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June 17, 2018

Pixar to the Rescue! ‘Incredibles 2’ Sets Records, and Revives Hope for the Summer Box Office

With an $180 million opening weekend, Pixar’s “Incredibles 2” set indisputable opening records. Perhaps even better: it countered any fears stoked by “Solo: A Star Wars Story” that no franchise was safe.

A $125 million opening for “Incredibles 2” would have been excellent. It’s been more than decade later since the original, which grossed less than “Finding Nemo.” However, this sequel opened close to 20 percent better than the record-breaking sequel “Finding Dory.” It also bested the even-bigger openings for the second and third “Shrek” films (adjusted, both around $160 million).

We don’t see many films that qualify as “best evers,” but “Incredibles 2” is one of them.

SUPER CYCLE – When Helen aka Elastigirl is called on to help bring Supers back in “Incredibles 2,” she employs a brand-new, specially designed, state-of-the-art Elasticycle. Written and directed by Brad Bird and featuring the voice of Holly Hunter as Helen, Disney•Pixar’s “Incredibles 2” busts into cinemas on July 13, 2018. ©2018 Disney•Pixar. All Rights reserved.

“Incredibles 2”


It is the second-biggest June opening ever, falling about $50 million short of “Jurassic World.” Among PG-rated films, it is just behind last year’s live-action “Beauty and the Beast” — which it could best when Sunday totals are more than estimates.

The gross looks even better when compared to other recent Pixar releases. At $180 million, that’s just $30 million less than “Coco” made in its entire run, and $24 million more than the total gross for “Cars 3” last June. Based on typical multiples  for top Pixar titles, the total gross should approach $600 million; at $650 million, it would equal “Shrek 2.”

There was more great news for Pixar in international openings. The World Cup impacts that calendar, and only about a quarter of countries opened, but at $51 million they were strong. This is significant, since lately Pixar has seen weakness in its releases compared to the top animated films from Universal and 20th Century Fox.

Tag Jeremy Renner Jon Hamm


Kyle Kaplan

Elsewhere, two wide openers had combined earnings of barely 11 percent of “Incredibles 2.” The stronger was “Tag,” an action/comedy with Jon Hamm, Jeremy Renner, and Ed Helms aimed for Fathers Day, which managed $14.6 million. Not awful, and better still with its $28 million budget, but it will need to have a decent hold and some future foreign interest to score.

“Superfly,” a remake of the 1972 renegade blaxploitation film, opened Wednesday with an $8.4 million five-day total. It cost up to $20 million (some estimates lower) and will have little international appeal, so might have to depend on a heftier post-theatrical boost.


Overall, the weekend will come in close to $270 million as the third best for the year (trailing opening weekends for “Black Panther” and “Avengers: Infinity War.”) That boosts year-to-date totals to more than six percent over 2017. “Jurassic World: Fallen World” opens in North America next weekend, and it’s already at $370 million overseas. It remains to be seen if it will be closer to “Solo” or “Incredibles 2” in domestic appeal, but after this big weekend there’s a sense that for top titles, the interest is still there.

The second weekend of “Ocean’s 8” dropped 53 percent, about the same as “Ocean’s 12.” The industry norm is that female-centric titles often hold second weekends better; “The Book Club” fell only 25 percent its second weekend, but “Ocean’s” was likely hurt by the broad appeal of “Incredibles 2.”

Ocean's 8 Rihanna

“Ocean’s 8”

Barry Wetcher

Expect “Ocean’s 8” to reach $110 million-$115 million domestic. That’s the lowest adjusted for the franchise, but with equal foreign interest (due to typical shortfall for female titles) it will be a gamble that paid off for Warner Bros.

The surprise this weekend was “Hereditary” (A24), which despite a D+ Cinemascore, held in respectably. The $10 million production, with likely lower than typical marketing costs, is up to $27 million, and should make $35 million domestic at a minimum. That would be $10 million more than “The Witch” and “Ex-Machina,” and nearly triple “It Comes at Night,” all previous A24 genre releases.

