By Jake Coyle, Film Writer
NEW YORK (AP) --The high-flying "Top Gun: Maverick" continued to soar in its second weekend, dropping just 32% from its opening with $86 million in ticket sales, according to studio estimates Sunday.
The Paramount Pictures release, with Tom Cruise reprising his role from the 1986 original, is holding steadier than any film of its kind has before. Its modest drop — 50-65% is more typical for blockbusters — is the smallest decline for a movie that opened above $100 million. "Top Gun: Maverick" debuted with $124 million last weekend, scoring Cruise's biggest opening yet.
Overseas, director Joseph Kosinski's film is performing even better. In 64 overseas markets, "Top Gun: Maverick" dipped only 20% in its second weekend with $81.7 million.
Riding stellar word of mouth, terrific reviews and a global promotional tour, "Top Gun: Maverick" has already grossed $548.6 million worldwide, making it easily one the biggest hits of Cruise's career. In domestic ticket sales ($291.6 million thus far), the "Top Gun" sequel already ranks as the 59-year-old's best performer.
While "Top Gun: Maverick" is unlikely to match the $1.89 billion worldwide of Sony Pictures' "Spider-Man: No Way Home," the biggest box-office smash of the pandemic, Cruise and company have been hailed for leading the final push in the recovery of movie theaters. Paramount delayed its release two years.
But whereas "No Way Home" had little-to-no big-budget competition through January, "Top Gun: Maverick" kicks off a string of more closely packed summer movies. Next weekend, Universal Pictures debuts "Jurassic World: Dominion," the culmination of the dinosaur franchise trilogy of sequels. The week after that, the Walt Disney Co. releases "Toy Story" spinoff "Lightyear," the first Pixar release to open in theaters in more than two years.
"Top Gun: Maverick," which actually added screens in its second week to extend its record total to 4,751, will soon find itself in more of a dog fight for audience attention.
"Jurassic World: Dominion" got a head start over the weekend in 15 international markets, where the Colin Trevorrow-directed film grossed $55.5 million. Universal said that was in line with the previous franchise entries. "Jurassic World" made $1.67 billion in 2015, while its 2018 follow-up, "Jurassic World: Fallen Kingdom," grossed $1.31 billion.
In U.S. and Canadian theaters, no new wide release challenged "Top Gun: Maverick." "Vikram," an Indian Tamil-language action thriller, opened with $1.8 million in 460 theaters.
Fresh off its premiere at the Cannes Film Festival, David Cronenberg's "Crimes of the Future" opened with $1.1 million in 773 theaters. The Neon release, starring Viggo Mortensen, Lea Seydoux and Kristen Stewart, is the Canadian auteur's first film in eight years.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.
1. "Top Gun: Maverick," $86 million.
2. "Doctor Strange in the Multiverse of Madness," $9.3 million.
3. "The Bob's Burgers Movie," $4.5 million.
4. "The Bad Guys," $3.3 million.
5. "Downton Abbey: A New Era," $3 million.
6. "Everything Everywhere All at Once," $2 million.
7. "Vikram," $1.8 million.
8. " Sonic the Hedgehog 2," $1.7 million.
9. "The Lost City," $1.4 million.
10. "Crimes of the Future," $1.1 million.
Review: Director Nora Fingscheidt’s “The Outrun”
At some point during "The Outrun," it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.
This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren't onscreen virtually every second?
Luckily, we don't need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.
Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona's hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona's mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.
There's a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when... Read More