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Weekend Top Ten Box Office: Tom Cruise's 'Oblivion' Scores At Home After Foreign Success

Photo of Tom Brueggemann By Tom Brueggemann | Thompson on Hollywood April 21, 2013 at 1:01PM

The spring box office is still treading water as the industry awaits the launch of the summer season in two weeks, when Disney's "Iron Man 3" is expected to surpass any opening this year so far. For now we have to settle for the better-than-expected opening of a glossy sci-fi thriller from veteran star Tom Cruise, as "Oblivion" scored $38 million.
'Evil Dead' Remake
'Evil Dead' Remake

An expedited expansion for this so far decently grossing indie drama that continues to benefit from its star power. Way ahead of other recent releases with big names attached ("Stoker" and "Trance" - both from Fox Searchlight -- accumulated just a fraction of what this has so far despite attempts to reach a wider market), this now looks headed for a good, not great, total. The gross this weekend is below what Focus' "Moonrise Kingdom" totaled when it doubled its theaters to 854 -- slightly more than half of what this has -- on its way to a $45 million total. Comparisons to the blockbuster "Silver Linings Playbook" (also with "Pines" star Bradley Cooper) aren't really fair -- it was boosted by holidays and awards, and had a slower release pattern -- but the latter film also was doing similar total business while playing at many fewer theaters.

What comes next: Focus has backed this film solidly as it expands to get to these numbers. This has room for growth, but at this points looks to have a ceiling much lower than what "Moonrise" achieved.

7. Olympus Has Fallen (FilmDistrict) Week 5 - Last weekend: #7

$4,500,000 (-38%) in 2,638 theaters (-297); PSA: $1,706; Cumulative: $88,801,000

The biggest surprise of the year continues to hold well in its second month of release, holding in seventh place and now likely to approach or pass the $100 million mark before it's done.

What comes next: This is an extraordinary breakout success for FilmDistrict (which acquired this independently produced film for the U.S.), performing far better than a series of big-name centered action underperformers in recent months. The expense of the film -- reported production budget of $70 million -- means that the producers have to hope foreign results (it has not opened in most countries yet) need to be at the same level of better for them to come off as well.

8. Evil Dead (Sony) Week 3; Last weekend: #5

$4,100,000 (-62%) in 2,823 theaters (-202); PSA: $1,452; Cumulative: $48,445,000

This continues to fall quickly, with a gross only one sixth of what it opened to two weeks ago when it was a surprisingly strong #1.

What comes next: With its low ($17 million) production cost, Sony will come out OK for this, but it has fallen short of what it might have done with the obvious initial interest.

9. Jurassic Park 3D (Universal) Week 3; Last weekend: #6

$4,000,000 (-55%) in 2,330 theaters (-448); PSA: $1,715; Cumulative: $38,500,000

Holding in there, though the future for this film remains foreign, particularly China.

What comes next: This gross has been good enough to keep interest in 3-D redos in vogue.

10. Oz: The Great and Powerful (Buena Vista) Week 7; Last weekend: #8

$3,048,000 (-37%) in 2,045 theaters (-459); PSA: $1,490; Cumulative: $223,800,000

Nearing the end of its theatrical run, with the as-of-now year's best domestic gross likely to be eclipsed in a few weeks by another Disney release, "Iron Man 3."

What comes next: With total worldwide gross (with most money in) not yet at $500 million, even with this high figure, "Oz" has grossed much less than hoped for.

This article is related to: Box Office, Box Office, Box Office

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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.