Tag Archives: rampage

The Top 5 of Everything in 2018

While I also have a top and bottom list of the movies of 2018, I love things outside of movies, too. Indeed, so much of what has happened in 2018 has been outside of movies, or blurring the lines between what movies and television even are with Netflix bringing us things like The Ballad of Buster Scruggs or Black Mirror: Bandersnatch, the first of whach was originally planned as a tv miniseries, and the latter is just. . . well, what even is Bandersnatch?

So, regardless of medium, here are my Top 5 favorites of everything.

5. Educated: A Memoir

This book hit a lot of lists of the top books of 2018 (including culture critic Barack Obama’s), but it hit especially close to home for me because, like author Tara Westover, I attended Brigham Young University in Provo, Utah. Her story of growing up kept out of public education was too familiar to me, as survivalism and mistrust of public schools were something I encountered too frequently. This is the same anti-intellectual stew that spawned Glenn Beck and the Bundys’ ranch standoff/takeover of the Malheur Bird Refuge. But Westover’s memoir is a testament to what happens when this is taken to the extreme, to the point that as an adult she had never heard of the Holocaust. It’s a great read and my favorite book of the year.

4. Detroit: Become Human

Ok, there may have been “better” games than this in 2018. (God of War, Super Smash Bros Ultimate, Spider-Man, Red Dead Redemption II) But this story of a near-future where androids begin to gain sentience and their struggle for equality was my personal favorite. It almost wasn’t a video game– it was an interactive movie.

This is one of those games where the choices you make affect the outcome of the game, and you get to choose the fate of a revolution. Will your quest for equality for androids be violent, or non-violent? What are the consequences for the other characters you’re playing as?

This hit me right in my social-justice and robot-loving heart, and also had beautiful gameplay featuring a spectacular cast of actors.

3. Sorry to Bother You

Spoiler Alert: this was my favorite movie of 2018. First time director Boots Riley delivers a searing indictment of capitalism and racial expectations, exposing a sort of gonzo form of racial exploitation that is a perfect intersectional skewering of the nexus of race and class.

It’s very rare for a movie to surprise me, and this made me literally say to the screen, “What the f@#$?!?!

This was the only film I gave five stars to all year, and it’s something you have to see to believe.

2. Hannah Gadsby – Nanette

I had never heard of Australian comic Hannah Gadsby before this year, so imagine my shock in watching a Netflix special in which she announces her retirement from comedy and then proceeds to deconstruct what comedy is, blow it up, and put it back together again– all told against the backdrop of a heartbreaking childhood story of coming to terms with her queer identity. I never thought anything could make me feel such a rainbow of emotions over such a short period of time. This wasn’t just a comedy special — in the same way Childish Gambino’s “This is America” wasn’t just a music videos. Those were pop culture grenades tossed into the heart of the beast that blew everything up.

1. The Good Place

More than anything else this year, The Good Place ruled my heart and mind. I have not anticipated a broadcast television show like this in a long time, and in between seasons and episodes so many binges of previous seasons.

The best thing about this show that is sorta about the afterlife but kinda mostly about ethics but really just about us dirtbags here on earth and how we treat each other is how it keeps reinventing itself almost every six episodes or so. The show’s writers seem to be laboring under the idea that at some point the network is going to figure out the scam they’ve been running and pull the plug, so we’d better get through as much of this plot as possible. Where most shows would drag out their premise, this races through multiple setups in a single season. It’s refreshing, it’s smart, but it’s also stupid.

You put the Peeps in the chili pot and mix it all up, You put the Peeps in the chili pot and add some M&Ms, You put the Peeps in the chili pot. . .

This season’s episodes “Jeremy Bearimy” and “Janets” deserve ALL THE EMMYS, especially for acting from Janet herself, D’Arcy Cardon. If you saw them, you know why. If you didn’t see them, what are you waiting for?! To Netflix! To Hulu! Begin the binge now!

