Here Are the Top 15 Most-Popular Movies on IMDb This Week, Including ‘Weapons’ (Again)

The lineup making the most noise right now spans big–IP horror, long-awaited reboots, prestige fare, and anime milestones. A handful are tightly guarded, but there’s already plenty known about sources, franchises, and how these productions are coming together behind the scenes. Across the slate you’ll spot returning creative teams, major studio backing, and adaptations from bestselling books, iconic manga, and beloved TV properties.

Below, each entry highlights concrete details—what the story centers on when that’s public, where the project comes from, and who’s steering it. You’ll still find useful context: franchise placement, original material, and production status. Titles are presented exactly as originally listed.

‘F1’ (2025)

‘F1’ is a racing drama set inside the modern Formula 1 paddock, following a veteran driver who mentors a rising talent while competing at the highest level. The story leverages real race-weekend environments, garage dynamics, and team politics to portray how cars, drivers, and strategy intertwine.

Directed by Joseph Kosinski and produced with the cooperation of Formula 1, teams, and circuits, the film integrates footage captured during actual Grands Prix with staged sequences. The cast features leading actors in driver roles, while the production deploys custom-rigged camera cars, practical sound from track sessions, and technical advising from current F1 personnel to authenticate engineering and racing detail.

‘Saiyaara’ (2025)

‘Saiyaara’ is conceived as a sweeping romance with a travel-driven structure, charting lovers across changing cities and life phases. The story leans on time-skips and parallel viewpoints to build toward a reunion or reckoning, using recurring motifs tied to places and songs.

Production emphasizes scenic location work and original music cues, with choreography and traditional instrumentation folded into a contemporary sound. Casting highlights a lead pair with strong musical and dramatic capability, while the crew includes a cinematographer known for saturated palettes and a composer shaping leitmotifs around the central relationship.

‘KPop Demon Hunters’ (2025)

‘KPop Demon Hunters’ follows a hit idol group that moonlights as a demon-fighting team, blending performance sequences with supernatural action. The premise intercuts rehearsal, stage, and backstage life with monster-hunting missions that threaten the group’s cover and their bond.

Developed as an animated feature with stylized choreography and concert-scale set pieces, the film’s production combines music-industry advisors with anime-influenced fight design. Voice casting centers on performers who can handle ensemble banter and musical numbers, while the soundtrack is integrated into narrative beats rather than existing as standalone inserts.

‘Superman’ (2025)

‘Superman’ introduces a new on-screen era for Clark Kent, balancing his life as a reporter with his role as Metropolis’s protector. The story positions him among fellow heroes and civilians alike, establishing core relationships at the start of a broader connected universe.

The film is written and directed by James Gunn, produced alongside Peter Safran as part of the first chapter of the refreshed DC slate. Cast includes a new lead for Clark Kent/Superman and a new Lois Lane, with principal photography completed on large-format digital systems, practical sets for the Daily Planet and city streets, and VFX pipelines built for flight and super-scale action.

‘Downton Abbey: The Grand Finale’ (2025)

‘Downton Abbey: The Grand Finale’ returns to the Crawley family and their household staff for a capstone story that resolves ongoing arcs and revisits key relationships. The plot structure mirrors the series’ ensemble format, weaving upstairs–downstairs storylines with events that pull the estate and its people into a final turning point.

Julian Fellowes’ world and character voice continue to guide the adaptation, with returning cast reprising signature roles. Production again utilizes heritage locations, period wardrobe from the franchise’s established costume houses, and orchestral themes familiar to fans, with a release strategy aligned to prior theatrical entries.

‘One Battle After Another’ (2025)

Set against a backdrop of ongoing conflict, ‘One Battle After Another’ follows soldiers and civilians whose paths intersect across linked engagements, exploring strategy, sacrifice, and the personal costs of war. The narrative approach alternates between command-level decisions and ground-level experience.

The film is staged with a focus on tactical authenticity—military advisors, period-appropriate kit if historical, or modern doctrine if contemporary. Production mixes large-scale exterior work for battlefield sequences with interior command sets, while sound design emphasizes the disorientation of combat and the quiet of aftermath scenes.

‘The Naked Gun’ (2025)

‘The Naked Gun’ revives the classic spoof lineage of ‘Police Squad!’ and the original film trilogy, centering on an earnest but catastrophically accident-prone detective whose cases unravel into escalating set-piece gags. The reboot preserves the franchise’s deadpan delivery and visual slapstick while updating settings and case particulars.

The production is led by a studio comedy team with a star fronting the new iteration of the detective role. Filming blends practical stunt work with contemporary VFX for sight gags, and the script development involves comedy writers steeped in parody structure, ensuring recurring bits, running jokes, and fresh genre targets.

