It's an impressive feat for a movie to be strange and forgettable, subversive yet littered with crass product placement. Escape from Planet Earth manages to be all of these things and more. In this world, aliens are abducted by government officials, Roswell is an intergalactic work camp, an Army general is conducting an online affair with a sexy alien lady, and the stoners who work or hang out or whatever at 7-11 ply their new little blue friend with a matching blue Slurpee. Sounds promising, right?
Not entirely. For the most part, the plodding plot is driven by a lackluster sibling rivalry between Gary Supernova (Rob Corddry) and his lantern-jawed brother Scorch (Brendan Fraser). These little blue dudes live on the planet Baab and work at BASA, which is (obviously) Baab's version of NASA. Gary's the nerdy mission control guy who saves his brother's butt when Scorch is off being a bad ass astronaut. A plodding series of events lands them both on Earth, a planet full of violent, devolved creatures where aliens from across the galaxy routinely go missing. There, they find the devious General Shanker (William Shatner) is snatching otherwise peaceful aliens and putting them to work on building a giant weapon that will destroy the universe. The other aliens Gary and Scorch run into are way more interesting and fun than the folks they left behind on Baab — a cafeteria food fight between Roswell employees and the aliens is more entertaining than 90% of the interactions between Gary and Scorch — which is a bummer since Gary's wife Kira (Sarah Jessica Parker) is hot on their heels to rescue them. Lena, the head of BASA, is a lovelorn villainess (Jessica Alba) who would be willing to blow up the world for a hot human with an Elvis pompadour that she met online. She and Kira used to be coworkers but now Lena's like, whatever, now you're a stay-at-home mom! And Kira's like, I will kick your butt. And so on. The female characters in the movie are pretty decent, all things considered.
Still, Escape from Planet Earth is a bit of a mess. Are we rooting for family values? Or railing against how silly humans are? Or constantly, odiously plugging 7-11? There is also auto-tuned music on the soundtrack, although it's not clear if this was yet another invention of the aliens (like the iPhone, Facebook, the Internet, and Pixar, according to one montage) or yet another example of how humans have devolved. Adding to the confusion: a sexy news reporter alien voiced by Sofía Vergara.
Escape from Plant Earth seems like its plot was originally cooked up by some sorta cool goofy dudes — I mean, Steve Zahn and Chris Parnell as stoners who work at 7-11? Pretty funny! — that was then wrangled into something a little more family-friendly. (Vis the website, which is littered with seals of approval from the Parents Television Council and the Dove Foundation.) It's not that it's particularly bad, it's just not something that sticks with you in any meaningful way. The rest of the voice cast is pretty good, like Craig Robinson as a cool talk radio "therapist" alien and Jane Lynch as a one-eyed librarian from the sun with anger management problems. It's just that there's so much other stuff happening that isn't particularly gripping. Like the crux of the entire story. Who cares if Gary and Scorch ever make up? Who cares that Kip thinks his dad is a pantywaist? You really don't. In a world where film-lovers of all ages can be challenged, entertained, and moved by animated film, it's entirely fair to expect more of family films.
(Escape from Planet Earth is available in 3D, but for expediency's sake, I saw the 2D version.)
[Photo Credit: The Weinstein Company]
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
There's an allure to imperfection. With his latest drama Lawless director John Hillcoat taps directly into the side of human nature that draws us to it. Hillcoat finds it in Prohibition history a time when the regulations of alcohol consumption were subverted by most of the population; He finds it in the rural landscapes of Virginia: dingy raw and mesmerizing. And most importantly he finds it in his main character Jack Bondurant (Shia LaBeouf) the scrappy third brother of a moonshining family who is desperate to prove his worth. Jack forcefully injects himself into the family business only to discover there's an underbelly to the underbelly. Lawless is a beautiful film that's violent as hell striking in a way only unfiltered Americana could be.
Acting as the driver for his two outlaw brothers Forrest (Tom Hardy) and Howard (Jason Clarke) isn't enough for Jack. He's enticed by the power of the gangster figure and entranced by what moonshine money can buy. So like any fledgling entrepreneur Jack takes matters into his own hands. Recruiting crippled family friend/distillery mastermind Cricket (Dane DeHaan) the young whippersnapper sets out to brew his own batch sell it to top dog Floyd Banner and make the family rich. The plan works — but it puts the Bondurant boys in over their heads with a new threat: the corrupt law enforcers of Chicago.
