Weekend Box Office Report: March 22-24 2013

BOX OFFICE REPORT "” March 22-24, 2013(estimates from BoxOfficeMojo.com)


1. The Croods ($44.7 million)2. Olympus Has Fallen ($30.5 million)3. Oz the Great and Powerful ($22 million)4. The Call ($8.7 million)5. Admission ($6.4 million) 

DreamWorks rebounded after a particularly cold winter reception for Rise of the Guardians. Their prehistoric comedy The Croods dominated the box office this weekend with an estimated $44.7 million. Animated flicks always do well in the spring, though The Croods didn't have nearly the debut 2012's The Lorax did. While the Neanderthal family still has a ways to go to justify a sequel, another adventure will likely be announced any day now, especially since the film made even more overseas.

The Die Hard knockoff Olympus Has Fallen actually opened better than the last Die Hard movie (as long as your only counting its Friday to Sunday gross). Still, it's close either way and, depending on your viewpoint, is either great for this film or bad for Die Hard. It's likely to match that film's $66 million so far by the time it's all said and done, but expect a big drop next week. Unless there's a superhero involved, action movies rarely stick around.

Finally, the Tina Fey-Paul Rudd rom-com Admission only made $6.4 million. That's only a million and a half more than Spring Breakers did in its expansion, but that film did it on half the screens. Admission won't be a total failure, since it only cost $13 million, but it will be out of theaters very quickly. Compare that to Spring Breakers, which is likely a flash in the pan rather than a legitimate breakout hit. This weekend it added 1100 screens and brought in nearly $5 million, which is more money than all of Harmony Korine's previous directorial efforts combined. It's unlikely to have staying power once we move into April, but it's a definite conversation starter for the time being.

Outside the top 5:- The sketch comedy inAPPropriate Comedy (yes, it's spelled that obnoxiously) averaged only $625 per its 275 screens. Any average less than $1,000 is pretty putrid. Director Vince Offer should stick to what he knows: selling ShamWows. - Australia's musical sensation The Sapphires, which recently swept that country's version of the Oscars, averaged a healthy $10,225 on its four screens. If word-of-mouth is strong, this could be yet another hit for Chris O'Dowd (Bridesmaids). - The arthouse champ this week was the graffiti artist dramedy Gimme the Loot, which made $23,400 on its lone screen.

Next week: The box office gets heated as the long-delayed G.I. Joe sequel Retaliation opens Thursday, followed by Stephenie Meyer's non-Twilight adaptation The Host. That one's written and directed by the great Andrew Niccol (Gattaca, The Truman Show), so it might actually be watchable compared to the Twilight series. Those two face off against the 800th Tyler Perry movie Temptation. I think Joe ekes out the win with $35 million, with $22 million for The Host and $18 for Temptation.


About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.

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