I tend to enjoy monkey movies, even ones that aren’t perfect, and War for the Planet of the Apes isn’t perfect.

Box office report: Planet of the Apes wins the war against Spider-Man for No. 1

War for the Planet of the Apes has won the box office this weekend.

The latest in the Planet of the Apes franchise has brought in an estimated $56.5 million in its first weekend of release, while also playing well with fans (an A- on CinemaScore). However, despite coming out on top, War omanaged to beat its closest rival, Spider-Man: Homecoming, by only an estimated $11.3 million. In fact, this weekend’s opening figures hew closer to that of 2011’s Rise of the Planet of the Apes ($54.8 million) as opposed to its most recent predecessor, 2014’s Dawn of the Planet of the Apes ($72.6 million). This estimated $16.1 million shortfall is in keeping with a recent trend that sees familiar blockbuster franchises not perform as well as they used to. Internationally, War for the Planet of the Apes has earned $46 million, bringing the movie’s current worldwide earnings to $102.5 million.

The newest Planet of the Apes movie follows Caesar (played once again by Lord of the Rings‘ Andy Serkis) as he embarks on a quest to avenge his fellow apes after their forces are decimated in a deadly battle against an army of humans lead by Woody Harrelson’s ruthless Colonel. As Caesar grapples with his emotions, he finds himself facing off against the Colonel in a fight that will decide the fates of both their species (and the planet a large).

In second place this week is Spider-Man: Homecoming with estimated earning of $45.2 million, bringing the movie’s domestic total to $208.3 million after only 10 days in theaters. Internationally, the Columbia Pictures and Marvel Studios production has been performing just as well, bringing in an additional $261 million, bringing the worldwide total for the movie starring Tom Holland, Michael Keaton, and Zendaya to $469.4 million so far.

However, despite debuting to critical and fan acclaim (an A on CinemaScore), the film’s second week sees a steep 61.4 percent drop in its earnings — not unlike 2007’s Spiderman 3 (61.5 percent) and 2014’s The Amazing Spider-Man 2 (61.2 percent), though in the case of the former, the movie actually ended up pulling in a higher figure ($58.2 million) in its sophomore frame than Homecoming. In terms of actual earnings, the Tom Holland-led movie seems to be following the 2004’s Spider-Man 2, which also earned $45.2 million in its second week out.

At No. 3 is Illumination and Universal’s Despicable Me 3, with the animated feature film bringing in an estimated $18.9 million this week. This brings the movie’s domestic total to $188 million — which is much lower than predecessors Despicable Me 2 ($276 million) and Minions ($262.4 million) at this point in the movie’s box office run. However, combined with its international earnings of $431.4 million so far, DM3‘s worldwide earning currently sits at $619.4 million, which is more than Despicable Me overall earnings ($543 million) by the end of its run.

In fourth place is Edgar Wright’s critically acclaimed Baby Driver, earning an estimated $8.75 million. With another steady 32.7 percent drop in its domestic haul, this continues to be Wright’s highest earning movie, with a domestic box office total of $73.2 million, and a worldwide one of $96.3 million. By comparison, Wrights’ previous movies Scott Pilgrim vs. the World, The World’s End, Hot Fuzz, and Shaun of the Dead earned, respectively, $47.7 million, $46.1 million, $80.6 million, and $30 million by the end of their entire runs. The impeccably-scored heist movie stars Ansel Elgort, Lily James, Jon Hamm, Kevin Spacey, and Jamie Foxx.

Cracking the top 5 is none other than the Kumail Nanjiani and Zoe Kazan-starring The Big Sick with an estimated $7.6 million. Following its successful opening in limited release, and slowly building buzz, the movie’s current domestic total sits just above $16 million. Silicon Valley‘s Nanjiani and Ruby Sparks‘ Kazan star as a Pakistani comedian and an American grad student who fall in love, but then break up when he can’t tell his conservative Muslim parents that he does not want an arranged marriage. But when Kazan’s Emily falls ill and is put in a coma, Nanjiani’s character starts to bond with her parents, played by Ray Romano and Holly Hunter.