Unlike many stories of crime life Lawless isn't about escalation. The movie drifts back and forth leisurely popping in moments like the beats of a great TV episode. One second the Bondurants could be talking shop with their female shopkeep Maggie Beauford (Jessica Chastain). The next Forrest is beating the bloody pulp out of a cop blackmailing their operation. The plot isn't thick; Hillcoat and screenwriter Nick Cave preferring to bask in the landscapes the quiet moments the haunting terror that comes with a life on the other side of the tracks. A feature film doesn't offer enough time for Lawless to build — it recalls cinema-level TV currently playing on outlets like HBO and AMC that have truly spoiled us — but what the duo accomplish is engrossing.
Accompanying the glowing visuals and Cave's knockout workout on the music side (a toe-tapping mix of spirituals bluegrass and the writer/musician's spine-tingling violin) are muted performances from some of Hollywood's rising stars. Despite LaBeouf's off-screen antics he lights up Lawless and nails the in-deep whippersnapper. His playful relationship with a local religious girl (Mia Wasikowska) solidifies him as a leading man but like everything in the movie you want more. Tom Hardy is one of the few performers who can "uurrr" and "mmmnerm" his way through a scene and come out on top. His greatest sparring partner isn't a hulking thug but Chastain who brings out the heart of the impenetrable beast. The real gem of Lawless is Guy Pearce as the Bondurant trio's biggest threat. Shaved eyebrows pristine city clothes and a temper like a rabid wolverine Pearce's Charlie Rakes is the most frightening villain of 2012. He viciously chews up every moment he's on screen. That's even before he starts drawing blood.
Lawless is the perfect movie for the late August haze — not quite the Oscary prestige picture or the summertime shoot-'em-up. It's drama that has its moonshine and swigs it too. Just don't drink too much.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
Columbus may have discovered America, but Hollywood made its own big discovery at the Columbus Day weekend box office, which is that it doesn't pay to open too many films at once.
Only two of the weekend's half-dozen wide openings managed to crack the Top Five. Despite all the new competition, it was Red Dragon that again took the biggest bite out of moviegoers' wallets with $17.6 million.
Sweet Home Alabama remained a sexy second with $14.1 million.
Brown Sugar, the sweetest of the new wide arrivals, finished third with $11.1 million.
The Transporter rolled into fourth place with $9.2 million.
My Big Fat Greek Wedding was a jolly fifth with $7.9 million, off only 4 percent. With over $158 million on hand, it's heading for $175 million.
The weekend's biggest box office punch came from Revolution Studios and Columbia's limited launch of Punch-Drunk Love with $380,000 at five theaters -- a mind boggling $76,000 per theater for the critically acclaimed Paul Thomas Anderson romantic comedy starring Adam Sandler. (For details, see OTHER OPENINGS below.)
Despite the lack of any Top Five blockbuster openings, key films jumped 25.5 percent over last year -- $100.3 million versus $79.87 million.
THE TOP TEN
Universal and Dino De Laurentiis's R rated thriller Red Dragon, presented in association with Metro-Goldwyn-Mayer Pictures, topped the chart again in its second weekend with an ESTIMATED $17.61 million (-52%) at 3,363 theaters (+6 theaters; $5,235 per theater). Its cume is approximately $63.2 million.
Directed by Brett Ratner, it stars Anthony Hopkins, Edward Norton, Ralph Fiennes, Harvey Keitel, Emily Watson, Mary-Louise Parker and Philip Seymour Hoffman.
"We're very thankful that we're number one in a weekend where there's been seven new openings (at 200 or more theaters)," Universal distribution president Nikki Rocco said Sunday morning.
"The business (this weekend) is tremendous and might be $100 million when all is said and done. And having the number one film two weeks in a row with so many openings is something to be really grateful for."
Dragon's 52 percent slide, she noted, is "not unusual for sequel or prequel films. It's not unusual for a film to take a drop like that. But with not much opening wide but one film next week, I think we're going to play out. We're at $62.2 million at the end of this weekend and this certainly will break $100 million. That puts it in the blockbuster category and it's something to celebrate."