The Top Ten

1. Incredibles 2 (Disney) NEW – Cinemascore: A+; Metacritic: 80; Est. budget: $200 million (unconfirmed)

$180,000,000 in 4,410 theaters; PTA (per theater average): $40,816; Cumulative: $180,000,000

2. Ocean’s 8 (Warner Bros.) Week 2; Last weekend #1

$19,555,000 (-53%) in 4,145 theaters (no change); PTA: $4,718; Cumulative: $79,175,000

3. Tag (Warner Bros.) NEW – Cinemascore: B+; Metacritic: 57; Est. budget: $28 billion

$14,600,000 in 3,382 theaters; PTA: $4,317; Cumulative: $14,600,000

4. Solo: A Star Wars Story (Disney) Week 4; Last weekend #2

$9,081,000 (-42%) in 3,182 theaters (-1,153); PTA: $2,854; Cumulative: $192,845,000

5. Deadpool 2 (20th Century Fox) Week 5; Last weekend #3

$8,800,000 (-38%) in 3,212 theaters (-458); PTA: $2,740; Cumulative: $294,681,000

6. Hereditary (A24) Week 2; Last weekend #4

$7,026,000 (-48%) in 2,998 theaters (+34); PTA: $2,344; Cumulative: $27,187,000

7. Superfly (Sony) NEW – Cinemascore: B+; Metacritic: 54; Est. budget: $20 million

$6,300,000 in 2,220 theaters; PTA: $2,838; Cumulative: $8,441,000

8. Avengers: Infinity War (Disney) Week 8; Last weekend #5

$5,296,000 (-27%) in 2,164 theaters (-718); PTA: $2,447; Cumulative: $664,200,000

9. Adrift (STX) Week 3; Last weekend #6

$2,100,000 (-60%) in 1,929 theaters (-1,086); PTA: $1,089; Cumulative: $26,805,000

10. Book Club (Paramount) Week 5; Last weekend #7

$1,850,000 (-57%) in 1,656 theaters (-1,146); PTA: $1,117; Cumulative: $62,000,000



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Source: IndieWire film

June 17, 2018

‘Cocote’ Trailer: Carlo De Los Santos’ Festival Favorite Blends Revenge, Religion, and Ritual — Watch

After making the festival rounds at Locarno, Toronto, and New Directors/New Films, “Cocote” finally gets a theatrical release. Nelson Carlo De Los Santos’ crime drama won the top prize in Locarno’s experimental Signs of Life program and has won acclaim everywhere else it’s screened, leading to a pickup by arthouse favorite Grasshopper Film. Watch the new trailer below.

Read More:  Locarno in Los Angeles 2018 Announces an Award-Winning Second Edition Led by ‘Mrs. Fang,’ ‘Cocote,’ and More

Offering glimpses of a few key scenes, the trailer sets up the film’s mix of revenge, religion, and ritual: A man’s father has died, and no one who knew him has received closure, and unresolved feelings lead to bad situations.

Here’s the synopsis: “A rapturous crime fable set in the Dominican Republic, Nelson Carlo De Los Santos Arias’ ‘Cocote’ follows Alberto, a kind-hearted gardener returning home to attend his father’s funeral. When he discovers that a powerful local figure is responsible for his father’s death, Alberto realizes that he’s been summoned by his family to avenge the murder. It’s an unthinkable act — especially for him, an Evangelical Christian. But as pressure mounts, he sees few ways out. Questions of faith, tradition and honor course through this electrifying film, which, seemingly at the speed of thought itself, jumps between film formats, colors, and aspect ratios, radically envisioning a community torn asunder by senseless violence.”

Vicente Santos, Judith Rodríguez, Yuberbi de la Rosa, Pedro Sierra, Isabel Spencer, and José Miguel Fernander star in “Cocote,” which Grasshopper will release in New York July 27.

