'Despicable Me 2' takes down the 'Lone Ranger'

For the studio behind the yellow, goggle-wearing peanuts known as Minions, the five-day holiday weekend was great. Despicable Me 2 earned an astonishing $142 million over the five-day period, with its traditional three-day weekend bringing in $82.5 million of that total. People liked the original, and Universal marketed the follow-up as more of the same--but with even more of those adorable, babbling Minions. The budget for the animated feature was also just $76 million--assuredly much less than that of Disney behemoth Monsters University. Given this performance, there will definitely be a Despicable Me 3 in the works. Its $142 million opening narrowly tops the five-day opening record held by Toy Story 3, and this feature shows all signs of being the top animated feature of the summer, if not 2013.

The Lone Ranger had a five-day debut of $48.9 million, and a regular weekend total of $29.4 million. But for a film that likely costs over $200 million, and doesn't have global appeal, that's horrible news. THR is already speculating that Disney will take a writedown that could top $150 million for the Jerry Bruckheimer-produced feature, which was supposed to replicate the success of Pirates of the Caribbean by having Johnny Depp in a similar over-the-top role caked in makeup. Luckily, Disney has the successes of Iron Man 3 and Monsters University to bolster its bottom line, but this is a costly misfire that's only slightly better than last year's failure of John Carter.

Debuting in eighth place, Kevin Hart: Let Me Explain earned $17.4 million since its Wednesday opening, $10.1 million of which came from the regular three-day weekend. That's an excellent performance for the stand-up comedy performance, which had a budget of just $2.5 million. That's also an improvement on the $7 million total for Hart's 2011 stand-up film, Kevin Hart: Laugh at My Pain. The comedian's strongest following is in markets like Atlanta and Baltimore, and the film's distribution plan has saturated those markets. Hart is definitely a star on the rise, and I suspect it won't be long before he toplines a comedy feature.

The Way, Way Back opened on Friday, and earned an encouraging $575,000, which amounts to a $30,000 per-screen average, the highest of any film this week. The comedic indie, which includes performances from Steve Carell and Allison Janney, takes place at a summer beach house and is a ripe offering for the dog days of summer.

This Friday, Adam Sandler and co. return for Grown Ups 2, and manmade monsters go up against alien ones in Guillermo del Toro's Pacific Rim.

Sarah Sluis' Top Ten Movies of 2012

2012 has been a great year for big Hollywood films. In 2009, 2010 and 2011, my top ten lists were stocked with underdogs and the kind of specialty fare that only sometimes made it big at the box office. This year, most of the "specialty" releases I selected are destined for expansion and great play in theatres, so I'm a little light on the underdogs. The list reflects only the movies I saw in theatres this year: 70, a number many critics could easily double. In no particular order, here are my top ten:

1. Zero Dark Thirty. The biggest surprise for me was that the film's protagonist, Maya, was female, "a woman clothed, like Athena, in willful strength and intellectual armor," as described by The New Yorker's David Denby. She's the kind of female protagonist you don't realize is rare until you see her up on the screen. Beyond Maya (played expertly by Jessica Chastain), director Kathryn Bigelow lays out an incredibly detailed account of the years leading up to Bin Laden's death that feels real, immediate, and important. It's a cinematic (and partly fictional) version of reading The 9/11 Comission Report.

2. Next to Maya, Gina Carano was the second most awesome female protagonist of the year in Haywire. The lean spy actioner had some of the most riveting, realistic fighting I've ever seen. Like Zero Dark Thirty, there's a lot that director Steven Soderbergh didn't bother to explain. I like a story where a filmmaker or actor has the courage or confidence not to show something, and this movie was one of them.

3. Flight showed little restraint. The final minutes added a moralizing touch that felt old-fashioned and uncomfortable. Like the car crash scene in Adaptation, Flight has one of the best action sequences ever appearing in a drama. It stays with you for the rest of the film. Another great movie about alcoholism that didn't quite make the list, Smashed, is an interesting companion piece: substitute a plane crash for a faked pregnancy and you end up with a quite similar character arc.

4. Argo was so much fun to watch. Even though I had read the magazine article that was the source material and knew the end plane sequence didn't really happen, it managed to combine real drama with comedy in a way that so few others have. I think this is why audiences finally returned to the "box-office poison" of Middle East-set features. This one had you clapping and gasping in suspense, but it also had great laughs and didn't take itself too seriously.

5. The documentary Searching for Sugar Man centered on folk musician Rodriguez, a man so befuddling and enigmatic it was hard to wrap your mind around him. But that's why I like documentaries: They can offer character portraits that would never work in fiction films, because audiences would find them too frustrating. Some key would need to be provided to the audience to unlock his or her motivations. But we never get one for Rodriguez, whose life as both a star and an aesthete becomes a koan on character and fame for the audience to meditate on. In one forest, Rodriguez's music fell on deaf ears. In another (South Africa), it became a symbol of cultural revolution.

6. Les Misérables promises to shake up the way musicals are filmed for the screen. The live recordings of the actors strip away the distance that always seems to crop up in musicals. Sure, Les Misérables is one of my favorite musicals, but that only raises expectations. Mine were met, and then some.

7. Beasts of the Southern Wild may also change the world of indie film. I'd rather have a crop of indie imitators try to tackle a project like this than sit through another Mumblecore, but given the immense resolve required of those who soldiered through the bayou-set production, I doubt there will be too many. Beasts opened up dialogue about New Orleans and Katrina and made the experience of seeing a movie feel new again. For that, it gets a spot in the top ten.

