We're baa-aaack. We haven't done a box office post in two weeks due to our TIFF jaunt so we're dying to know what you've been watching while we were cramming fall and winter movies in. Next weekend things get VERY competitive with the Brad Pitt led sci-fi drama Ad Astra, the leap to the big screen for Downton Abbey, and yet another Sylvester Stallone milking-his-franchises sequel Rambo: Last Blood all arriving to compete with Pennywise and JLo for the box office crown.
The weekend estimates for all 14 pictures in wide release and the corresponding top platform titles are after the jump along with a few notes...
Weekend Box Office
Sept 13th-15th (Estimates)
🔺 = new or expanding / ★ = recommended |
WIDE RELEASE (800+ screens)
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PLATFORM TITLES
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1 IT CHAPTER TWO $40.7 (cum. $153.8)
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1 🔺 BRITTANY RUNS A MARATHON $1.5 on 757 screens (cum. $3.8) REVIEW ★ |
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2 🔺 HUSTLERS $33.2 *new* REVIEW ★
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2 🔺 LINDA RONSTADT: SOUND... [DOC] $734k (cum. $889k) on 220 screens |
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3 ANGEL HAS FALLEN $4.4 (cum. $60.3)
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3 🔺 OFFICIAL SECRETS $571k on 330 screens (cum. $957) REVIEW |
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4 GOOD BOYS $4.2 (cum. $73.3) REVIEW ★
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4 CHHICHHORE $419k on 195 screens (cum. $1.3) ★ |
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| 6 HOBBS & SHAW $2.7 (cum. $168.3) REVIEW ★ |
6 TOD@S CAEN $220k on 211 screens (cum. $2.4) |
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7 OVERCOMER $2.7 (cum. $28.9)
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7 LUCE $71k on 115 screens (cum. $1.8) REVIEW ★ |
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8 🔺 THE GOLDFINCH $2.6 *new*
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8 AFTER THE WEDDING $56k on 96 screens (cum. $1.5) REVIEW |
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9 THE PEANUT BUTTER FALCON $1.9 (cum. $15) REVIEW ★
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9 🔺 MILES DAVIS: BIRTH OF THE COOL [DOC] $55k on 24 screens (cum. $242k) |
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10 DORA AND THE LOST CITY OF GOLD $1.8 (cum. $56.7) REVIEW
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10 MISSION MANGAL $50k on 43 screens (cum. $3.6)
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11 SCARY STORIES TO TELL IN THE DARK $1.7 (cum. $64.4)
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11 MAIDEN [DOC] $44k on 70 screens (cum. $3.0) REVIEW ★
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12 ONCE UPON A TIME... $1.5 (cum. $136.9) REVIEW, PODCAST ★
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12🔺 MONOS $43k on 5 screens *new* OSCAR SUBMISSION COLOMBIA
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13 ANGRY BIRDS MOVIE 2 $1.2 (cum. $39.6)
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13 HONEYLAND [DOC] $32k on 46 screens (cum. $532k) REVIEW, OSCAR SUBMISSION MACEDONIA ★
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14 READY OR NOT $941k (cum. $27.6) REVIEW ★
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14 DAVID CROSBY: REMEMBER MY NAME [DOC] $26k on 67 screens (cum. $646k)
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numbers on this chart are pulled from boxofficemojo.
WIDE
It: Chapter Two managed to hold on to the top spot at the box office but by much less of a margin that pundits predicted with Hustlers coming on very strong in its opening weekend. Go JLo! Meanwhile the weekend also bore witness to a disastrous opening for The Goldfinch. The bestseller status of the source material and multiple name actors (Elgort, Kidman, Paulson, Wright, etcetera) weren't able to draw viewers in.
LIMITED
The most successful of the new platform titles was Colombia's Oscar submission Monos which stars Julianne Nicholson as a woman abducted by a group of guerilla teenagers in a Lord of the Flies style situation on a remote mountain. It's only at 5 theaters right now but maybe it will catch on? The Linda Ronstadt documentary took a big leap in its second weekend adding 200+ screens and will soon join the elite club of $1 million plus grossing documentaries. That will also make it the fourth music doc to gross over a million this year (joining the Aretha Franklin doc Amazing Grace, Pavarotti, and Echo in the Canyon.) It's been a good year for music docs since the David Crosby doc and the Fiddler on the Roof doc are also doing well.
What did you see this weekend?
Sunday, September 15, 2019 at 6:00PM 
Reader Comments (22)
It Chapter 2 is a bloated unscary mess makes the first look like a horror masterpiece.
Julianne Nicholson so so underrated.
Poor Nicole even in supporting roles her movies flop badly.