Source: IndieWire film

June 17, 2018

‘Lucid’: Billy Zane Just Made a Movie with a Blind Director — and Didn’t Even Realize It

Adam Morse’s debut feature is about to have its world premiere at the Edinburgh Film Festival, an impressive feat for any budding filmmaker. It’s doubly so for Morse, however, as the writer/director has just publicly revealed that he’s legally blind. In a Guardian interview, Morse says he wanted “to stop focusing on the limitations and instead concentrate on what I could do.”

He did so with the help of his cinematographer, Michel Dierickx, as well as a 60-inch monitor and screen reader. Though the filmmaker’s director of photography was aware of his visual impairment from the outset, one person was not: star Billy Zane. “Billy didn’t know, and I only told him two days after we started filming. He didn’t believe me,” Morse said.

He also concealed his condition from at least one financier until “Lucid” had already screened for test audiences. “I didn’t want [the investors] to find out and then pull the plug on us,” he said. “I had that anxiety of being found out every time I went to a meeting with one of them. I would bump into something or they would point to something across the room or on the screen of their phone and I would have to fake it — pretend that I knew what they were looking at … None of them were any the wiser about my condition thankfully.”

“Lucid” concerns a therapist (Zane) who suggests that a patient experiment with lucid dreaming. It will have its world premiere June 23. Morse’s intent in making the film is clear: “I just want to inspire those who lack faith in the universe, spread a positive message and lead by example.”

Source: IndieWire film

June 17, 2018

Samuel L. Jackson Shrugs Off Criticism for Allegedly Homophobic Tweet: ‘They Just Keep Tryin’

Samuel L. Jackson has never been much for self censorship, and has come under fire for his most recent tweet about the Donald trump administration: “Must have been a party at The White House, Mitch [McConnell], Paul [Ryan], Rudy [Giuliani] & others were spotted wearing knee pads & carrying these lined up outside. Happy Birthday.”

Accompanying the tweet is a photo of “After Dick Mints,” a novelty item that comes with the tagline “Going down?” According to Page Six, “Firefly” actor Adam Baldwin responded, “Gay shaming?” in a since-deleted tweet. More than 1,500 people have responded to Jackson’s tweet, some in support and some in anger. Judging by his Instagram, Jackson seems unfazed:

Instagram Photo


Source: IndieWire film

June 17, 2018

Documentaries Rock the Specialty Box Office: ‘Gotti’ Ain’t Got It

Three documentaries are kings of the specialty box office. “Eating Animals” (IFC) had a stellar Manhattan opening, “Won’t You Be My Neighbor?” (Focus) continued to pack houses on its  second weekend, and “RBG” (Magnolia) is now over $10 million and looking for more.

The question is how the two established hits will expand to general audience theaters. Still, documentaries remain a stronger bet than conventional narrative films these days, even with a festival pedigree. Even the promising “First Reformed” (A24) faded as it went wider; in this market it’s tough to get to $3 million.

Gotti” (MoviePass/Vertical) is the odd man out here, a star-driven biopic that thanks to its Cannes premiere tested the theatrical waters rather than take its planned streaming release. Despite terrible reviews, “Gotti” wasn’t a total disaster, but hardly marked the return to prominence producer-star John Travolta had hoped for.

Gotti John Travolta


Gotti (Vertical) – Metacritic: 27; Festivals include: Cannes 2018

$1,670,000 in 503 theaters; PTA (per theater average): $3,320

Yes, the reviews are bad. The gross at national top-grossing theaters was modest, but did get some sampling at most locations.

Still, the question is whether the expense of this limited theatrical play will realize better returns than the original plan. Rights to the film switched after Lionsgate planned to give this a token release parallel to streaming.

What comes next: In the heart of the summer at the level of theaters at which this is playing it will be a struggle to hold more than token shows.