It’s the best show on tv– fight me. It’s the best thing from 2018– let’s be friends and watch it together, will you please? It will make you laugh and feed your soul. Also, it has its own official podcast, hosted by Marc Evan Jackson, who plays Shawn, who ends every episode asking, “What’s good?”

The Good Place. It is good. And the best for 2018.

So, Who Won the Year?

I also like to look back at the year look for threads, throughlines, trends that indicate something. Invariably there are big winners and losers in the year. I want to quickly celebrate the top winners.

Honorable Mention: Nicholas Cage

Despite being somewhere between an internet meme and a pariah, Nick Cage still gets some pretty amazing work this year. His starring role in Mandy is like a cocaine-fueled horror fantasy made in the 80’s and then set to age for three decades soaking in LSD. But then he also showed up in the cartoons in some of the most unexpected places: as Spider-Man Noir in Into the Spider-Verse and as Superman in Teen Titans Go! To the Movies. We’re glad to see him working.

Other honorable mentions: Donald Glover, Streaming Services, Steve Carrell, Mahershala Ali, Dolph Lundgren, Michael B. Jordan

5. Cults

This was a good year for cults in movies and tv. Mandy, Bad Times at the El Royale, Wild Wild Country, and Hereditary. Also, the bizarre stories about real life sex cult NXIVM that involved Smallville‘s Allison Mack. So, way to go, cults? At least you have some diversity here– Jesus, Satan, new age, but all of them were big on sex, So, sex cults. Way to win 2018.

4. Emily Blunt and John Krasinski

These two not only had an amazing year, but they did it together. Blunt killed it as Mary Poppins, Krasinski brought Jack Ryan back, and then you have their on-screen duo in A Quiet Place. That movie was such a revelation– mostly about how terrible mainstream movie audiences are at making noise. But in a year when almost every top-grossing film was a sequel, franchise, or remake, A Quiet Place was a true original. Thanks to both of you. You won the year.

3. Comicsgate and the Alt-Right

Now hear me out. I know this will be an unpopular opinion, but the alt-right actually accomplished a decent amount this year, and it’s completely unacceptable. James Gunn is still fired from Guardians of the Galaxy 3. Chuck Wendig was fired from Star Wars/Marvel comics. And, they raised a lot of money through crowdfunding for various ventures.

These guys aren’t playing around. And as long as they keep weaponizing things like offensive tweets, we will lose great creators from our favorite genres.

2. Asian Movie-going Audiences

Look, America, we need to understand that most movies aren’t being made for us anymore. We can decry as braindead anything like The Meg, Jurassic World: Fallen Kingdom, Skyscraper, Aquaman, Rampage, or Venom, but those movies kill overseas. There are very specific motifs and types of shots that work there that we as American audiences just aren’t picking up. This is going to have reverberations for years to come.

What’s the major difference? You can make a strong argument for diverse casts and female leads — giving us hits like Black Panther or The Last Jedi — but those movies generally just sort of do ok overseas while overperforming in the US.

That says something comforting about our country and culture at this time. But it says some things that should maybe be concerning that we won’t get complex stories like these in the future while we spit out more Venoms.

Perhaps the biggest irony in all of this is the alt right crusaders who don’t want diversity in our movies, shows, and comics will find common cause with the globalists who will continue to churn out lots of braindead action movies starring heroic dudes. Sigh.

[tie] 1. Disney

The Walt Disney Corporation had an amazing year, which caps off some pretty incredible past few years and is likely to continue into 2019. Why? Disney+ streaming service. The Fox merger. This isn’t necessarily good news for us, but is great news for corporate profits and creeping oligarchy. But, they gave us Black Panther, Avengers: Infinity War, Incredibles 2, Mary Poppins Returns, Ralph Breaks the Internet. . . even the supposedly underperforming Solo: A Star Wars Story ended up making 393 million dollars worldwide. And that was considered by some a failure, even though 18 of my top 20 films of 2018 would love to have sold that many tickets.