8. I'm still not quite sure what to think about Django Unchained. I admire director Quentin Tarantino for traversing into the quicksand territory that is race relations and America's history of slavery. So far, people have only taken issue with small things, like the use of the N-word. Surely more thoughtful cultural critiques are to come. What I remember most about Django is its use of guided awe. Django (Jamie Foxx) rides into town on a horse, prompting head-turning stares from every person in town. A black person on a horse? Tarantino draws attentions to anachronisms, but the emotions of hatred and revenge never feel far removed from the present.

9. I don't ever want to see The Impossible again, but its account of a family torn apart by the tsunami in Thailand was harrowing and intimate. It was essentially a two-hour ordeal of getting choked up and holding back tears. Those in search of an emotional ravaging need to look no further.

10. Everyone seems to be hating The Hobbit: An Unexpected Journey but I thought it was a nice solid Hobbit meal. Suddenly, Lord of the Rings made sense to me. With fewer deaths and a lighter tone, this is the kind of fantasy adventure that would have been a great kickoff to the film series. The Harry Potter books started off light and got darker and darker, and the same holds true for The Hobbit. This one was actually still close to the Prisoners of Azkaban-level in terms of darkness, but the movie makes my list just because it's such a relief to finally get a series I never really latched onto.

 

'Total Recall' takes second place to 'Dark Knight Rises'

As predicted, Total Recall placed second to The Dark Knight Rises this weekend, earning $26 million to the final Batman film's $36.4 million. Total Recall is a remake of the 1990 film starring California's former governor, Arnold Schwarzenegger. My expectations for a remake of such a well-known original weren't that high, but other remakes/relaunches have had impressive debuts. Think of the remake of The Karate Kid, which debuted to $55 million and totaled $176 million. Or last year's Rise of the Planet of the Apes, which had a near-identical performance, opening to $54 million and finishing with $176 million (but earning twice as much abroad, over $300 million). Sony is probably less focused on domestic totals and more on international ones. This is the kind of project that translates well internationally, so the distributor should expect to see even stronger returns abroad as it starts to roll out in more foreign markets.

Diary of a Wimpy Kid: Dog Days of Summer, the third in the adaptation of kid's books, opened to a less-than-stellar $14.7 million. This entry opened in August in order to match up with the movie's summer setting, but that may have hurt the movie's opening. The first two film chose a March "Spring Break" timeslot, opening to $22 and $24 million. Star Zachary Gordon filmed both Dog Days and the prior movie back to back last year in a battle to outrun puberty, so even without these box office results, this may be the final entry in the series.

Within the top ten, Ted posted the strongest hold, dipping just 26% to finish with $5.4 million in its fifth week. That was enough to tip the R-rated comedy past the $200 million mark. Beasts of the Southern Wild rose from thirteenth to twelfth place, posting a 26% gain as it added 110 theatres for a total of 318 locations. It was one of thirteen specialty releases to post gains this weekend. The highest-earning of the bunch included Versailles-set Farewell My Queen, which went up 40% for a total of $186,000, and Killer Joe, which expanded from three to fourteen locations and brought home $163,000 in the process, a 330% increase from its debut.

Un-rom-com Celeste and Jesse Forever averaged $28,000 per screen in its opening in four locations. That puts the Rashida Jones-Andy Samberg picture in a strong position for expansion. Magnolia's 360 had a softer opening, averaging $6,300 per screen in two locations. That release is also opening on-demand so it's likely the use of multiple platforms will bolster returns.

This Wednesday, the empty nester sex-and-relationship comedy Hope Springs will get a head start on the weekend. On Friday, the Will Ferrell-Zach Galifianakis political comedy The Campaign will open opposite The Bourne Legacy, the first of the franchise without Matt Damon in a starring role.

'Avengers' dominates the box office, with a second nine-digit weekend

Dropping exactly by half, The Avengers led the pack for the second weekend in a row with an astounding $103.1 million. The super-superhero picture beat The Dark Knight for the second-week hold record for films that opened about $120 million. Returns from overseas brought The Avengers' worldwide total above $1 billion. As if there wasn't enough champagne popping already, this marks Disney's fifth billion-dollar movie. No other studio has cracked the billion-dollar mark more than twice. Disney's $4 billion purchase of Marvel in 2009 isn't looking so outlandish now, is it? Plus, new Captain America, Thor, and Iron Man films are already on Disney's schedule, and I have a feeling a decade from now audiences will be watching The Avengers 3.

In second place, Dark Shadows underperformed to finish with $28.8 million. Most expected the gothic comedy would earn in the $30 million range, so it's possible the Tim Burton-directed film was hurt by the overwhelming success of The Avengers. Also, the adaptation of a '60s soap opera, a cult hit, may have resonated most with niche audiences--more like Burton's Sweeney Todd (which opened to just $9 million) than his crowd-pleasing, family-oriented Alice in Wonderland (one of Disney's $1 billion+ films). The second week in May is also considered a less-than-ideal time to open a film, yet another reason for Dark Shadows' lackluster weekend.

Think Like a Man, The Hunger Games and The Lucky One, which comprised the rest of the top five, all dropped under 25% while earning between $4-6 million, picking up the rest of the non-Avengers crowd.

The Best Exotic Marigold Hotel cracked the top ten with $2.6 million while playing in just 178 locations, enough to dub the film an indie success.

Lionsgate/Pantelion's Hispanic and Mother's Day-targeted Girl in Progress landed in tenth place with $1.6 million. With just over 300 locations, the coming-of-age picture had a strong per-screen average of $4,000. This is the kind of middle-of-the-road movie that could die out next week or have strong hold through word-of-mouth--but with a B+ CinemaScore, it doesn't sound like audiences are giving it a strong endorsement.

The Weinstein Co. decided to give its Oscar-winner, The Artist, one final push timed to Mother's Day. Moving from 41 to 751 theatres, it earned $161,000, its best weekend in a month. The per-screen average of $214, however, was the worst of all movies reported at Boxofficemojo.com.

