It is reported that Jack Osbourne has been diagnosed with multiple sclerosis. The sad news comes on the heels of the birth of Osbourne's first child--a daughter named Pearl Clementine--as he was diagnosed just two weeks after his daughter was born. "I was just angry and frustrated and kept thinking, 'Why now?' " Jack told People Magazine. "I've got a family and that's what's supposed to be the most important thing." Osbourne is engaged to the mother of his child, Lisa Stelly.
Multiple sclerosis is an incurable disease that affects the central nervous system, causing problems with muscle control, strength, vision, balance, feeling, and thinking to varying degrees. Disease onset/diagnosis typically occurs in young adults (Osbourne is 26) and is different from person to person: cases can range from minimal symptoms to severely disabled. Needless to say, our thoughts are with Osbourne and his family during this time.
[Image Credit: WENN]
Follow Alicia on Twitter @alicialutes
'Nervous' Dad Jack Osbourne Welcomes Baby Pearl!
Osbourne recovering from appendix surgery
Sharon Osbourne cried at granddaughter's birth
Wonder what Hannibal Lecter (Gaspard Ulliel) was like as a boy? Well even as a youngster he had a keen interest in (eating) human anatomy but as we see in Hannibal Rising he wasn’t born a cannibal. It all started in World War II Lithuania where a young Hannibal is left an orphan after he watches his whole family die at the hands of war criminals. In the eight years that pass only the hope of revenge has kept him afloat. After escaping the orphanage at which he was bullied Hannibal finds his uncle’s Japenese widow Lady Murasaki (Gong Li) who lives in a similarly lonesome state. They strike up a very close bond in which she helps him tap into the memory of his family’s death--most importantly and painfully his young sister’s--while he more or less let’s her live. Not the case for those who wronged him but hot on Hannibal’s murderous trail is a French inspector (Dominic West) who both sympathizes with and greatly fears the madman-child Lecter. And given that Anthony Hopkins has thrice played a grown-up Hannibal and Brian Cox once everyone should know how this prequel ends. With Anthony Hopkins having lent his unmistakable visage to his now iconic Lecter no actor would be given a fair chance to do the same for a young Hannibal. Ulliel (A Very Long Engagement) often tries his darndest to contort his makeup-scarred face so that it alone will frighten viewers but an actor either looks like a psychopath or doesn’t; Hopkins with the utmost respect looks like a straightjacket escapee whereas Ulliel looks like an over-exerting actor. Forced scowl aside he’s creepy as a near mute in the movie but it’s almost impossible to believe that this is the young man who would go on to become Hopkins’ Lecter. Li (Miami Vice) looks incredible and easily 20 years younger than her actual age. She does what she can with her mysterious and emotionally stunted Lady Murasaki but it’s an odd character to begin with. In a supporting role Englishman West (HBO’s The Wire) adds a needed subtle performance and fits well alongside the past lawmen in the Hannibal series and Rhys Ifans as a villain continues his trend of unpredictable role choices. Hannibal Rising is astonishingly the fifth installment in a franchise that truly lost its luster after Silence of the Lambs and the neglected Manhunter. Of course the franchise is only kaput if the latest doesn’t make enough money but this should have been stopped years ago—at least as a movie series. As novels the saga is much more sustainable because author Thomas Harris who makes his Lecter screenplay debut with Rising can get away with murder (no pun intended). But while Rising is far from over the top director Peter Webber (Girl with a Pearl Earring) and Harris can’t make the movie nearly as tense as any of its novel or film predecessors. Webber is an editor-turned-director and it shows: The film is masterfully shot by Ben Davis (Layer Cake) and put together by the director but once Webber gets down to the movie’s blood and guts (pun intended this time) he can’t deliver much excitement at all. Ultimately Webber takes his restraint too far.
Muggles are wild about Harry Potter.
So magic could happen this weekend at the box office.
The first of seven anticipated films based on the books by J.K. Rowling, Harry Potter and the Sorcerer's Stone will hit a record 3,672 theaters on Friday on the heels of great reviews and stunning advance ticket sales. Factor in a terrific $9.6 million taken at previews last weekend in the United Kingdom and the stage is set for Harry Potter … to challenge The Lost World: Jurassic Park's record $72.1 million opening weekend take in 1997.
