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Nope, I have no interest in the Pirates movie, but I hope to see Baywatch on Tuesday.

Box office report: Pirates of the Caribbean 5 sails into first place

The latest Pirates of the Caribbean movie hasn’t fared well when it comes to reviews — the film, subtitled Dead Men Tell No Tales, currently has a 32 percent on Rotten Tomatoes — but it did come out on top at the box office this weekend, earning an estimated $62.2 million, with the Memorial Day boost bringing its estimated weekend total to $76.6 million.

While the movie is the top performer this weekend, it also marks the franchise’s second-worst opening since The Curse of the Black Pearl premiered with $46 million 13 years ago. It also signals a case of franchise fatigue: The 2006 sequel Dead Man’s Chest debuted with $135.6 million, 2007’s At World’s End premiered with $114.7 million, and, most recently, 2011’s On Stranger Tides pulled in $90 million its first weekend.

Nonetheless, Dead Men Tell No Tales has fared quite well internationally, bringing in an estimated foreign haul of $208 million for a worldwide estimated total of $270.6 million, which carries the cumulative earnings of the Pirates of the Caribbean franchise past the $4 billion mark.

In second place this weekend is Marvel’s Guardians of the Galaxy Vol. 2. The adventures of Star Lord, Gamora, Rocket Raccoon, Drax, and Baby Groot earned an estimated $19.9 million ($24.2 million after Memorial Day). As a result, the movie has earned an estimated $333.2 million domestically, and an estimated $783.3 million worldwide so far — already more than its predecessor’s total earnings ($773 million) at the end of its run.

Coming in at No. 3 is new release Baywatch. The R-rated comedy follows Dwayne Johnson’s Mitch Buchannon as the lifeguard butts heads with a new recruit (Zac Efron) while they work to uncover a local crime. Priyanka Chopra (Quantico) also stars in the poorly reviewed movie (it currently has a 19 percent on Rotten Tomatoes), which brought in weekend earnings of $18.1 million so far, with the film estimated to come in at $22 million after Monday.

Rounding out the top five are Alien: Covenant and Everything, Everything, bringing in an estimated $10.5 million and $6.2 million, respectively. The latter — an adaptation of Nicola Yoon’s YA bestseller of the same name — has been performing especially well compared to recent YA novel-based (or YA-skewing) films like Before I Fall ($4.7 million) and The Space Between Us ($3.8 million).

Elsewhere in the top 10, Fate of the Furious became the sixth movie to cross the $1 billion mark internationally, while the Emma Watson-starring live-action version of Beauty and the Beast has now earned more than $500 million in the domestic market. This brings Disney’s 2017 domestic earnings past $1 billion.

Outside the top 10, Amazon’s Grateful Dead documentary Long Strange Trip was released in two locations for an estimated earning of $295,703, with a PTA haul of $17,066. The rock documentary, which has a runtime of 235 minutes, follows the story of how the band got together, as well as their many ups and downs on the road to stardom.

Per ComScore, overall box office is up 2.3 percent in the same frame from last year. Check out the May 26-28 box office figures below. The four-day Memorial Day weekend (May 26-29) numbers are noted in parentheticals.

1 – Pirates of the Caribbean: Dead Men Tell No Tales – $62.2 million ($76.6 million)
2 – Guardians of the Galaxy Vol. 2 – $19.9 million ($24.2 million)
3 – Baywatch – $18.1 million ($22 million)
4 – Alien: Covenant – $10.5 million ($13.2 million)
5 – Everything, Everything – $6.2 million ($7.8 million)
6 – Diary of a Wimpy Kid: The Long Haul – $4.4 million ($5.7 million)
7 – Snatched – $3.9 million ($4.9 million)
8 – King Arthur: Legend of the Sword – $3.2 million ($4.0 million)
9 – The Boss Baby – $1.7 million ($2.25 million)
10 – Beauty and the Beast – $1.6 million ($2.0 million)

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May he rest in peace.

Gregg Allman, Southern rock legend, dies at 69

Gregg Allman, frontman for the Allman Brothers Band, the improvisational Southern rockers who overcame early tragedy to become a best-selling concert fixture for more than 45 years, died at his home in Savannah, Georgia on Saturday. He was 69.