Buena Vista/Touchstone's PG-13 rated romantic comedy Sweet Home Alabama fell one peg to second place in its second week, showing good legs with an ESTIMATED $14.1 million (-34%) at 3,313 theaters (+10 theaters; $4,256 per theater). Its cume is approximately $85.0 million, heading for $125 million or more in domestic theaters.
Directed by Andy Tennant, it stars Reese Witherspoon.
Fox Searchlight Pictures' PG-13 rated urban appeal romantic comedy Brown Sugar opened in third place to a very promising ESTIMATED $11.05 million at 1,372 theaters ($8,054 per theater).
Brown Sugar's average per theater was the highest for any film playing in wide release this weekend.
Directed by Rick Famuyiwa, it stars Taye Diggs and Sanaa Lathan.
"We're thrilled and ecstatic," Fox Searchlight Pictures distribution president Stephen Gilula said Sunday morning. "It's just an excellent result. It's a delightful PG-13 romantic comedy with a great ensemble cast and it has great music. We've gotten an excellent response.
"We did a few exit surveys and we have an 85 percent definite recommend, which is superb. We also see signs of the film crossing over and spreading out from the core African-American audience so everything is very, very positive about this. It's a really strong movie that plays very well."
Will Searchlight go wider with Brown Sugar? "We might," Gilula replied. "We will see this week, depending upon what the demand is as we examine more closely how well it did around the country. It is a very, very crowded marketplace, but we are seeing some evidence of cross over following in the footsteps of what Barbershop was able to do."
Searchlight chose to take the film out this weekend, Gilula explained, because, "We knew there was a very strong core audience of African-American moviegoers who are very loyal when you have a good movie. And with our cast and (the fact that the film) tested very well and there was no other film (like it) coming in the market and it was already the fifth week of Barbershop, we were not too worried about the core constituency for this film.
"We knew what we have and felt the other films would be competing with each other, not with us. We knew that we would not be competing for number one, given the strength of Red Dragon and Sweet Home Alabama. But based on our screen average and our number of screens, it's a terrific result."
As for adding theaters, he said, "We will be talking about that tomorrow morning. I think there is a possibility of that. We just want to digest what's happened and see how far to go."
20th Century Fox's PG-13 rated action drama The Transporter kicked off in fourth place to an energetic ESTIMATED $9.15 million at 2,572 theaters ($3,558 per theater).
Directed by Cory Yuen, it stars Jason Statham and Shu Qi.
"A good start for a crowded weekend," Fox distribution president Bruce Snyder said Sunday morning.
Who was on hand? "It was largely male, of course," Snyder replied. "63 percent male. And evenly divided by age, under-25 and over-25, which I found somewhat surprising. So it played even a little older than one might expect."
IFC Films' release of Gold Circle Films and HBO's PG rated romantic comedy blockbuster My Big Fat Greek Wedding slid one slot to fifth place in its 26th week, still holding unbelievably well with an ESTIMATED $7.87 million (-4%) at 2,016 theaters (+45 theaters; $3,902 per theater). Its cume is approximately $158.4 million, heading for $175 million in domestic theaters.
Directed by Joel Zwick, it stars Nia Vardalos and John Corbett.
DreamWorks' PG-13 action comedy The Tuxedo dropped three pegs to sixth in its third week, holding decently with an ESTIMATED $7.0 million (-30%) at 2,985 theaters
(-37 theaters; $2,358 per theater). Its cume is approximately $37.0 million.
Directed by Kevin Donovan, it stars Jackie Chan and Jennifer Love Hewitt.
Warner Bros.' PG-13 rated drama White Oleander arrived in seventh place to a calm ESTIMATED $5.66 million at 1,510 theaters ($3,745 per theater).
Directed by Peter Kosminsky, it stars Alison Lohman, Robin Wright-Penn, Michelle Pfeiffer and Renee Zellweger.
"The exits were very strong," Warner Bros. Distribution president Dan Fellman said Sunday morning. "The audience was about 65 percent female, but 50 percent were under the age of 25. A little bit younger than we had hoped for. The exits were all very positive. So we'll see what happens during the week. Ya-Ya (last summer's Warner Bros. hit "Divine Secrets of the Ya-Ya Sisterhood) in some respects had a similar pattern in terms of audience mixture. (It had) a good reaction in that women came out strong during the week."
