The month of July might go down in history for having delivered two movies that passed the coveted $1 billion mark at the worldwide box office. Christopher Nolan‘s The Odyssey is a tough sell to all four quadrants of the audience, but the filmmaker is coming off the astounding success of Oppenheimer, which was arguably even less of a sure thing. The three-hour R-rated biographical thriller exceeded all expectations to gross $975 million worldwide, in addition to winning the Best Picture honor at the Oscars and earning Nolan his first Best Director Academy Award. Later this month, Sony will release Spider-Man: Brand New Day, which should be in tremendous shape even if it grosses half of its predecessor’s nearly $2 billion worldwide haul. However, another movie is poised to beat The Odyssey and Spider-Man: Brand New Day to the $1 billion milestone.
The movie was released two weeks ago to massive box-office success and excellent reviews. It continues to hold the record for the biggest debut of 2026, with nearly $160 million domestically in three days. We’re talking, of course, about Toy Story 5. Directed by Pixar veteran Andrew Stanton, the movie holds a “Certified Fresh” 92% critics’ score and a “Verified Hot” 95% audience score on the aggregator website Rotten Tomatoes, where the consensus reads, “Proving that old toys can learn new tricks while reckoning with an era of endless screen time, Toy Story 5 largely sidesteps franchise fatigue by reaffirming that children everywhere still got a friend in these lovable characters.”
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 amusing, 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 significant 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 effortless 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 fresh kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we operate 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 sincere in a way that most cinema never dares to be.
Here’s How Much ‘Toy Story 5’ Has Grossed at the Box Office So Far
Produced on a reported budget of $250 million, Toy Story 5 has grossed $880 million at the worldwide box office in two full weeks of release, and is poised to become the year’s third blockbuster to pass the $1 billion mark after The Super Mario Galaxy Movie and the Michael Jackson biopic, Michael. It’ll also become the third film in the three-decade-old Toy Story franchise, after Toy Story 3 and Toy Story 4, to hit the $1 billion mark. Only five Pixar movies have passed this milestone so far; besides the third and fourth Toy Story installments, Finding Dory, Inside Out 2, and Incredibles 2 are all a part of this esteemed club. Stay tuned to Collider for more updates.