Allman’s longtime manager Michael Lehman, speaking to EW, confirmed the news, revealing the singer had a recurrence of liver cancer approximately five years ago, something he kept “very private,” and died from complications from the disease after taking a “sudden turn” in the past few days.

“Gregg lived a long, beautiful life,” Lehman tells EW. “He loved his music, and we all loved him.”

Lehman previously announced the news on the singer’s official website. “I have lost a dear friend and the world has lost a brilliant pioneer in music,” he said in a statement. “He was a kind and gentle soul with the best laugh I ever heard. His love for his family and bandmates was passionate as was the love he had for his extraordinary fans. Gregg was an incredible partner and an even better friend. We will all miss him.”

Allman suffered from various health issues over recent years. He canceled all his concert tour dates for 2017 back in March, while last year he cited “serious health issues” in nixing a series of summer tour dates. In April, Allman denied rumors that he had entered hospice care.

Allman, whose long, blonde hair and gravely voice made him a sort of hippie celebrity throughout the ’70s and ’80s, had a tumultuous personal life, marrying and divorcing Cher and descending into substance addiction. He opened his 2013 biography, “My Cross to Bear,” with a recollection of experiencing the band’s induction into the Rock and Roll Hall of Fame while drunk and staggering.

Like contemporaries such as the Grateful Dead, the Allmans became famous for stretching out their songs into blues jams, sometimes for 40 minutes at a time. Their albums documenting this style became emblematic of the Southern rock and roll tradition, and signatures such as “Whipping Post,” “Statesboro Blues,” “Ramblin’ Man” and “Midnight Rider,” many written or co-written by Allman, remain rock-radio fixtures today.

The Allman Brothers ascendancy in the ‘70s would be marred by tragedy. On Oct. 29, 1971, after leaving guitarist Berry Oakley’s house, Gregg’s brother, Duane, flipped his motorcycle in the band’s hometown of Macon, Georgia, skidded 50 feet and died at age 24. The band had just released its commercial breakthrough, 1971’s live “At Fillmore East,” and just about everything Gregg Allman did after that included a touch of melancholy. A year later, Oakley died of a motorcycle accident, also in Macon, also at 24. “It was so hard to get into anything after that second loss,” the singer told Rolling Stone’s Cameron Crowe in a 1973 cover story. “I even caught myself thinking that it’s narrowing down, that maybe I’m next.”

Born in Nashville, Gregory Allman’s life was also subsumed in tragedy. While his father was home from serving as an Army first lieutenant in the Korean War, he was murdered by a hitchhiker. Gregg and Duane’s mother, Geraldine “Mama A” Allman, became an accountant and, rather than allowing her boys to wind up in an orphanage, sent them to military school. They landed in Daytona Beach, Florida, where Gregg bought his first guitar for $21.95 at a Sears and Roebuck. Duane received a guitar, too, and practiced incessantly. Soon they were playing in cover bands such as the Escorts and the Y-Teens.

The brothers formed their own bands, first Hour Glass (“Terrible name,” Allman, who switched from guitar to organ, recalled in June of 2016) and the Allman Joys (“Just as bad”). “The Beatles had just come out and everybody had a band, so there was a lot of good competition out there. I wanted to finish school and become a dentist,” Allman told Alan Paul in 2014’s “One Way Out.” “I graduated high school and thought, ‘I’ll give it a year. I’ll go out and play these clubs and then I’ll go on to college.’”

After the deaths of Oakley and Allman, the band made an early decision to soldier on, performing massive concerts, such as the 1973 Summer Jam, in Watkins Glen, New York, which drew 600,000 fans. “I’ve had guys come up to me and say, ‘Man, it just doesn’t seem like losing those two fine cats affected you people at all,’” Allman told Crowe. “We’d all have turned into fucking vegetables if we hadn’t been able to get out there and play. That’s where the success was, Jack.”