Buena Vista/Disney's PG rated fantasy family film Tuck
Everlasting opened in eighth place to a quiet ESTIMATED $5.5 million at 1,185 theaters ($4,658 per theater).
Directed by Jay Russell, it stars Alexis Bledel, Ben Kingsley, Sissy Spacek, Jonathan Jackson and William Hurt.
New Line Cinema's R rated drama Knockaround Guys opened ninth, knocked for a loop with an ESTIMATED $5.04 million at 1,806 theaters ($2,791 per theater).
Written and directed by Brian Koppelman & David Levien, it stars Barry Pepper, Vin Diesel, Seth Green, Dennis Hopper and John Malkovich.
Rounding out the Top Ten was MGM's PG-13 rated urban appeal comedy Barbershop, down five rungs in its fifth week with a shorter ESTIMATED $4.0 million (-39%) at 1,911 theaters (-265 theaters; $2,093 per theater). Its cume is approximately $65.4 million, heading for $75-80 million in domestic theaters.
Directed by Tim Story, it stars Ice Cube, Anthony Anderson, Sean Patrick Thomas, Eve and Cedric The Entertainer.
This weekend also saw the arrival of Lions Gate Films' R rated drama The Rules of Attraction to a soft ESTIMATED $2.4 million at 1,430 theaters ($1,678 per theater).
Written and directed by Roger Avary, it stars James Van Der Beek, Shannyn Sossamon, Jessica Biel, Ian Somerhalder, Kip Pardue and Kate Bosworth.
Miramax's G rated animated sequel Pokemon 4Ever opened to a weak ESTIMATED $0.68 million at 249 theaters ($2,710 per theater).
Revolution Studios and Columbia's R rated romantic comedy drama Punch-Drunk Love kicked off to an outstanding ESTIMATED $0.38 million at 5 theaters ($76,000 per theater).
Written and directed by Paul Thomas Anderson, it stars Adam Sandler and Emily Watson.
"We've got a spectacular start for Punch-Drunk Love," Sony Pictures Entertainment worldwide marketing & distribution president Jeff Blake said Sunday morning.
"It's really eye-popping. Just as a point of comparison (consider) two recent limited (releases). Royal Tenenbaums also was in five runs and did $277,000 for a $55,396 average. American Beauty, which took 16 runs, did $861,000 for a $53,846 average. Those are kind of the state-of-the-art limiteds with really what has to be considered terrific per screen averages in the mid-$50,000s. So to be in the mid-$70,000s is pretty exciting."
Is this the biggest average ever for a limited release? "I've got two asterisks for you," Blake explained. "The first asterisk is that for over two runs, it certainly is the biggest -- with one exception. And that's (Disney's) Pocahontas, which had a stage show in both New York and L.A. (and averaged $448,286 per theater with six runs the weekend of June 16-18, 1995). But other than that, you can find a couple of (films with) two runs (that averaged more). For instance, (Fox's) Moulin Rouge had two runs at $83,000 average. But for over two runs and noting the one exception on Pocahontas, this is the biggest."
Punch-Drunk Love is playing this weekend, he said, "in New York with two runs, L.A. with two runs and Toronto (at one theater). We'll be expanding (this Friday) to introduce it to several more cities and then going wider on Oct. 25 and wider still on Nov. 1. But this week, probably in the neighborhood of 85 runs in 11 cities."
"We're playing just about the same number of seats in all five of these complexes," Revolution partner Tom Sherak said Sunday morning. "They're all somewhere between 750 and 800 seats. They're all about the same (in terms of grosses). In the Union Square (in New York), Friday was $26,100. Saturday was $30,800. The Paramount (in Toronto) was $26,600 (Friday) and Saturday was $27,700. Lincoln Square (in New York) was $20,800 (Friday) and then $27,600.
"The Grove (in L.A.) was $25,300 (Friday) and then $26,500. And the Criterion (in Santa Monica) was $19,500 (Friday) and then $25,000. They're the same numbers in the same seats. That's what to me is amazing. It means that the capacity is all there at night and they're playing to the same amount of people wherever it is. Toronto sometimes can fall behind New York, but not (in this case)."
Wherever Punch-Drunk Love has played to date, Sherak added, the critics have loved it: "It was in the Toronto Film Festival. It was the centerpiece in the New York Film Festival. I don't know a picture this year that's gotten the kind of overall reviews this picture's gotten. Time and Newsweek, Rolling Stone, L.A. Times, New York Times -- they're all great reviews. You're going to see that more and more. It's critically acclaimed. It's just incredible."
