Nia DaCosta just dethroned James Cameron at the box office.
Her latest directorial effort, “28 Years Later: The Bone Temple,” has claimed the number one spot at the domestic box office, ending the four-week reign of “Avatar: Fire and Ash.”
The zombie thriller pulled in $5.6 million on opening Friday and is projected to earn $15 million through the four-day Martin Luther King Jr. holiday weekend.
It’s a significant milestone for DaCosta, who continues to prove her versatility across genres—from Marvel blockbusters to intimate horror.
DaCosta Takes On Franchise Legacy
“28 Years Later: The Bone Temple” marks the fourth installment in Sony’s long-running zombie franchise. The film opened in 3,506 North American theaters with a production budget of $63 million.
While these numbers seem modest compared to its predecessor’s $30 million opening weekend, context matters. The previous film, helmed by original “28 Days Later” director Danny Boyle, benefited from a traditional three-day frame rather than the current four-day holiday release.
That installment ultimately earned $70 million domestically and $150 million worldwide against a $60 million budget—numbers “The Bone Temple” will need to match or exceed to be considered a comparable success.
Critical and Audience Reception Defies Horror Norms
What sets “The Bone Temple” apart isn’t just its box office performance—it’s the overwhelmingly positive response from both critics and audiences.
The film earned an “A-” CinemaScore from audiences, a rare achievement in horror. Most genre films struggle to crack a “B” grade from mainstream moviegoers who often find scares off-putting or narratives convoluted.
Critics have also showered the film with rave reviews, praising DaCosta’s direction and the screenplay penned by franchise mastermind Alex Garland.
Garland’s Vision Meets DaCosta’s Direction
Alex Garland, who wrote the original “28 Days Later” and has been the creative force behind the franchise, crafted the screenplay for this latest installment.
The story follows Ralph Fiennes, Jack O’Connell, and Alfie Williams as they navigate the British countryside while fighting off victims of the deadly Rage Virus.
Garland’s cerebral approach to horror—focusing on social commentary and human psychology rather than cheap jump scares—aligns perfectly with DaCosta’s demonstrated strengths as a filmmaker.
The combination has clearly resonated with audiences seeking substance alongside their scares.
Cameron’s Pandora Loses Its Crown
“Avatar: Fire and Ash” slipped to second place after four consecutive weeks at number one. The film earned $3.2 million on its fifth Friday and is projected to add $17 million through the MLK weekend.
By Monday, James Cameron’s third journey to Pandora should reach approximately $367 million domestically—impressive numbers by any standard.
However, industry analysts expect “Fire and Ash” to reclaim the top spot for the full weekend, potentially securing its fifth consecutive week at number one. Both previous “Avatar” films dominated the box office for seven straight weeks.
Box Office Landscape Shifts
The weekend’s box office tells a story of diverse audience interests beyond just the top two films.
Chloé Zhao’s Shakespearean drama “Hamnet” expanded to 718 locations after weeks in limited release. The film earned $370,000 on Friday and should collect $1.6 million through Martin Luther King Day, adding to its initial $13 million haul.
Lionsgate’s thriller “The Housemaid” continues its impressive run, pulling in $2.5 million on Friday for third place. The Sydney Sweeney-led film should hit $109 million domestically through the holiday—remarkable for a $35 million production.
A sequel is already greenlit with star Sydney Sweeney and director Paul Feig returning.
What This Means for Horror Franchises
“The Bone Temple’s” opening demonstrates that quality horror can still draw audiences even in increasingly competitive theatrical markets.
The film’s critical acclaim combined with strong audience scores suggests word-of-mouth could drive legs beyond typical horror fare. Genre films often front-load their earnings, dropping 60-70% in their second weekends.
If “The Bone Temple” maintains momentum, it could signal that elevated horror—films prioritizing craft and storytelling alongside scares—represents the future of theatrical genre filmmaking.
Paramount’s “Primate,” meanwhile, landed in sixth place during its second Friday with $1.4 million. The monkey horror film opened to $13.4 million worldwide against a $21 million budget, with domestic totals expected to reach $6.2 million by Monday.
DaCosta’s Career Trajectory
This success adds another notable entry to Nia DaCosta’s growing filmography. She previously directed the critically acclaimed indie “Little Woods” before tackling the “Candyman” sequel for Universal and “The Marvels” for Marvel Studios.
Her ability to navigate different scales of production—from intimate character studies to massive superhero spectacles to horror franchises—marks her as one of Hollywood’s most versatile directors.
“The Bone Temple” proves DaCosta can deliver both commercial and critical success within established franchises while maintaining artistic vision.
As the MLK weekend unfolds, all eyes will watch whether “The Bone Temple” maintains its momentum or if Cameron’s “Avatar” juggernaut reclaims dominance. Either way, DaCosta has proven once again that thoughtful, well-crafted horror resonates with audiences hungry for substance.