Elsewhere in the top 10, DC’s Wonder Woman saw a small drop in its earnings (29.9 percent) as it earned an estimated $6.9 million, bringing its domestic total to $380.7 million, cementing its status as, domestically, the highest-grossing DC Extended Universe movie. In terms of its worldwide earnings, WW has brought in $764.9 million, placing it firmly behind Batman v Superman ($873.3 million), in which the titular character actually also appeared.

In seventh place is newcomer Wish Upon with an estimated $5.6 million. The Broad Green-produced horror movie has not played well with critics or fans (a C on CinemaScore), despite starring Ryan Phillippe as Jonathan Shannon, a father who gifts his 17-year-old daughter Clare (Joey King) with a music box that (unbeknownst to him) will grant her seven wishes courtesy of its dark powers. Despite some initial hesitation, Clare begins to use the box’s dark powers to improve her life — only, as she discovers, each one also causes the people close to her to die quite violently. Maze Runner‘s Ki Hong Lee and newly-minted Emmy nominee Shannon Purser also star.

Outside the top 10, and in limited release, Lady Macbeth debuted to an estimated $68,813 opening, with a per theater average of $13,763 from only 5 locations. The movie, which is set in 1865 rural England, tells the story of Katherine, a young woman who is stuck in a loveless marriage with an older man, but then begins an affair with one her own age, leading both to commit murder to preserve their newfound lives.

Elsewhere, Endless Poetry opened in two locations with an estimated $28,000, and a PTA of $14,000. Directed by Alejandro Jodorowsky, the French-Chilean drama explores his early adulthood and the events which prompted his decision to become a poet.

Per ComScore, overall box office is down 0.4 percent from the same frame last year. Check out the July 14-16 box office figures below.

1 – War for the Planet of the Apes – $56.5 million
2 – Spider-Man: Homecoming – $45.2 million
3 – Despicable Me 3 – $18.9 million
4 – Baby Driver – $8.75 million
5 – The Big Sick – $7.6 million
6 – Wonder Woman – $6.9 million
7 – Wish Upon – $5.6 million
8 – Cars 3 – $3.2 million
9 – Transformers: The Last Knight – $2.8 million
10 – The House – $1.8 million


He was a true legend. May he rest in peace.

George A. Romero, Night of the Living Dead director, dead at 77

George A. Romero, whose classic Night of the Living Dead and other horror films turned zombie movies into social commentaries and who saw his flesh-devouring undead spawn countless imitators, remakes and homages, has died. He was 77.

Romero died Sunday following a battle with lung cancer, said his family in a statement provided by his manager Chris Roe. Romero’s family said he died while listening to the score of The Quiet Man, one of his favourite films, with his wife, Suzanne Desrocher, and daughter, Tina Romero, by his side.

Romero is credited with reinventing the movie zombie with his directorial debut, the 1968 cult classic Night of the Living Dead. The movie set the rules imitators lived by: Zombies move slowly, lust for human flesh and can only be killed when shot in the head. If a zombie bites a human, the person dies and returns as a zombie.

Romero’s zombies, however, were always more than mere cannibals; they were metaphors for conformity, racism, mall culture, militarism, class differences and other social ills.

“The zombies, they could be anything,” Romero told The Associated Press in 2008. “They could be an avalanche, they could be a hurricane. It’s a disaster out there. The stories are about how people fail to respond in the proper way. They fail to address it. They keep trying to stick where they are, instead of recognizing maybe this is too big for us to try to maintain. That’s the part of it that I’ve always enjoyed.”

Night of the Living Dead, made for about $100,000 US, featured flesh-hungry ghouls trying to feast on humans holed up in a Pennsylvania house. In 1999, the Library of Congress inducted the black-and-white masterpiece into the National Registry of Films.

Many considered the film to be a critique on racism in America. The sole black character survives the zombies, but he is fatally shot by rescuers.

Ten years after Night of the Living Dead, Romero made Dawn of the Dead, where human survivors take refuge from the undead in a mall and then turn on each other as the zombies stumble around the shopping complex.

Film critic Roger Ebert called it “one of the best horror films ever made — and, as an inescapable result, one of the most horrifying. It is gruesome, sickening, disgusting, violent, brutal and appalling. It is also … brilliantly crafted, funny, droll, and savagely merciless in its satiric view of the American consumer society.”

