CONTAGION plays like a documentary now.

How ‘Contagion’ Suddenly Became the Most Urgent Movie of 2020

It starts with a cough. You’ve heard the sound a million times before, in the same way you’ve seen people grip a subway pole, hand over a credit card, pass someone else their phone a million times before. Only this slightly hoarse, barking noise plays out over a black screen, it’s currently the sole object of your focus, and vaguely ominous. Oh wait, no worries, it’s coming from Gwyneth Paltrow. There she is, sitting in an airport, talking to someone on her cell (the voice on the other end belongs to director Steven Soderbergh), telling them that she’s glad they connected before she heads home. Just an Oscar winner chatting about an illicit tryst while eating beer nuts from a bowl at the bar. All good.

She does seem a tad pale and sweaty, however. So, for that matter, does that Ukrainian model in London, that Tokyo-based businessman, and the man on the train in Kowloon. He’s got a fairly nasty cough as well. You start to notice all of the tiny interactions they have with other people: hugging loved ones, nestling themselves into crowded elevators, using public transit, walking through an open-air fish market. They’re so innocuous, you’d hardly register them at all. Later on, however, you remember all of the little everyday points of contact with folks they have. You also recall the population numbers of the cities they are all in, stats which accompany those introductory scenes and number in the millions. The death toll will be substantial. Time is already running out.

This is how Contagion starts, not with a bang but with a whimper, and the future Goop founder hacking up a lung. If you saw Soderbergh’s all-star disaster movie when it came out back in 2011, you’d have recognized it as a particularly intense type of entertainment. You wouldn’t call it escapism — it’s a bit too bleak for that. But there’s a momentum to it that you associate with a night at the multiplex, with movie stars looking tense and thoughtful while their crusty-mouthed co-stars drift about in cadaverous makeup. Soderbergh knows how to shoot a thriller. Screenwriter Scott Z. Burns knows how to construct one. Cliff Martinez’s synth score couldn’t be more propulsive or more perfectly John Carpenter-esque. It’s a movie that never stops moving.

But while there are lots of films about battling viruses, ranging from the prestigious to the pulpy, Contagion has become the go-to viewing choice for people trying to make sense of the moment we find ourselves in right now. Back in January, The Hollywood Reporter noted that the almost-decade-old drama was the 10th-most-rented movie on iTunes. Go to the service’s charts right now, the day after a handful of major cities declared a state of emergency, and it’s currently in the No. 4 slot. (Should you open up the iTunes app on your laptop or your Apple TV, you’ll notice it’s listed as second in rentals, just behind Bombshell.) Speaking to Slate a few days ago, Burns noted that “whether on social media or in conversations with friends … people will say to me, ‘This is uncanny how similar it is.’” By “it,” he’s not talking about the film’s fictional virus MEV-1, which has a 72-hour incubation period and a much higher fatality rate than the present predictions regarding the coronavirus. He’s talking about the sense of watching things fall apart as everyday life grinds to a halt. Listen to experts talking about fomites and hand-washing techniques on TV — not the monitors framed in the film, but on real-life TV — and it’s as if you have stepped through the looking glass.

Contagion has, perhaps a little surprisingly, become the flashback film of the moment precisely because it’s not an outrageous worst-case scenario but an eerily realistic one. When a notable actor dies very early on, said A-lister does not return from the dead, arms outstretched and craving the taste of brains. Aliens are not responsible for the virus attacking humans; nor, for that matter, is it the result of foreign agents disrupting the American way of life, despite what fearmongers on a particular conservative news network would have you believe. What may be the single most chilling aspect of Soderbergh and Burns’ heavily researched scenario is how random the MEV-1’s creation is. “The wrong pig met up with the wrong bat,” a scientist notes after the genetic makeup of the virus is discovered. It’s almost a throwaway statement, until you get to the end and the film shows you exactly how “Day 1” played out. A bat happens to defecate in a pig pen. A little porcine fellow happens to consume it. He’s brought to a casino in Macao to be prepared for someone’s dinner; the chef happens to shake the hand of a visiting businesswoman. She happens to blow on the dice of the businessman playing next to her at a craps table. All it takes is the right series of wrong moves.