On Wednesday, Sacha Baron Cohen plays a ridiculously awful leader in The Dictator. Friday brings aliens 'n big boats picture Battleship, which will go against the comedy What to Expect When You're Expecting.

'Avengers' shatters opening weekend record

The Avengers not only broke the record for highest opening weekend, the superhero picture did so by over $30 million, becoming the first film to cross $200 million in its first weekend, for an estimated total of $207 million. First and fastest--that's what superhero movies are all about, and this one received high marks from audiences (A+ CinemaScore) and critics (93% positive on Rotten Tomatoes). People are already estimating that the U.S. opening weekend could mean a $400-500 million domestic total, but the real action will be abroad. Overseas, where it opened a week before the U.S., The Avengers has earned $441 million to date. With a reported production budget of $220 million, and hefty marketing costs on top of that, Disney sank a lot of money into the film. But in this case, even doubling or tripling the investment will yield hundreds of millions.

Whoever in Marvel Comics cooked up the idea of bringing together many of their comic books' biggest superheroes deserves to have their pockets stuffed full of cash. Writer/director Joss Whedon gets points too, for making the superheroes interact with each other in such an authentic way. What a way to kick off summer 2012!

Fox Searchlight astutely offered counterprogramming targeted at indie-loving, older audiences. The Best Exotic Marigold Hotel earned $27,000 per screen in 27 locations, for a total of $750,000. The tale of English retirees who end up in a less-than-ideal retirement complex in India was a hit overseas, and it appears American audiences like it too. The talented ensemble THe Acast includes Maggie Smith, who has been a hit among viewers of all ages for her sharp-tongued lines in "Downton Abbey."

The dark comedy Bernie, starring Jack Black and Shirley MacLaine, averaged $17,000 per screen in its second week. At the indie box office, older stars currently seem to be the ticket to higher returns.

The ballet competition documentary First Position was en pointe this weekend, debuting to a $10,000 per-screen average at five locations. For many American girls, ballet lessons are a rite of passage, and good reviews assured that ballet dancers past and present, as well as spectators, would enjoy this Spellbound-like doc.

Kate Hudson probably wishes the returns for her romantic melodrama A Little Bit of Heaven were kept under wraps. With an average of $891 per screen at eleven locations, this is a big box-office disappointment.

This Friday, Johnny Depp plays a vampire in Tim Burton-directed Dark Shadows.

 

'The Devil Inside' takes possession of the #1 spot

By Sarah Sluis

The success of The Devil Inside this weekend smacks of carnival hucksterism. Everyone in the industry expected the movie to earn $10 million, tops, but instead the horror film raked in $34.5 million. Audiences may have been cheated, though. 19% of viewers in exit polls gave the movie an "F" score, and word is the ending is so bad it provokes outrage among audience members. However, people came because the marketing campaign and trailer for the movie were scary and enticing. If I didn't know better I might have actually thought the horror flick was worth seeing myself. Over on Variety, Paramount's marketing team attributed the success to the "fun and loose," no-stakes campaign they ran. Maybe marketing teams normally overthink too much, because Devil Inside clearly succeeded because of its pre-release ads and stunts.

In second place, Mission: Impossible--Ghost Protocol remained ahead of the other holiday blockbusters with a total of $20.5 million. Sherlock Holmes: A Game of Shadows followed, falling 3% more than the Tom Cruise movie to finish with $14 million. The Girl with the Dragon Tattoo held on to more of its box office than the first two movies, dipping just 23% to finish with $11.3 million. Cumulatively, though, Dragon Tattoo has close to $100 million less than Mission: Impossible, which has earned $176 million stateside to date.

Expanding into 809 theatres, Tinker, Tailor, Soldier, Spy tallied up $5.8 million, a 431% increase from last week. Overseas, the British film has earned $25 million to date, mostly in the U.K.

Both Pariah and A Separation showed increases in their second weekend. Going from four to eleven theatres, Pariah averaged $10,100 per screen, with receipts up 130% from last week. The Iranian drama A Separation went from three to six theatres, rising 62% and averaging $16,000 per screen.

This Friday, a re-release of Beauty and the Beast in 3D will try to replicate the success of The Lion King 3D. The Mark Wahlberg thriller Contraband and the Dolly Parton-Queen Latifah gospel movie Joyful Noise will round out the offerings.

Sequels falter during disappointing holiday weekend

By Sarah Sluis

Although the December box office picked up this weekend, it wasn't nearly as good as last year, with totals 14% behind 2010. Competition has been blamed for hurting individual films, but that doesn't explain why the box office as a whole is down.

Easily landing in first place with$40 million,Sherlock Holmes: A Game of Shadowsfell short of the $50 million figure many had predicted for the detective actioner. The first Holmes starring Robert Downey Jr. earned $62 million. However, audiences gave high ratings in exit polls, and there's still plenty of time in December for the tentpole to approach its $200+ million domestic total.

Alvin and the Chipmunks: Chipwrecked, the third installment in the live-action/CG hybrid franchise, finished with a slightly underwhelming$23.5 million. The 2009 sequel opened to $48 million over Christmas weekend, but it appears audiences may have tired slightly of the antics of the chipmunks and chipettes. Hugo, The Muppets, and Arthur Christmas are all competing against Chipwrecked, and this Wednesday The Adventures of Tintin will join the competition for family audiences.

Mission: Impossibe--Ghost Protocol sneaked into just over 500 theatres this weekend, most of which were IMAX. Posting a stunning $30,500 per-screen average for a total of $13 million, Paramount hopes the early release unleashed a torrent of buzz from the franchise's committed fanboys.