Romero had a sometimes combative relationship with the genre he helped create. He called The Walking Dead a “soap opera” and said big-budget films like World War Z made modest zombie films impossible. Romero maintained that he wouldn’t make horror films if he couldn’t fill them with political statements.

“People say, ‘You’re trapped in this genre. You’re a horror guy.’ I say, ‘Wait a minute, I’m able to say exactly what I think,” Romero told the AP. “I’m able to talk about, comment about, take snapshots of what’s going on at the time. I don’t feel trapped. I feel this is my way of being able to express myself.”

The third in the Romero’s zombie series, 1985’s Day of the Dead, was a critical and commercial failure. There wouldn’t be another Dead film for two decades.

Land of the Dead in 2005 was the most star-packed of the bunch — the cast included Dennis Hooper, John Leguizamo, Asia Argento and Simon Baker. Two years later came Diary of the Dead, another box-office failure.

There were other movies interspersed with the Dead films, including The Crazies (1973), Martin (1977), Creepshow (1982), Monkey Shines (1988) and The Dark Half (1993). There also was 1981’s Knightriders, Romero’s take on the Arthurian legend featuring motorcycling jousters. Some were moderately successful, others box-office flops.

George Andrew Romero was born on Feb. 4, 1940, in New York City. He grew up in the Bronx, and he was a fan of horror comics and movies in the pre-VCR era.

“I grew up at the Loews American in the Bronx,” he wrote in an issue of the British Film Institute’s Sight and Sound magazine in 2002.

His favourite film was Michael Powell and Emeric Pressburger’s The Tales of Hoffman, based on Jacques Offenbach’s opera. It was, he once wrote, “the one movie that made me want to make movies.”

He spoke fondly of travelling to Manhattan to rent a 16mm version of the film from a distribution house. When the film was unavailable, Romero said, it was because another “kid” had rented it — Martin Scorsese.

Romero graduated from Carnegie Mellon University in Pittsburgh in 1960. He learned the movie business working on the sets of movies and Mister Rogers’ Neighborhood, which was shot in Pittsburgh.

The city became Romero’s home and many of his films were set in western Pennsylvania. Dawn of the Dead was filmed in suburban Monroeville Mall, which has since become a popular destination for his fans.


Very sad news. May he rest in peace.

Martin Landau, Oscar-winning actor, dead at 89

Martin Landau, the chameleon-like actor who gained fame as the crafty master of disguise in the 1960s TV show Mission: Impossible, then capped a long and versatile career with an Oscar for his poignant portrayal of aging horror movie star Bela Lugosi in 1994’s Ed Wood, has died. He was 89.

Landau died Saturday of unexpected complications during a short stay at UCLA Medical Center, his publicist Dick Guttman said.

Mission: Impossible, which also starred Landau’s wife, Barbara Bain, became an immediate hit upon its debut in 1966. It remained on the air until 1973, but Landau and Bain left at the end of the show’s third season amid a financial dispute with the producers. They starred in the British-made sci-fi series Space: 1999 from 1975 to 1977.

Landau might have been a superstar but for a role he didn’t play — the pointy-eared starship Enterprise science officer, Mr. Spock. Star Trek creator Gene Rodenberry had offered him the half-Vulcan, half-human who attempts to rid his life of all emotion. Landau turned it down.

“A character without emotions would have driven me crazy; I would have had to be lobotomized,” he explained in 2001. Instead, he chose Mission: Impossible, and Leonard Nimoy went on to everlasting fame as Spock.

Ironically, Nimoy replaced Landau on Mission: Impossible.

After a brief but impressive Broadway career, Landau had made an auspicious film debut in the late 1950s, playing a soldier in Pork Chop Hill and a villain in the Alfred Hitchcock classic North By Northwest.

He enjoyed far less success after Mission: Impossible, however, finding he had been typecast as Rollin Hand, the top-secret mission team’s disguise wizard. His film career languished for more than a decade, reaching its nadir with his appearance in the 1981 TV movie The Harlem Globetrotters on Gilligan’s Island.

He began to find redemption with a sympathetic role in Tucker: The Man and his Dream, the 1988 Francis Ford Coppola film that garnered Landau his first Oscar nomination.

He was nominated again the next year for his turn as the adulterous husband in Woody Allen’s Crimes and Misdemeanors.