Eating Animals (IFC) – Metacritic: 71; Festivals include: Telluride 2017

$35,215 in 2 theaters; PTA: $17,607

Another example of the elevated appeal, at least initially, in documentaries at the moment. This expose of mass animal farming makes a larger case for the damage meat eating does to the world. It opened in two Manhattan theaters to excellent numbers. This could be a case of elevated interest among activists. But if so, that isn’t limited to just New York and this could find at least initial specialized theater response across the country.

What comes next: More cities open this Friday, including the Landmark in Los Angeles.

Week Two

Won’t You Be My Neighbor? (Focus)

$985,000 in 96 theaters (+67); PTA: $10,253; Cumulative: $1,693,000

Very strong numbers for this documentary on Fred Rogers in its second weekend. The PTA is roughly on par with the same frame for “RBG.” The lack of a tribal political context for this might make the future appeal less intense on one level, but could bring wider interest. That will be further tested as it expands to over 300 theaters this Friday. Meantime, a gross similar to “RBG” seems likely.

Nick Offerman and Toni Collette in "Hearts Beat Loud"

“Hearts Beat Loud”

Jon Pack

Hearts Beat Loud (Gunpowder & Sky)

$249,581 in 83 theaters (+79); PTA: $3,007; Cumulative: $348,453

Musician dad and college-bound daughter expand their at home jam sessions into surprise popular success. Nick Offerman in a rare lead (“Hereditary” star Toni Collete lends support) adds to the appeal for this Sundance buy that quickly expanded to numbers. Whether it can hold at this level will determine its position for a lengthy run or wider exposure. That’s the gamble distributors are increasingly taking — get a film out aggressively shortly after opening and hope that word of mouth does the trick.


Ongoing/expanding (Grosses over $50,000)

RBG (Magnolia) Week 7

$483,000 in 290 theaters (-85); Cumulative: $10,102,000

This Magnolia/Participant Media documentary has passed the $10 million mark. That’s rare, and puts it puts ahead of uber-hits “Amy,” “I Am Not Your Negro,” and “Waiting for Superman.” The next target: beat recently-pardoned Dinesh D’Souza’s “Hillary’s America,” which is currently $4 million ahead.

First Reformed (A24) Week 5

$329,500 in 273 theaters (-61); Cumulative: $2,405,000

The wider break for Paul Schrader’s acclaimed crisis of faith drama isn’t yielding results similar to the early weeks. Remaining theaters did hold their drop to around 25 per cent.

American Animals (The Orchard) Week 3

$216,731 in 72 theaters (+30); Cumulative: $760,617

This recreation (with participation from the actual perpetrators) of a Kentucky college library rare book heist continues to add top markets. It’s nabbing a modest response so far, with numbers at a similar level to “First Reformed.”

Saoirse Ronan

“The Seagull”

Sony Pictures Classics

The Seagull (Sony Pictures Classics) Week 6

$144,760 in 211 theaters (+122); Cumulative: $873,596

The trio of Bening, Ronan, and Moss in Chekhov continues to struggle to gain much traction as SPC gets it out to most of the country.

2001: A Space Odyssey (Warner Bros.) Week 5  (reissue)

$80,000 in 13 theaters (+8); Cumulative: $853,000

The 70mm reissue expanded to more cities in what will continue to be a very limited run (because of few theaters with capacity to play).

The Rider (Sony Pictures Classics) Week 10

$72,802 in 94 theaters (-94); Cumulative: $2,118,000

Late in its run, Chloe Zhao’s high-end acclaimed contemporary Western has passed $2 million but never seemed to find an audience equal to its acclaim. These days $2-3 million has become the default  likely gross for all but a few breakout titles.