The brothers broke up and reunited several times over the years, but went on a long, consistent run beginning in the early ’90s, eventually enlisting stars such as guitarists Warren Haynes and Derek Trucks (nephew of Butch). Meanwhile, Allman maintained a solo career, occasionally scoring hits such as 1986’s “I’m No Angel.” (He’d also starred in 1991’s “Rush.”) After the band played its final shows in 2014, a long run at New York’s Beacon Theatre, the singer formed his own solo band, put out a live album and planned to release another one. Allman also sponsored a rock festival, Laid Back, named for his 1973 solo debut, and played several shows on it in June and July before falling ill.

“It’s hard road out there. It is,” Allman, sober for 20 years, told Newsday. “But we met it with dignity. And we finished everything we started. And one thing people can say is that, when it came to our concerts, they got their money’s worth.”

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Daaaaarryl! Daaaaaarryl!! Daaaaaarryl!!

Homer Simpson enters Baseball Hall of Fame

Homer Simpson just did something The Simpsons executive producer Al Jean never thought would happen: he entered the Baseball Hall of Fame in a special “induction” ceremony.

“It’s one of a long list of things with The Simpsons I never dreamed would happen,” Jean said during a roundtable discussion to mark the milestone of the episode, which included voice cameos by then-MLB players Wade Boggs, Jose Canseco, Roger Clemens, Ken Griffey Jr., Don Mattingly, Darryl Strawberry, Mike Scioscia, Steve Sax, and Ozzie Smith. “At the time I was even shocked that we were able to get nine current major leaguers, including three that are now in the Hall of Fame, and maybe more to come. Everything with THE SIMPSONS has just been so beyond my wildest dreams, and this is a great example of it.”

This distinction, complete with a custom plaque, commemorated the 25th anniversary of “Homer at the Bat.” Televised on Feb. 20, 1992, the 17th episode of season 3 saw Homer winning the championship softball game.

Also on hand were Hall of Famers Boggs and Smith, Simpsons executive producer Mike Reiss, director Jim Reardon, executive story editor Jeff Martin, casting director Bonnie Pietila, and a Homer mascot.

In a prepared “statement,” Homer said, “My record for eating hot dogs will never be broken. I’ve been a fan for 40 years, which is how long some games take. And I can’t wait for the ceremony in Canton, Ohio.”

“It’s definitely one you hear about a lot,” Jean said of the episode. “There’s nostalgia because a lot of people were kids when it first aired. Looking at it again, as I did recently, it’s a real glimpse of ’90s era baseball. Baseball has changed since then – it’s a different kind of game.”

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I want to see them all!! Hope I Cannes one day. :D

Cannes: ‘The Square’ Wins the Palme d’Or

The 70th annual Cannes Film Festival came to a close Sunday night with the main competition awards ceremony at the Palais des Festivals.

The Square, by Swedish writer-director Ruben Ostlund, won the top prize, the Palme d’Or. The satire, the follow-up to Ostlund’s 2014 international hit Force Majeure, explores Swedish art, commerce, politics and national identity stars Claes Bang and Elisabeth Moss.

The story centers on a man who is overseeing a new art installation called The Square, a sanctuary where anyone entering it is supposed to abide by humanitarian values — but things quickly go awry.

When he took the stage to accept his award, Ostlund led the crowd in a “scream of happiness” and told photographers to turn their cameras away from him and into the audience. He counted down, and the audience led out a massive scream. “I can direct you all now because I won this prize,” he said.

Sofia Coppola became only the second woman to win the prize for best director for her film The Beguiled, starring Nicole Kidman and Colin Farrell. Maren Ade accepted for Coppola, who was not present. She ended the speech by thanking director Jane Campion for being a role model.

The Grand Prix was awarded to 120 Beats per Minute by Robin Campillo, which follows “Eastern Boys” by mining his past as a member of AIDS activist group ACT UP in 1990s Paris.

Nicole Kidman was honored with a special prize for the festival’s 70th anniversary. The actress appeared in competition projects Killing of a Sacred Deer and The Beguiled, along with the second season of Jane Campion’s Top of the Lake, and the film How to Talk to Girls at Parties. Will Smith accepted the award in her absence, and a special video message from Kidman was presented.

Joaquin Phoenix was awarded the best actor prize for Lynne Ramsay’s You Were Never Really Here.The actor stars as a hitman trying to save a teen prostitute.