It’s everything that happens after that narratively/before that scene chronologically, however, that has likely made Contagion the single most urgent movie of the moment, and thus the most (re)viewed. It’s a disaster movie, but it’s also a pandemic procedural, one devoted to charting the how, when, where, why — and most important, what happens next. The film’s CDC and WHO representatives are competent, intelligent, and organized; they have mobilized to the best of their collective abilities. Kate Winslet’s doctor puts her life on the line; a San Francisco medical professional (played by Elliot Gould) does defy direct orders to destroy his samples but ends up uncovering a key piece of the puzzle. The Centers for Disease Control researcher who first charts the when-bat-meets-pig origins ends up testing a vaccine on herself, willfully ignoring protocol … but voila, she now proves there’s a workable vaccine. For every scene involving blogger Jude Law cashing in on the chaos or Matt Damon’s dad staving off people in the throws of extreme prepare-anoia, there are several sequences in which our better angels are on display, and there’s a sense that there are actually adults in the room.

And that last bit in particular is something we really aren’t getting right now when we hear about travel bans in lieu of testing, delayed responses instead of determination to make up for lost time, past leaders being defensively blamed rather than current ones acting with accountability. In that sense, maybe Contagion really is escapism. Despite the gruesome scenes of people dying and overall sense that society is just one viral video away from sheer anarchy, it’s a hopeful movie. Trust in scientists, and the innate decency in people, and we will prevail. Things fall apart, and then you put them back together again. Use common sense. Pray to your respective gods but also, y’know, wash your hands. It will get bad, the movie tells us. But it will also get better. People are probably flocking to this movie to see what may be in store for us in the next month or so. That last bit of optimism it offers us couldn’t have come at a better time.


I will miss going to the movies over the next little while.

Onward retains top spot at the box office, amidst record lows due to coronavirus concerns

Onward has retained its top spot at the box office during its second week in theaters with $10.5 million, during a weekend that marked the lowest theatergoing turnout in over two decades.

The animated Pixar film took a major hit as the coronavirus pandemic continues to sweep the globe, with major events and film releases being canceled or pushed back. On Friday, AMC Theaters and Regal announced it would be reducing the amount of tickets available for screenings by 50 percent as part of an effort to promote “social distancing.”

“This was predestined to be a very low grossing weekend at the box office with social distancing protocols seeing movie theaters appropriately taking steps to ensure the safety and health of their patrons and employees while still presenting movies to consumers who had the desire to partake in the escape that the movie theater experience has traditionally provided,” said Paul Dergarabedian, Senior Media Analyst for Comscore.

Following Onward in second place is I Still Believe with $9.5 million and Bloodshot $9.3 million — both new entries this weekend. Rounding out the top five are The Invisible Man ($6 million) and The Hunt ($5.3 million).

I Still Believe tells the real-life story of Christan music superstar Jeremy Camp (K.J. Apa) and his journey through love and loss while also finding his way in the music industry. Britt Robertson portrays Camp’s first wife Melissa Lynn Henning-Camp (Britt Robertson), who was diagnosed with ovarian cancer before they were married. Gary Sinise and Shania Twain play Camp’s parents, Tom and Terry, respectively. Moviegoers gave the film an A via Cinemascore.

F9 may have been delayed but Vin Diesel is in theaters right now in the film Bloodshot, based on the best selling comic book of the same name. Diesel stars as Ray Garrison, a marine who was killed in action then resurrected with superpowers by an evil corporation.

With Garrison, now known as the superhero Bloodshot, the RST corporation has an unstoppable weapon on their hands that can heal instantly. But they’re also controlling his mind, and he can’t tell what’s real and what’s not but he’s trying to figure it out. The David S.F. Wilson film co-stars Eiza Gonzalez, Guy Pearce, Sam Heughan, and Toby Kebbell.

EW gave the film a C+ saying, “it’s a lot of bog-standard action stuff glommed onto a deeper metaphysical muddle; Inception drawn in extra-thick Sharpie and testosterone.” Moviegoers liked it a bit more, giving it a B via Cinemascore.

Blumhouse Productions finally dropped the long-delayed satirical thriller The Hunt, starring Betty Gilpin, Ike Barinholtz, Emma Roberts, and Hilary Swank. The film follows 12 strangers who wake up mysteriously in a clearing, unsure how they got there or where they are. They soon discover they’ve been chosen to be hunted in a game created by a group of elites, but not all of the players are willing to be pawns.

EW gave the film a B+ saying, “The big disappointment with The Hunt is that it never feels so ahead of the curve. It’s a complicated form of 2016 catharsis, condemning recognizable pastiches of the left and the right. And yet, there’s a playful terror in its portrayal of people getting trapped by silly things they type.” Cinemascore reports moviegoers gave the film a C+.