His third nomination was for Ed Wood, director Tim Burton’s affectionate tribute to a man widely viewed as the worst Hollywood filmmaker of all time.

“There was a 10-year period when everything I did was bad. I’d like to go back and turn all those films into guitar picks,” Landau said after accepting his Oscar.

In Ed Wood, he portrayed Lugosi during his final years, when the Hungarian-born actor who had become famous as Count Dracula was ill, addicted to drugs and forced to make films with Ed Wood just to pay his bills. A gifted mimic trained in method acting, Landau had thoroughly researched the role.

“I watched about 35 Lugosi movies, including ones that were worse than anything Ed Wood ever made,” he recalled in 2001. “Despite the trash, he had a certain dignity about him, whatever the role.”

So did the New York-born Landau, who had studied drawing at the Pratt Institute in Brooklyn and worked for a time as a New York Daily News cartoonist before switching careers at age 22.

He had dabbled in acting before the switch, making his stage debut in 1951 at a Maine summer theater in Detective Story and off-Broadway in First Love.

In 1955, he was among hundreds who applied to study at the prestigious Actors Studio and one of only two selected. The other was Steve McQueen.

On Broadway, Landau won praise for his work in Middle of the Night, which starred Edward G. Robinson. He toured with the play until it reached Los Angeles, where he began his film career.

Landau and Bain had two daughters, Susan and Juliet. They divorced in 1993.


This story is getting worse and worse.

Kermit actor fired for ‘unacceptable business conduct,’ says studio

The Muppets Studio is blaming “unacceptable business conduct” for its dismissal of Steve Whitmire as the longtime performer of Kermit the Frog.

This explanation, issued Monday, follows Whitmire’s emotional blog post last week after his firing was made public. He said he learned last October that the role of Kermit would be recast.

Whitmire had been with the Muppets since 1978, and took over as Kermit after the untimely death of Muppets founder Jim Henson in 1990.

The Muppets Studio did not detail the nature of Whitmire’s “repeated unacceptable business conduct,” but said it spanned “a period of many years,” adding that “he consistently failed to address” his employers’ feedback.

Whitmire could not immediately be reached for comment, but in an interview Monday with The Hollywood Reporter he said the studio felt he had been too outspoken in expressing how the Kermit character should be portrayed on the ABC prime-time Muppets mockumentary series that aired in 2015-16. Whitmire said he had only been trying to help keep the show “on track.”

The studio said veteran Muppets performer Matt Vogel is now taking over as Kermit.


I’m excited!! Hurry up, Christmas!!!

Jodie Whittaker becomes first woman to play Doctor Who

Fire up the TARDIS, because Jodie Whittaker is the new face of Doctor Who — and the first woman to ever play the title role.

The BBC announced Whittaker’s casting on Sunday morning after the Wimbledon Men’s Final.

The actress will be taking over the titular role when the show returns for its highly anticipated Christmas Special later this year, where the beloved Time Lord will “regenerate,” thus transforming from current series star Peter Capaldi into Whittaker’s 13th Doctor. The Broadchurch actress will be the 13th person to hold the title of the Doctor since the long-running British science fiction series first premiered in 1963.

Whittaker is the first female to play Doctor Who in the franchise’s history. However, as viewers will be aware, women playing Time Lords isn’t a particularly new concept for the show. Until recently, the latest incarnation of the Master — one of the Doctor’s most dangerous foes, and a fellow Gallifreyan — was female, with Missy being brought to life by Michelle Gomez. And while previous seasons of the show have poked fun at the Doctor possibly having been female in his youth, the most recent two-part season finale saw Twelve comment on it once more, telling his companion Bill (played by Pearl Mackie), “We’re billions of years beyond your petty human obsession with gender and its associated stereotypes.”

Capaldi isn’t the only one leaving. Current showrunner Steven Moffat will also be stepping down, with the upcoming Christmas Special — which sees Game of Thrones‘ David Bradley once again don the familiar coat and scarf of the First Doctor as he joins his older self for his latest adventure — serving as his last episode before new showrunner Chris Chibnall (Broadchurch) takes over.

“There’s new monsters, there’s new jeopardy. But what’s fascinating is the First Doctor confronting the superhero he’s going to become, with his supersize TARDIS and all that,” Moffat tells EW of this last episode. “It’s my show up to the point Mr. Capaldi regenerates. Then it passes to Chris, and he worries about the last section.”