But let’s talk about Black Panther for one moment. It’s arguably the most culturally salient and important piece of pop culture of the year, with Infinity War not far behind. For all their evils as a corporate overlord, we got something truly important for a lot of people to see — an authentically black superhero story that deals with identity, a history of violence and oppression towards the African diaspora, and that leaves us remember that “in times of crisis, the wise build bridges while the foolish build barriers.”

When the box office receipts went off the charts, you gave back– founding an actual charity to do the work of STEM education and scholarships like T’Challa and Shuri wanted. Thank you, Disney. For an evil corporation, you sure gave us a lot of what we loved this year. You win.

[tie] 1. The City of Oakland

Speaking of Black Panther, one of the most important pieces of the film is how director Ryan Coogler brought his Oakland roots into the film. That moment when you realize the voiceover from the beginning of the film is of young Erik and his dad N’Jobu (“Tell me a story of home.”) and the entire basis for Killmonger’s wrath is based on the economic oppression of being raised in poverty in Oakland and what he had to do to escape it. It ends with a hopeful note in the same building, that future children will not have to face such hardship. “Who are you?”

I already mentioned my love of Sorry to Bother You, but that film is not possible without Oakland as a backdrop. The same is true of another of my favorites, Blindspotting, which takes a similar look at poverty, gentrification, and violence. And then we have Bodied, the rap battle movie produced by Eminem, which plays a major part in the film, but whose setting is split between Berkeley, Oakland, and Los Angeles. Still, Oakland as a force is in that film.

And then there’s real life. The Golden State Warriors win the NBA Championship. A white woman calls the cops on a black family having a cookout at an Oakland city park at Lake Merritt and becomes known as “BBQ Becky.”

And then heartbreak. The Oakland Raiders plan to leave for Las Vegas looking for more corporate pork and handouts.

To understand what is going on in Oakland in film and culture is to understand a microcosm of what is happening in so many cities across the country facing gentrification and economic pressures that are displacing historically black populations. It is why I recommend to everyone they see each of these films I mentioned here and think about what is actually happening.

To 2018, the year of the Oakland Renaissance.

The Worst Movies of 2018

One of the things I found most interesting about 2018 was it actually seemed like there were a lot fewer bad movies. Instead, we had a big middle of mediocre, forgettable fare.

So several of these I wouldn’t say are “bad,” but merely disappointing. As with my lists from previous years, I’m trying to keep this away from merely being a slam dunk contest, and to ignore films for whom I am not the intended audience. There’s also a large number of films that were never screened for critics and I had zero interest in seeking them out on my own. So I have no opinion on, for example, Insidious: The Last Key, Holmes and Watson, or The Week Of.

However, I’m going to stray from my principles in a few places here because these film are so egregiously, aggressively awful that I can’t help but say something. But I like to think of this more as an exercise on what went wrong in movies in 2018 and what we can do so much better in the coming year that I hope we can learn from.

10. Pacific Rim: Uprising

Pacific Rim: Uprising

There are, actually, worse films out there than this sequel, but it was just so egregiously bad that I had to start the list here. How do you take such a surefire premise as giant robots fighting monsters and make it bad? Step 1: don’t bring back director Guillermo del Toro or star Idris Elba. Step 2: Make Charlie Day the bad guy for some reason. Step 3: End your film with a snowball fight!

It’s not all bad. There is, in fact, a decent amount of enjoyment to be had here if you don’t pay too close attention. Just turn the sound down and pretend you’re watching a better version of the movie.

9. Take Your Pills

Netflix brought us some great things in 2018. One of them was not this documentary, which premiered at SXSW, which was where I caught it and was immediately enraged. Hey kids, did you know that if you’re being treated for ADHD, you’re basically just doing meth? This film takes the overly complex issues surrounding treatment of attention deficit and basically makes the case that not only are we over-prescribing medication, but it’s being used as a party drug, and drug companies are evil and everyone should just stop taking their medication.