Also noted:

Beast (Roadside Attractions) – $29,100 in 49 theaters; Cumulative: $763,410

On Chesil Beach (Bleecker Street) – $27,060 in 73 theaters; Cumulative: $677.257

Summer 1993 (Oscilloscope) – $20,500 in theaters; Cumulative: $98,624

Pope Francis – A Man of His Word (Focus) – $15,000 in theaters; Cumulative: $1,840,000

The Guardians (Music Box) – $10,256 in 8 theaters; Cumulative: $10,256

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Source: IndieWire film

June 17, 2018

5 Ways to Creatively Use Shutter Speed in Your Film

Shutter speed may not be the sexiest setting in your camera, but…wait…or is it?When it comes to “the film look,” shutter speed ranks high on the …
Source: CW’s Flipboard Feed

June 17, 2018

TUTORIAL: 7 optical transitions from Adobe Premiere Pro – Video & Filmmaker magazine

Add a flourish in a flash with these optical distortion transitions. The best part? They’re built right into Adobe Premiere Pro, available in the …
Source: CW’s Flipboard Feed

June 11, 2018

SXSW 2019 Applications for PanelPicker, Festivals, Awards & More Open June 25

"Keep It!" Podcast Session. Photo by Kaylin Balderrama

Each March in Austin, diverse groups of creatives across interactive, film, and music industries converge at the SXSW Conference & Festivals. Journey into this oasis of fresh ideas to cultivate creativity, untangle problems, propose solutions, and forge lasting connections during 10 days of collaboration with thought leaders working towards a more connected future.

Calling all creatives – SXSW 2019 applications open on Monday, June 25 for the 2019 SXSW Conference & Festivals. From submitting your buzz-worthy film or performing on stage in front of a global audience to presenting your game-changing tech startup or bringing your art to the walls of Austin – take the opportunity to be part of this inventive SXSW community from March 8-17, 2019.

Learn how to participate in one of the many prestigious SXSW categories below and stay tuned for complete eligibility requirements per category. More applications will be announced in Fall 2018. Mark your calendars for the June 25 launch of applications as well as August 1 for SXSW 2019 Registration and Housing.


PanelPicker® is the official SXSW user-generated proposal platform developed to encourage the SXSW community to enter session ideas and have a significant voice in daytime Conference programming. The SXSW community is then able to browse proposals, leave comments, and vote to help shape the March event. Learn More »

Opens: June 25, 2018
Deadline: July 20, 2018

Community Service Awards

The SXSW Community Service Awards celebrate the spirit of community in Austin that we think is unique to SXSW. Six individuals and six organizations will receive a grant to an eligible 501(c)(3) or eligible charity of their choice, as well as a complimentary registration to SXSW 2019. Learn more about the two Community Service Awards categories here.

Opens: June 25, 2018
Deadline: July 20, 2018

Film Submissions

The SXSW Film Festival celebrates raw innovation and emerging talent from both behind and in front of the camera. Premiere your film in front of press, film industry leaders, and film lovers as well as tech and music professionals at the 2019 SXSW Film Festival. Screening sections include Feature Film, Short Film, Episodic, Music Video, Virtual Cinema, Texas High School Short, and Title Sequence. Learn More »

Opens: June 25, 2018
Deadlines: See Film Chart for complete list of fees and deadlines by section.

Interactive Innovation Awards

The SXSW Interactive Innovation Awards prize creative innovation in the connected world, celebrating the ever-widening variety of technology, projects, products, achievements and discoveries. Innovators from across the digital industry have the opportunity to enter their exciting, new work in this competition – open to all projects, products, and developments launched or made in calendar year of 2018. Learn More »

Opens: June 25, 2018
Early Deadline: August 19, 2018
Regular Deadline: August 20 – October 5, 2018
Final Deadline: October 7, 2018

Showcasing Artist Applications

Apply for the opportunity to perform at the 2019 SXSW Music Festival, March 11-17, and gain unparalleled access to an audience of industry professionals, international media, and new fans. Showcasing at SXSW means performing in one of the many venues located in famous downtown Austin for thousands of fans, reps, media, and fellow musicians from all over the world. Learn More »

Opens: June 25, 2018
Early Deadline: September 13, 2018
Final Deadline: October 25, 2018

