The Fall Guy held on to the top spot, its take of $330,589 from 111 screens more than double that of the second-placed title. Fall Guy, despite mediocre reviews, has now passed the $1 million mark and grossed $1,142,618.
Opening at #2, Marisa Abela’s turn as Amy Winehouse (above) in biopic Back to Black debuted on 99 screens, taking $156,715 for $201,633 including previews.
Kung Fu Panda 4 dropped one spot to #3. Also playing 99 screens, it added $121,109 to sneak past $4 million and has now taken $4,005,303.
May the Fourth was certainly with us over the weekend, taking spots 6 through 10 on the chart, plus some others in the teens.
Six Star Wars titles played individually, plus two bum-numbing trilogy screenings. Between them the effect was to distort the weekend chart and cause a lot of other films to fall a lot of places as well, of course, as bringing a lot of joy to a lot of people who don’t often get out. The best performer of the six individual titles was Episode III – Revenge of the Sith (a 4K Remaster), which took $62,834.
Opening on 36 screens, Loren Taylor’s The Moon is Upside Down took $28,724 for $34,985 including previews. We hope that once more screen space is available (Star Wars titles used a combined 368 screening slots over the weekend) Moon will get a bit more room to breathe.
Rachel House’s The Mountain added $18,455 from 53 screens, and has now taken a total of $693,872.
Two recently-departed titles each made a single screen return over the weekend.
Aussie sequel Force of Nature: The Dry 2 took $201, for $294,662; Annie Goldson’s doco Red Mole: A Romance took $30 for $10,683.
After the Star Wars blast over the weekend, this week sees a new hope for another long-running franchise. Truckloads and then some of Wētā wizardry help deliver Kingdom of the Planet of the Apes. Other openers include Les Misérables: Remastered, turning back time for a cast including Amanda Seyfried, Anne Hathaway, Eddie Redmayne, Helena Bonham Carter, Hugh Jackman and Russell Crowe.
As always, huge thanks to Numero for the data that powers our box office reports.