The budding wizard does have what it takes to overcome several big hurdles ahead of him. The film's two-and-a-half-hour running time will result in fewer showings per screen. Still, the three-hour Pearl Harbor managed to post a $59 million opening in its first three days this past Memorial Day holiday weekend.
The Lost World enjoyed its three-day opening during the busy Memorial Day holiday weekend as well, but debuting on a non-holiday weekend can yield big bucks, too. Monsters, Inc. paved the way this month for a huge Harry Potter … opening by earning $62.5 million in its first weekend. Dr. Seuss' How the Grinch Stole Chirstmas debuted during last year's pre-Thanksgiving holiday weekend with $55.1 million. The Grinch … overcame competition in the form of fellow newcomers Rugrats In Paris, The 6th Day and Bounce. The only other new film to debut wide this weekend is The Wash, but the comedy opened Wednesday to avoid clashing with Harry Potter …. Anticipation is very high for Harry Potter …, given the books' loyal following among children and adults, so a debut better than either Monsters, Inc. or The Grinch … seems guaranteed.
Even if Harry Potter … doesn't break The Lost World's record, the movie may still thrive in the long term.
Unlike Pearl Harbor and Godzilla, which both failed to shatter opening records and faded fast in the face of lousy reviews, the Chris Columbus-directed fantasy is conjuring up fabulous word of mouth and will likely dominate the upcoming Thanksgiving holiday weekend. Think Star Wars: Episode 1 -- The Phantom Menace, which opened on the pre-Memorial Day weekend in 1999 to a less-than-anticipated $64.8 million weekend but ended up as the third-highest grossing film of all time with $431 million.
With the arrival of Harry Potter …, Monsters, Inc. will scare a lot less kids this weekend. The Disney/Pixar animated yarn--with Billy Crystal and John Goodman providing voices--should still live large thanks to spillover business from Harry Potter …. Monsters, Inc. dropped a mere 27 percent in its second weekend, to $45.5 million, and crossed the $100 million mark in nine days. That's a record for an animated film, beating Toy Story 2 and Shrek by one day. Its $132 million total through Wednesday puts it ahead of both of the aforementioned. If it holds its own against Harry Potter …, Monsters, Inc. will likely surpass Toy Story 2's $245.8 million total and may even challenge Shrek's $267.3 million to reign as the year's highest-grossing animated offering. For the record, the top animated title is The Lion King, with $312.9 million.
It may be hard to believe, but there are other films showing this weekend at your local multiplex, and some will likely reap the benefits of screening alongside Harry Potter … and Monsters, Inc.
Dr. Dre and Snoop Dogg deserve a hand for daring to take on Harry Potter …. The pair made cameos--separately--in Training Day, but The Wash isn't likely to be as big a hit as the rogue cop thriller. The rap-driven comedy hit 759 theaters Wednesday and earned $468,000. That's about on par with Snoop Dogg's Bones, which opened on Oct. 24 and scared up a so-so $3.6 million in its first five days at 847 theaters. Expect the same from The Wash.
Bobby and Peter Farrelly can breathe again now that Shallow Hal looks like it will reverse the brothers' recent run of bad luck at the box office. The film's $22.5 million opening is more than the combined totals of Osmosis Jones ($13.5 million) and Say It Isn't So ($5.5 million), the latter of which they produced. With $27.5 million in the piggy bank through Wednesday, Shallow Hal has already stomped past Kingpin poor $25 million total in 1996.
Shallow Hal debuted almost as well as last year's Me, Myself & Irene, but its $24.2 million opening was something of a disappointment for a comedy that reunited the brothers with Dumb and Dumber cohort Jim Carrey. Shallow Hal did beat the $13.7 million that There's Something about Mary earned in 1998. Then again, good reviews and great word of mouth helped Mary earn $176 million. A fat Gwyneth Paltrow doesn't have the same legs--however padded--as a semen-bedecked Cameron Diaz.
Another set of brothers--Joel and Ethan Coen--also should look forward to the weekend. The Man Who Wasn't There continues to expand, having garnered $1.9 million in two weeks in limited release. The black-and-white thriller, with Billy Bob Thornton as a barber who blackmails his wife's lover, is running neck and neck in its second weekend with last year's O Brother, Where Art Thou. That screwball comedy, which amazingly played in theaters for eight months, eventually grossed $45.5 million to become the brothers' biggest hit.