With a new Doctor already cast, and a new showrunner in place, the only thing left is the announcement of who will serve as a companion to the latest version of the Time Lord, as both recent companions Bill Potts and Nardole (played by Pearl Mackie and Matt Lucas, respectively) have since left the Doctor — though with enough open-endedness for them to make a comeback, should Chibnall choose to have them. Thus, Moffat has left his successor with as clean a slate as his predecessor Russel T. Davies did for him in 2010.

The Doctor Who Christmas special airs Dec. 25 on BBC America.


I’ve actually been bored during Doctor Who most of the past few seasons. I hope the whole series regenerates!!!

‘Doctor Who’: BBC America to Announce 13th Doctor This Weekend

“Doctor Who” fans will finally find out who their 13th Doctor will be Sunday after the Wimbledon Men’s Final on BBC America.

BBC announced the news in a video posted to the official BBC America Twitter account Friday morning. Peter Capaldi will officially be departing the cult-favorite series after three seasons as the 12th Doctor.

Capaldi is the fourth actor to play the hero since the 2005 reboot of the ’80s science fiction show: Christoper Eccleston played the Doctor for the first season, with David Tennant (arguably the most well-received actor) taking on the role for the second, third, and fourth seasons. Matt Smith stepped into the Doctor’s shoes for the following three seasons leading up to Capaldi’s tenure. The ability to cast different actors in the role hinges on the fact that the alien Doctor, when suffering a mortal wound, “regenerates” rather than dies.

Showrunner Steven Moffat, also of “Sherlock,” is leaving the series as well, possibly to the gratification of some fans and critics who argued that since Moffat’s takeover of the series from Russell T. Davies in 2010, “Doctor Who” had gone downhill in some respects. He will be replaced by Chris Chibnall of “Broadchurch.”

Speculation about the next Doctor begins almost as soon as the new one is selected, and some have wondered whether the 13th Doctor will be a woman, breaking the long streak of male Doctors paired with (generally) female companions. If the gender of the Doctor does indeed change, Olivia Colman is a fan-favorite to take up the mantle, particularly since she already has a relationship with Chibnall from her role on “Broadchurch,” as well as the backing of co-star Tennant.

Several other actors have put their names forth for the role, whether in jest or seriousness, but all will be revealed Sunday.


This is surprising news. Hope Matt Vogel sounds like Kermit.

Longtime Kermit the Frog Voice Actor Replaced After 27 Years

After 27 years, Steve Whitmire will no longer be the voice of Kermit the Frog, a Muppets Studio spokeswoman confirmed to The Hollywood Reporter.

Whitmire took over the role of the beloved Muppet frog after character creator Jim Henson died in 1990.

Muppets performer Matt Vogel will take over as Kermit the Frog, his first time as the character will be in a “Muppets Thought of the Week” video next week, the spokeswoman confirmed.

Muppet fan site Tough Pigs was first to report Whitmire was leaving the Muppets.

Whitmire also voiced Kermit in ABC’s one-and-done live-action Muppets series. The Muppets Studio spokeswoman declined to discuss the details behind Whitmire’s departure.

Whitmire has been with the Muppets production since 1978, starting on The Muppet Show, according to the fan site.

Whitmire could not be reached for comment.


Great, great news!!! Woooooooooooooooo!!!!

Daniel Craig reportedly signs on for Bond 25

If reports are to be believed, the saga over the next James Bond is at an end, with The Mirror reporting that producer Barbara Broccoli has convinced Daniel Craig to sign on for a fifth outing as 007 in Bond 25.

Craig had originally cast doubt over his future as the super spy when he suggested he’d rather “slash my wrists” than return for another movie, prompting rampant speculation as to who could succeed him in the role. However, his stance subsequently softened, and while it’s been reported on several occasions that he turned down astronomical sums of money to return, it has been said that the star always remained the number one choice of the producers to continue in the role.

The Mirror’s report also goes on to claim that Broccoli is “determined” to have Adele return to record the theme tune for Bond 25, following her Brit, Grammy and Golden Globe award-winning theme for Skyfall.


Thought SPIDER-MAN: HOMECOMING was great, but not as great as WONDER WOMAN. I really enjoyed THE BIG SICK.

