Mason Thames Shines at the Box Office

Imagine if we could, I don’t know, tweak Jesse Eisenberg’s image or conjure up a younger version of Jake Gyllenhaal as he was developing into a superstar. It sounds a bit far-fetched, right? Well, it seems that 18-year-old Mason Thames is making waves in the industry, landing in three blockbuster hits in 2025 alone. He was the live-action incarnation of Hiccup from How to Train Your Dragon, which turned out to be a massive summer success. He also took on the role of Finny, a teenager dealing with the aftermath of a serial killer in Black Phone 2, and he shares romantic moments with McKenna Grace in the first part of a rom-com double feature, It’s a Shame. It’s a bit surprising that It’s a Shame didn’t snag the top position at the box office in its second weekend, especially since Black Phone 2 might end up with one of the lowest ticket sales weekends recorded. Who knows? Once everything is tallied, Thames might claim the top spot after all. Either way, it’s clear he currently has two of the leading films at the box office.

You might wonder, who last reached number one three times in a single calendar year? That would be Jim Carrey, who had one of the luckiest breakout years in film history. His hits like Ace Ventura, The Mask, and Dumb & Dumber were followed by a streak that lasted well into 1998. Sure, Thames’s path might look a bit different, as his upcoming films lean more towards indie road comedies, but it’s hard to ignore how impressive this achievement is today. The films he’s involved in are all over the map: a children’s fantasy, an R-rated horror flick, and a classic romance. So, what’s really driving Thames in his pursuit of stardom across various genres?

Honestly, there aren’t many actors like him. He certainly has talent, and it’s rare for a teenager to land leading roles at major studios without being able to deliver emotionally and maintain the audience’s attention. Yet, he also faces some of the hurdles typical for younger actors. Maybe he was cast because there’s a desire to find the next “young Jake Gyllenhaal type.” In his case, though, he’s not just a clone. His portrayal in How to Train Your Dragon does stand out.

However, there’s also that tricky factor of his resemblance—or lack thereof—to Jay Baruchel, who voiced Hiccup in the animated version. In Black Phone 2, he’s revisiting a significant role, even though it stands apart from his earlier characters. Finny has this blend of vulnerability and potential that makes him compelling against a formidable serial killer. Still, it’s hard to overlook how the sequel might muddy that initial clarity, especially since the writing in Black Phone 2 has its own shortcomings, making it difficult to place the blame solely on the actors.

Then we come to It’s a Shame, which feels like Thames’s most challenging role yet, but you’ve got to consider some external factors. The film itself—though it leans towards the melodramatic—has this odd, unsettling tone that leaves one wondering if the miscasting lies with the actors or a misfired vision. Based on a novel by Colleen Hoover, It’s a Shame carries its own narrative, beginning in 2007, featuring characters played by actors who are, well, definitely past their teen years. As the story develops, relationships shift due to tragic events, revealing hidden truths. Morgan wants to protect her daughter Clara (played by McKenna Grace) from the painful realities connecting their families.

And how does Mason Thames fit into this mix? He plays Miller Adams, a local teen who becomes romantically involved with Clara. There’s some mystery to his character, though, honestly, it feels a bit superficial, perhaps because of his ties to Clara’s parents. Their connection doesn’t really add layers to the narrative, which makes it somewhat curious. Their romance is treated a bit like a teen drama, stirring some jealousy from Morgan, which feels a bit overdone.

Interestingly, Miller Adams gives Thames some room to explore a different side, as he doesn’t quite fit the archetype set by his previous characters. But the film sometimes misses opportunities to deepen his portrayal. Being an aspiring filmmaker in this narrative, Miller’s obsession with classic films leans into that cliché territory, too. He seems familiar with just a select few titles, which might not align with his character’s aspirations.

Despite these hurdles, Thames adapts well to the flirtatious nature required of his character. I’d say it’s probably his most relatable performance this year, even if the depth isn’t fully realized. It’s fascinating how many different roles he navigates, considering the cast he’s interacting with. While his co-stars have proven their mettle in other works, here it feels like Thames and his on-screen partners are grappling with this awkward question: “Does this work?” He finds himself stepping into movie star territory in a landscape that seems hesitant to center around a single individual. It’s reminiscent of Carrey’s era, but now Thames faces the scrutiny of audiences tuning in to see how it all plays out.