The Man Who Wasn't There isn't likely to enjoy such a long and profitable run. Unlike the goofy but good-natured Depression-era take on Homer's The Odyssey, this serious-minded chiller sees the brothers return to the film-noir sensibilities of Blood Simple and Miller's Crossing. It isn't as accessible or likeable as Fargo, and thus will fail to appeal beyond many Coen Bros. purists.
Another film noir, Novocaine, arrives Friday in limited release. That's obviously a sign of little faith in this extremely dark comedy marking Steve Martin's first film since 1999's Bowfinger. Those who found the Father of the Bride films so lovely and endearing aren't really going to enjoy the sight of dentist Martin pulling out his own teeth.
After coming to the United States to direct Alien Resurrection, Jean-Pierre Jeunet returned to his native France to concoct Amelie. Already a smash in France, this enchanting romance looks set to become the biggest foreign-language hit since Crouching Tiger, Hidden Dragon. Amelie has made $1 million in a two-week limited run. With great reviews likely to translate into countless awards and nominations, Amelie could go through arthouse roofs to challenge the $14.5 million taken by the year's current foreign-language champ, Iron Monkey.
Expanding from 88 theaters to 1288 theaters last weekend didn't prove bountiful for Life as a House. Kevin Kline's midlife crisis earned just $3.8 million, for a total of $6 million through Wednesday. Life as a House doesn't have the rock solid critical and audience support it needs to become the next American Beauty, as it is being touted by distributor New Line.
After enjoying a personal best opening with The One, Jet Li endured a tough second weekend that saw his sci-fi epic plummet by 52 percent from $19.1 million to $9.1 million. With $33.7 million through Wednesday, The One is close to surpassing the $36.8 million that Kiss of the Dragon crawled its way to this summer. But The One is lagging behind Romeo Must Die, which amassed $38.8 million in 12 days on its way to $55 million.
John Travolta fared somewhat better with Domestic Disturbance. His son-in-peril thriller dropped a respectable 38 percent, from $14 million to $8.6 million, in its second weekend. Domestic Disturbance has accumulated $27.8 million through Wednesday, almost more than the combined totals of Travolta's 2000 bombs Battlefield Earth ($21.4 million) and Lucky Numbers ($10 million).
Heist's $7.8 million opening--$9.8 million through Wednesday--represents a best for a David Mamet-directed film. That's no doubt because this crackerjack thriller, reuniting Get Shorty stars Gene Hackman, Danny DeVito and Delroy Lindo, is the first of the acclaimed playwright's films to receive such a wide release. Heist has already surpassed the $6.9 million made by last year's State and Main and by the end of its first full week is bound to surpass the $10.1 million that The Spanish Prisoner ran off with in limited release in 1998. Heist's future seems as uncertain as a life of crime, considering that this older-skewing offering faces direct competition from Domestic Disturbance, K-PAX, Life as a House and next week's Spy Game.
Having made $41.8 million through Wednesday, the alien-on-vacation melodrama K-PAX is poised to become Jeff Bridges' best outing since 1991's The Fisher King. Co-starring Robin Williams, The Fisher King ended its run with $41.7 million. Bridges clearly benefits when paired with an equally famous co-star, in this case Kevin Spacey.
The end is nigh for Thirteen Ghosts ($35.3 million), From Hell ($29.8 million) and Riding in Cars with Boys ($28.1 million). Expect these, plus Training Day ($72.6 million), Serendipity ($45.8 million) and the underachieving Bandits ($38.5 million), to quickly make way for this month's Spy Game, Black Knight, Behind Enemy Lines and Texas Rangers. The holiday gold rush is about to begin.
A dirty cop and a pair of nice-guy bank robbers set out to prove this weekend that crime does indeed pay.
The $22.5 million collared last weekend by Training Day represents Denzel Washington's biggest opening weekend to date. The highly charged tale of police corruption--featuring Washington in a rare villainous turn--continued to play well during the week, earning $28.6 million through Wednesday. Accordingly, Washington should have the muscle to stop his Siege co-star Bruce Willis from stealing off with the box office crown.
