By Lindsey Bahr, Film Writer
LOS ANGELES (AP) --With the distraction of the Super Bowl, freezing temperatures affecting large portions of North America and only one big new release in theaters in "Miss Bala," movie going audiences largely took the weekend off from the theaters in what is estimated to be the lowest-earning Super Bowl weekend in nearly two decades.
M. Night Shyamalan's "Glass" kept a fragile hold on the No. 1 spot for the third time while "The Upside" stayed in a close second on this sleepy box office weekend. Studios on Sunday estimate that "Glass" has earned an additional $9.5 million in ticket sales, bringing its total earnings to $88.7 million.
STX's "The Upside" added $8.9 million. The Kevin Hart and Bryan Cranston film has held very well in its four weeks in theaters, never dropping more than 30 percent week to week. Its domestic grosses are already up to $75.6 million.
The weekend's only big newcomer, "Miss Bala," landed in third place with $6.7 million. Gina Rodriguez stars in the Catherine Hardwicke-directed actioner, which is a remake of a 2011 Mexican film. While on the lower end of projections for the Sony film, "Miss Bala" was also made for a modest $15 million. Still, with a dismal 27 percent on Rotten Tomatoes, it will have its work cut out for itself to break even.
"The box office in 2019 hasn't gotten its groove back yet," said Comscore senior media analyst Paul Dergarabedian. "Januarys by and large are not known as blockbuster months and that certainly has held true this year with the month being down 16 percent."
"Aquaman" slid into fourth place with $4.8 million and "Spider-Man: Into the Spider-Verse" clung to fifth with $4.4 million.
Peter Jackson's World War I documentary "They Shall Not Grow Old" opened on 735 screens after a few single day showings to a robust $2.4 million, which was enough for it to crack the top 10. The Mads Mikkelsen survival thriller "Arctic" also opened in limited release to $56,463 from four locations.
The overall industry grosses from the weekend is estimated to be around $71 million. There hasn't been a worse-performing Super Bowl box office weekend since 2000.
"We've had certain movies hit it big on Super Bowl weekend," said Dergarabedian. "But it's all about momentum and we don't have it right now."
Some high earning Super Bowl weekend anomalies have included "Taken" and the "Hannah Montana and Miley Cyrus: Best of Both Worlds Concert."
It's an undeniable cooling off period from the record 2018 year at the box office, but Dergarabedian said that, "The Calvary is on the way."
Next weekend, the sequel to "The LEGO Movie" opens nationwide.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.
1."Glass," $9.5 million ($12.2 million international).
2."The Upside," $8.9 million ($873,000 international).
3."Miss Bala," $6.7 million.
4."Aquaman," $4.8 million ($4.6 million international).
5."Spider-Man: Into the Spider-Verse," $4.4 million ($1.6 million international).
6."Green Book," $4.3 million ($11.9 million international).
7."The Kid Who Would Be King," $4.2 million ($1.2 million international).
8."A Dog's Way Home," $3.5 million ($3.1 million international).
9."Escape Room," $2.9 million ($8.8 million international).
10."They Shall Not Grow Old," $2.4 million.
Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to Comscore:
1. "How to Train Your Dragon: The Hidden World," $40.2 million.
2. "Extreme Job," $20.9 million.
3. "Qu'est-ce qu'on a encore fait au Bon," $12.8 million.
4. "Glass," $12.2 million.
5. "White Snake," $8.8 million.
6. "Escape Room," $8.8 million.
7. "Ralph Breaks the Internet," $8.5 million.
8. "Bohemian Rhapsody," $7.1 million.
9. "Creed II," $7 million.
10. "Deadpool 2," $6.9 million.
Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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