Hustlers - average. I am not getting the hype for this film. Jennifer looks good and is charismatic, but the movie is flat.
Linda Ronstadt - great for fans.
Unbelievable - very good acting and directing.
Saw Hustlers... Not sure what all the Ballyhoo is about... its OK, but that's it.
To me the main problem with Hustlers is that none of the characters were even remotely likable people. I mean yeah the Wall Street type guys they scam are heinous but that doesn’t change the fact they’re drugging them and stealing from them. I couldn’t find myself rooting for anyone. Flashy but hollow. I can’t believe it’s getting the raves it’s getting.
I loved hustlers, and I’ll admit that I didn’t want the ladies to get caught. Part of the magic for
Me was that it was so easy to root for the relationships these women were building, and to see these women provide for their families. I’m surprised there hasn’t been more written about Constant Wu - once again she hits all the right beats and creates a compelling character.
Next weekend will be interesting. I expect Downton will make a decent amount of
Money - it was such a big hit.
The amount of bombs in Nicole's career is astounding.
A re-watch of Big Trouble in Little China and a first-timer in Mysterious Object at Noon. Nicole Kidman needs to fire her agent or someone who keeps putting her in bad Oscar-bait movies.
She's got like four tv-shows in pre-production. Hopefully she will never come back to movies.
Hustlers was a toothless stripper movie. Where were the bare breast?
Lol wasn’t it this time last year, Nicole was 1&2 at the box office? She’s had a lot of flops but a whole lotta successes too!
Although she does need to stop snapping all these mum roles up and stick to the interesting things.
Loved Hustlers! JLo’s better than she’s been in over a decade, but I’m surprised no one’s talking about Constance Wu’s phenomenal work in the lead role. I wonder if it has anything to do with the negative press she received earlier this year for that admittedly iffy tweet.
Wu's work suffices. But I'm unsure what kind of vehicle would launch her into an actress I can envision exciting things from?
@MJ
The Goldfinch is a major bomb. Cost $45 million, opened to $2.6 million. That is sad. Re: Nicole, I think she accepts any part that may come her way, when she really could be more selective and work once or twice a year and be fine.
I’m happy anytime an original movie directed by a woman starring an Asian woman and a latin woman in her 50’s makes a ton of money.
I saw The Goldfinch, which was always going to be a difficult adaptation. It’s not as bad as the reviews would have you think. The performances are strong and it’s a gorgeous production, but I don’t know how anyone who didn’t read the book could understand the first hour or so. The whole Amsterdam sequence, which took over 100 pages in the novel, feels like it was shot in fast forward. Either this should have been a miniseries or the filmmakers should have been less beholden to the text. What a disappointing film.
I loved Hustlers and thought J-Lo and Wu were really good in it., but judging from some of the reactions I am worried its going to get that dreaded 'its not as a good as they say' backlash that is so inevitable.
Didn't see anything in theaters. Finally started watching "Pose" and have totally fallen for it.
Having read The Goldfinch, I'm not at all surprised the adaptation has fallen flat. Like Raul, it always struck me as a difficult (and way too baggy) novel to transfer to the screen effectively without major changes and cuts.
Also, the kind of people who would have been interested in the movie seem also the most likely to read - and be turned off by - the reviews.
Hustler‘s CinemaScore of a B- is a notch above Showgirl‘s C, and the same grade as Striptease‘s B-.
I saw Us, which I really liked. It held my attention throughout, and I thought Lupita was great. My one critique is that I didn't really find it scary, but I still enjoyed it thoroughly.
I saw "Good Boys" which is a funny one joke movie
Rewatched Kieślowski's Bleu -- in retrospect, Kieślowski's decision to cast Juliette Binoche, Julie Delpy and Irène Jacob in Trois Couleurs allowed him to project different hues on the canvas of these expressive actresses. Watching Bleu again, Binoche's sadness registered more impactfully than when I first watched the film. Emmanuelle Riva was riveting in her one scene with Binoche. By the time Preisner/van den Budenmayer's music with the ethereal voice of Elżbieta Towarnicka came at the end, the dramatic elements came altogether forcefully yet exquisitely.
Also saw Lola Rennt and what intrigued and excited me the first time it came out, did not do it for me in the second iteration. Yet I noticed a few referential looks that Potente gave the audience that I didn't catch the first time. Highly enjoyable to see it again even if I know how it will end. I just needed reminding how the film reached the dénouement and the structure were as strong as I recalled. Where is Franka now? In Lola Rennt she looked like a distant cousin to Sandra Bernhard.
Next weekend will be interesting...I love this film about the educational system.
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