Directed by Barry Levinson, Bandits casts Willis and Billy Bob Thornton as affable crooks who gain celebrity for their unusually method of robbing banks. They hold hostage the bank manager the night before a heist, eat dinner with manager and his family, spend the night at his home, and then force him to let them into the bank in the morning.
Previously, Willis and Thornton's efforts to save the world resulted in 1998's Armageddon, which earned $201 million in the process.
Breaking into banks also should be a profitable venture for Willis and Thornton, though not much as Armageddon or Willis' The Sixth Sense, which made $293.5 million. Bandits' success will likely mirror that of Willis' recent hit comedies rather than his celebrated forays into science fiction and the supernatural. The Whole Nine Yards, with Willis as a hitman, claimed $13.7 million in 1999 and eventually made $57.2 million. Disney's The Kid opened in July 2000 with $12.6 million, with summer audiences pushing it to a $69.6 million gross.
At least one person needs Bandits to enjoy a long and sustained run, and that's Levinson. The Rain Man Oscar winner last tasted success with Wag the Dog, the Hollywood satire about a war concocted to conceal a presidential scandal. Wag the Dog, of course, had the good fortune to open wide in January 1998 just as Monicagate captured a nation's attention and President Clinton had launched military action against terrorist targets in Afghanistan and Sudan. The result: a $43 million hit. Since then, Levinson's directed possibly the worst adaptation of a Michael Crichton novel ever, the waterlogged Sphere, which earned a paltry $37.2 million. Liberty Heights, the fourth of Levinson's semi-autobiographical Baltimore-set comedy-dramas, made $3.7 million in early 2000. Levinson's barely released An Everlasting Piece resulted in a lawsuit by its producer, Jerome O'Connor, who claimed that DreamWorks buried the Irish comedy at the request of the British government because of its thorny politics.
Who is Corky Romano? So read the teaser posters for Chris Kattan's new comedy, posters that also prompt the question: Who cares about Corky Romano? Kattan is the latest Saturday Night Live jokester to try his luck as a movie star. It's taken a while for former SNLers Adam Sandler, Rob Schneider and David Spade to establish their silver-screen credentials, so Kattan isn't likely to enjoy instant success. Will Ferrell, the only current SNLer to enjoy a somewhat thriving Hollywood career, seems to have done so by virtue of appearing in anything and everything.
Ferrell and Kattan did dance with disaster with the awful SNL skit-inspired A Night at the Roxbury, which made $30.3 million in the fall of 1998. Kattan's track record also includes the ensemble horror yarn House on Haunted Hill, which made $40.8 million in the fall of 1999, and Monkeybone, whose $5.4 million gross qualifies it as this year's biggest flop.
With Corky Romano already earning dire reviews, and stiff competition in the form of Ben Stiller's still-thriving fashion industry satire Zoolander ($30.2 million through Wednesday), Kattan shouldn't hand that letter of resignation just yet to SNL executive producer Lorne Michaels.
The surprise martial arts smash Crouching Tiger, Hidden Dragon no doubt prompted Miramax to reissue 1993's Iron Monkey, directed by Crouching Tiger action choreographer Yuen Wo Ping. Such releases tend to fare poorly, as witnessed by Miramax's previous attempts to bring to America those annoyingly dubbed versions of Jackie Chan's Hong Kong classics. Last fall's The Legend of Drunken Master, for example, staggered to a pitiful $11.5 million. Iron Monkey does have the advantage of being subtitled--which certainly enhanced Crouching Tiger's statue with the arthouse crowd--but it does lack the presence of a Jackie Chan, Jet Li or Chow Yun-Fat.
Miramax must make do with the popularity of Serendipity, which should enjoy a long and lasting affair with audiences looking for a romantic getaway from the U.S. bombing of Afghanistan. Through Wednesday, John Cusack and Kate Beckinsale have wooed $16.5 million in sales. Beckinsale's Pearl Harbor may have made more on its opening day, but no one went to see the expensive World War II epic for its romantic interludes. Serendipity is outpacing Cusack's bittersweet High Fidelity, which opened in March 2000 with $6.4 million at almost 1,200 theaters and sung its way to $27.2 million. Serendipity does have the advantage of now being in 2,600 theaters.