‘Highest 2 Lowest’ (2025)

A high-concept crime tale, ‘Highest 2 Lowest’ tracks a plan that moves from elite circles to street-level fallout, mapping how power shifts when a scheme begins to collapse. The plot structure is episodic by design, following different players as the consequences cascade.

The project is produced with a kinetic visual plan—shorter lenses, on-location staging, and propulsive editing to keep momentum. Casting spans character actors and a couple of marquee names for the top-tier roles, with a crew roster that includes an action-savvy cinematographer and second-unit team for chase and fight beats.

‘Christy’ (2025)

‘Christy’ presents a character study anchored by its titular lead, charting a personal transformation that entwines family, faith, and community. The plot emphasizes intimate stakes—relationships tested by an inciting crisis and the ripple effects that follow.

The film is mounted as a performance-forward drama, with producers prioritizing a strong central casting choice and a director attuned to grounded storytelling. Production design favors lived-in locations and naturalistic lighting, while the score and sound mix are tailored to highlight quiet moments and dialogue-driven scenes.

‘The Wrong Paris’ (2025)

‘The Wrong Paris’ hinges on a mistaken-destination premise that spirals into intrigue, leveraging dual settings and identity mix-ups. The narrative uses the clash between expectation and reality to drive both suspense and darkly comic beats as its protagonists navigate unfamiliar territory.

The production organizes around international units to sell its premise, with principal photography split between controlled sets and exterior cityscapes. Casting centers on leads who can pivot between thriller tension and character-driven humor, while the crew includes department heads with experience in cross-border shoots and multilingual productions.

‘The Thursday Murder Club’ (2025)

Adapted from Richard Osman’s bestselling novel, ‘The Thursday Murder Club’ follows a group of retirees who meet weekly to solve cold cases, only to find themselves entangled in an active investigation. The story balances cozy-mystery mechanics with ensemble character work, keeping the amateur-sleuth charm of the source material.

The film is produced for a wide streaming and/or theatrical footprint, with a marquee ensemble assembled around the club’s four leads and key supporting suspects. The project is backed by established producers of literary adaptations, with location shoots designed to capture the novel’s English village tone and a score palette aligning with modern whodunits.

‘Demon Slayer: Kimetsu no Yaiba – The Movie – Infinity Castle’ (2025)

This cinematic arc adapts the climactic ‘Infinity Castle’ portion of Koyoharu Gotouge’s ‘Demon Slayer: Kimetsu no Yaiba’ manga, bringing Tanjiro and the Corps into a sprawling confrontation with Upper Rank demons. The storyline threads directly from the anime’s preceding arcs, culminating in castle-shifting battles designed for theatrical scale.

Animation is produced by Ufotable, continuing the series’ high-frame-rate action, painterly backgrounds, and CG-assisted camera movement. The film extends the anime’s core creative team, with returning voice casts for Japanese and international releases, and distribution timed to accommodate both subbed and dubbed versions across territories.

‘The Conjuring: Last Rites’ (2025)

‘The Conjuring: Last Rites’ continues the mainline saga of paranormal investigators Ed and Lorraine Warren within ‘The Conjuring’ Universe. The film is positioned as a major chapter entry, connecting to earlier cases and the franchise’s established blend of historically inspired hauntings and escalating demonic encounters.

Franchise stewards return on the producing side, with series veterans involved creatively and in front of the camera. Production runs through the same pipeline responsible for prior installments—soundstage builds for period interiors, practical effects augmented with VFX, and a score language consistent with the series’ orchestral, dread-forward identity.

‘The Long Walk’ (2025)

‘The Long Walk’ arrives as a high-concept survival drama with a youth-driven core, centered on a punishing ordeal that tests endurance and morality. The premise connects to a long tradition of speculative survival stories, with an emphasis on escalating stakes over a confined timeline.

The film is produced with the creative team positioning it as a tense, character-focused piece. Key attachments include a director working in grounded genre territory and a cast tailored to the story’s age range, with production structured around location work and controlled set pieces.

‘Weapons’ (2025)

Zach Cregger follows his breakout horror success with ‘Weapons’, an anthology-style thriller project developed as a major studio release. Story details have been kept intentionally scarce during development, but the film has been framed around intersecting narratives that converge in a larger genre conceit.

Cregger serves as writer-director, with production mounted through companies that previously backed his horror work. Casting has been reported in trades across multiple ensemble roles, and the project has moved through standard studio production phases, including principal photography and post-production scheduling for a wide launch.

Share your thoughts on which titles you’re most excited to watch in the comments below!