Overall, the box office is down 8.7 percent year-to-date, according to Comscore. Check out the March 13-15 numbers below:

Onward— $10.5 million
I Still Believe— $9.5 million
Bloodshot— $9.3 million
The Invisible Man—$6 million
The Hunt— $5.3 million
Sonic the Hedgehog — $2.6 million
The Way Back—$2.4 million
The Call of the Wild—$2.2 million
Emma —$1.4 million
Bad Boy for Life — $1.1 million


Very sad news.

Modern Family’s beloved French bulldog dies after filming series finale: Report

Beatrice, the French bulldog best known for playing Stella on Modern Family, has died, according to The Blast. She reportedly died a few days after the show wrapped its final episode on Feb. 21.

Stella was introduced in season 2 when Jay Pritchett (Ed O’Neill) reluctantly got a dog. She was played by a French bulldog named Brigitte up until season 4 when Beatrice took over the role. As time passed on the series, Jay grew fonder of Stella and showered her with affection and gifts, which made her the nemesis of Jay’s wife, Gloria (Sofia Vergara).

Good Dog Animals agency, which represented Beatrice, did not immediately respond to EW’s request for comment.

Beatrice’s owners Guin and Steve Solomon spoke with the blog Bodie on the Road about her role on Modern Family back in 2017 when she was 7 years old. They said O’Neill doted on her, just like his character on the show.

“Ed O’Neill is in love with her! It’s very easy working with him because he brings Beatrice treats like popcorn and always looks out for her,” said Guin Solomon, one of her owners. “We’ll be doing scenes in the backyard by the pool and in between takes he’ll say, ‘Would you please get Beatrice an umbrella, she’s in the sun!’”

Her owners also said the pooch was popular with the rest of the team too: “Of course the crew loves to play with her when she’s out and about because she’s so fun and clowny. She really is one of the family!”

Although Modern Family was her bread and butter (er, kibble and bits), the Frenchie was an entertainment veteran whose work spanned from TV series like Workaholics and The Kominsky Method to commercials for Dunkin’ and Chase Bank.

After 11 seasons, the show’s last episode will end in a two-part finale airing April 8. Many cast members took to Instagram to show fans what it was like on set the last day of filming.

“What a day!! Saying goodbye to our Modern Family,” Vergara wrote on Instagram. “I will never forget this set, this people, there were only good times. Thank you Moden Family Thank you Gloria Pritchett.”


Sadly, we’re nowhere near the worst of the coronavirus yet.

Late-night goes dark: NBC suspends Jimmy Fallon, Seth Meyers shows due to coronavirus

First, they decided to tape shows without an audience. Now they’re not taping at all.

NBC is suspending late-night talk show staples The Tonight Show Starring Jimmy Fallon and Late Night With Seth Meyers due to the novel coronavirus pandemic.

The production pause is supposed to go through March 30, but it wouldn’t be surprising if that was extended. Sources say decisions about future shows will be made as that date approaches.

Both shows previously planned a hiatus for the week of March 23 anyway.

Fallon will still tape Thursday’s show without a live audience before going into repeats on Friday.

Previously, NBC announced the shows would go audience-free. So did several other late-night shows, including CBS’ The Late Show With Stephen Colbert, Comedy Central’s The Daily Show With Trevor Noah, TBS’ Full Frontal With Samantha Bee.

Oh, and The Happiest Place on Earth is closing — because that’s apparently the world we live in now.


Here’s hoping that BATMAN VS. THOR is better than SUPERMAN VS. BATMAN!! :D

Christian Bale to play villain in new Thor movie

Christian Bale will play the villain in the new Thor movie, according to Tessa Thompson.

The actress let the news slip to Entertainment Tonight at the Westworld season three premiere, revealing she can’t wait to work with The Dark Knight star.

“Christian Bale is going to play our villain, which is going to be fantastic,” she told ET. “I’ve read the script (but) I can’t tell you much.”

And she’s not the only one excited about Thor: Love and Thunder – Natalie Portman, who returns as Jane Foster in the new movie, loves the idea of sharing the screen with her fellow Oscar winner.

“(There have been) lots of exciting text messages exchanged between Natalie and I,” Tessa added. “We’re going to have fun.”

The actress also revealed she’ll be playing King Valkyrie in the new movie.