Screen Gems' opening of its R rated romantic drama Swept Away made no box office waves, drowning with an ESTIMATED $0.375 million at 196 theaters ($1,913 per theater).
Directed by Guy Ritchie, it stars Madonna, Adriano Giannini, Jeanne Tripplehorn and Bruce Greenwood.
"Nobody gets hurt in this one," Sony's Jeff Blake said. "This was an $11 million negative, which we took a very cautious releasing strategy on. Really, there's no major exposure to anybody in this."
United Artists' R rated satiric documentary Bowling For Columbine opened via MGM to a high scoring ESTIMATED $0.21 million at 8 theaters in New York and L.A. ($25,750 per theater).
Written, produced and directed by Michael Moore, it won the Special Jury Prize at this year's Cannes Film Festival.
Miramax's Dimension Films opened its R rate horror film Below to a below par ESTIMATED $0.2 million at 168 theaters ($1,190 per theater).
Directed by David Twohy, it stars Matt Davis and Bruce Greenwood.
Miramax's R rated comedy Comedian opened to a very funny ESTIMATED $61,000 at 4 theaters ($15,250 per theater).
Directed by Christian Charles, it stars Jerry Seinfeld.
This weekend saw DreamWorks hold 400 sneak previews Saturday night of its PG-13 rated horror thriller The Ring.
Directed by Gore Verbinski, it stars Naomi Watts, Martin Henderson and Brian Cox.
"From a capacity standpoint, the average was about 70 percent overall with about 10 percent of them selling out," DreamWorks distribution head Jim Tharp said Sunday morning.
"It was 58 percent male and 42 percent female, fairly evenly split under and over 25. In the definite recommend area, it was above average for everyone and substantially above average for the under-25 group."
Ring opens wide this Friday (Oct. 18) at 1,800 to 2,000 theaters.
On the expansion front this weekend Buena Vista/ Disney's PG rated animated feature Spirited Away went wider in its fourth week with an okay ESTIMATED $0.6 million (+2%) at 138 theaters (+41 theaters; $4,517 per theater). Its cume is approximately $2.7 million.
Directed by Hayao Miyazaki, it was the Golden Bear best picture winner at the Berlin International Film Festival. Spirited is the all-time top grossing film at the Japanese box office.
Lions Gate Films' R rated kinky romance Secretary expanded in its fourth week with an appealing ESTIMATED $0.45 million (+13%) at 149 theaters (+43 theaters; $3,020 per theater). Its cume is approximately $1.8 million.
Directed by Steven Shainberg, it stars James Spader and Maggie Gyllenhaal.
United Artists' R rated dark comedy Igby Goes Down widened in its fourth week, holding well with an ESTIMATED $0.45 million (-8%) at 155 theaters (+8 theaters; $2,889 per theater). Its cume is approximately $3.3 million.
Written and directed by Burr Steers, it stars Kieran Culkin, Claire Danes, Jeff Goldblum, Jared Harris, Amanda Peet, Ryan Phillippe, Bill Pullman and Susan Sarandon.
Focus Features' R rated French comedic whodunit 8 Women expanded in its fourth week, still showing good legs with an ESTIMATED $0.3 million (-15%) at 85 theaters (+3 theaters; $3,505 per theater). Its cume is approximately $1.7 million.
Directed by Francois Ozon, it stars Catherine Deneuve, Isabelle Huppert, Emmanuelle Beart, Fanny Ardant, Virginie Ledoyen, Danielle Darrieux, Ludivine Sagnier and Firmine Richard.
Key films -- those grossing more than $500,000 -- took in approximately $100.25 million for the weekend, up about 25.52 percent from last year when they totaled $79.87 million.
Key films were down about 4.1 percent from the previous weekend this year when they totaled $104.54 million.
Last year, Warner Bros.' second week of Training Day was first with $13.39 million at 2,712 theaters ($4,936 per theater); and MGM's opening week of Bandits was second with $13.05 million at 3,207 theaters ($4,069 per theater). The top two films one year ago grossed $26.5 million. This year, the top two films grossed an ESTIMATED $31.7 million.