SXSW Art Program

The SXSW Art Program showcases experiential and visual artworks that apply emerging technologies and immersive environments to spark discovery, inspiration, and connection. Official selections of the SXSW Art Program are chosen on the basis of their ability to enhance the landscape of the SXSW and bring inspiration, joy, and discovery to attendees. All visual artists are eligible to enter their artwork to SXSW. Learn More »

Opens: June 25, 2018
Early Deadline: September 21, 2018
Final Deadline: October 5, 2018

SXSW Pitch

Pitch your innovative startup at the eleventh annual SXSW Pitch (formally SXSW Accelerator) in front of a live audience and panel of expert judges. Plus, be a part of product demonstrations by the most ambitious talents in the world with the creative new ideas to change it. Join the ranks of SXSW Pitch alumni gaining millions in funding along the way with a combined total of over $5.43 billion. Learn More »

Opens: June 25, 2018
Final Deadline: November 8, 2018

Get Ready for SXSW 2019

Join us for another exciting event March 8-17, 2019 in Austin, Texas. Registration and Housing will open on August 1, 2018. Sign up for SXSW Event Updates so you don’t miss a beat, announcement or important deadline.

In the meantime, curb your anticipation by taking a look back at the 2018 event with videos from Keynotes, film premieres, sessions, and more on the official SXSW YouTube Channel. Find and follow us on Twitter, Instagram, Facebook, and SXSW News for the latest SX coverage.

Photo by Kaylin Balderrama

The post SXSW 2019 Applications for PanelPicker, Festivals, Awards & More Open June 25 appeared first on SXSW.

Source: SxSW Film

June 11, 2018

PACMAN: Personal Agent for Access Control in Social Media

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June 10, 2018

‘Ocean’s 8’ Posts a Strong Opening as Women Lead the Summer Box Office

Women are dominating the summer movie season so far. This prime early June weekend boasts three wide openings — a caper, a horror flick, a crime thriller — with strong female leads. This comes exactly a year after we saw “Wonder Woman” launch the biggest success of summer 2017.

Ocean's 8

“Ocean’s 8”

Barry Wetcher

“Ocean’s 8” (Warner Bros.) is the dominant title, with a better than expected weekend of $41,500,000. That’s more than acceptable for a $70-million franchise entry with built-in international appeal. So far the initial domestic results show that whatever risk there was in revamping the ensemble male star vehicle series to feature top actresses paid off.

While the grosses outpace the four series entries going back to 2001, this entry sold the fewest tickets among any of the films. The adjusted opening grosses of the first three were $61 million, $57 million and $48 million for the most recent installment in 2007.

“Ocean’s 8” actually had a lower debut than both the good start for “Wonder Woman” but also the July 2016 opening of “Ghostbusters” (adjusted at just under $50 million). The last, despite becoming the biggest domestic comedy of 2016, was considered a flop because of its expense was more than double “Ocean 8” and its tentpole position as Sony’s most important release of the year –and biggest 2016 performer.

“Ocean’s 8” had a small second-day drop, not uncommon these days. “Wonder Woman” last year turned out to be the leggiest of the summer’s top films, with a four times multiple. That came in part because men who resisted initially later showed up. Females made up 69 per cent of the opening crowd, so if male interest perks up it could boost “Oceans’s 8” in weeks ahead.



A24 has already mined wide-release horror with well-reviewed festival hits “The Witch” and “It Comes at Night.” Sundance 2018 breakout “Hereditary” brought its best ever weekend total: $13 million gross. The movie scored an awful D+ Cinemascore, which is not unusual for an offbeat smart-film in this genre. More relevant is that Saturday dropped only 10 per cent.

Earning raves for her performance is the face of the film, Toni Collette (who also is seen in this weekend’s limited Sundance debut “Hearts Beat Loud”). A24 pulled a decent response from an older female audience, a sign of a growing diverse appeal for horror films. Whether this has traction remains to be shown, but its a positive showing for A24 which continues to expand into prime season wider release films that still seem appropriate for their edgy shingle.