Diane Kruger was honored with the best actress award for her work in In the Fade. Fatih Akin’s courtroom and revenge drama saw the German actress doing a German-language film for the first time.

In her speech, Kruger dedicated her award to victims of terror. “Those trying to pick up the pieces and go on after having lost everything, please know you are not alone,” she said.

Loveless, helmed by Russian writer-director Andrey Zvyagintsev, took the jury prize.

In a surprise twist, best screenplay was awarded to both The Killing of a Sacred Deer (written by Yorgos Lanthimos and Efthimis Filippou) and Lynne Ramsay’s You Were Never Really Here.

The Palme d’Or for short film was given to A Gentle Night from Chinese director Qiu Yang. A special mention for short film was awarded to Teppo Airaksinen for Katto.

The Camera d’Or, given to any best first film that played in the festival regardless of section, went to Leonor Serraille for Jeune Femme (Montparnasse-Bienvenüe).

Nineteen movies screened in competition this year. The jury included president Pedro Almodovar and members Will Smith, Jessica Chastain, Fan Bingbing, Agnès Jaoui, Park Chan-wook, Maren Ade, Paolo Sorrentino and Gabriel Yared.

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Good to know he’s getting it right.

KRS-One Apologizes After Paying Condolences to Wrong Beastie Boy on New Song

KRS-One has apologized to Beastie Boys’ Ad-Rock after accidentally naming him, and not his band mate Adam “MCA” Yauch, in KRS-One’s tribute to late rappers, “Hip Hop Speaks From Heaven.”

On KRS-One’s track, off his new LP The World Is Mind, the rapper says, “Like a late fog in the mist / I see King Ad-Rock and rest in peace Nate Dogg / Their names and their natures will last.”

Many were quick to note that KRS-One likely meant Beastie Boys’ MCA, who died in 2012, and not Adam “Ad-Rock” Horovitz, who is still alive.

On Twitter Saturday, KRS-One owned up to the error, “sincerely apologized” to Ad-Rock and promised to rework the song to mention the proper Beastie Boy.

“I mistakably paid respect and condolences to the wrong Beastie Boy member King Ad-Rock when it should have been MCA,” KRS-One said. “In light of this, I am redoing the song ‘Hip Hop Speaks From Heaven’ and I am pulling the original version off of my digital release. Historical accuracy is extremely important to me, so I accept all responsibility for this error.”

KRS-One’s Bandcamp, which was hosting The World Is Mind, has since removed “Hip Hop Speaks From Heaven” from its streamable playlist.

The rapper also provided some detail as to how the error happened in the first place. “Those that know me and have recorded with me in the past are well aware as to how fast I record in the studio and how immediately my material is released after that,” he wrote.

“No excuse though, I am on top of this and again, my sincere apologies to King Ad-Rock who is alive and well.”

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I’ll see SNATCHED eventually, but I’m in no rush.

Box office report: Guardians of the Galaxy Vol. 2 takes top spot again

Star-Lord and the rest of the Guardians crew have done it again!

Guardians of the Galaxy Vol. 2 claims the top spot at this weekend’s box office, having pulled in an estimated $63 million, more than triple that of its nearest competition in the domestic box office. But the latest Marvel film, which sees Chris Pratt’s Peter Quill finally reunited with his father Ego (Kurt Russell), isn’t just popular with North American audiences (it landed an A on CinemaScore), having earned an estimated $246.2 million in the two weeks it’s been out; it’s also performed well internationally, where it had premiered earlier. This weekend is estimated to bring in $115.2 million from overseas, bringing GotGV2‘s estimated worldwide total to $630.6 million.

And while the film did see a 57 percent drop in the box office, as is customary for Marvel films, it’s performing better than other superhero sequels like Iron Man 2 and Avengers: Age of Ultron, both of which saw drops of 59.4 percent. However, in terms of box office hauls, Guardians of the Galaxy Vol. 2 has not brought in as much domestically compared to 2015’s Age of Ultron ($77.7 million) and 2016’s Captain America: Civil War ($72.6 million) in their second weeks.

