LOS ANGELES (Azat TV) – Sony Pictures Animation’s animated comedy GOAT, featuring basketball-playing animals, ascended to the top spot at the North American box office during its second weekend, earning an impressive $17 million. This performance, reported on Monday, February 23, 2026, pushed its domestic cumulative gross to over $58.3 million, demonstrating the significant drawing power of family-friendly entertainment. The film edged out Warner Bros./MRC’s R-rated drama Wuthering Heights, which had topped the charts in its opening week.
The box office results for the weekend ending February 22, 2026, underscored a recurring trend: animated, family-oriented films often outperform adult-targeted features in the long run. While Wuthering Heights, starring Margot Robbie and Jacob Elordi and directed by Emerald Fennell, initially led, GOAT‘s consistent appeal secured its victory in its sophomore frame. Despite a 56.7% drop from its opening, Wuthering Heights still performed robustly, adding $14.2 million domestically for a North American total of $60 million. Its international performance, however, was exceptionally strong, with an intake of $91.7 million, bringing its worldwide total to over $151.7 million for the R-rated drama, according to Pajiba and Deadline.
GOAT‘s Box Office Dominance Continues
GOAT‘s ascent to number one was a notable highlight in what was generally a steady weekend for the U.S. and Canadian box office. Playing in 3,863 theaters, the animated feature’s $17 million weekend gross pushed its global cumulative to $102.3 million. Industry analysts at Deadline noted that the film’s success reinforces the reliability of the family demographic, particularly during drier box office months when parents seek entertainment options for children.
Wuthering Heights Finds Global Appeal
While GOAT claimed domestic bragging rights, Wuthering Heights proved its mettle on the global stage. The Emerald Fennell adaptation of the classic novel, despite its R-rating and a significant domestic drop, garnered substantial international attention. Its worldwide cume of over $151.7 million, with a strong $91.7 million from overseas markets, highlights its appeal beyond North America. The film played in 3,682 theaters domestically, accumulating a healthy $60 million in the region.
Diverse Newcomers in the Weekend Box Office
The weekend also saw several new releases vying for audience attention. Lionsgate/Kingdom Story’s Christian musical drama I Can Only Imagine 2 debuted in third place with $8 million from 3,105 theaters. This faith-based sequel, starring Milo Ventimiglia, received an A+ CinemaScore, mirroring its successful predecessor, according to Deadline. In contrast, A24’s black comedy How to Make a Killing, starring Glen Powell, landed limply at number six with $3.56 million from 1,625 locations. Reviews for the film were mixed, with a 47% Rotten critics score on Rotten Tomatoes.
Other notable debuts included NEON’s EPiC: Elvis Presley in Concert, a Baz Luhrmann-directed concert documentary, which garnered $3.25 million from just 325 locations, achieving a strong per-screen average, particularly boosted by IMAX screenings. On the lower end, 20th Century Studios’ horror film Psycho Killer scared up only $1.6 million, placing it just outside the top 10 at number 11, with critics giving it a rare 0% on Rotten Tomatoes, as reported by Deadline.
Overall Market Trends and Future Outlook
The total U.S./Canada box office for the post-Presidents Day weekend reached just over $79 million, a 2% increase from the same period last year. The 2026 year-to-date box office stands at $1.05 billion, maintaining a 7% lead over 2025 figures, indicating a steady, albeit not explosive, recovery for the industry. Upcoming releases, including Scream 7 and Disney/Pixar’s Hoppers, are anticipated to continue this momentum into March and leading up to the Easter stretch.
The success of an animated film like GOAT in securing the top domestic spot, even as an R-rated drama like Wuthering Heights achieves significant global success, underscores the diverse preferences of the post-pandemic moviegoing audience, highlighting the continued importance of both broad family appeal and targeted, critically acclaimed productions.