Specialty release Carnage failed to generate the kind of opening per-screen average that will make the play adapation a mover-and-shaker. With a $17,000 per-screen average in five locations, the Roman Polanski-directed film is definitely one of the weaker specialty releases this season. The Artist posted a per-screen average nearly as high--$16,900 per screen--in seventeen locations its fourth week of release. Carnage can't compete with that.

Young Adult expanded into nearly 1,000 screens its second week, landing a spot in the top ten with a $3.6 million total. That's good news, but it also shows it's not as strong asThe Descendants, which was able to earn twice as much on one-third the screens when it made its first expansion (admittedly over the Thanksgiving weekend). The Hawaii-set dramedy starring George Clooney added another $3.3 million to its coffers this week while still playing in only 878 theatres.

Showing stamina in its second week,Tinker, Tailor, Soldier, Spywent up 48% as it expanded from 4 to 16 theatres. Its $28,000 per-screen average made for a total of $452,000, a good sign for the spy film, which is rated 84% positive on Rotten Tomatoes.

This Wednesday, The Adventures of Tintin and The Girl with a Dragon Tattoo will open, followed by a wide release of We Bought a Zooon Friday. War Horse, Extremely Loud & Incredibly Close, and The Darkest Hour will follow on Sunday, Christmas Day.

'Harry Potter' levitates to the top of the box office worldwide

By Sarah Sluis

Two out of three moviegoers this weekend bought tickets for Harry Potter and the Deathly Hallows Part 2, giving the wizarding finale $168.5 million and the record for biggest opening weekend. Abroad, the movie also broke records, including best international opening weekend: $307 million. The spectacular numbers backed up the general agreement that the final Potter film was more than worthwhile. Critics rated the film 97% positive, and 93% of Rotten Tomatoes audiences liked the franchise's conclusion. Longtime Hogwarts fans made sure they turned out for the final installment. Audience members over 25 comprised 55% of audiences, compared to 45% for the penultimate film. With so many people making it a priority to see Harry Potter its opening weekend, next weekend could see a dramatic fall. However, repeat viewing could bolster the film as it rides out the rest of the summer.

Tyke favorite Winnie the Pooh was no match for Harry Potter, capturing just $8 million of the weekend box office. Even 2000's The Tigger Movie opened slightly better, and that's not counting a decade of inflation. Still, this kind of property will have a long life on DVD and Blu-ray and undoubtedly boost merchandise sales for Disney.

Literary adaptation Snow Flower and the Secret Fan debuted to a soft $5,600 per-screen average on 24 screens. Given the popularity of the book, I expected the marketing and release to approximate Memoirs of a Geisha, at least, but perhaps the marketing mavens at Fox Searchlight anticipated the 14% positive rating garnered by the movie on Rotten Tomatoes.

Documentary Tabloid grabbed a tidy $7,200 per screen at 14 locations. Director Errol Morris' latest garnered up a sizeable amount of press, and the film in turn released in an above-average amount of locations for an indie film.

This Friday, we're back to comic book superheroes with Captain America: The First Avenger. Friends with Benefits, featuring a similar plot to this spring's No Strings Attached, will also release wide.

'Green Lantern' flickers to $52 million

By Sarah Sluis

Superhero fatigue is setting in. Green Lantern debuted to $52.7 million, lower than both Thor and X-Men: First Class. People turned out on Friday, but Saturday showed a 20% drop-off in business, much more than either Thor or X-Men: First Class. Even for superhero movie fans, three in two months feels like too much. This reporter is not a fan of the superhero genre, save for early 1990s after-school cartoon Captain Planet (He's our hero/Going to take pollution down to ze-ro). Sadly, he is not to be confused with patriotic superhero Captain America, this summer's final, august superhero. Norse comic book demigod Thor fell out of the top ten heavens for the first time this week, adding $1.1 million to its $176 million total. X-Men: First Class dropped by half in its third week, depositing $11.5 million to its current $119 million domestic gross. These superhero movies are expensive to make, and the U.S. box office barely covers their production costs without marketing. The reality is that films make their money overseas and through merchandising.

Super 8 fell 40% to $21.2 million its second weekend. This Spielberg-influenced sci-fi tale is one of the few action-y tentpoles not to come from a comic book or other pre-sold property, so it didn't open as high. Its redemption was supposed to occur in its second week, but a 40% fall isn't word-of-mouth gold. In comparison, surprise smash Bridesmaids dipped just 20% in its second week, but most other tentpoles this summer having been diving further: 56% (X-Men: First Class), 63% (Hangover II), 56% (Pirates 4)

Mr. Popper's Penguins did better than Fox expected, tallying up $18.2 million from family audiences. Most broad family pictures this summer have been animated, and I think the CG/live-action mix drew families interested in mixing it up.

Fox Searchlight's Sundance pickup The Art of Getting By bombed. With just a $1,100 per-screen average at 610 locations, the high school romantic comedy ended up with just $700,000. The timing of the release seems a little off, too. The core audience, high schoolers, is busy with end-of-year activities and graduation right now, leaving them with less time to see a movie.

The Irish dancing documentary Jig had a foot-tapping debut of $13,000 per screen on five screens. The horse whisperer documentary Buck also opened to a cantor, averaging $16,100 on four screens. The real winners, though, are the rock star specialty releases Midnight in Paris and The Tree of Life. Woody Allen's Midnight fell just 10% in its second weekend deployed at around 1,000 locations, adding another $5.2 million to its over $20 million total. The Tree of Life went up 34% to $1.1 million. The poetic film is taking it slow, doubling the number of locations for a still-tiny grand total of 114 screens.

This Friday, Pixar will unveil Cars 2, and the R-rated shock comedy Bad Teacher makes its debut.