Don't Say a Word should continue to lose its audience to Training Day and soon to Bandits. Michael Douglas enjoyed his biggest opening weekend gross with Don't Say a Word, but the white-collar thriller won't stand out as one of his most memorable in terms of box office. Having collected $34.3 million through Wednesday, Don't Say a Word looks set to surpass The Game ($48.2 million) but will fail to out do A Perfect Murder ($67.6 million). That's a far cry from Basic Instinct's $117.7 million or Disclosure's $83 million.
Leelee Sobieski certainly learned her lesson about starring in two very disposable and oft-delayed teen-targeted thrillers in a row. The Duel-like Joy Ride, costarring Paul Walker and Steve Zahn, spluttered its way to a $7.3 million opening and has just $9.3 million through Wednesday. That's somewhat better than Sobieski's The Glass House, which opened after last month's terrorist attacks to a very weak $5.7 million and has since collected $16.6 million. Sobieski returns this weekend--and clearly not soon enough--to the arthouse circuit with My First Mister costarring Albert Brooks, a generation-bending variation of The Odd Couple.
Seems the kids failed to take much notice of Max Keeble's Big Move. Keeble has pocketed $6.6 million to date, and will likely end up as filler on the Disney Channel much sooner than later.
Hearts in Atlantis will join The Shawshank Redemption as another underachiever based on one of Stephen King's more mature tales. Shawshank managed to make its unremarkable $28.2 million solely on the strength of its modest Oscar campaign. With its less-than-enthusiastic reviews and $17.6 million gross, the supernatural Anthony Hopkins vehicle will have a tough time climbing to the same lowly height.
Barring a last-minute rally, summer holdovers Rush Hour 2 and The Others could finally drop out of the Top 10 this weekend. Rush Hour 2 ranks as the year's second-highest grossing film, with $221.9 through Wednesday.
The Others remains one of the year's biggest surprises, having enjoyed a lengthy run thanks to its twists and turns. With $91.1 million through Wednesday, the modestly marketed ghost story swept past Nicole Kidman's other summer entry, the lavishly hyped, over-praised and commercially successful Moulin Rouge, with relatively ease. Divorce has obviously been good to Kidman, at least professionally.
It was a dino-might box office weekend driven by explosive openings for Jurassic Park III and America's Sweethearts.
Between them, Universal and Amblin's JP III and Revolution Studios and Columbia's Sweethearts grossed an extra sweet $81 million-plus. Distribution sources said Sunday morning that it set a record as the biggest combined total ever for two openings. They added, however, that combined total for Pearl Harbor's opening weekend and Shrek's second weekend for the three day weekend portion of this year's four day Memorial Day holiday period was an even larger $101.6 million.
Driven by the twin blockbuster openings, ticket sales reversed their recent downward pattern versus last year. Key films grossed nearly $140 million, up over 5 percent from this time a year ago.
The PG-13 rated action adventure fantasy sequel JP III kicked off to a sizzling ESTIMATED $50.27 million at 3,434 theaters ($14,640 per theater). Its cume after five days is approximately $80.9 million.
JP III is Universal's third high profile box office success story this summer. The studio began the summer season in early May with The Mummy Returns, which has grossed nearly $201 million after 12 weeks in theaters. The studio's mid-summer sleeper hit The Fast and the Furious has now grossed $125 million after five weeks in theaters.
Directed by Joe Johnston, JP III stars Sam Neill, William H Macy, Tea Leoni, Alessandro Nivola, Trevor Morgan, Michael Jeter, John Diehl and Bruce A. Young.
JP III's average per theater was the highest for any film playing in wide release this weekend.
"It's extraordinary," Universal distribution president Nikki Rocco said Sunday morning. "Coming off of the Wednesday opening (of $19 million), everybody was surprised. Now that the weekend results are almost in, I think everybody continues to be surprised.
"It would have been a normal expectation for the picture to be flat between Friday and Saturday, but once again there's no way of reading this business. We did a lot of business and were up 24 percent on Saturday night. It's playing very broad, is what it means. All of my people that went to check theaters yesterday -- which we do when we have films like this in the marketplace to make sure we're in the right screens -- at one o'clock in the afternoon the big screens were (already) three-quarters filled in the megaplexes and with families."