Coming in second is new release Snatched. The R-rated comedy starring Amy Schumer and a recently-unretired Goldie Hawn earned an estimated $17.5 million. The film sees the actresses play a mother-daughter duo on a relaxing tropical holiday only for it to go terribly wrong. Snatched was not as well received (a B on CinemaScore) as Schumer’s previous offering, Trainwreck (an A- on CinemaScore), which pulled in $30 million in its first weekend out.

The second new release of the weekend, King Arthur: Legend of the Sword, lands in third place with an estimated domestic earning of $14.7 million. This doesn’t bode well for the film, which was reportedly made for around $170 million. The Guy Ritchie-directed action adventure fared slightly better internationally (where it opened in 51 markets including China) pulling in an estimated $29.1 million, for an estimated worldwide haul of $43.8 million. The film — which audiences liked well enough (B+ on CinemaScore) — follows young King Arthur’s (Charlie Hunnam) attempt to retake his throne following his father’s death, his uncle’s rise to power, and his own discovery of legendary sword Excalibur.

Following in fourth and fifth place are two familiar performers at the box office, Fate of the Furious and The Boss Baby. Now in its fifth week, F8 earned an estimated $5.3 million, bringing its domestic total to $215 million, and its estimated worldwide total to $1.193 billion, surpassing Minions ($1.16 billion) to become the 11th highest grossing film worldwide. The eighth film in the Fast and the Furious franchise could crack the Top 10, should it outearn Iron Man 3 ($1.215 billion). Similarly, Boss Baby continues to perform well at the box office, despite having been released seven weeks ago, pulling in an estimated $4.6 million. The animated feature’s enduring popularity (an A- on CinemaScore) has since earned an estimated $162.4 million domestically, bringing it just shy of the $500 million mark in terms of cumulative worldwide earnings.

Also cracking the top 10 at No. 8 is Lowriders, which stars Demian Bichir, Eva Longoria, Melissa Benoist, and Gabrial Chavarria. The BH Tilt film earned an estimated $2.4 million from 275 locations, for a per theater earning of $8,180. The film tells the story of a Mexican-American teenager who must attempt to navigate the growing tension between his criminal brother and their more traditional father.

In terms of more limited releases, Doug Liman’s The Wall, which stars John Cena and Aaron Taylor-Johnson as two soldiers trapped behind a crumbling wall as a highly-skilled sniper attempts to take them out, brought in $891,590 from 541 locations. Meanwhile, Eleanor Coppola’s directing (and writing) debut Paris Can Wait earned an estimated $101,825 from only 4 locations, for a per theater average of $25,456. The film stars Diane Lane as the wife of a Hollywood producer (Alec Baldwin) who develops a zest for life during a trip to the French countryside.

Per ComScore, overall box office is up by 2.6 percent in the same frame from last year. Check out the May 12-14 box office figures below:

1 – Guardians of the Galaxy Vol. 2 – $63 million
2 – Snatched – $17.5 million
3 – King Arthur: Legend of the Sword – $14.7 million
4 – The Fate of the Furious – $5.3 million
5 – The Boss Baby – $4.6 million
6 – Beauty and the Beast – $3.9 million
7 – How to Be a Latin Lover – $3.7 million
8 – Lowriders – $2.4 million
9 – The Circle – $1.7 million
10 – Baahubali 2: The Conclusion – $1.6 million

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Ooooops!!

KRS-One Accidentally Pays Tribute to Living Beastie Boy on Song About Dead Rappers

Here’s proof that hip-hop’s biggest stars could also benefit from using a fact checker every once in a while — the legendary rapper KRS-One accidentally paid tribute to the wrong Beastie Boy on a new song dedicated to dead rappers.

As XXL reports, KRS-One just released a new album called The World Is Mind, and the release includes a track called “Hip Hop Speaks from Heaven,” dedicated to fallen rappers.

Unfortunately, in the writing process KRS-One shouted out the wrong Adam from the legendary hip-hop trio. Adam “MCA” Yauch passed away in 2012, while Adam “Ad-Rock” Horovitz is still very much alive.

While many have surely mistaken their nicknames in the past, KRS-One made his flub in song. On “Hip Hop Speaks from Heaven,” he says, “Like a late fog in the mist / I see King Ad-Rock and rest in peace Nate Dogg / Their names and their natures will last, like Chris Lighty and my man Bill Blass / When it comes to hip-hop, here’s the lesson / Start praising your own people, hip-hop speaks from heaven.”