'Super 8' exceeds modest expectations with $37 million

By Sarah Sluis

Super 8, with its throwback, Spielberg-influenced sci-fi, kept audiences in the dark about the premise. That's a good thing for preserving the surprise in the viewing experience but a bad thing for opening weekend. Despite a $37 million weekend, which exceeded expectations, Super 8's mission is not over. The real gauge of the J.J. Abrams film's success will be in coming weeks. Will the movie fade quietly or become this summer's popcorn movie of choice? Having seen the film, I feel firmly that it's destined to be the latter. Unlike last week's X-Men: First Class and other tentpoles, Super 8 performed better on Saturday than Friday. The audience members, largely over 25 and slightly skewing male, weren't driven to the theatre by a barrage of television ads giving away the plot, but mysterious ones. The hope is that they'll share their positive experience with friends and family, especially on social networking websites.

Bridesmaids had its lowest drop yet, 15%, keeping it in the eight digits with $10.1 million. Male buddy comedy The Hangover Part II tapered its fall with a 40% dip to $18.5 million. X-Men: First Class halved its gross, but the 53% drop is actually the best experienced by an X-Men film. Following the standard for animated movies, Kung Fu Panda 2 lost just 30% of its audience, finishing the weekend with $16.6 million.

The other new release of the week, Judy Moody and the NOT Bummer Summer, contributed a quiet $6.2 million. That's slightly less than last year's Ramona and Beezus, which also targeted tween girls. With a reported budget of $20 million, this movie will have to hope for a long life on DVD to make up its high cost.

Directly below Judy Moody, Woody Allen had his highest-grossing single weekend ever with Midnight in Paris. The light, comic film tallied up $6.1 million on less than a thousand screens. I've heard nothing but positive word-of-mouth for this film, which seems poised to surpass Allen's last big hit, Vicky Cristina Barcelona. The Tree of Life also improved from its previous weekend, adding $875,000 to its coffers while playing on 47 screens.

No more specialty darlings will join Allen and Malick, at least this weekend. British comedy The Trip averaged a mediocre $14,100 per screen playing in six locations. Congo production Viva Riva! earned a low $3,400 per-screen. Dutch romance Bride Flight, casting a wide net with 18 locations, had a light catch of just $3,000 per screen.

This Friday, another comic book hero gets a movie in Green Lantern. Jim Carrey plays opposite Arctic birds in Mr. Popper's Penguins, and emo teens can get release in The Art of Getting By.

'On Stranger Tides' sails to first

By Sarah Sluis

One sign of an incredibly successful franchise may be when the $90 million debut of its latest installment�the highest recorded so far in 2011�is considered unexceptional. That's the fate of Pirates of the Caribbean: On Stranger Tides. The first movie opened to $46 million, the second to $135 million, and the third to $115 million, and the fourth movie's $90 million haul is a sign that Captain Jack Sparrow no longer holds quite the same allure for American audiences. The same cannot be said across the high seas, where the movie has performed exceptionally well. With $256 million already in the bank overseas, Pirates is the kind of broad action movie that draws foreign moviegoers to the box office.

In second place, Bridesmaids held exceptionally well, dipping just 19% to $21 million. Even last year's megahit comedy The Hangover fell 27% in its opening weekend. If the female-driven comedy continues to hold its audience, it will perform on par with a movie that opened to $40 million, or even higher�this from a comedy that debuted with $26 million. In a marketplace so driven by first-week gross, Bridesmaids could easily end up topping $100 million, but it will take time and continued positive word-of-mouth.

Elsewhere in the top ten, horror mash-up Priest plummeted 70% to $4.6 million. Most of the other titles in the top ten, including Thor, Fast Five, and Jumping the Broom, averaged drops around 50%, making Bridesmaids' performance even more impressive.

Woody Allen should be celebrating, since Midnight in Paris averaged an incredible $96,500 in each of its six theatres, enough to launch the City of Light-set film to twelfth place. Since Allen can be a spotty filmmaker, fans responded to critics' positive reviews, coming out of the woodwork to catch one of his better films.

This Friday, The Hangover Part II will hit theatres. The comedy sequel has high levels of anticipation and awareness, so it will likely see blockbuster results. For a younger crowd, animated Kung Fu Panda 2 will take advantage of the three-day weekend, and Palme d'Or-winning The Tree of Life will grab arthouse audiences.

'Thor' strikes down 'Fast Five'

By Sarah Sluis

The (pre-)summer box office continued to heat up with this weekend's release of Thor. The comic book-based action extravaganza easily soared to $66 million, beyond timid estimates that put the movie at $50 million or so. Compared to Fast Five last weekend, Thor attracted a younger audience, but a less ethnic one. The car-centered sequel has a diverse cast, while Thor's comic book and swords-and-sandals elements made it popular among younger viewers.

Fast Five ran low on gas its second week, dropping 63% to $32.5 million. These kinds of drops are the price movies pay for opening at $86 million, however. With over $300 million worldwide in two weeks, I'm sure no one at Universal is complaining.

Romantic comedies Jumping the Broom and Something Borrowed both overperformed, coming in at $13.7 and $13.1 million, respectively. Jumping the Broom, centered on two African-American families, had an added boost from faith-based audiences. One of the executive producers, Bishop T.D. Jakes, heads a megachurch, and the leading lady reportedly finds love after embracing abstinence. Both films attracted audiences around 70% female.

This weekend was a bad one for specialty films, with no release posting over a $5,000 per-screen average. The moody "will-they-or-won't-they" cheating film, Last Night, opened to just a $3,200 per-screen average. Mel Gibson may unleash a tirade over the performance of The Beaver, which opened to a $4,700 per-screen average. There Be Dragons, a Spanish Civil War-themed thriller, did the best of the bunch, averaging $2,660 per screen but earning $689,000 by releasing on 259 screens.