Box office report: Spider-Man: Homecoming swings into No. 1

Spider-Man: Homecoming has beaten out all competition for the No. 1 spot this box office weekend — all in a weekend’s work for a family friendly neighborhood Spider-Man movie.

The latest movie in the Marvel Cinematic Universe earns an estimated $117 million this weekend, making it the biggest opening for a new actor taking on the role — 2002’s Spider-Man starring Tobey Maguire as the titular hero earned $114.8 million, while Andrew Garfield’s debut in the red-and-blue suit ten years later in The Amazing Spider-Man earned $62 million. However, Homecoming still trails behind 2007’s Spider-Man 3 ($151 million) when it comes to the biggest opening box office for a Spider-Man movie, despite having opened to better reviews from fans and critics (a rare A on Cinemascore compared to Spider-Man 3‘s B+).

Nonetheless, Homecoming has one of the stronger opening weekends compared to the rest of the Spider-Man films, including the well-received Spider-Man 2 (A- on Cinemascore) which earned $88 million its first week out, and The Amazing Spider-Man 2 ($91.6 million). In fact, it’s even performed well compared to box office premieres for recent superhero fare like Wonder Woman ($103 million), Logan ($88 million), and Doctor Strange ($85 million), coming second only to May’s Guardians of the Galaxy Vol 2 ($146 million).

Internationally, Homecoming had a strong opening, with a foreign haul of $140 million from 60 percent of its overseas market. This brings the latest Spider-Man release to worldwide earnings of $257 million.

The movie sees actor Tom Holland once again step into the role of Peter Parker in this post-Captain America: Civil War film, which sees the young web-slinging hero attempt to serve as a hero and earn his way into the Avengers by proving himself to Tony Stark (Robert Downey Jr.), while also balancing schoolwork and friendships. Peter go after the Vulture (played by Michael Keaton), and stars Zendaya as Michelle, Marisa Tomei as Aunt May, Laura Harrier as Liz Allan (Peter’s crush), Tony Revolori as Flash, and Jacob Batalon as Peter’s best friend, Ned. Also featured in the movie are Donald Glover, Martin Starr, and Hannibal Burress.

In second place this week is Illumination and Universal’s Despicable Me 3, which sees an estimated 53.1 percent drop for a box office haul of $34 million. This is less than both 2015’s Minions and 2013’s Despicable Me 2, which saw drops of 57.4 and 47.4 percent, and earnings of $49.2 million and $43.9 million, respectively. DM3 is also the only film in the franchise to not earn an A on Cinemascore, instead, receiving an A- from audiences. In the latest franchise entry, Gru and the crew reunite with his long-lost twin brother Dru (also voiced by Steve Carell) as they team up and take on Balthazar Bratt, a former ’80s star who is looking to get revenge against the world.

In third is Edgar Wright’s latest film, Baby Driver, which sees only a 38 percent drop for estimated earning of $12.7 million. This brings the film’s total domestic earnings to $56.9 million, making the music-driven heist movie Wright’s highest earning film yet. The movie also fared well internationally, earning $14 million from a few big markets, bringing the worldwide box office total to $70.9 million in only its second week in theaters. By comparison, Wrights’ previous movies Scott Pilgrim vs. the World, The World’s End, Hot Fuzz, and Shaun of the Dead earned, respectively, $47.7 million, $46.1 million, $80.6 million, and $30 million at the end of their entire runs.

In its sixth week in theaters, Wonder Woman still finds herself in the top 5, landing at No. 4. The DC Extended Universe movie continues its streak with another gentle 35.5 percent drop as it brings in an estimated $10.1 million, for a total domestic haul of $368.8 million (cementing its position as, domestically, the highest grossing DCEU movie) and a worldwide total of $745.8 million. Internationally, WW has surpassed Suicide Squad‘s $745.6 million international haul, making Batman v Superman, with its $873.3 million total, the only other DCEU movie ahead of it.