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Say his name! Say his name!!

Stephen Colbert Laughs Off Trump’s “No-Talent” Criticism: “I Won!”

Stephen Colbert wasted no time in addressing President Donald Trump’s recent comments about the late-night host.

After Trump said he was a “no talent” host with “filthy” things to say in an interview with Time magazine, Colbert responded.

“The president of the United States has personally come after me and my show, and there’s only one thing to say: Hehehehe!”

As the crowd erupted into a “Stephen” chant, the host continued: “There’s a lot you don’t understand, but I never thought one of those things would be show business. Don’t you know I’ve been trying for a year to get you to say my name?”

Trump was “admirably restrained,” though, said Colbert, but “now you did it. I won.”

“There’s nothing funny about what he says,” Trump had said about Colbert. “And what he says is filthy. And you have kids watching. And it only builds up my base. It only helps me, people like him. The guy was dying. By the way they were going to take him off television, then he started attacking me and he started doing better. But his show was dying. I’ve done his show. … But when I did his show, which by the way was very highly rated. It was high highest rating. The highest rating he’s ever had.”

During his interview, Trump also slammed other members of the media, including CNN’s Chris Cuomo, who he said looks like a “chained lunatic,” and Don Lemon, who he says is “perhaps the dumbest person is broadcasting.”

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I just hope SNATCHED is funny!

How Amy Schumer persuaded Goldie Hawn to be in Snatched

SANTA MONICA, CALIF. — If you saw Goldie Hawn on a plane, you’d probably pitch her, too.

That’s how Amy Schumer broached the beloved Oscar winner about co-starring in her new comedy Snatched (in theatres Friday), a farce that sends a buttoned-up mother and loose-cannon daughter to Colombia — where they are promptly kidnapped.

“I was like, ‘Let me just go aggressively plant the seed,’” recalls Schumer, 35.

Hawn, 71, has a slightly different first impression of that airport meet-cute: “To tell you the truth, I don’t even remember the moment, honestly.” She shrugs. “People come up to you a lot.”

Things changed several months later, when Hawn bumped into Schumer at an awards show. “That’s when she really said, ‘OK, this is happening I really want you, I’m writing this with you in mind,’ ” says Hawn, who immediately texted her agent to get on it.

Schumer has had major Hollywood momentum since the $110 million success of 2015’s Trainwreck, which she wrote and starred in. A worldwide standup comedy tour followed, as did HBO and Netflix specials (the former directed by Chris Rock).

Hawn, meanwhile, had been MIA. “It’s not as if I didn’t want to do anything,” says Hawn. “But, you know, I want to do something good. Otherwise, don’t do it. It’s kind of the way it goes for me.”

And so last summer, they packed their bags and took off for Hawaii (a leafy stand-in for Colombia).
Hawn grins talking about her oceanfront apartment in paradise. “I had three gorgeous rooms overlooking the water. I didn’t have to cook a thing.” Kurt Russell, her partner of 33 years, “was off doing his movies and I was doing mine. And I didn’t see him much at all. So making the movie was being apart — which was not a bad thing after so long being together.”

Fast-forward a year. Russell’s Guardians of the Galaxy Vol. 2 hit theatres a week before Hawn’s Snatched. The couple received side-by-side stars on the Hollywood Walk of Fame last week.

“Life planning is important. Because no one knows what’s going to happen,” says Hawn, who took a 15-year break from movies to create MindUP, an international educational organization for children that focuses on brain health through mindfulness practices.

“When you reach a certain age in your life, you’re either going to repeat what you’ve been doing forever or you’re going to be adventurous and you’re going to go out and learn something new and give something different.”

Schumer nods. Her R-rated standup routine has been evolving, she says, becoming a little bit more political and grown up. She’s been in a relationship with furniture designer Ben Hanisch for a year and a half. But she’s mindful of keeping the audience who buoyed her to international fame.

“Hopefully we are all evolving,” she says. “With comedians, you want to see an evolution. You’re like, ‘This again?’ It’s hard to sustain an act.”