Rocco also pointed to anecdotal evidence that JP III is already generating repeat business. "We had a theater manager that got some complaints from parents," she explained. "But you'll never guess what the complaints were -- the kids behind them kept on saying what the next scene was going to be because they'd seen it already!"
With nearly $81 million already in hand, where does it go? While it's clearly going to be huge, it's too early now to say how huge. "No one knows," Rocco observed.
It also was an outstanding weekend for Revolution Studios and Columbia Pictures' PG-13 rated romantic comedy America's Sweethearts, which opened in second place to a very engaging ESTIMATED $31.0 million at 3,011 theaters ($10,296 per theater).
Directed by Joe Roth, it stars Julia Roberts, Billy Crystal, Catherine Zeta-Jones and John Cusack.
"We're delighted. Those are all boxcar numbers in the world of romantic comedies," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning. "You look at films like Runaway Bride on July 30, 1999 with $35.0 million and a $152 million total (in domestic theaters). That was the biggest romantic comedy opening ever. In the world of romantic comedies, you've got Runaway Bride as the biggest and then What Women Want on Dec. 15, 2000 with $33.6 million and (a domestic theatrical) cume of $183 million.
"And we don't have to take a back seat after that to anybody. You've got Notting Hill, which opened May 28, 1999 to $27.6 million on a four day Memorial Day (holiday) weekend and (wound up doing) $116 million. You've got You've Got Mail, which opened Dec. 18, 1998 to $18.4 million and did $115 million. Certainly, as you go further back there's a great indication of romantic comedies that opened in the mid-to-high teens (in millions) and all went and did over $100 million -- like Jerry Maguire ($153.6 million) and Sleepless in Seattle ($126.7 million) and things like that."
Focusing on the huge combined business for JP III and Sweethearts, Blake observed, "It's certainly great for Jurassic Park and their franchise and it's great for us and what we're trying to do. And it's great for the market. This looks like a $140 million weekend and we're even up from last year. It had been going in the other direction (in terms of weekends being down from 2000), so I think this certainly revitalized the summer with two openings of this magnitude and, hopefully, it will be a great second half (of the summer)."
Blake pointed out that, "The hard part is to get a romantic comedy out there in a big way right from Day One. They certainly have -- better than any other genre -- a great track record of holding. That always has been the game plan. To get it open to as good a number as we could versus (what is) certainly different competition, but huge competition as turned out to be the case, and to be that summer movie that's going to hold for a while. I think the genre allows that and all indications are that that's what will happen to us here."
Asked who was on hand opening weekend to see Sweethearts, Blake replied, "We got our initial exit polls and it looks like about 55%-45% women to men. So slightly more women, but really a traditional date movie for the most part. It looks like about the same 55%-45% adults to younger people, using 25 as the cut-off. Certainly we've got something here for the first time this summer -- or one of the only pictures this summer -- that appeals to adults. But it also got the younger contingent, as well. Every indication is that it's playing great."
Looking ahead, Blake pointed out, "If you look at the competition coming up it's all big, but pretty male -- Planet of the Apes and Rush Hour 2, in particular. So I think we're in a very good spot. It's unusual for two pictures to open north of $30 million on the same weekend. I know it happened with The World Is Not Enough and Sleepy Hollow, but it's hard to think of many other examples where pictures got out there in as big a way as this."
While Bride still ranks as Roberts' biggest opening ever, Sweethearts' $31 million launch goes into the record books as her second biggest opening. It overtakes Erin Brockovich, which arrived to $28.1 million on Mar. 17, 2000 and went on to gross $125.5 million in domestic theaters.
In the face of the weekend's two blockbuster arrivals, MGM's PG-13 rated comedy hit Legally Blonde fell two pegs to third place in its second week with a still sexy ESTIMATED $11.05 million (-46%) at 2,695 theaters (+75 theaters; $4,100 per theater). Its cume is approximately $43.4 million, heading for $70-75 million in domestic theaters.
Directed by Robert Luketic, the Marc Platt production stars Reese Witherspoon, Luke Wilson, Selma Blair, Matthew Davis, Victor Garber and Jennifer Coolidge with a special appearance by Raquel Welch.