“She’s king,” she said. “If she can’t find her queen, she’ll just be king and queen at the same time.”

Thor: Love and Thunder is scheduled to hit theatres in November 2021.


That was probably the right decision.

Woody Allen memoir scrapped by publisher

The release of Woody Allen’s memoir has been scrapped by publishers at Hachette Book Group a day after staff members staged a walk-out in protest.

Employees opted to support Ronan Farrow, who hammered the publishers for agreeing to release his estranged father’s book amid ongoing claims suggesting the Oscar-winning filmmaker molested the journalist’s sister, Dylan – Woody’s adopted daughter, and it appears the protest has prompted company bosses to rethink their release plans.

“Hachette Book Group has decided that it will not publish Woody Allen’s memoir Apropos of Nothing, originally scheduled for sale in April 2020, and will return all rights to the author,” a statement reads.

“The decision to cancel Mr. Allen’s book was a difficult one. At HBG we take our relationships with authors very seriously, and do not cancel books lightly. We have published and will continue to publish many challenging books. As publishers, we make sure every day in our work that different voices and conflicting points of views can be heard.

“Also, as a company, we are committed to offering a stimulating, supportive and open work environment for all our staff. Over the past few days, HBG leadership had extensive conversations with our staff and others. After listening, we came to the conclusion that moving forward with publication would not be feasible for HBG.”

Ironically, Hachette bosses were also behind Ronan Farrow’s recent release, Catch & Kill.

Meanwhile, Dylan Farrow has issued a statement thanking staff who protested on her behalf on Thursday.

She took to social media on Friday afternoon and wrote: “To each and every individual who, at great professional risk to themselves, stood in solidarity with my brother, myself, and all victims of sexual abuse yesterday: words will never describe the debt of gratitude I owe to you.

“For someone who has felt alone in my story for so long, yesterday was a profound reminder of what a difference can be made when people stand and unite together for what’s right. Thank you so very much.”


It must be said that THE WAY BACK is a lot better than it looks. It’s no HOOSIERS, but I liked it.

‘Onward’ leads weak box office; Affleck’s ‘The Way Back’ stumbles into 3rd

LOS ANGELES — Disney and Pixar’s Onward debuted this weekend to US$40 million, enough to lead box office charts but still a somewhat disappointing start given the studio’s near-flawless track record when it comes to animated fare. Internationally, the film brought in $28 million for a global tally of $68 million.

Onward, a fantastical adventure about two brothers (voiced by Tom Holland and Chris Pratt), ranks among Pixar’s lowest opening weekend’s in modern times, joining 2015’s The Good Dinosaur and its $39 million as a rare blemish for the Disney-owned company, known for producing hits such as Inside Out, Coco and Up. Pixar films typically cost $175 million to $200 million to produce, a huge sum that doesn’t include global marketing fees.

Directed by Dan Scanlon, Onward received mostly positive reviews, though it didn’t welcome the kind of rapturous reception that greets most Pixar titles. Still, Onward looks to benefit in coming weeks as one of the few options for family audiences. It scored an “A-” CinemaScore, signaling that moviegoers enjoyed the film.

“Pixar has earned an incredible reputation for delivering quality to audiences, and based on their response, they are being touched by it,” said Cathleen Taff, Disney’s president of global distribution. “We’re excited to see such good word-of-mouth. That bodes well for the life of its run in theatres.”

This weekend’s other high-profile release, Warner Bros.’ sports drama The Way Back, also fell short of expectations. But box office experts suggest it was the movies themselves — not fears of coronavirus — that stifled ticket sales. Onward was tracking an opening between $40 million and $45 million even before threats of coronavirus in North America.

“I think there was zero impact,” Paul Dergarabedian, a senior media analyst with Comscore, said. “With $40 million for Onward, a small drop off for The Invisible Man and The Way Back getting solid scores from audiences, it looks like people are in the habit of going to the movies.”

Overall box office receipts are down 50% from the same weekend last year, an inevitable dip given last year saw Captain Marvel arrive with a huge $153 million. That drastic dip pushed the year-to-date box office down almost 2%, the first year-over-year decline in 2020.

The Way Back brought in $8.5 million when it launched in 2,718 theatres, enough for third place on box office charts. It’s a lacklustre start given its A-list leading man, but an improvement from Warner Bros. recent mid-budget duds, such as The Good Liar ($5.6 million) and The Kitchen ($5.5 million).

