{"id":189412,"date":"2018-11-13T02:43:22","date_gmt":"2018-11-13T07:43:22","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=189412"},"modified":"2018-11-13T02:43:22","modified_gmt":"2018-11-13T07:43:22","slug":"dr-seuss-the-grinch-makes-off-with-66m-at-box-office","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2018\/11\/13\/dr-seuss-the-grinch-makes-off-with-66m-at-box-office\/","title":{"rendered":"Dr. Seuss’ The Grinch’ makes off with $66M at box office"},"content":{"rendered":"
\"\"<\/a>
Illumination’s \u201cGrinch,\u201d narrated by Pharrell Williams, gives the title character, voiced by Benedict Cumberbatch, a backstory in an orphanage and fills out the story of his foil Cindy Lou Who. (Photo<\/a>: @drseuss\/Instagram<\/a>)<\/figcaption><\/figure>\n

LOS ANGELES \u2014 You’re a mean one \u2014 and you’re number one \u2014 Mr. Grinch.<\/p>\n

\u201cDr. Seuss’ The Grinch\u201d sledded past mixed reviews and made off with $66 million for Universal Pictures to top the weekend North American box office, according to studio estimates Sunday.<\/p>\n

Last week’s top film, the Queen biopic \u201cBohemian Rhapsody,\u201d drops to second for 20th Century Fox with a $30.8 million weekend that brings its overall take to $100 million.<\/p>\n

Illumination, the Universal-owned animators behind \u201cThe Minions\u201d and \u201cDespicable Me,\u201d produced the latest interpretation of Seuss’ 1957 book that led to a 1966 TV special and first came to the big screen as a live-action feature starring Jim Carrey in 2000.<\/p>\n

Paramount Pictures’ war-horror hybrid \u201cOverlord\u201d was third in its first weekend with $10.1 million. Disney’s \u201cThe Nutcracker and the Four Realms\u201d brought in $9.5 million and finished fourth in its second week. The weekend’s other major debut, \u201cThe Girl in the Spider’s Web,\u201d made just $8 million and finished fifth.<\/p>\n

Illumination’s \u201cGrinch,\u201d narrated by Pharrell Williams, gives the title character, voiced by Benedict Cumberbatch, a backstory in an orphanage and fills out the story of his foil Cindy Lou Who.<\/p>\n

It’s the second Seuss adaptation for Illumination. Its version of \u201cThe Lorax\u201d opened with a comparable $70 million weekend and went on to gross $348.8 million worldwide.<\/p>\n

\u201cThe Grinch\u201d was widely expected to be No. 1 with few other major openings this weekend, but it surpassed projections that had it bringing in closer to $60 million, continuing what’s become a trend in 2018.<\/p>\n

\u201c’The Grinch’ is just the latest in a string of
\nover-performers,\u201d said Paul Dergarabedian, senior media analyst for
\nComscore. \u201c’Bohemian Rhapsody’ was bigger than expected, ‘A Star Is
\nBorn’ was bigger than expected. It’s fueling a box-office surge.\u201d<\/p>\n

The industry has reached a cumulative box office total of $10 billion faster than in any other year, Dergarabedian said.<\/p>\n

The Christmas theme of \u201cThe Grinch\u201d could sustain it through the holidays and Universal hopes it has a longer life than that.<\/p>\n

\u201cWith Thanksgiving coming, we’re poised to have a great run through that,\u201d said Jim Orr, president of domestic distribution for Universal. \u201cIllumination’s created such a classic take on this beloved character that audiences will be enjoying it for a really long time.\u201d<\/p>\n

But big rivals loom soon, including \u201cFantastic Beasts: The Crimes of Grindelwald\u201d next week and \u201cRalph Breaks The Internet\u201d on Nov. 21.<\/p>\n

\u201cWe’ve got a lot of competition coming up for family audiences,\u201d Dergarabedian said.<\/p>\n

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theatres, according to comScore. Where available, the latest international numbers for Friday through Sunday also are included. Final domestic figures will be released Monday.<\/p>\n

    \n
  1. \u201cDr Seuss’ The Grinch,\u201d $66 million ($12.7 million international).<\/li>\n
  2. \u201cBohemian Rhapsody,\u201d $30.8 million ($63 million international).<\/li>\n
  3. \u201cOverlord,\u201d $10.1 million, ($9.2 million international).<\/li>\n
  4. \u201cThe Nutcracker and the Four Realms,\u201d $9.5 million, ($13.5 million international).<\/li>\n
  5. \u201cThe Girl in the Spider’s Web,\u201d $8 million, ($6.2 million international).<\/li>\n
  6. \u201cA Star Is Born,\u201d $8 million ($9 million international).<\/li>\n
  7. \u201cNobody’s Fool,\u201d $6.5 million.<\/li>\n
  8. \u201cVenom,\u201d $4.8 million ($118.2 million international).<\/li>\n
  9. \u201cHalloween,\u201d $3.8 million ($5.9 million).<\/li>\n
  10. \u201cThe Hate U Give,\u201d $2 million.<\/li>\n<\/ol>\n

    \u2014\u2014\u2014<\/p>\n

    Estimated ticket sales for Friday through Sunday at international theatres (excluding the U.S. and Canada), according to comScore:<\/p>\n

      \n
    1. \u201cVenom,\u201d $118.2 million.<\/li>\n
    2. \u201cBohemian Rhapsody,\u201d $63 million.<\/li>\n
    3. \u201cThe Nutcracker and the Four Realms,\u201d $13.5 million.<\/li>\n
    4. \u201cDr Seuss’ The Grinch,\u201d $12.7 million.<\/li>\n
    5. \u201cDetective Conan: Zero the Enforcer,\u201d $12.4 million.<\/li>\n
    6. \u201cIntimate Strangers,\u201d $9.2 million.<\/li>\n
    7. \u201cOverlord,\u201d $9.2 million.<\/li>\n
    8. \u201cA Star Is Born,\u201d $9 million.<\/li>\n
    9. \u201cThe Girl in the Spider’s Web,\u201d $6.2 million.<\/li>\n
    10. \u201cHalloween,\u201d $5.9 million.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

      LOS ANGELES \u2014 You’re a mean one \u2014 and you’re number one \u2014 Mr. Grinch. \u201cDr. Seuss’ The Grinch\u201d sledded …<\/p>\n","protected":false},"author":44,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,106],"tags":[],"class_list":["post-189412","post","type-post","status-publish","format-standard","category-entertainment","category-hollywood","mauthors-andrew-dalton","mauthors-the-associated-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/189412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/comments?post=189412"}],"version-history":[{"count":0,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/189412\/revisions"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=189412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=189412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=189412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}