This is a complex subject and this documentary offers no solutions, but shames people for having ADHD and suggests we’re better off not being treated at all. Thanks. Thanks a lot.

8. Rampage

Does The Rock really just say yes to every ridiculous movie they pitch him? This film was not at all based on the 1980’s arcade game involving a giant ape, lizard and wolf attacking the city because that game was fun and this was a tedious mess. This film had a great cast — Jeffrey Dean Morgan, Naomie Harris, Malin Ackerman, Jake Lacy — all of whom are just wasted here. As are a giant effects budget and a premise that might have been interesting if they’d done it properly.

PS- Watch the first five minutes of this movie and the first five minutes of Venom and tell me they aren’t the exact same movie. Mysterious goo on a satellite causes a malfunction and it crashes, infecting people while the evil corporation tries to control their discovery. It’s the same. damn. movie.

7. Gotti

Gotti

I just want to know what the hell was going on with this movie. Who told them to make this movie this way? Not only is John Travolta’s hair and makeup somehow even more ridiculous in every single scene he’s in (begging the question. . . why?) but this movie seems like it was made by someone whose only exposure to organized crime or the mafia was by watching The Godfather and Goodfellas. It’s like that fresco painting of Jesus they tried to restore and it turned out looking like some weird deformed monkey. It’s like the cooking disasters you see on Nailed It or Cake Wrecks. Oh, it was written and directed by Kevin Connolly from Entourage. Nailed it.

For a film with so much voice-over exposition and cutaways to the news to explain what was happening and long car rides explaining the structure of the Gambino crime family, this film doesn’t actually make any sense. There’s also no bigger story or theme. Am I supposed to feel some way about John Gotti other than I please want this movie to be over now please? At least Vice made you feel some things about its characters– and managed to coherently explain recent events.

There’s also this weird soundtrack which tries to remind us we’re in the 80’s and 90’s by playing The Bangles and Duran Duran but also this weird hip hop that samples what sounds like the Nina Rota / Carmine Coppolla scores for The Godfather movies.

This film is also deserving of some special scorn for being financed by MoviePass. At the same time MoviePass was running out of money and limiting the movies you could go see, somehow, you could go see Gotti with your MoviePass. Even for free, this movie was not worth it.

6. Den of Thieves

It’s a testament to what a slog 2018 was that this movie from January feels like it was from eight years ago. Or maybe that’s just because it was so tired and hackneyed it felt like that watching it. Cops and robbers, but maybe we’re rooting for the robbers because the cops are bad guys, too? By the end, I wanted everyone to die and I mostly got my wish. Too bad it took two and a half hours to get there.

5. Sicario: Day of the Soldado

As disappointing a sequel as Pacific Rim: Uprising was, this was far worse. The original Sicario is such a taught, gripping film. And prior to this, I felt like Tayler Sheridan could do no wrong in writing scripts. This, apparently, is what you poop out when the dollar signs are right. The film misses its moral compass in not including Emily Blunt, but it also perpetuates some ridiculous ideas about ISIS terrorists coming across the Mexican border to blow up a Wal-Mart. This is like the fever dream of someone who’s been watching way too much Fox News and doing a lot of cocaine.

And then we get the conflict between Josh Brolin and Benecio Del Toro, and also Brolin bristling at government bureaucrats who won’t let him do his job! (More coke + Fox News)

We deserve better from our movies. We deserve better from our Sicario sequels. (Note: I saw this movie back to back in a double feature with my #1 movie of the year, putting an even better comparison on just how terrible this was.)

4. Midnight Sun

I almost feel sorry for how bad this movie was. A teenage girl is so deathly allergic to sunlight that even a few errant ray can kill her. Spoiler alert: they do. This tragic teen romance is made even more ridiculous by Rob Riggle trying his best as the dad role here.