This Friday, Bridesmaids leads in hype, promising a female version of The Hangover. Vampire horror flick Priest (3D) will feed horror fans and Will Ferrell will make a blip in the dark indie comedy Everything Must Go.

'Wimpy Kid' makes a mighty showing at the box office

By Sarah Sluis

In a bit of an upset, Diary of a Wimpy Kid: Rodrick Rules hurdled into first place this weekend after strong showings on Saturday and Sunday. Male-skewing Sucker Punch started out earning $8 million on Friday to Wimpy Kid's $7.3 million. The matinee family crowds on Saturday and Sunday, however, put Wimpy Kid firmly in first. On Saturday, the kid-oriented sequel earned $10.1 million to the visually packed action film's $6.7 million. Wimpy Kid ended up grossing $24.4 million to Sucker Punch's $19 million.

Adult-oriented fare did particularly well this weekend, essentially without new competition. Limitless dipped just 19.5% in its second week to $15.2 million. The Lincoln Lawyer fell 16.7% to $11 million. Lower down in the top ten, The Adjustment Bureau posted the third-lowest drop, slipping 26.5% to $4.2 million.

The big loser in the top ten was Mars Needs Moms, which plummeted 58% to $2.1 million due to competition from Wimpy Kid.

The Palestinian drama Miral premiered with a $17,000 per-screen average, followed by the more modest $12,000 average of French comedy Potiche. Jumping from 5 to 23 theatres, Win Win soared 213% and posted a $20,000 per-screen average, a strong achievement. Jane Eyre, expanding into 90 theatres from 26, averaged $10,900 per screen.

This Friday will be busy. Four weeks in advance of Easter, the holiday's mascot bunny gets its own live-action/animated venue with Hop. Horror fans can rejoice with Insidious, Source Code will satisfy action fans, and an F-word free version of The King's Speech (rated PG-13) hits theatres.

'Sucker Punch' dukes it out with 'Diary of a Wimpy Kid' sequel

By Sarah Sluis

Leading the pack this weekend is writer/director Zack Snyder's Sucker Punch (3,033 theatres), which could top $20 million. The "visually stylized" film centers on a girl (Emily Browning) thrown into a mental hospital and scheduled for a lobotomy. Accompanied by a bevy of beautiful young women, she enters alternate realities in order to plan her escape. The setup allows for a lot of action sequences, but critic Ethan Alter found them tiring. For such a credibility-straining plotline, the movie "commits the fatal error of taking itself much too seriously." In a critique that brings to mind Snyder's other films (Watchmen, Legend of the Guardians), Alter complains that instead of drama, Snyder "settles for lots of sound and fury masquerading as drama." The eye candy look of the female stars has attracted the greatest interest among males under 25, followed by older males. Last in tracking projections are women, who seem to have honed in on the fact that this isn't really a "girl power" picture.

For pre-teen boys from 7-12 years old, a safe bet will be Diary of a Wimpy Kid: Rodrick Rules (3,167 theatres), the sequel to last year's surprise success. Critic David Noh, however, was unimpressed. He complains that the filmmakers try "too hard" to make the film "family entertainment," with moments that make sitcoms seem subtle. Director David Bowers, who did not direct the first film, gets too "fancy" by "littering the film with elaborate fantasy scenes." Still, this PG-rated outing could earn in the teen millions, especially since its release coincides with some school breaks. There's also not much else at the box office for families--only the critical flop Mars Needs Moms, which will likely exit the top ten this weekend.

Also entering the mix is Miral (4 theatres), a "plodding, earnest historical epic" about the Palestinian plight, as described by critic Jon Frosch. In an unusual casting decision, Indian actress Freida Pinto stars as a Palestinian woman. The lovely Catherine Deneuve plays a trophy wife who escapes her boring existence in the French comedy Potiche (7 theatres). Finally, a dysfunctional family gathers in Peep World (3 theatres). As the movie "degenerate[d] into flailing, repetitive obviousness and mean-spirited pointlessness," Noh pined for "Arrested Development," a superior comedic rendition of the messed-up family.

On Monday, we'll see if Diary of a Wimpy Kid: Rodrick Rules outperforms expectations and beats Sucker Punch.

'Just Go With It' and 'Justin Bieber' finish neck-and-neck

By Sarah Sluis

After weeks of the top movies hitting the teen millions, three wide releases opened at $25 million or higher.

Just Go with It finished just ahead of Justin Bieber: Never Say Never, earning $30.5 million to the tweenybopper's $29.5 million. The Adam Sandler-Jennifer Aniston romantic comedy benefited from strong performance throughout the weekend, while Bieber's picture drew its biggest audience on Friday. Though he failed to win any Grammys last night, Bieber is still hot and his 3D concert film finished just under Miley Cyrus', and significantly higher than the Jonas Brothers' 2009 movie.

Gnomeo and Juliet boasted a surprisingly high finish in an animated-starved market, accruing $25.5 million. Though it was a "minor" animated film (to use Box Office Mojo's term) with little branding or expectations behind it, it also is distributed by Touchstone, a Walt Disney label. And no one has more experience marketing animated movies than Disney. In comparison, the darker 3D animated film Coraline previously held the record for a February-launched animated film, earning $16 million its opening weekend in 2009.

The Eagle had the most disappointing launch, ending up with $8.5 million. The audience skewed slightly older and attracted slightly more members under 35. Director Kevin MacDonald's (better-rated) 2006 film The Last King of Scotland still holds a spot in Netflix's Top 100 even though it earned just $17 million at the box office, so perhaps The Eagle can recoup some of its losses on DVD?

Opening in 15 theatres, Cedar Rapids was able to average $20,000 per screen, an impressive number that should bode well for future expansion. The mostly upbeat reviews (84% on Rotten Tomatoes) should turn into positive word-of-mouth that will propel this movie in coming weeks.

