Box Office Shake-Up: ‘Now You See Me 3’ Conjures Surprise Win as ‘Running Man’ Stumbles

In a weekend full of cinematic surprises, Lionsgate’s Now You See Me: Now You Don’t has pulled off a stunning triumph at the domestic box office, outpacing Paramount’s high-profile The Running Man and redefining expectations for both franchises. The third installment of the long-dormant magician saga has captivated audiences with an unexpectedly strong debut, while Edgar Wright’s Running Man—Glen Powell’s first major box office misstep—struggles to find its footing despite a star-studded cast.

Directed by Ruben Fleischer, Now You See Me 3 grossed an impressive $8.4 million on Friday alone, setting the stage for a weekend opening estimated between $21 million and $24 million across 3,403 theaters, according to studio insiders. Rival studio projections place the debut near $22 million—a figure that exceeds industry forecasts and underscores the franchise’s enduring appeal. Analysts point to a robust female audience turnout, which accounts for 54 percent of ticket sales, as a key driver behind the film’s early success.

The film reunites original cast members Jesse Eisenberg, Woody Harrelson, Dave Franco, and Isla Fisher, reprising their roles as the Four Horsemen. They are joined by a trio of younger magicians—Justice Smith, Ariana Greenblatt, and Dominic Sessa—whose performances inject fresh energy into the series. Audience reception has been overwhelmingly positive, with a B+ CinemaScore and an 80 percent audience rating on Rotten Tomatoes, helping to offset lukewarm critical reviews.

In contrast, Paramount’s The Running Man faces a sobering reality. Initially projected to open in the $24 million-$25 million range, the studio has revised its estimate downward to between $17 million and $19 million following a Friday gross of $6.4 million from 3,534 theaters. Some industry watchers suggest the debut could be even lower, around $16 million—a stark reminder that star power alone cannot guarantee box office dominance.

Running Man, directed by Edgar Wright, adapts Stephen King’s 1982 dystopian novel for a new generation, chronicling a desperate man who participates in a deadly reality show in a society riddled with economic disparity. The film features a high-profile ensemble including Glen Powell, Josh Brolin, William H. Macy, Lee Pace, and Emilia Jones. Despite matching Now You See Me 3 in audience exit scores, the movie skews heavily male, with 64 percent of tickets purchased by men—a demographic competing directly with holdovers like Predator: Badlands.

This weekend also saw Osgood Perkins’ thriller Keeper open widely, though the film is expected to debut weakly with approximately $2.6 million from 1,950 theaters. The Neon release suffers from poor audience reception, receiving a D+ CinemaScore and negative exit polling, placing it in a close battle for fifth place against the persistent Black Phone 2.

Industry observers note that Now You See Me 3’s success is not just about numbers—it signals the enduring appeal of spectacle-driven franchises and the continued influence of demographic targeting. The significant female turnout highlights a shift in audience behavior, where loyal fans and franchise enthusiasts can propel films to surprise victories, even against high-budget competitors.

Meanwhile, Running Man’s struggles underscore the volatility of the modern box office, where critical acclaim, star power, and nostalgic properties do not always align with commercial success. For Powell, it marks a rare professional setback following a streak of hits that includes Top Gun: Maverick, Twisters, and Anybody But You. Wright’s adaptation, while ambitious, may serve as a cautionary tale about balancing genre, audience expectation, and the crowded cinematic landscape.

As the weekend concludes, box office analysts anticipate Now You See Me 3 holding the top spot, followed by The Running Man, Predator: Badlands, and Regretting You. With its surprising magic trick, the third chapter of the magician franchise proves that audience loyalty, clever casting, and a touch of spectacle can outpace even the biggest studio ambitions.