3. Red Sparrow

Red Sparrow

A movie that glorifies violence against women, has multiple rape scenes, and actually had potential to be the Black Widow movie we all really wanted? It was just terrible, maybe even worse than Jennifer Lawrence’s Boris-and-Natasha Russian accent. In the era of #MeToo, maybe producers would’ve been wise to let this sit on a shelf for a while, instead of explicitly showing on screen how sexual violence is used to subjugate and control women, how their agency is stripped from them in a government-run spy program that is essentially state-sponsored sex slavery where failure to comply means a bullet in your head. It was also incredibly long, which is even more unforgivable, especially given how boring it was.

2. Fifty Shades Freed

Normally I make an exception for the Fifty Shades movies because I’m just not the intended audience. But this year? This abomination came out right in the middle of the #MeToo movement and showed an incredible tonedeafness on the part of the film’s producers. These are a lot of the same problems I had with Red Sparrow, but at least that had a spy storyline going on as well. The best thing I can say about this is I will never have to review another one of these films again.

1. Death of a Nation

Again, I normally wouldn’t include this because I am not the target audience, but convicted felon pardoned under corrupt circumstances by Trump likely in an attempt to suborn perjury or obstruction of justice from his associates Dinesh D’Souza has produced his masterpiece of alt-right agitprop. His major contention is that Donald Trump is basically Abraham Lincoln, and just like Lincoln, those mean ol’ Democrats are going to use violence (including civil war) to overturn a legitimate election.

Death of a Nation

Except a) it wasn’t legitimate, you buffoon, or perhaps you haven’t noticed the increasing number of indictments around Individual 1 (or maybe Dinesh doesn’t think campaign finance law matter, since, after all, that was what he was convicted of breaking) and b) after all of those marches like the Women’s March, March for Our Lives, People’s Climate March, March Against Family Separation we have yet to see any violence from them, but yet we have alt-right violence in Charlottesville (covered in the far better film, Alt-Right Age of Rage) pipe bombs, politically-motivated attacks on synagogues and mosques. If this is a proto-civil war, it is a war of right wing aggression.

And then there’s the weird fascination with Trump being like Lincoln. This is just so baffling on multiple levels.

As a movie, it’s also just garbage. I was not kind to Michael Moore’s latest earlier this year (in fact, if this were a top 13 worst movies list, Fahrenheit 11/9 would be on it), but at least the guy knows how to make a movie. D’Souza loses his narrative so many times, it’s like he’s piecing this together from an underground bunker wearing a tinfoil hat.

But, none of this happens in a vacuum. Whenever I see a movie, I ask myself, “What is this trying to say? How does that add to the cultural conversation we’re having as a society?” This throws gasoline on the worst types of fires, including the beliefs of people who also believe in QAnon and Pizzagate. D’Souza’s films in the past have been terrible and wreckless, but never dangerous. This gives crazy people the fuel they need to commit future acts of violence– in the belief that they are fighting a new civil war.

The First Amendment protects his right to make this movie, and it also protects my right to say this is the worst piece of garbage to be shown in cinemas this last calendar year.

Well, that’s it. That’s the worst. But, I hate being negative, so I’ll come back here in the next day or two with the best of 2018, as well as a look at My Top 5 of Everything and “Who won the year?” If you think it might be the Disney corporation, well. . . you’ll have to read the article.

See you in 2019, where we hopefully avoid these types of awful movies.

Avengers: Infinity War Dominates for a Second Weekend and Crosses $1 Billion

Unsurprisingly Avengers: Infinity War won the weekend easily with an estimated $112.5 million a 56.4% drop from the previous weekend. That beat the second place film by almost $100 million.

Avengers: Infinity War has earned $450.8 million domestically after ten days which only paces Star Wars: The Force Awakens which did that in nine.