"It held up great during the week and even held up well on Wednesday against the massive opening of Jurassic Park III," MGM worldwide theatrical marketing and distribution president Bob Levin said Sunday morning.
"As we look now at what happened this weekend, I think given the (blockbuster) opening of Jurassic Park III and the right on demographic target opening of America's Sweethearts, this kind of drop is totally acceptable and gives us a good feeling that we won't see anything this significant (in terms of a drop) in the future and that we'll be holding up pretty well."
Paramount's R rated crime drama The Score slid two rungs to fourth place in its second week with an okay ESTIMATED $10.75 million (-43%) at 2,160 theaters (+31 theaters; $4,977 per theater). Its cume is approximately $37.2 million.
Directed by Frank Oz, it stars Robert De Niro, Edward Norton, Angela Bassett and Marlon Brando.
Cats & Dogs, the PG rated family appeal comedy from Warner Bros., Village Roadshow Pictures and NPV Entertainment dropped two notches to fifth place in its third week, still showing its teeth with an ESTIMATED $6.77 million (-44%) at 3,040 theaters (theater count unchanged; $2,227 per theater). Its cume is approximately $72.4 million, heading for $100 million in domestic theaters.
"The picture performs like the weather report. It rained in the Miami area and the Jacksonville area and we were up 58 percent (on Saturday) from Friday. In Boston the weather was still fantastic and we were up (only) 19 percent," Warner Bros. Distribution president Dan Fellman said Sunday morning. "That's what happens with this movie. It's going to be around a very long time. Families like it. Kids like it. We're doing repeat business. It'll play a long time. There's nothing coming in that's going to hurt us."
Universal's PG-13 action drama The Fast and the Furious fell two laps to sixth place in its fifth week, still showing good legs with an ESTIMATED $5.26 million (-35%) at 2,744 theaters (-155 theaters; $1,915 per theater). Fast, which cost a modest $38 million, has a cume of approximately $125.0 million.
Directed by Rob Cohen and produced by Neal H. Moritz, it stars Paul Walker, Vin Diesel, Michelle Rodriguez and Jordana Brewster.
20th Century Fox and Davis Entertainment's PG rated comedy sequel Dr. Dolittle 2, which was seventh last week, tied for seventh place in its fifth week with a quiet ESTIMATED $4.4 million (-42%) at 2,444 theaters (-385 theaters; $1,780 per theater). Its cume is approximately $93.2 million, heading for $100 million in domestic theaters.
Directed by Steve Carr and produced by John Davis, it stars Eddie Murphy.
Dimension Films' R rated horror film spoof sequel Scary Movie 2, which was fifth last week, tied for seventh place in its third week with a mellow ESTIMATED $4.4 million (-54%) at 2,802 theaters (-418 theaters; $1,570 per theater). Its cume is approximately $61.7 million, heading for $70 million in domestic theaters.
Directed by Keenen Ivory Wayans, it stars Shawn Wayans, Marlon Wayans, Anna Faris, Regina Hall, Christopher Masterson and Kathleen Robertson.
Columbia's release of Square Pictures' PG-13 rated computer animated sci-fi fantasy adventure Final Fantasy: The Spirits Within plunged five slots to ninth place in its second week with a dull ESTIMATED $3.5 million (-69%) at 2,649 theaters (theater count unchanged; $1,321 per theater). Its cume is approximately $26.7 million.
Square financed the film's production costs, which reportedly were about $115 million. For Sony Fantasy represents a distribution deal with Columbia in only for marketing and distribution costs.
Rounding out the Top Ten was 20th Century Fox's R rated action drama Kiss of the Dragon, down two rungs in its third week with a cold ESTIMATED $2.86 million (-52%) at 1,658 theaters (-442 theaters; $1,726 per theater). Its cume is approximately $29.6 million.
Directed by Chris Nahon, it stars Jet Li and Bridget Fonda.
This weekend also saw the arrival of Fine Line Features' R rated rock musical drama Hedwig and the Angry Inch to a very encouraging ESTIMATED $0.15 million at 9 theaters ($17,001 per theater).
Directed by John Cameron Mitchell, who also wrote and adapted his hit Off-Broadway play to the screen, Hedwig stars Mitchell in its title role.