Her schedule remains booked out a solid year: This fall, she’ll release Thank You for Your Service, a film about soldiers who struggle from PTSD upon their return from Iraq, and this summer she’s shooting a film called I Feel Pretty (the plot remains under wraps).

“I have a real interest in women and confidence and having people feel better,” says Schumer. “That’s another thing that really connects us — Goldie is humble about it, but knows she can make people feel joy and laugh and feel things. That’s what I want, too.”

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Guardians Of The Galaxy, Vol. 2 does one thing wrong, but it’s otherwise an amazing Summer Blockbuster. I really enjoyed it!!

Box office report: Guardians of the Galaxy Vol. 2 blasts straight to Number 1

Summer movie season is blasting off, with Guardians of the Galaxy Vol. 2 beating out The Fate of the Furious for the top spot at this weekend’s box office.

The Marvel sequel — which follows 2014 surprise hit Guardians of the Galaxy — proved to be a crowd-pleaser both at the domestic box office, where it pulled in an estimated $145 million, and the international one, where it’s earned an estimated $282.6 million so far. This carries the film past the estimated $400 million mark worldwide.

But while GoTGV2 has already out-earned its predecessor by an estimated $50 million, it hasn’t performed as well as similar Marvel sequels 2015’s Avengers: Age of Ultron and 2016’s Captain America: Civil War, which earned $191 million and $179 million respectively in their first weekends out.

Finishing in second place this weekend is Fate of the Furious with an estimated $8.5 million, bringing it past the $200 million mark at the domestic box office. The film has already crossed $1.2 billion worldwide in its fourth week out, but it still sees a more than 55 percent drop in earnings, bringing in less than Fast & Furious 6, which managed to earn $9.5 million by its fourth outing — though GoTGV2‘s opening this weekend might explain that difference.

Coming in third is animated feature The Boss Baby, which slid down to the No. 4 spot last week. But with an estimated $6.2 million haul this weekend, this family favorite’s long legs have carried it past $150 million at the domestic box office and past the $430 million mark worldwide. Now in its sixth week out, the Alec Baldwin-starring film’s performance is proving to be a steady one, as it’s only seen a 30 percent drop in ticket sales so far.

How to Be a Latin Lover takes fourth place this weekend with an estimated $5.3 million, followed by Beauty and the Beast with $4.9 million. Disney’s live-action remake of the 1991 classic is now nearing $500 million domestically and has grossed an estimated $1.2 billion worldwide to date.

Elsewhere in the top 10, The Circle — starring Tom Hanks, Emma Watson, and John Boyega — is not doing well with critics or audiences, as it pulled in an estimated $4 million, nearly a 50 percent drop from last week’s $9 million opening. Similarly, Baahubali 2: The Conclusion, which opened strong last weekend, saw an estimated 68 percent drop in its second week, with the Telugu-language film earning an estimated $3.2 million this time around. The Chris Evans film Gifted continues to be a steady performer, rising to eighth place with an estimated $2 million in its sixth week. This brings the film’s earnings to an estimated $20 million worldwide.

Outside the top 10, Oren Moverman’s The Dinner opened this weekend in 505 locations, earning an estimated $755,348, while A24’s The Lovers, featuring Debra Winger and Tracy Letts, brought in an estimated $70,410 from only four locations for an estimated haul of $17,602 at each location. Additionally, 3 Generations — a drama about a transgender teen looking to begin hormone treatments starring Elle Fanning, Susan Sarandon, and Naomi Watts — earned an estimated $20,118 from six locations, with an estimated $3,353 per theater.

Per ComScore, overall box office is up 3.8 percent the same frame last year. Check out the May 5-7 box office figures below:

1 – Guardians of the Galaxy Vol. 2 – $145 million
2 – The Fate of the Furious – $8.5 million
3 – The Boss Baby – $6.2 million
4 – How to Be a Latin Lover – $5.3 million
5 – Beauty and the Beast – $4.9 million
6 – The Circle – $4 million
7 – Baahubali 2: The Conclusion – $3.2 million
8 – Gifted – $2 million
9 – Going In Style – $1.9 million
10 – Smurfs: The Lost Village – $1.8 million