In the top ten, The King's Speech continued its run of minimal drops, dipping just 4% from last week for a total of $7.4 million. With a cumulative total of $93 million, it will be a week or two at most before it crosses the $100 million mark. I've seen this movie recommended heavily on Facebook in recent weeks as it's expanded into wide release, and yesterday it received an unintentionally amusing endorsement from "60 Minutes" Luddite Andy Rooney himself, who actually met King George. (I wonder what Andy Rooney would think of The Social Network...)

This Friday will also be a busy one. The sci-fi action movie I Am Number Four will open against the amnesia thriller Unknown and fat suit/cross-dressing comedy sequel Big Mommas: Like Father, Like Son.

Top bunk goes to 'The Roommate'

By Sarah Sluis

You have to hand it to The Roommate, which earned $15.6 million from gullible young audiences who hadn't been around for Single White Female. Dismal reviews, like that from The Hollywood Reporter, described the movie as a "made-for-television thriller that will appeal only to younger audiences." But though these high schoolers' ticket purchases may have been an act of youthful inexperience, they knew better than to pay attention. "In the theater where I saw it," Movieline critic Elvis Mitchell comments,"the tedium was broken only by the sound of Angry Birds being played on iPhones."

The Super Bowl caused most films to drop in the 60-70% range from Saturday to Sunday, and Sanctum, which fell 71%, was one of the sporting event's victims. The trapped-in-a-cave movie tallied up just $9.2 million, even with ticket surcharges for 3D and IMAX. Ouch. With a reported budget of $30 million, this is one film that's going to be in the hole for awhile.

The films that fell the least during Super Bowl Sunday were The King's Speech (50% drop) and Yogi Bear (44.9% drop). Though films targeted towards young females have dominated Super Bowl counterprogramming, it appears that families and those seeking specialty fare were more inclined to catch a movie instead of the game. After all, The Roommate fell 65% on Sunday, in line with most of the other top ten films.

Portland-set mumblecore crime thriller (really) Cold Weather brought in $15,000 for IFC Films, a decent one-screen debut. Waiting For Forever, however, earned just $3,000 per screen on three screens. At one point, leading lady Rachel Bilson ("The O.C.") had the cachet of Roommate star Leighton Meester ("Gossip Girl"), but this movie's lackluster performance shows how quickly one can rise and fall.

This Friday will be a crowded one, with four wide releases hitting theatres: Justin Bieber: Never Say Never, romantic comedy Just Go With It, 3D animated pick Gnomeo and Juliet, and historic action film The Eagle.

'The Rite' finds disciples and audiences crown 'The King's Speech'

By Sarah Sluis

Exorcism-themed The Rite led the box office this weekend with $15 million. More a thriller than a horror movie, the film lured a slightly older audience, and attracted both genders equally. Back in August, The Last Exorcism opened to $24 million, so this movie did well considering its inferior January timeslot.

Action-fueled The Mechanic tied with The Green Hornet, earning $11.5 million. Distributor CBS Films has been struggling to get some hits. This film will be their second-highest opening weekend after The Back-Up Plan.

In the wake of its twelve Oscar nominations, Weinstein Co. release The King's Speech launched an expansion that led to a 40% increase from last week and $11.1 million. Compared to other nominees, this story of friendship between a stuttering king and his speech therapist held back from pursuing a quick expansion. In terms of cumulative gross, it's still behind The Social Network, True Grit, and Black Swan, but it's approaching the total of The Fighter, which is currently at $78 million after eight weeks, compared to The King's Speech's $72 million in ten weeks. New York Times columnist David Carr recently wrote an article talking about Harvey Weinstein's comeback, comparing him to Jason rising from the dead in Friday the 13th. The King's Speech performance, both at the box office and awards shows (it recently won the DGA award for Best Feature Directing and the SAG award for Best Ensemble), is a big win for a distributor that was near bankruptcy a year ago.

127 Hours also launched an expansion in the wake of Oscar nominations, adding another $2 million to the film's coffers. Even as most of the nominated films dropped theatres, True Grit rose 4% to $7.6 million, and The Fighter dipped just 2.6% to $4 million. Black Swan glided down 33% to $5.1 million. Blue Valentine, farther down the list, rose 33% to bring in $1.1 million.

Hispanic-targeted romantic comedy From Prada to Nada opened outside of the top ten with $1.1 million, but its per-screen average of $4,300 bested half of the releases in the top ten.

This Friday, the Super Bowl's not getting in the way of male-targeted releases. Sanctum 3D will enter the fray, hoping to get the adrenaline-fueled crowd before the big Sunday football game. Targeting teen females not interested by the game, The Roommate, starring "Gossip Girl's" Leighton Meester, will also hit theatres.

'True Grit' overtakes 'Little Fockers'

By Sarah Sluis

True Grit won the box-office horse race, overtaking Meet the Fockers in its third week of release. The two films' race is a lesson in the power of the long tail: True Grit dipped 38% to $15 million, while Little Fockers fell 47% to $13.7 million. Because of Little Focker's higher opening, the comedy's total take is $123 million to the Western's $110 million, but the gap could close if True Grit continues to play strong (and, fingers crossed, receives a boost from Academy Award nominations).

Nicolas Cage's turn in Season of the Witch eked over the eight-figure mark, coming up with $10.7 million. Critics (and audiences) were not kind to the film, which reportedly had a $40 million budget. The supernatural action adventure/kinda comedy/historical film may have been the victim of too much genre mixing, leaving audiences confused about what kind of movie they were signing up for.

Country Strong mustered up $7.3 million in its expansion to 1,424 theatres. Though the number may be small, so was the release, and the country music drama averaged $5,126 per-screen, the third-best average in the top ten. A common complaint: star Gwyneth Paltrow looking way too nice to play an alcoholic music star.

