‘s Oppenheimer just before the director debuts his most ambitious film yet in The Odyssey.
“Audiences have embraced the film from the beginning, turning it into a unique cultural phenomenon in theaters around the world,” said the aforementioned Fogelson. “Their passion speaks to the enduring appeal of one of the greatest recording artists of all time, and it underscores the continued strength and vitality of the theatrical moviegoing experience.”
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