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The Billion Dollar Club

Superhero Films that have crested from just earning money to earning box-office-gold*

1. Avengers: Endgame (2019 Walt Disney/Marvel) $2,797,800,564 worldwide
2. Avengers: Infinity War (2018 Walt Disney/Marvel) $2,048,359,754 worldwide
3. Spider-Man No Way Home(2021 Sony) $1,901,231,491 worldwide earnings [Production budget of $200 million].
4. The Avengers (2012 Marvel Studios) $1,511,757,910 Billion
5. Avengers Age of Ultron (2015 Marvel Studios) $1.402 Billion
6. Black Panther (2018 Walt Disney/Marvel) $1,346,913,161
7. Deadpool and Wolverine (2024 Marvel Studios+3) $1,338,071,348
8. Iron Man 3 (2013 Marvel Studios) $1,212,795,474 Billion
9. Captain America Civil War: $1,153,294,011
10. Aquaman (2018 Warner Bros) $1,148,461,807 worldwide
11. Spider-Man: Far from Home (2019 Walt Disney/Marvel) $1,131,927,996 worldwide
12. Captain Marvel (2019 Walt Disney Marvel) $1,128,274,794 worldwide
13. Dark Knight Rises (2012 Warners) 1,081,036,828 Billion
14. Joker (2019 Warner Bros) $1,074,251,311 worldwide
15. The Dark Knight (2008 Warners Bros) $1,004,558,444 Billion

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Updated: Top Earning Superhero Films of all time - list of 137 titles

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The Billion Dollar Club, not necessarily Superhero:

• Avatar (2009) – $2.9 billion

• Avengers: Endgame (2019) – $2.8 billion

• Titanic (1997) – $2.3 billion

• Star Wars: Episode VII - The Force Awakens (2015) – $2.1 billion

• Avengers: Infinity War (2018) – $2.0 billion

• Spider-Man: No Way Home (2021) – $1.9 billion

• Jurassic World (2015) – $1.7 billion

• The Lion King (Live-Action) (2019) – $1.7 billion

• Furious 7 (2015) – $1.5 billion

• The Avengers (2012) – $1.5 billion

• Frozen II (2019) – $1.5 billion

• Barbie (2023) – $1.4 billion

• Avengers: Age of Ultron (2015) – $1.4 billion

• The Super Mario Bros. Movie (2023) – $1.4 billion

• Beauty and the Beast (Live-Action) (2017) – $1.3 billion

• Incredibles 2 (2018) – $1.2 billion

• The Fate of the Furious (2017) – $1.2 billion

• Iron Man 3 (2013) – $1.2 billion

• Minions (2015) – $1.2 billion

• Captain America: Civil War (2016) – $1.2 billion

• Aquaman (2018) – $1.1 billion

• Spider-Man: Far From Home (2019) – $1.1 billion

• Captain Marvel (2019) – $1.1 billion

• The Lord of the Rings: Return of the King (2003) – $1.1 billion

• Transformers: Dark of the Moon (2011) – $1.1 billion

• Skyfall (2012) – $1.1 billion

• The Dark Knight Rises (2012) – $1.1 billion

• Joker (2019) – $1.1 billion

• Toy Story 4 (2019) – $1.1 billion

• Pirates of the Caribbean: Dead Man's Chest (2006) – $1.1 billion

• Rogue One: A Star Wars Story (2016) – $1.1 billion

• Aladdin (Live-Action) (2019) – $1.1 billion

• Zootopia (2016) – $1.0 billion

• Inside Out 2 (2024) – $1.0 billion

• The Dark Knight (2008) – $1.0 billion

The Billion-Dollar Caveat: There is a certain school of thought that holds Gone with the Wind (1939) as the all-time earnings champion of the film medium. When adjusted for inflation, ticket prices, distribution reach, and continual re-release revenues, the film retains an accumulated box office total that remains virtually unreachable.

Part of what gaveGone with the Windits exceptional edge—an advantage that cannot be duplicated—was the nature of Hollywood film distribution before the global disruption caused by World War II (1941–1945). At that time, Hollywood dominated the international market: global trade was still relatively open, and few other countries had either the economic means or the production infrastructure to compete with American film quality and the finesse of its distribution system.

This changed drastically with the onset of the war. Many countries closed off due to the tensions between Western and communist regimes, the huge global poverty in the postwar years, and the reshaping of international markets. As a result, the kind of "super-major" international release that Gone with the Wind enjoyed in 1939 became much harder—if not impossible—to replicate in the decades that followed.

The post-WWII era brought a radically different entertainment landscape: domestic film industries began to rise around the world, and the arrival of television quickly siphoned off the multi-weekly moviegoing habits that had been common during Hollywood’s golden age.

Moreover,Gone with the Wind was not just a massive hit in the United States—it was a global phenomenon. It was released in color at a time when most films were still in black and white; it was of epic length, which was rare for 1930s productions; and it was based on an internationally best-selling novel. All these elements contributed to a unique combination of circumstances unlikely to ever be repeated.

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*Box Office Gold

Hollywood Slang for a Big-Earning Movie:

Blockbuster – The classic term. Originally used for bombs in WWII, it now refers to a film that “blows away” the box office.

Tentpole – A major studio film expected to support (or "hold up") the financial performance of a studio for the year, often part of a franchise.

Cash cow – A film (or franchise) that consistently brings in huge profits with relatively low risk.

Money-maker – Straightforward; a film that turns a healthy profit.

Box office smash / Box office hit – A film that exceeds expectations in ticket sales.

Bonanza – A financial windfall; sometimes used for unexpectedly high earnings.

Juggernaut – A dominating force at the box office; unstoppable success.

Studio saver – Informal term for a movie that "rescues" a struggling studio.

Franchise gold – Refers to a film that successfully fuels a lucrative franchise.

Over-performer – A movie that outperforms financial or audience expectations.

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Related: The Billion Dollar Club of Superhero Movies

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Original Page March 27, 2025