Buena Vista/Touchstone and Spyglass Entertainment's Reign Of Fire dropped three pegs to eighth place in its third week with a cold ESTIMATED $3.3 million (-54%) at 2,005 theaters (-624 theaters; $1,665 per theater). Its cume is approximately $36.3 million.

Directed by Rob Bowman, it stars Matthew McConaughey and Christian Bale.

20th Century Fox and DreamWorks' PG-13 rated sci-fi fantasy thriller Minority Report rose two slots to ninth place in its sixth week with a calm ESTIMATED $3.1 million (-30%) at 1,365 theaters (-307 theaters; $2,293 per theater). Its cume is approximately $123.4 million, heading for $135 million in domestic theaters.

Directed by Steven Spielberg, it stars Tom Cruise.

Rounding out the Top Ten was Gold Circle Films and HBO's PG rated romantic comedy hit My Big Fat Greek Wedding in its 15th week via IFC Films, which continued to widen and show incredibly good legs with an ESTIMATED $3.0 million (+16%) at 569 theaters (+39 theaters; $5,290 per theater). Its cume is approximately $35.4 million, heading for $50 million or more in domestic theaters.

Directed by Joel Zwick, it stars Nia Vardalos and John Corbett.

OTHER OPENINGS

This weekend also saw the arrival of Focus Features' R rated The Kid Stays in the Picture, the "unbelievable true tale of Robert Evans," to an outstanding ESTIMATED $88,799 at 4 theaters ($22,200 per theater). Produced and directed by Brett Morgen and Nanette Burstein and produced by Graydon Carter, Kid is based on the book by Robert Evans.

"It's great," Focus Features distribution head Jack Foley said Sunday morning. "It's at four theaters -- two in New York and two in L.A. The Regent and the Sunset (in L.A.) and the Angelika and the Lincoln Plaza (in N.Y.). We looked at how we rank against the art film openings of the summer. This print average is the biggest among any art film opening, whether it's Lovely & Amazing, The Importance of Being Earnest, Tadpole and the like." Although Kid has been called a documentary in some articles and reviews, it's really its own new form of movie. Nonetheless, compared to the industry's most successful documentaries it also ranks among the all-time biggest openings.

Talking to Robert Evans Sunday morning, I asked him how to best describe Kid. "I don't know what you would call the picture, quite frankly," Evans replied. "It's not a documentary. It really isn't. If anything, you could call it a 'performance piece.' That's what it really is. Graydon Carter originally wanted to call it a 'performance piece.' I didn't like it because it sounded pompous. But he says it's not now because that's what it is."

Evans has been watching audiences seeing the film at the theaters in New York where it's playing. "You can't hear a sound in the theater, except when the laughs come," he said. "No one gets up to (go to the rest rooms)."

To launch the picture, Evans pointed out, Focus did not have the kind of multi-million dollar marketing budget that studios routinely spend to open wide releases. Much of the promotional job depended on free publicity in the media, which Evans has been doing non-stop this summer.

"I've been working tirelessly on it," he noted. "I'm the one person in the picture and I've got to do it. They're looking upon this as a break-through new form of film. It really has no category to put it under. One thing you can say is it's an original. There hasn't been anything made like this and that's one of the things that's attractive about it."