Street Fighter film falls to No. 4 in second US weekend
The live-action Street Fighter film made an estimated US$8.6 million in its second US weekend, falling to No. 4 after opening at No. 1.
The new live-action Street Fighter film has fallen from No. 1 to No. 4 at the US box office in its second weekend. It earned an estimated US$8.6 million between 23 and 25 October, a 72.1% drop from its opening weekend. The film has now taken an estimated US$46.94 million in the US and US$79.64 million worldwide. 1
The film’s second-weekend result follows an opening that brought in US$30.78 million in its first three days. It also remains in Imax cinemas, which contributed US$1.8 million to the latest US weekend and have generated a US$12 million cumulative total. 1
The new figures add a commercial update to the film’s adaptation story. The cast and stunt team have been explaining how Ryu, Ken, Chun-Li and the rest of the roster’s recognisable attacks were translated into live-action choreography, with the production trying to preserve the characters’ distinct physical identities rather than treating every fight as interchangeable. 2
That work includes martial-arts training for the performers and stunt team, alongside the practical demands of making moves such as Chun-Li’s Spinning Bird Kick look convincing and controlled on camera. The production has also discussed the different approaches used for fighters including Guile, Balrog and Zangief. 2
Paramount Pictures describes the film as a 1993-set story in which Ryu and Ken are drawn into the World Warrior Tournament after Chun-Li recruits them. Legendary Entertainment produced the film with Capcom, while Kitao Sakurai directed it. 13
The box-office drop is notable, but it does not erase the film’s strong opening position or its continuing international total. Its next weekend will show whether the adaptation can hold onto a substantial audience through word of mouth, the spectacle of its game-inspired cast and the film’s continued Imax run.
Our opinion
The useful part of this update is the contrast between the film’s commercial trajectory and its adaptation challenge. A second-weekend fall of 72.1% is a sharp correction after a No. 1 opening, but the film still has a clear hook: it is trying to make familiar game attacks work as physical action rather than leaving them as costume-level references. The making-of material suggests that distinction matters to the production. If the choreography gives each fighter a recognisable style, the film has a better chance of holding the interest of fans beyond the opening-weekend curiosity. 12