At No. 5 this week is Transformers: The Last Knight with an estimated $6.3 million. This marks another 62 percent drop in the three weeks since the movie’s been in theaters, and the lowest third week earning in the Transformers franchise to date, a continuing trend in the domestic box office compared to previous sequels with 2009’s Revenge of the Fallen ($24.2 million), 2011’s Dark of the Moon ($21.3 million), and 2014’s Age of Extinction ($16.3) all steadily earning less by their third weeks. However, The Last Knight has performed well internationally where it’s banked $375.7 million so far. Added to the total domestic haul of $118.9 million, the latest Transformers film has earned an estimated worldwide total of $494.6 million.

Meanwhile, The Big Sick capitalizes on its limited release success and highly positive word of mouth buzz to earn an estimated $3.7 million and crack the domestic top 10 after adding 255 locations for 326 in total. Landing at No. 8, the movie stars Silicon Valley‘s Kumail Nanjiani and Zoe Kazan (Ruby Sparks) as a couple who fall and love and break up when he can’t tell his conservative Muslim parents that he doesn’t want an arranged marriage. However, when Kazan’s American grad student Emily falls into a coma, Nanjiani’s Pakistani stand-up comedian begins to bond with her parents Terry and Beth (Ray Romano and Holly Hunter).

Rounding out the top 10 is Sofia Coppola’s The Beguiled, which brings in an estimated $2.1 million after expanding to a wider release with 267 more locations. This brings the Nicole Kidman, Colin Farrell-starrer’s total domestic earnings to $7.4 million. The movie also stars Kirsten Dunst and Elle Fanning.

In terms of limited release fare, A Ghost Story earns an estimated $108,067 from four locations for a strong per theater average of $27,017. The movie, which generated a lot of buzz at Sundance, stars Casey Affleck as the husband of Rooney Mara’s character. After he dies and returns as a white-sheeted ghost, he’s unstuck from time and unable to offer his still-living spouse any comfort, now watching as she slowly begins to move on from him, prompting him to go on a journey exploring (and intertwining) memory and history and the ways they can impact us.

Per ComScore, overall box office is down 0.1 percent with the same frame from last year. Check out the July 7-9 box office figures below.

1 – Spider-Man: Homecoming – $117 million
2 – Despicable Me 3 – $34 million
3 – Baby Driver – $12.7 million
4 – Wonder Woman – $10.1 million
5 – Transformers: The Last Knight – $6.3 million
6 – Cars 3 – $5.6 million
7 – The House – $4.8 million
8 – The Big Sick – $3.7 million
9 – 47 Meters Down – $2.8 million
10 – The Beguiled – $2.1 million


I saw THE BEGUILED and THE HOUSE this weekend. The first is a well made movie with no one to care for – so skip it – and the latter isn’t perfect, but it made me laugh out loud – so see it of you like the cast.

Box office report: Despicable Me 3 steals first place

Gru and the minions sure must be happy! Despicable Me 3 sits comfortably in the No.1 spot for this weekend’s box office.

The animated feature film earned an estimated $75.4 million in its opening weekend, bringing it ahead of its nearest competitor by at least $50 million. But while it’s enough to place first in the holiday weekend box office, this is only Illumination and Universal’s third best opening in the four-film franchise behind 2015’s Minions ($115.7 million) and 2013’s Despicable Me 2 ($83. 5 million), despite opening in 4,529 locations, the studio’s widest release yet. This slight downturn can also be noted in the movie’s CinemaScore grade which sees audiences give it an A-, rather than the usual A its predecessors and even Minions earned. Nonetheless, the next two days — and the series’ popularity with families — should push it over the $100 million mark domestically.

Internationally, Despicable Me 3 has already raked in $116.9 million from 52 territories for an estimated worldwide cume of $192.3 million. The film sees its lead villain-turned-hero Gru (voiced by Steve Carell) meet his long-lost twin brother Dru (Carell, again) and team up with him to work to take down Balthazar Bratt, a former ’80s child star who is looking to take revenge against the world. South Park‘s Trey Parker joins a cast which includes Kristen Wiig, Steve Coogan, Miranda Cosgrove, and Jenny Slate.

Finishing in second place this weekend, with an estimated $21 million, is Edgar Wright’s highly anticipated film Baby Driver. This marks Wright’s highest domestic box office opening as it more than doubles the opening weekend haul of Wright’s previous cinematic offerings, 2013’s The World’s End ($8.8 million) and 2010’s Scott Pilgrim vs. The World ($10.6 million).

