In a cinematic landscape still grappling with the lingering effects of a global pandemic and shifting audience behaviors, an unlikely hero has emerged to claim the top spot at the North American box office: “GOAT,” an original animated feature about a determined animal with dreams of basketball stardom. Its impressive performance during a particularly quiet late-February weekend wasn’t just a win; it was a resounding statement on the enduring power and critical importance of family-friendly entertainment in the ongoing recovery of the theatrical experience. This victory underscores a vital truth for studios and exhibitors alike: in uncertain times, the appeal of a universally accessible story often trumps even the most glittering array of A-list talent.
The race for the number one position was tighter than anticipated, with “GOAT” locked in a compelling battle against “Wuthering Heights,” a lavish gothic romantic drama boasting the considerable star power of Margot Robbie and Jacob Elordi. While conventional wisdom might have predicted a win for the live-action, star-driven adult fare, “GOAT” defied expectations, pulling ahead with a remarkable $17 million from 3,863 theaters. This figure represented a modest 36% drop from its opening weekend, signaling strong word-of-mouth and sustained interest. “Wuthering Heights,” though formidable, found itself in second place with $14.2 million from 3,682 venues, experiencing a more significant 57% decline from its debut. This outcome, where a whimsical animated tale about aspiration overshadowed a period piece starring two of Hollywood’s most sought-after actors, offers invaluable insights into the current dynamics of moviegoing and the demographic segments driving its resurgence.
The success of “GOAT” is not an isolated incident but rather a continuation of a broader trend that has been steadily gaining momentum. For cinema operators, these PG-rated offerings are nothing short of lifelines. They represent a reliable draw for multi-generational audiences, transforming a trip to the movies into a cherished family outing. In a year marked by strategic releases, 2025 has already showcased the impressive resilience and consistent appeal of animated and family-centric fare. Films such as the highly anticipated “Lilo & Stitch” and “Zootopia 2,” alongside the much-discussed “A Minecraft Movie,” have not only demonstrated remarkable endurance at the box office but have also consistently ranked among the year’s highest-grossing releases. These titles, built on established intellectual property and catering to a broad demographic, provide a stable foundation in an otherwise unpredictable market. For families, these films offer a safe, wholesome, and engaging escape, providing a collective experience that streaming services, for all their convenience, simply cannot replicate. The communal laughter, shared gasps, and collective emotional investment create a unique magic that only the big screen can deliver, making them an indispensable component of the modern theatrical ecosystem.
Beyond the top two contenders, the late-February frame introduced a diverse slate of newcomers, each vying for a share of the box office pie, albeit with varying degrees of success. Among these fresh faces were Lionsgate’s faith-based sequel “I Can Only Imagine 2,” Disney’s suspenseful road-trip thriller “Psycho Killer,” and A24’s darkly comedic “How to Make a Killing,” starring the increasingly prominent Glen Powell. Their individual performances paint a nuanced picture of audience preferences and the challenges faced by different genres in today’s competitive landscape.
Claiming the third spot was “I Can Only Imagine 2,” which garnered $8 million from 3,105 venues. While this is a respectable figure for a faith-based film, it notably lagged behind its predecessor, the unexpected 2018 hit “I Can Only Imagine,” which debuted to a robust $17 million in North America. The original film, based on the true story behind the best-selling Christian song of all time, resonated deeply with its target audience, grossing an astounding $86 million worldwide against a modest $7 million budget. The sequel, with a production cost of $18 million – twice that of the original – faced the inherent challenge of living up to such a breakout success. However, even with a higher budget, $18 million remains a relatively modest investment in the current cinematic climate, suggesting that Lionsgate should have little difficulty recouping its costs over the course of its theatrical run and subsequent ancillary markets. The true triumph for “I Can Only Imagine 2” came in its audience reception: it earned a rare and coveted “A+” grade on CinemaScore exit polls. This exceptional rating, mirroring the perfect score of its predecessor, signifies profound audience satisfaction and hints at strong potential for sustained word-of-mouth. The faith-based film market has proven to be a remarkably loyal and engaged demographic, often turning out in force to support films that align with their values. This consistent support and the genre’s capacity for producing highly profitable, emotionally resonant stories make it a quietly powerful force within the industry, often overlooked by mainstream analysis but consistently delivering for studios willing to invest in its unique appeal.