Internationally the film remained in first place with an estimated $162.6 million from 54 markets. The weekend brought in $275.1 million for the film which has now earned $1.16 billion worldwide.

The film’s 11 day run to $1 billion worldwide is the fastest any film has crossed the line. It’s the sixth Marvel film to cross that mark and 17th for Walt Disney Studios. 34 films have crossed $1 billion at the worldwide box office.

In second place was the new film Overboard which earned an estimated $14.8 million. The film is a remake of the 1987 film and received an “A-” CinemaScore from opening weekend audiences. 61% of the audience was female and 83% over the age of 25.

A Quiet Place slipped to third from last week’s second and earned an estimated $7.6 million to bring its domestic total to $159.9 million. Worldwide the film has earned $255.3 million.

In fourth place was I Feel Pretty which slipped one slot and added an estimated $4.9 million to its total to bring it to $37.8 million domestically.

Rampage dropped on spot too to round out the top five. It brought in an estimated $4.6 million to bring its domestic gross to $84.8 million. Worldwide the film has earned $377.9 million.

In other comic films at the movies….

Black Panther was #7 for the week with an estimated $3.1 million. Domestically the film has earned $693.1 million. Worldwide, the film has earned $1.338 billion.

The Death of Stalin improved one spot to come in at #23 for the week. The film earned $181,623 to bring its domestic total to $7.5 million.

We’ll be back in one hour to do a deeper dive into comic adaptations at the box office.

Avengers: Infinity War Breaks Domestic and Worldwide Records in Its Opening Weekend

Everyone knew Avengers: Infinity War would open big but the question was, how big? We’ve got that answer with a record opening weekend. The film has opened with a record $250 million domestically which bests the previous record holder Star Wars: The Force Awaken‘s $247.9 million. The film also earned a record $630 million worldwide. Disney has a habit of underestimating these types of things, so it’s possible that number could go even higher.

Addition records include:

  • Largest single Saturday gross
  • Largest single Sunday gross
  • Largest April opening
  • Largest Spring opening
  • Widest PG-13 release
  • Fastest film to $150, $200, and $250 million

Internationally the film opened with an estimated $380 million from 72% of the international marketplace. That’s the second largest. Fate of the Furious holds the record with $442 million but it had the benefit of China which earned $185 million of that. The film will open there May 11th. It was #1 in all territories.

Infinity War received an “A” CinemaScore with audience that was 58% male and 58% over the age of 24. With this opening the 18 Marvel Cinematic Universe films has amassed nearly $15.5 billion combined.

In second place was A Quiet Place which earned $10.65 million domestically to bring that total to $148.2 million and it now has $235.4 million worldwide off of a $17 million budget.

I Feel Pretty remained in third place with $8.13 million. It has now earned $29.6 million domestically off of a $32 million budget after two weeks.

Rampage dropped from second to fourth with an estimated $7.1 million to bring its domestic total to $77.9 million. The film has been a monster at the foreign box office where it has earned 76.7% of its grosses with $256.7 million for a worldwide total of $334.6 million.

Rounding out the top five was Black Panther which improved from last week’s eighth place. The film added $4.4 million to its domestic total and clearly has gotten a boost from Avengers: Infinity War. This is the first time since 2008 that Marvel has had two films in the top ten.

In other comic movie news…

The Death of Stalin held steady at #21 with $210,478 to bring its domestic total to $7.2 million after eight weeks.

The next comic adaptation to come to theaters is Deadpool 2 on May 18th followed by Ant-Man and the Wasp on July 6th.

We’ll be back in an hour for a deeper dive into the comic film adaptation numbers.

A Quiet Place Takes Back First While Two Debuts are in the Top Five

This weekend had a pretty tight race for the top spot as A Quiet Place and Rampage battled for the top spot. In the end, only $1 million separated them in the early reported earnings.