The film, which cost roughly $21 million to make, was poised as a big-screen comeback for Affleck. His performance as an alcoholic construction worker who is recruited to become the head coach of a high school basketball team has been praised, but it didn’t get the level of reception that smaller dramas need these days to make an impact at the box office. Among opening weekend crowds, 64% were over the age of 35. Jeff Goldstein, Warner Bros.’ president of domestic distribution, noted it’s a demographic that doesn’t usually rush out on opening weekend.

“Our reviews were really strong and we have a ‘B+’ CinemaScore, so we’re in a really strong place,” Goldstein said. “The story gears toward an older audience that doesn’t rush out. I think we can capture an older audience, assuming a coronavirus scare doesn’t keep audiences away.”

In second place, Universal and Blumhouse’s The Invisible Man added $15.5 million in its second outing for a cumulative total of $52.6 million. Internationally, the Elisabeth Moss-led thriller generated $17.3 million. Its box office receipts currently stand at $98.3 million, already a win for the studio since it cost just $7 million.

Paramount’s Sonic the Hedgehog landed at No. 4, bringing in another $8 million. After four weeks in theatres, the animated family film has made an impressive $140 million. The blue speed demon, voiced by Ben Schwartz, has also been a draw overseas, where it has made $154 million. Globally, Sonic is nearing the $300 million mark with ticket sales currently at $295.6 million.

Disney’s The Call of the Wild rounded out the top five, pocketing $7 million in its third frame. The adaptation of Jack London’s novel, starring Harrison Ford and a CGI dog named Buck, has generated $57.5 million in North America and $99.6 million worldwide, a weak result because the film cost a head-scratching $125 million to make. Given the high price tag, sources estimate “The Call of the Wild” needs to earn between $250 million and $275 million to get out of the red. At this point, it will be difficult to reach those heights so “The Call of the Wild” is expected to lose around $50 million.

Among indie releases, A24’s First Cow made $96,059 when it opened in four venues — translating to $24,015 from each location. Directed by Kelly Reichardt, the film is set in the Pacific Northwest and follows a 19th century cook who travels with fur trappers to the Oregon Territory. It will continue its platform release next weekend before opening nationwide in the spring.

Sony Pictures Classic’s Burnt Orange Heresy had a rocky start in limited release, bringing in $18,296 from four screens for a theatre-average of $4,574. The heist thriller stars Claes Bang, Elizabeth Debicki and Mick Jagger.

Elsewhere, Focus Features’ Emma amassed $5 million when it expanded to 1,565 theaters, bringing its domestic tally to $6.8 million. The adaptation of Jane Austen’s novel also earned $1.5 million this weekend at the international box office for a global bounty of $20.9 million.


Hope it’s true. The last few – including HOBBS AND SHAW – have been pretty boring.

Ben Stiller joining Fast and Furious franchise

Funnyman Ben Stiller is reportedly preparing to rev his engine after joining the cast of the next sequel in the Fast and Furious franchise.

According to the New York Post’s Page Six, the Meet the Parents star is due to shoot his scenes for F9 “soon,” although it will likely only be a small role as the action adventure is set for release in May.

Further details regarding Stiller’s alleged involvement have not been revealed, and representatives for both the actor and the Universal Pictures project have yet to comment.

If the casting news is true, he will join franchise stars Vin Diesel, Michelle Rodriguez, and Ludacris onscreen, as well as newcomer John Cena.

Helen Mirren and Charlize Theron will also feature, reprising their roles from 2017’s The Fate of the Furious.


Wouldn’t it be great if they just focussed on making great pop music again? It would!!

Katy Perry says she and Taylor Swift text each other ‘a lot’ after ending feud

Katy Perry and Taylor Swift may not spend a lot of time together, but they’re still in touch after publicly ending their feud last year.

The American Idol judge and singer, 35, opened up to Stellar Magazine about her relationship with Swift, 30, and why it was so important to reconcile after years of not being on the best terms.

“We don’t have a very close relationship because we are very busy, but we text a lot,” Perry said, as she went on to praise how vulnerable Swift was in her Netflix documentary Miss Americana.

“I was really excited for her to be able to show that to the world: that things aren’t perfect, they don’t have to be and it’s more beautiful when they aren’t,” Perry said.

Swift and Perry publicly ended their feud when they costarred in Swift’s music video for “You Need to Calm Down” last year — hugging it out while wearing coordinating burger and French fry costumes.