Further down the list, in sixth place, was A24’s “How to Make a Killing,” which debuted with $3.5 million from a more limited release across 1,600 screens. This R-rated comedic thriller, directed by John Patton Ford, known for his incisive work on “Emily the Criminal,” stars Glen Powell as a man disowned at birth by his obscenely wealthy family, embarking on a relentless quest to reclaim his staggering $28 billion inheritance. While Powell has been enjoying a significant career surge with recent high-profile roles, this film’s performance suggests that even a rising star can’t guarantee a strong opening, particularly for a project with a darker, more niche appeal. A24 has carved out a distinct identity in the independent film scene, often championing thought-provoking, critically acclaimed, and sometimes polarizing features. “How to Make a Killing” appears to fit this mold, though perhaps not with the same critical adulation as some of their previous successes. Critics, in fact, were largely unenthusiastic, with the film holding a 47% approval rating on Rotten Tomatoes. The absence of an audience score makes it difficult to gauge public sentiment directly, but its more contained release strategy and genre-specific appeal suggest it was always intended for a discerning audience rather than a broad mainstream hit. Its financial success will likely be measured against its relatively modest budget and its potential for cult status or strong performance in the home entertainment market, rather than its initial box office haul.
At the lower end of the spectrum, Disney’s “Psycho Killer” suffered a particularly dismal debut, landing at No. 11 with a mere $1.6 million from 1,100 theaters in its opening weekend. Hailing from Disney’s 20th Century and New Regency labels, which typically handle more mature or genre-specific content outside the core Disney brand, the road-trip thriller found itself trailing even “Avatar: Fire and Ash,” which managed to pull in $1.7 million in its tenth weekend on the big screen, a testament to its remarkable longevity. “Psycho Killer,” directed by Gavin Polone in his feature debut, follows a police officer, portrayed by the talented Georgina Campbell (known for her compelling roles in projects like “Black Mirror”), on her grim mission to apprehend the serial killer known as the Satanic Slasher, who brutally murdered her state trooper husband. Despite a compelling premise and a strong lead actress, the film failed to connect with audiences or critics, evidenced by a low 33% Rotten Tomatoes average and, like “How to Make a Killing,” no available audience score. While its production cost was reportedly under $10 million, its anemic box office performance indicates a significant misfire, highlighting the challenges of launching new, non-franchise thrillers in a crowded market saturated with established horror and suspense properties. The film’s struggle underscores the importance of strong marketing and positive critical reception, even for lower-budget productions, to break through the noise and capture audience attention.
In a brighter spot, Neon’s concert film, “EPiC: Elvis Presley in Concert,” carved out a respectable niche, debuting in seventh place with $3.2 million. This impressive figure was achieved from a highly limited release, playing on just 325 IMAX screens. The success of “EPiC” speaks to the burgeoning popularity of concert films as a theatrical draw, a trend recently amplified by the monumental box office performances of tours from artists like Taylor Swift and Beyoncé. While Elvis Presley’s fanbase might skew older than these contemporary pop icons, the decision to present his legendary performances in the immersive IMAX format clearly resonated with dedicated fans and those seeking a unique, high-quality cinematic experience. This targeted approach, leveraging premium formats for niche but passionate audiences, demonstrates a smart strategy for maximizing revenue without requiring a wide, costly release. It also highlights the enduring appeal of musical legends and the power of nostalgia when packaged for the big screen.
As the box office continues its slow but determined climb back to pre-pandemic strength, the lessons from this “glacial winter weekend” are crystal clear. While star power and critically acclaimed dramas certainly have their place, the consistent draw of family-friendly animated features, the dedicated following of faith-based cinema, and the strategic deployment of niche content like concert films are proving to be the unsung heroes of the industry. Studios and exhibitors must continue to diversify their offerings, understanding that a vibrant theatrical market thrives on catering to a multitude of tastes and demographics. The unexpected triumph of an animated goat serves as a potent reminder that sometimes, the greatest champions emerge from the most heartwarming and universally appealing stories, proving that the magic of cinema still lies in its ability to bring us all together, one family at a time.
