The box office spotlight this week shone brightest on Ilya Uchitel’s The Flying Ship, which surged to the top position following its premiere. Industry observers highlighted this performance as a standout debut, signaling strong domestic interest in the film adaptation of a beloved cartoon story.
On its first full day in theaters, the movie pulled in 44 million rubles, signaling a promising opening weekend. Analysts expect a robust run, with projections suggesting total earnings near 450 to 470 million rubles over the film’s opening weekend as audiences continue to flock to theaters for the family-friendly fantasy adventure.
Joining The Flying Ship in new release chatter was the horror feature The Omen. Immaculate, featuring Sidney Swinney who is well known for her work on the series Euphoria, secured the fifth spot on Thursday’s box office tally with around 3 million rubles in receipts for that day. The reception indicates a healthy appetite for genre flavors alongside the weekend’s other offerings.
Also making a mark was the American action title Territory of Evil, which opened with approximately 1.2 million rubles on its first day in the Russian market and placed ninth in the same daily chart. The performance underscores a continuing interest in international productions within domestic cinemas, even as audiences remain drawn to local storytelling.
As a live‑action remake, The Flying Ship reinterprets Harry Bardin’s classic cartoon, weaving a narrative of a princess’s romance with a humble young man. The film features a notable ensemble, with Alexander Metelkin and Ksenia Traister leading the cast. Supporting roles are filled by Danila Kozlovsky, Ksenia Rappoport, Sergei Garmash, Leonid Yarmolnik, Fyodor Dobronravov, and Polina Gagarina, creating a blend of dramatic and musical talent that broadens its appeal across different audiences.
Film critics in the press and on social platforms have weighed in on the premiere, offering early impressions about tone, pacing, and visual style. The discourse around The Flying Ship centers on how the adaptation translates a cherished, generations‑old tale to a contemporary cinematic experience, including the balance between fantasy spectacle and character-driven moments.
Stories about premieres and box office results often spark broader conversations about how live‑action adaptations of animated properties perform in current markets. These discussions typically explore audience reception, the pull of familiar sources, and the impact of star power and production values on a film’s staying power beyond opening weekend. In this case, the initial response suggests a solid foundation for The Flying Ship as it expands its reach across the country and beyond, inviting families and fans alike to experience a modern retelling of a timeless romance.