“It was important to make that appearance in the music video because people want people to look up to,” Perry told Stellar Magazine. “We wanted it to be an example of unity. Forgiveness is important. It’s so powerful.”

Last year, Perry explained that the pair decided to put their feud to rest in order to set an example for their younger fans.

“It was actually just a misunderstanding but we have such big groups of people that like to follow us, and so they kind of started turning against each other a little bit too,” the singer explained during an appearance on The Ellen DeGeneres Show.

Perry went on to explain that their path to reconciliation began when she “sent a literal olive branch” to Swift’s Reputation tour the previous year.

“Then we started seeing each other out and about and I just would walk up to her and say, ‘Hey, how are you?’ ” she shared. “It’s like, we have so much in common — there’s probably only 10 people in the world that have the same things in common — I was like, ‘We should really be friends over that and share our strengths and our weaknesses and our challenges. We can help each other get through a lot.’ Because it’s not as easy as it seems sometimes.”

Swift shared a similar sentiment last year, telling BBC Radio 1 that she and her fellow pop star had “grown past allowing ourselves to be pitted against each other.”

“The Man“ singer also revealed that she and Perry have been on good terms for a while before the music video, but wanted to make sure they were “solid” before announcing their reconciliation to fans.

“You know, she and I have been fine for a while and really on good terms but we didn’t know if we were ever gonna really tell people about it. We wanted to make sure that was solid between us before we ever made the public aware,” Swift told Capital Breakfast during another interview.


THE INVISIBLE MAN was a very good film. It’s not perfect, but I enjoyed it and Elisabeth Moss, as always.

The Invisible Man sees box office win with $29 million debut

The Invisible Man saw success during its debut weekend at the box office, earning an estimated $29 million.

Following the winning Blumhouse title in second place is Sonic the Hedgehog with $16 million, and The Call of the Wild in third with $13.2 million. Rounding out the top five are My Hero Academia: Heroes Rising ($6.3 million) and Bad Boys for Life ($4.3 million).

Elizabeth Moss stars in The Invisible Man reboot based on the H.G. Wells novel of the same name, in the role of an abuse victim who is being haunted by her deceased boyfriend. Her character Cecilia Kass is convinced her abuser Adrian Griffin (Oliver Jackson-Cohen), who seemingly died from suicide, has found a way to stalk her while being invisible.

The Leigh Whannell directed film co-stars Storm Reid, Aldis Hodge, and Michael Dorman.

EW gave the film a B saying, “If the buildup and catharsis of its final minutes are more than a little silly, and marred by Whannell’s urge to put too neat bow on it all, the movie still has its satisfying jolts — including possibly one of the single most shocking screen deaths so far this year.”

Moviegoers liked it a little bit more, Cinemascore viewers gave it a B+.

Funimation’s Japanese anime superhero film, My Hero Academia: Heroes Rising is based on the popular manga written and illustrated by Kōhei Horikoshi. It tells the story of a group of young, professional superhero wannabes, who fight in a world full of people with powerful gifts. Deku and his partners from the Academy face Nine, the strongest villain yet.

The Kenji Nagasaki directed film features the voice talents of Yuichi Nakamura, Aoi Yuki, Yuki Kaji, Yuka Terasaki, Kosuke Toriumi, Yoshio Inoue, Tomoyo Kurosawa, Shunsuke Takeuchi, and Mio Imada.

From the small screen to the big screen, the popular truTV comedians Impractical Jokers (Brian Quinn, James Murray, Sal Vulcano, and Joe Gatto) also known as The Tenderloins, took the seventh spot on the box office chart with an estimated $3.5 million.

The film tells story of a humiliating high school mishap from 1992 that sends the Impractical Jokers on the road competing in hidden-camera challenges for the chance to turn back the clock and redeem three of the four.

The Chris Henchy directed title co-stars Paula Abdul, Jaden Smith, and Joey Fatone.

Overall, the box office is up 3.5 percent year-to-date, according to Comscore. Check out the Feb. 28- March 1 numbers below:

The Invisible Man—$29 million
Sonic the Hedgehog — $16 million
The Call of the Wild—$13.2 million
My Hero Academia: Heroes Rising —$6.3 million
Bad Boy for Life — $4.3 million
Birds of Prey — $4.1 million
Impractical Joker: The Movie—$3.5 million
1917 — $2.7 million
Brahms: The Boy II—$2.7 million
Blumhouse’s Fantasy Island —$2.3 million