"Hotel Artemis"

“Hotel Artemis”

Rarely seen actress Jodie Foster, making her first appearance in “Hotel Artemis” (Global Road) since “Elysium” in 2013 and her first stand-alone lead since “The Brave One” in 2007, barely made a dent with a meager $3,151,000. The thriller set in a private prison run by a senior citizen  fell into a “who cares?” level with mediocre reviews amid plenty of alternatives for female and genre fans.

The total gross for the weekend dropped 20 per cent from last year. That slide will stop next weekend with Pixar’s “Incredibles 2” (Disney) and most likely “Jurassic World: Fallen Kingdom” (Universal). The year to date remains up almost five per cent, with the comparisons for the next few weeks up against last year’s weak summer box office.

“Jurassic” opened in most of the world this weekend to get a jump on the World Cup, which starts Thursday night and will compete with moviegoing worldwide. Its start at $151 million is already $15 million more than the international total so far for “Solo: A Star Wars Story” (Disney). The U.S. is not as affected by soccer games. But the big numbers might build interest here for its June 22 debut, which comes after “Incredibles” next week.

“Solo: A Star Wars Story”


“Solo” fell the most among third-week and older holdovers in the Top Ten: 48 per cent. It will likely gross around $225 million domestic, but it could be even lower.  An optimistic $400-million worldwide total would put this on a path to a loss.

“Avengers: Infinity War” (Disney) had the best hold, down 35 per cent with close to $7 million. It is just shy of $2 billion worldwide – five times or more of what “Solo” will do. $680 million domestic will be a bit shy of “Black Panther.”

“Deadpool 2” (20th Century) dropped 41 per cent for third spot, nearing $280 million. It has enjoyed a successful run, even if it falls short of its predecessor (adjusted $387 million).

The Top Ten

1. Ocean’s 8 (Warner Bros.) NEW – Cinemascore: B+; Metacritic: 60; Est. budget: $70 million

$41,500,000 in 4,145 theaters; PTA (per theater average): $10,012; Cumulative: $41,500,000

2. Solo (Disney) Week 3; Last weekend #1

$15,154,000 (-48%) in 4,335 theaters (-36); PTA: $3,496; Cumulative: $176,105,000

3. Deadpool 2 (20th Century Fox) Week 4; Last weekend #2

$13,650,000 (-41%) in 3,823 theaters (-338); PTA: $3,570; Cumulative: $278,666,000

4. Hereditary (A24) NEW – Cinemascore: 87; Metacritic: D+; Est. budget: $10 million

$13,037,000 in 2,964 theaters; PTA: $4,399; Cumulative: $13,037,000

5. Avengers: Infinity War (Disney) Week 7; Last weekend #4

$6,836,000 (-35%) in 2,882 theaters (-688); PTA: $2,372; Cumulative: $654,734,000

6. Adrift (STX) Week 2; Last weekend #3

$5,050,000 (-56%) in 3,015 theaters (no change); PTA: $1,675; Cumulative: $21,740,000

7. Book Club (Paramount) Week 4; Last weekend #5

$4,200,000 (-40%) in 2,802 theaters (-367); PTA: $1,499; Cumulative: $56,874,000

8. Hotel Artemis (Global Road) NEW – Cinemascore: C-; Metacritic: 56; Est. budget: (not reported)

$3,158,000 in 2,407 theaters; PTA: $1,309,000, Cumulative: $3,158,000

9. Upgrade (BH Tilt) Week 2; Last weekend #6

$2,220,000 (-52%) in 1,458 theaters (+1); PTA: $1,523; Cumulative: $9,210,000

10. Life of the Party (Warner Bros.) Week 5; Last weekend #7

$2,105,000 (-40%) in 1,842 theaters (-669); PTA: $1,143; Cumulative: $50,267,000

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Source: IndieWire film