'Jaws,' from left: Richard Dreyfuss, Robert Shaw, 1975. Courtesy Everett Collection Share on Facebook Share on X Share to Flipboard Send an Email Show additional share options Share on LinkedIn Share on Pinterest Share on Reddit Share on Tumblr Share on Whats App Print the Article Post a Comment A half a century later, Steven Spielberg's Jaws still has plenty of bite as the troubled 2025 summer season comes to a close. The original summer blockbuster, celebrating its 50th anniversary, is opening in second place at the four-day Labor Day box office behind Zach Cregger's August sleeper hit Weapons, which remains in first place for the fourth weekend in a row with an estimated four-day gross of $12.4 million and $10.2 million for the three-day weekend proper. The horror pic, yet another win for Warner Bros. and New Line, looks to finish Monday with a global tally of $234.6 million. Related Stories Movies Benedict Cumberbatch Calls 'The Roses' a "Date Night Film" Despite Its Dark Themes Movies Austin Butler on Being Mischaracterized as a Method Actor: "I Can Become Incredibly Obsessive" Booked in 3,200 cinemas, Jaws is looking at a four-day haul of $9.8 million - rival studios show it coming in north of $10 million - and $8.1 million for the three days. Either way, that's enough to swim past Darren Aronofsky's new movie starring Austin Butler and Zoë Kravitz, as well as Searchlight's The Roses. The fact that a 50-year movie is doing better than the two studio offerings underscores a rough-and-tumble summer for Hollywood studios and exhibitors, with domestic revenue barely able to match last year's disappointing $3.67 billion, which was down from 2023's $4.09 billion. Comscore is estimating that 2025 domestic summer ticket sales will come in 0.2 percent behind 2024, or a difference of $7 million. Heading into summer, most were confident that the season would match 2023's $4 billion-plus. Despite strong reviews, Sony and Aronofsky's crime caper is opening in third place with an estimated four-day gross of $9.5 million from 3,578 theaters and $7.8 million for the three days (that's in line with muted expectations). Disney's holdover Freakier Friday is holding in fourth place with an estimated $6.5 million for three days and $8.3 million for the four. Both Caught Stealing and The Roses were slapped with a tepid B CinemaScore from audiences. Exits were stronger on PostTrak, however. The Roses, an update of the classic divorce comedy, is rounding out the top five in North America with an estimated four-day gross of $8 million from 2,700 locations, and $6.3 million for the three days. It opened to a stronger $9.2 million overseas - Benedict Cumberbatch and Olivia Coleman lead the cast - for an estimated launch of $17.2 million. More to come. THR Newsletters Sign up for THR news straight to your inbox every day Subscribe Sign Up Venice Reviews 'The Tale of Silyan' Review: Folktale Meets Nonfiction in a Captivating Look at a Struggling Farmer and the Injured Stork He Rescues Venice Days Venice Hidden Gem: African Sci-Fi Mockumentary 'Memory of Princess Mumbi' Was Shaped by a Personal Loss Willem Dafoe 'The Souffleur' Review: Willem Dafoe Is a Hotel Manager Forced Out of His Job in a Poetic, Vienna-Set Character Study Venice Film Festival 2025 'Broken English' Review: An Imaginative, Fittingly Eccentric Documentary Pays Starry Tribute to Marianne Faithfull Venice Film Festival 2025 'The Wizard of the Kremlin' Review: Jude Law Plays Putin in Olivier Assayas' Sprawling, Sporadically Entertaining Chronicle of Post-Soviet Russia Vicky Krieps Jim Jarmusch "Disappointed and Quite Disconcerted" About His Distributor Mubi's Ties to Israeli Military Venice Reviews 'The Tale of Silyan' Review: Folktale Meets Nonfiction in a Captivating Look at a Struggling Farmer and the Injured Stork He Rescues Venice Days Venice Hidden Gem: African Sci-Fi Mockumentary 'Memory of Princess Mumbi' Was Shaped by a Personal Loss Willem Dafoe 'The Souffleur' Review: Willem Dafoe Is a Hotel Manager Forced Out of His Job in a Poetic, Vienna-Set Character Study Venice Film Festival 2025 'Broken English' Review: An Imaginative, Fittingly Eccentric Documentary Pays Starry Tribute to Marianne Faithfull Venice Film Festival 2025 'The Wizard of the Kremlin' Review: Jude Law Plays Putin in Olivier Assayas' Sprawling, Sporadically Entertaining Chronicle of Post-Soviet Russia Vicky Krieps Jim Jarmusch "Disappointed and Quite Disconcerted" About His Distributor Mubi's Ties to Israeli Military