The chase-filled heist film, which has been lauded by critics and audiences alike (earning an A- on CinemaScore), stars Ansel Elgort as the titular “Baby,” a getaway driver for Kevin Spacey’s heist-planning crime boss who recruits him for one last job with a crew that involves Jamie Foxx’s Bats, Eiza Gonzalez as Darling, and Jon Hamm playing Buddy. Lily James (Cinderella) also stars as Deb, Baby’s love interest.

In third and fourth place this weekend is Transformers: The Last Knight and Wonder Woman, respectively. The fifth Transformers movie brought in an estimated $17.0 million, for an estimated $102.1 million total in its first 12 days at the box office. Its international haul of $68 million brings the film’s worldwide total so far to $429.9 million. Meanwhile, the latest DC Extended Universe movie has earned an estimated $15.6 million this weekend, for a domestic total of $346 million, officially making it the highest grossing DCEU movie in the domestic market. Wonder Woman‘s worldwide total sits at $708 million, having earned $361.8 million internationally as well.

At No. 5 is Cars 3. The Disney-Pixar film brought in an estimated $9.5 million in its third weekend out, after seeing a 60 percent drop in the North American market. However, in the two weeks since its release, the animated feature has tallied up an estimated $120.7 million in the domestic box office. The film’s international total is an estimated $53 million, despite having not opened in several major foreign markets including China.

Elsewhere in the top 10 is The House, an R-rated comedy from former SNL alums (and movie stars in their own right) Will Ferrell and Amy Poehler, which earned an estimated $9 million in its first week out from 3,134 locations. This is lower than expected for both stars, whose previous films, 2015’s Get Hard ($33.8 million) and Sisters ($13.9 million) both managed to crack double digits their opening weekends and then go on to earn $111.8 million and $105 million, respectively. The comedy is also lower rated by audiences (B- on CinemaScore) compared to both previous films’ B grades. The film sees Ferrell and Poehler play a couple who loses their daughter’s college fund only to start up an illegal gambling den in their house to win all the money back.

Going into wider release is The Beguiled, which manages to land at No. 8 with estimated earnings of $3.2 million. The film, directed by Sofia Coppola, is a remake of the 1971 film of the same name and sees an all-girls boarding school in the South take in an injured Union soldier (Colin Farrell) and tend to him as the ladies form rivalries and compete for his affections. The film also stars Nicole Kidman, Kirsten Dunst, and Elle Fanning.

Outside the top 10, The Big Sick continues to do well after a limited release last week. The film earned an estimated $1.67 million from 71 locations, with a per theater average of $23,550. Domestically the film has earned an estimated total of $2.2 million. It stars Silicon Valley‘s Kumail Nanjiani as a Pakistani comedian who falls for Emily, an American graduate student (Ruby Sparks‘ Zoe Kazan) who falls ill and goes into a coma. Kumail, who’d broken up with Emily on the basis of his conservative Muslim parents’ expectation that he have an arranged marriage, then begins to bond with her parents (played by Ray Romano and Holly Hunter).

Also performing well this weekend is The Little Hours, with an estimated earning of $61,560 from only 2 locations, making its per screen average ($30,780) one of the highest limited theatrical openings of the year so far. The movie is loosely based on Boccaccio’s sex-filled tale The Decameron and follows the story of a young servant (Dave Franco) who takes refuge at a convent filled with sexually frustrated nuns in a bid to escape his master. The film’s impressive comedic cast includes GLOW‘s Alison Brie, Kate Micucci, Aubrey Plaza (who also produced the movie), John C. Reilly, Molly Shannon, Fred Armisen, Jemima Kirke, Nick Offerman, Adam Pally, and Lauren Weedman.

Per ComScore, overall box office is dead even with the same frame from last year. Check out the June 30 – July 2 box office figures below.

1 – Despicable Me 3 – $75.4 million
2 – Baby Driver – $21 million
3 – Transformers: Last Knight – $17 million
4 – Wonder Woman – $15.6 million
5 – Cars 3 – $9.5 million
6 – The House – $9 million
7 – 47 Meters Down – $4.7 million
8 – The Beguiled – $3.3 million
9 – The Mummy – $2.8 million
10 – Pirates of the Caribbean: Dead Men Tell No Tales – $2.4 million