In its second weekend, Blue Valentine went from 4 to 40 theatres and gathered $18,000 per screen. The per-screen average fell by slightly more than half from its debut, but given the rapid expansion this un-romance is in good shape. Within the top ten, specialty films rose even higher. Black Swan fared the best, descending just 6% from last week to earn $8.3 million. With fewer new releases as competition, the ballet-horror-drama rose from ninth to fifth place. The Fighter grabbed seventh place, dipping 30% to ring in $7 million. The King's Speech dropped 12% to $6.8 million. Notably, the movie is still in just 758 theatres and boasts the highest per-screen average in the top ten. Methinks this film will go big once Academy Award nominations are announced.

Mercifully for the future of children's animated movies, Tangled has trounced Yogi Bear. Though Tangled has been in release for three more weeks than Yogi Bear, the family offerings are performing neck-and-neck: Yogi Bear finished with $6.8 million this weekend and Tangled with $5.2. Tangled has $175 million in the bank, while Yogi Bear has around $75 million. This may not prevent the release of next winter's Alvin and the Chipmunks: Chipwrecked, but here's hoping there won't be a sequel to the cartoon adaptation our critic Ethan Alter called a "naked cash-grab."

This Friday, comic book adaptation The Green Hornet will debut alongside cheating spouse comedy The Dilemma.

'Tangled' climbs to the top

By Sarah Sluis

As predicted, Disney's Tangled rose from second place to first in its second week. The Rapunzel retelling dipped 55% to $21.5 million, a strong hold given that last weekend had higher-than-average traffic because of post-Thanksgiving crowds. Harry Potter and the Deathly Hallows: Part I took a steeper dive, falling 65% to $16.7 million. Many Harry Potter fans presumably saw the film shortly after its release, while Tangled should play well to families throughout the holiday season.

The Warrior's Way, a hybrid of the Asian action and Western genres, with some supernatural enemies as a bonus, eked out $3 million its opening weekend, below an estimated $5 million opening. The genre amalgamation follows this summer's sci-fi/comic book/Western flop Jonah Hex, and the (critical, sort of commercial) failure a decade before of another Western hybrid, Wild Wild West. Let it be known: The Western does not take kindly to genre mixing.

Just outside of the top ten, 127 Hours dipped 6% to $1.6 million as it increased the number of theatres showing the film by a third. Love and Other Drugs ($5.7 million) and Burlesque ($6.1 million), which both opened over the Thanksgiving holiday, fell in the 40% range. Thanks to the added holiday receipts, each of these films has each crossed the $20 million mark.

As prestige, awards-seeking movies make their end-of-the-year debuts, per-screen averages of specialty films have skyrocketed. Multiple films posted averages in the tens of thousands. Leading the pack with the highest average of the week, Black Swan opened in 18 locations to a stunning $77,000 per-screen average. Another Oscar frontrunner, The King's Speech, in its second week, made a comfortable slide into a $55,000 per-screen average as it went from four to six theatres. All Good Things, the true-crime drama, tallied up $20,000 per screen at two locations, just ahead of I Love You, Phillip Morris, which averaged $18,000 per screen at six locations.

This Friday, Tangled will have some competition from The Chronicles of Narnia: The Voyage of the Dawn Treader, a former Disney franchise that has been passed to Fox. The Angelina Jolie-Johnny Depp smoldering thriller The Tourist will offer adults some fresh intrigue set in an exotic location, and another Oscar contender, The Fighter, will hit select theatres.

First-place 'Megamind' halts 'Unstoppable'

By Sarah Sluis

The family-friendly Megamind continued its run at number one for the second week, earning $30 million. The superhero/villain comedy dipped just 34%, as audiences eager for entertainment with family appeal turned out for the well-received movie. That puts the movie in the "average" range among other animated films. This week will be Megamind's last in the spotlight, however, as Harry Potter and the Deathly Hallows: Part I will take away a large chunk of the movie's audience this Friday.

Denzel Washington's Unstoppable debuted to $23.5 million, drawing in slightly older audiences and equal amounts of males and females. Washington knows how to pick his movies, and this marks his eighth film in a row to open above $20 million. With the addition of Star Trek star Chris Pine, this movie had broad appeal, leading THR critic Todd McCarthy to anoint it "the best blue collar action movie in who knows how long."

The effects-heavy, story-light Skyline opened to $11.6 million. The sci-fi film came with a cheap price tag, around $10 million, so its opening figure should ensure the movie's profitability. Despite some catchy moments in the trailer and an interesting premise, the alien tale did not incorporate the complexity of last summer's much-buzzed-about District 9, which opened to an out-of-this-world $37 million.

Audiences slept through Morning Glory's opening weekend. which followed up its Wednesday opening with a $9.6 million weekend for a total of $12.2 million. Given the movie's all-star cast, including Diane Keaton, Rachel McAdams, Harrison Ford, Patrick Wilson, and Jeff Goldblum, the workplace romantic comedy's lackluster performance is surprising. As the tagline states--"What's the story, Morning Glory?"

Among specialty releases, indie darling Tiny Furniture had the highest per-screen average of the week, netting $22,000 from the IFC Theatre in New York City. 127 Hours had an impressive second-week finish with a $20,000 per-screen average at 22 theatres. Director Danny Boyle (Slumdog Millionaire) appears to have a second hit-in-the-making. Fair Game, which expanded again in its second week, held on, averaging $6,000 per screen as it nearly quadrupled the amount of theatres in its release.

This Friday, the penultimate film in the Harry Potter series should deliver another one of its sold-out, hyped weekends. The adult-oriented action thriller The Next Three Days will offer complementary fare, going for an audience that's outgrown Hogwarts.