The global box office experienced a weekend of stark contrasts, with Disney’s Pixar original animated film “Hoppers” achieving a strong debut while director Maggie Gyllenhaal’s R-rated “The Bride!” faced significant struggles.

“Hoppers,” an animal adventure, garnered an encouraging $88 million worldwide in its opening, composed of $46 million domestically and $42 million from 40 international territories.

This performance positions “Hoppers” to be Pixar’s first original hit in nearly a decade, drawing comparisons to the success of 2017’s “Coco,” which ultimately amassed $823 million globally.

With stellar reviews, boasting 94% on Rotten Tomatoes, and enthusiastic audience reception, indicated by an “A” CinemaScore, industry analysts anticipate a lengthy and successful theatrical run for “Hoppers.”

Its top overseas markets included the United Kingdom ($6.4 million), Mexico ($3.7 million), France ($3.6 million), and Germany ($3.6 million), with major territories such as China, Japan, and Australia still awaiting its release.

Produced for $150 million and directed by Daniel Chong, the PG-rated film tells the story of Mabel, an animal lover whose mind is transferred into a lifelike robotic beaver to communicate with creatures and safeguard their habitat from destruction.

Conversely, “The Bride!” proved to be a considerable disappointment, collapsing in its box office debut with a mere $13.6 million worldwide.

This total included $7.3 million from North American theaters and $6.3 million internationally. These figures are dramatically low when set against its substantial $90 million production budget, signaling it as a probable box office bomb.

The film, a feminist reimagining of “The Bride of Frankenstein,” stars Jessie Buckley as the eponymous undead wife and Christian Bale as the Creature/Frankenstein’s Monster.

It received poor audience scores, evidenced by a “C+” CinemaScore, and garnered mixed reviews, holding 59% on Rotten Tomatoes. Its performance fell significantly short of Warner Bros.’ projections of $16 million to $18 million domestically and $22 million overseas.

“The Bride!,” Maggie Gyllenhaal’s second directorial effort following 2021’s “The Lost Daughter,” depicts a lonely Frankenstein’s monster who enlists a mad scientist (Annette Bening) to create a companion, leading to a violent journey across 1936 America.

The film’s failure notably ended a recent winning streak for Warner Bros., which had seen success with hits like “Sinners,” “Weapons,” and “Wuthering Heights.”

Meanwhile, two holdover films continued to exhibit solid performances. Paramount’s slasher sequel “Scream 7” added $17.3 million domestically in its second weekend, elevating its North American total to $93.3 million and its global gross to $149.4 million, which includes $56.1 million internationally.

Despite receiving mixed reviews, the film, featuring Neve Campbell’s anticipated return as Sidney Prescott, is on track to surpass the original 1996 “Scream” ($173 million) and its 1997 sequel “Scream 2” ($172 million) to become the highest-grossing installment in the long-running franchise.

Sony’s animated family film “GOAT,” centered on an animal dreaming of athletic greatness, earned $6.6 million domestically in its fourth weekend, bringing its North American total to $83.8 million.

Globally, “GOAT” has accumulated $146.3 million ($62.5 million overseas) against an $80 million budget, demonstrating impressive staying power in theaters.

The weekend’s box office results highlight prevailing trends in the film industry, emphasizing the enduring appeal of high-quality original animated content such as “Hoppers,” while also underscoring the inherent risks associated with high-budget, R-rated genre films like “The Bride!” particularly when they fail to resonate with critics and audiences.

Warner Bros. acknowledged the setback for “The Bride!,” affirming their commitment to taking bold creative risks on original projects.

The robust performance of PG-rated films, including “Hoppers,” “GOAT,” and previous successes like “Zootopia 2,” indicates that family-friendly content with strong positive word-of-mouth tends to enjoy remarkable longevity and consistent attendance at the box office.