MGM's release of United Artists' R rated youth appeal comedy Ghost World materialized to a spirited ESTIMATED $0.1 million at 5 theaters ($20,174 per theater) in New York (two theaters), Los Angeles (two theaters) and Seattle (one theater).
Directed by Terry Swigoff, it stars Thora Birch, Scarlett Johansson, Brad Renfro, Illeana Douglas and Steve Buscemi.
"We have the highest screen average this week, which is great," MGM's Bob Levin said Sunday morning. "And looking back, it's a higher screen average over (hit specialized film) openings like Run Lola Run, Mighty Aphrodite, Hilary and Jackie or You Can Count On Me. We hold for a week and then expand into seven additional markets on Aug. 3. Based on this performance, I think we'll also be expanding within these first three markets.
There were no national sneak previews this weekend.
On the expansion front, this weekend saw Fox Searchlight's R rated critically acclaimed British crime thriller Sexy Beast continue to widen in its sixth week, still showing good legs with an ESTIMATED $0.39 million (-22%) at 189 theaters (+10 theaters; $2,075 per theater). Its cume is approximately $4.5 million.
Directed by Jonathan Glazer, it stars Ray Winstone and Ben Kingsley.
"I think we're going to end up with probably around $5.5-$6.0 million," Fox Searchlight distribution president Steven Gilula said Sunday morning. "We'll be real pleased with that. Right now, we're the third strongest limited release for the year after Memento and Amores Perros. I think we'll get past Amores Perros and be number two. And then it's a question of all these new (specialized) films and which ones will expand out and be able to penetrate the market. There's a lot of independent product opening now."
Miramax's R rated French comedy The Closet went wider in its fourth week with a still promising ESTIMATED $0.34 million (+8%) at 65 theaters (+22 theaters; $5,153 per theater). Its cume is approximately $1.3 million.
Directed by Francis Veber, it stars Daniel Auteuil, Gerard Depardieu, Thierry Lhermitte and Michele Laroque.
Artisan's R rated comedy Made expanded in its second week with an encouraging ESTIMATED $0.27 million at 19 theaters (+16 theaters; $13,947 per theater). Its cume is approximately $0.5 million.
Written and directed by Jon Favreau, it stars Jon Favreau, Vince Vaughn, Sean Combs, Famke Janssen, Faizon Love and Peter Falk.
Fine Line Features' R rated comedy The Anniversary Party went wider in its seventh week with a quiet ESTIMATED $0.17 million (-36%) at 120 theaters (+2 theaters; $1,405 per theater). Its cume is approximately $3.3 million.
Written/directed by and starring Alan Cumming and Jennifer Jason Leigh, its ensemble cast includes Jane Adams, Phoebe Cates, Kevin Kline, , Gwyneth Paltrow, Parker Posey and John C Reilly.
Lions Gate Films' PG-13 rated drama Songcatcher continued to widen in its sixth week with a weak ESTIMATED $0.16 million (-15%) at 91 theaters (+19 theaters; $1,800 per theater). Its cume is approximately $1.2 million.
Directed by Maggie Greenwald, it stars Janet McTeer and Aidan Quinn.
Lions Gate Films' unrated erotic drama Lost and Delirious widened in its third week with a slow ESTIMATED $0.037 million at 18 theaters (+10 theaters; $2,050 per theater). Its cume is approximately $0.14 million.
Directed by Lea Pool, it stars Piper Perabo.
Miramax's R rated comedy Everybody's Famous added a theater in its third week with a dull ESTIMATED $0.01 million at 11 theaters (+1 theater; $918 per theater). Its cume is approximately $0.075 million.
Written and directed by Dominique Deruddere, it stars Josse De Pauw.
Key films -- those grossing more than $500,000 -- took in approximately $139.68 million, up about 5.37% from the comparable weekend last year when key films grossed $132.55 million.
This weekend's key film gross was up about 19.6% from last weekend this year when key films took in $116.78 million.
Last year, DreamWorks' opening week of What Lies Beneath was first with $29.70 million at 2,813 theaters ($10,559 per theater); and Fox's second week of X-Men was second with $23.47 million at 3,112 theaters ($7,541 per theater). The top two films one year ago grossed $53.2 million. This year, the top two films grossed an ESTIMATED $81.3 million.
# # #