Published Jul 6, 2026, 7:30 PM EDT
In over three years at Collider, senior author Jake has now penned over 3000 articles covering a wide range of TV and film for the resources, lists, utilities, news, and interview teams. Alongside interviewing stars such as Selin Hizli, Rose Ayling-Ellis, Harlan Coben, and Chelsea Peretti, Jake was lucky enough to visit the set of Aardman and Netflix’s Wallace and Gromit: A Vengeance Most Fowl in 2024, getting the chance to chat with four-time Academy Award winner Nick Park and Merlin Crossingham. Jake has also worked for other publications, including Agents of Fandom. You can also hear Jake every week as the resident film and TV journalist on Track Radio.
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The summer box office is starting to hit its stride ahead of the mammoth arrivals of Christopher Nolan’s profound adaptation of Homer’s epic, The Odyssey, and the latest big MCU entry, Spider-Man: Brand New Day, with both movies starring husband-and-wife duo Zendaya and Tom Holland. But last weekend, the last blockbuster, Minions & Monsters, debuted to disappointing figures, earning the lowest opening in the *Despicable Me *franchise yet on its seventh attempt.
Toy Story 5’s Woody (Tom Hanks), Buzz (Tim Allen), and Jessie (Joan Cusack) took home second place at the box office last weekend, as ***Young Washington ***impressed with a near-$21 million opening U.S. haul, and Milly Alcock’s Supergirl, the second entry of James Gunn and Peter Safran’s DC Universe, dropped by a disastrous 74%. But still, after nearly two months, we find ourselves talking about the decade’s most impressive horror sensation: Focus Features’ Obsession. Officially, thanks to another strong weekend that included a $5.3 million domestic haul, *Obsession *has now surpassed the $400 million mark worldwide.
At this rate, the movie is almost on track to enter the list of the ten highest-grossing horror movies of all time, which would be one of countless records Curry Barker’s breakout masterpiece has broken. Not only is *Obsession *the first film with a sub-million production budget to earn over $200 million this century, but it has now become the highest-grossing non-animated original film of the past decade, as well as the only genre film in cinema’s illustrious history to stay in the box office top ten for over 40 days in a row, according to reports. Truly, there has been no more impressive feat at the box office for many, many years.
Your instincts, your strengths, and your particular way of thinking under pressure point to one villain you actually have a fighting chance against. Everyone else — good luck.
Jason is relentless, but he is also predictable — and that is the gap you would exploit.
Michael watches before he moves. He is patient, methodical, and almost impossible to detect — until it’s too late for anyone who isn’t paying close enough attention.
Freddy wins by getting inside your head — using your own fears, your own memories, your own subconscious as weapons against you. That strategy requires a target who can be destabilised.
Pennywise is ancient, shapeshifting, and feeds on terror — but it has one critical vulnerability: it cannot function against someone who genuinely stops being afraid of it.
Chucky’s greatest advantage is that nobody takes him seriously until it’s already too late. He exploits the gap between how something looks and what it actually is.
Not just a box office sensation, **Obsession is also one of the most impressive horror debuts of this century. Barker’s expansion of a simple idea using relevant themes into horror gold isn’t groundbreaking, but by perfecting each of these ingredients, he makes an almost faultless start to feature film directorial life. But it is Inde Navarrette’s star-making performance that has the best chance of threatening at the Academy Awards, with Collider’s Hannah Hunt calling it “one of the year’s best” performances in her review.
Obsession is still available to watch in theaters now. Stay tuned to Collider for the latest box office updates.
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