A Quiet Place took back to the top spot bringing in an estimated $22 million for the weekend to bring its domestic total to $132.4 million. With the $15 million internationally, the film has also earned a total of $74.8 million at the foreign box office to bring its worldwide total to $207.2 million off of a $17 million budget.

Rampage dropped from last weekend’s first place to second earning $21 million. The film has earned $66.6 million after two weeks. The film also earned $57 million internationally from 61 markets bringing its worldwide total to $283 million.

In third place was a debut, I Feel Pretty which earned an estimated $16.2 million which beat some expectations. The film has a reported budget of $32 million.

Super Troopers 2 came in fourth place with $14.7 million. That’s the best opening for a Broken Lizard film. Beerfest opened with $7 million in 2006 and Super Troopers earned $6.2 million in 2002. Club Dread opened with $3 million in 2004 and The Slammin’ Salmon earned $26,167 in 2009. With a $13.5 million budget, the film should do well and will likely make a nice profit by the time it’s done.

Rounding out the top five was Truth or Dare which brought in an estimated $7.9 million to bring its domestic total to $30.4 million.

In comic related films…

Black Panther came in at #8 with $4.6 million to bring its domestic total to $681.1 million. Worldwide the film stands at $1.324 billion. The film is $8 million behind Star Wars: The Last Jedi to move in to ninth place for worldwide grosses of all time.The film’s domestic run accounts for almost 20% of 2018’s overall box office.

The Death of Stalin was #21 earning $340,216 to bring its domestic total to $6.9 million after seven weeks domestically.

This coming weekend is Avengers: Infinity War which is guaranteed to be in the top spot, but the question is how much it’ll earn. Will it have a record breaking weekend? Will two Marvel films be in the top ten? We’ll find out in a week!

Rampage Smashes Into First While A Quiet Place Makes Noise in Second

It looks like Rampage won the weekend, holding off last weekend’s top movie A Quiet Place. Rampage came in first place with an estimated $34.5 million from 4,101 theaters. The film also brought in $114.1 million from 61 markets internationally for a grand total of $148.6 million worldwide. For a $120 million film, that’s a tough one as it really only has one more weekend and then all the oxygen in the room will be sucked up by Marvel’s Avengers: Infinity War. The film played to a 55% male audience and 63% were over the age of 25. Audiences gave the film an “A-” CinemaScore.

In second place was last weekend’s winner, A Quiet Place which has seen a lot of positive word of mouth. The film added an estimated $32.6 million domestically to bring that total to just shy of $100 million (and depending on adjustments it might pass that number this weekend). That’s a quick $100 million and Paramount must be happy with the results. Internationally, the film added $22.3 million from 55 markets. The film has earned a total of $51.7 million at the international box office for a worldwide total of $151.3 million.

Another horror film Truth or Dare came in third place with an estimated $19 million debut from 3,029 locations. The film earned a “B-” CinemaScore and had an audience that was 60% female and 40% over the age of 25. The film brought in an estimated $2.6 million at the international box office. The film will have a slow international rollout over the next couple of months. Worldwide the film has earned $21.7 million.

In fourth place was Ready Player One with an estimated $11.2 million to bring its domestic total to $114.6 million. The film also added $33.8 million at the foreign box office from 65 markets. There the total is now $360.2 million for a worldwide total of $474.8 million. The movie opens in Japan this coming weekend.

Rounding out the top five was Blockers which added $11.2 million to its domestic total to bring that to $36.9 million. It also is in 21 international territories where it brought it $3.9 million. The international total is now $16 million for a worldwide total of $52.9 million.

In comic movie news….

Black Panther came in sixth place with an estimated $5.3 million. Its domestic total now stands at $673.8 million. Worldwide the film has earned $1.313 billion.

The Death of Stalin held steady at #18 with an estimated $474,692. The film has earned $6.3 million domestically.

We’ll be back in an hour for a deeper dive into this year’s comic film adaptations and may finally wrap up 2017.