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Weekend Box Office Top Ten: 'Identity Thief' First Breakout of 2013 Amid Weak Field

Photo of Tom Brueggemann By Tom Brueggemann | Thompson on Hollywood February 10, 2013 at 1:04PM

A weekend standout amid weather closings, "Identity Thief" outdid expectations for a terrific opening. While a number of recent releases and older Oscar contenders held up well (following the depleted Super Bowl weekend), most or all of the Top 10 films are successes. So what's the worry?
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"Hansel and Gretel: Witch Hunters"
"Hansel and Gretel: Witch Hunters"
5. Hansel and Gretel: Witch Hunters (Paramount) Week 3; Last Weekend: #2

$5,750,000 (-39%) in 3.285 theaters (-90); PSA: $1,750; Cumulative: $43,833,000

A smaller than usual falloff indicates both a decent response from audiences as well fewer than normal new big openings as this R-rated take on the classic children's story continues its respectable run. Overseas is much better, looking like it should easily surpass $100 million above its domestic take.

What comes next: Another film that should end up in the mid-level $60 million range, combined with foreign decent for this decent for this $50 million production.

6. Mama (Universal) Week 4; Last Weekend: #4

$4,300,000 (-34%) in 2,677 theaters (-104); PSA: $1,615; Cumulative: $64,000,000

A modest drop for this Jessica Chastain-starring horror film, which quietly is accumulating a solid total gross.

What comes next: With a $15 millionj budget, and most of the rest of the world still to come, this Spanish production is going to be one of the best returns on investment this year.

7. Zero Dark Thirty (Sony) Week 8; Last Weekend: #5

$4,000,000 (-23%) in 2,562 theaters (-309); PSA: $1,561; Cumulative: $83,600,000

A drop of less than 25% even with losing theaters shows the normal pre-Oscar interest continues.

What comes next: This could struggle to reach $100 million (which would make it the seventh of the nine Best Picture nominees) unless is wins one or more major awards.

8. Argo (Warner Bros.) Week 18; Last Weekend: #11

$2,500,000 (+23%) in 1,405 theaters (+470); PSA: $1,779; Cumulative: $123,734,000

Riding the wave of awards that have made this the Oscar Best Picture frontrunner, and just ahead of its DVD retail release next week (Feb. 19), Warner Bros. expanded this to its widest level since before Thanksgiving and a return to the top 10.

What comes next: Though not the biggest grosser among the Best Picture nominees, it has amassed the largest gross pre-Oscars since "The Departed," which was Warner Bros'. last winner.

9. Django Unchained (Weinstein) Week 7; Last Weekend: #8

$2,288,000 (-24%) in 1,502 theaters (-275); PSA: $1,523; Cumulative: $154,501,000

Another Weinstein film that has benefited from ongoing strong word of mouth as well as the lack of multiple new alternatives. This is a very minor falloff for this stage of the run, even more considering each week it loses more theaters.

What comes next: This won't sell quite as many domestic tickets as Tarantino's biggest hit "Pulp Fiction," but with its very strong worldwide performance (already $187 million) it will outperform that film ultimately.

10. Top Gun 3D (Paramount) NEW

$1,900,000 in 300 theaters; PSA: $6,333; Cumulative: $1,900,000

For the number of theaters for this 3-D makeover of this 27-year-old film, this is an adequate figure (keeping in mind the ticket surcharges and the quality of the IMAX venues). It makes the top ten at a lower figure than normal, and pales compared to the $22 million grossed by "The Phantom Menace" in 3-D a year ago (which did play a much wider break).

What comes next: This sort of performance isn't going to encourage similar do-overs for other past iconic hits.

This article is related to: Box Office, Side Effects, Box Office, Box Office, Steven Soderbergh, Jason Bateman


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.