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'G.I. Joe: Retaliation' Opens Big Worldwide, Leads Strong Easter Weekend Box Office Top Ten

Photo of Tom Brueggemann By Tom Brueggemann | Thompson on Hollywood March 31, 2013 at 1:16PM

"G.I. Joe: Retaliation" opened to a solid domestic three-day $41-million gross and twice-as-big international $80-million total to lead a strong Easter holiday weekend. The top ten grossed $139 million, improving on last year's one-week later holiday by $24 million while equaling the total for the exactly one year ago. The weekend total improved $12 million from last week. Business is not yet exactly booming, but it seems to have stabilized, marking a big improvement on 2013 thus far.

'Oz the Great and Powerful,' Weisz and Kunis
'Oz the Great and Powerful,' Weisz and Kunis
3. Temptation: Confessions of a Marriage Counselor (Lionsgate) NEW - Cinemascore: A-; Metacritic score: 30

$22,300,000 in 2,047 theaters; PSA: $10,894; Cumulative: $22,300,000

A rare dramatic turn from Tyler Perry (who doesn't appear at all in this film) becomes his tenth overall (ninth as director) to gross over $20 million since 2005, a record unparalleled by any other filmmaker. With only a $20 million production cost (pre-marketing), this continues his long and successful track record as Lionsgate's most reliable provider of hits.

Most of those films have been comedies featuring the Madea character. This one has Vanessa Williams and Kim Kardashian as the best known names in a domestic relationship drama, making its success all the more impressive.

What comes next: Audience reaction per the Cinemascore seems to be opposite the bad critical reaction (the film wasn't pre-screened) which suggests this should reach the $60 million+ level normal for Perry's films.

4. Olympus Has Fallen (FilmDistrict) Week 2; Last weekend: #2

$14,000,000 (-54%) in 3,106 theaters (+8); PSA: $4,507; Cumulative: $54,743,000

Competition from "G.I. Joe" didn't help, but ahead of its release FilmDistrict would have been thrilled at a second weekend gross of $14 million and a total above $50 million after ten days. This has been a significant breakthrough for them as it becomes less specialized and more general release acquisition-based company.

What comes next: This should end up around $75 million domestic, which would be far above initial expectations.

Olivia Wilde in 'The Incredible Burt Wonderstone'
Olivia Wilde in 'The Incredible Burt Wonderstone'

5. Oz: The Great and Powerful (Buena Vista) Week 4; Last weekend: #3

$11,605,000 (-46%) in 3,324 theaters (-481); PSA: $3,491; Cumulative: $198,278,000

Not holding as well at this point as Disney would have hoped with a film this expensive, and with international so far not much ahead of domestic, this looks headed toward a worldwide gross somewhere around $600 million. That would make it the biggest 2013 release so far, but $400 million less than "Alice in Wonderland," which they hoped to match. At that level, when all revenues are in, this should make a small profit, but not end up as the franchise starter they had banked on.

What comes next: With most school vacations over after this week, this might not be around that much longer.

6. The Host (Open Road) NEW - Cinemascore: B-; Metacritic score: 30

$11,020,000 in 3,202 theaters; PSA: $3,436; Cumulative: $11,020,000

A real disappointment for this first film based on a non-"Twilight" novel from Stephenie Meyer. Open Road acquired this $50 million production hoping for breakout success, but it had at best a mediocre opening with little prospect for sustaining itself.

Aimed at teenage girls, this starred Saoirse Ronan, last seen in "Hanna" as the heroine fighting off aliens trying to take over her mind. Both director Andrew Niccol ("In Time," "Gattaca") and producer Nick Wechsler ("Drugstore Cowboy," "Magic Mike") usually make smart, edgy films that get better audience traction.

What comes next: This looks unlikely to reach $30 million. It's a flop.

7. The Call (Sony) Week 3; Last weekend: #4

$4,800,000 (-46%) in 2,439 theaters (-68); PSA: $1,968; Cumulative: $39,480,000

This Halle Berry thriller continues to perform adequately in its third weekend, heading toward a $50 million domestic total that many much more expensive studio releases have failed to achieve this year.

What comes next: This should help heat up Berry's tepid career going forwar.

8. Admission (Focus) Week 2; Last weekend: #5

$3,253,000 (-47%) in 2,161 theaters (+1); PSA: $1,505; Cumulative: $11,759,000

The gross drop suggests mediocre word of mouth on top of its disappointing opening. This Tina Fey comedy has fallen far short of expectations.

What comes next: On the verge of not making the cut for next week.

9. Spring Breakers (A24) Week 3; Last weekend: #6

$2,758,000 (-43%) in 1,379 theaters (+125); PSA: $2,000; Cumulative: $10,100,000

While the unconventional comedy added some more theaters to its unexpectedly wide break, its numbers are strictly ordinary. Still, with its low budget and inexpensive marketing, it continues to be a hit.

What comes next: This should eke out a little more theatrical gross before going on to success on other venues. But its biggest achievement will be on putting A24 on the map as a distributor that can deliver significant unconventional films to mainstream as well as specialized theaters. 

10. The Incredible Burt Wonderstone (Warner Bros.) Week 3; Last weekend: #7

$1,300,000 (-70%) in 1,575 theaters (-1,585); PSA: $825; Cumulative: $20,580,000

This Steve Carell magician comedy lost more than half its theaters in its third week as it ends its run.

What comes next: Watch it disappear.

This article is related to: Box Office, Box Office, Box Office, G.I. Joe: Retaliation, Tyler Perry, Oz The Great And Powerful

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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.