Welcome to the calm before the storm. With a handful of blockbuster movies already released, and more on the way, the second weekend in April was a relatively quiet affair, with a few old favorites dominating the weekend yet again and a few new releases grabbing whatever box office they could before things get fast and furious at your local multiplex. Let’s take a look at the projected grosses through Sunday afternoon.
In a parallel universe where Paramount Pictures doesn’t alienate its fanbase, we might be talking about Ghost in the Shell as the big winner of this weekend and the de facto start of a new wave of Japanese Hollywood adaptations. Instead, DreamWorks Animation and The Boss Baby blew up the box office, no doubt delighting a handful of DreamWorks executives who watched the Ghost in the Shell controversy unfold with glasses of champagne in hand. After all, nobody’s going to boycott a movie about a baby who wears a suit.
After several weeks of limited movement, a handful of new releases prompted a pretty thorough shakeup of the Box Office Top 10. While Beauty and the Beast continued its unstoppable assault on the domestic box office, we also said hello this weekend to three new movies and goodbye to a handful of old favorites from the first few months of the year. Let’s start with the estimated numbers as of Sunday afternoon.
It might be a tale as old as time, but audiences have proven there’s still a few petals left on that old flower. Despite being projected to open at somewhere between $214–245 million worldwide, Beauty and the Beast knocked the pants off those projections, eclipsing $350 million at the international box office and setting a March record for domestic releases along the way. Let’s take a look at how things shook out this past weekend with some of the expected grosses.
With Hugh Jackman’s Logan opening in theaters this weekend, the top spot of this list was never in doubt. The questions were always whether audiences would respond well to the first major R-rated superhero movie. Was the big opening of Deadpool an abberation or a sign of things to come? If today’s numbers are any indication, the answer is, maybe a little bit of both.
As a teenager in the ’90s, no actor better represented blockbuster movies than Bill Paxton. Although Paxton wasn’t typically a leading man in those movies — he would often play the brother, the second-in-command, or the comic relief — he served as a kind of talisman of quality. If you saw Paxton’s name in the opening credits of a movie, you knew that the film was going to be better for it.
While the Academy Awards may leave a sour taste in the mouths of those who think artists shouldn’t be forced to compete, there’s no denying that an Oscar nomination is still a powerful piece of validation for a lot of filmmakers, especially those from other countries. Filmmakers like Asghar Farhadi — whose 2016 film The Salesman will be seen by many Americans due to its Best Foreign Language Film nomination — should be able to take this time to engage with audiences about the importance of this work. Instead, Farhadi will have to watch the Academy Awards on television like the rest of us.
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