{"id":246729,"date":"2020-03-02T01:47:53","date_gmt":"2020-03-02T06:47:53","guid":{"rendered":"https:\/\/canadianinquirer.net\/v1\/?p=246729"},"modified":"2020-03-02T01:47:53","modified_gmt":"2020-03-02T06:47:53","slug":"the-invisible-man-tops-box-office-with-29-million","status":"publish","type":"post","link":"https:\/\/canadianinquirer.net\/v1\/2020\/03\/02\/the-invisible-man-tops-box-office-with-29-million\/","title":{"rendered":"‘The Invisible Man’ tops box office with $29 million"},"content":{"rendered":"
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FILE: @theinvisiblemanmovie #theinvisibleman (Photo<\/a>: elisabethmossofficial\/Instagram<\/a>)<\/figcaption><\/figure>\n

LOS ANGELES \u2014 The Elisabeth Moss-led thriller \u201cThe Invisible Man\u201d rode a wave of good reviews to a very visible spot atop the box office this weekend. Universal Pictures on Sunday estimated that the film from writer-director Leigh Whannell earned $29 million from North American theatres. Internationally, the Blumhouse production picked up an additional $20.2 million.<\/p>\n

Whannell helped dust off the classic H.G. Wells story and update it for modern audiences by focusing on Moss’ victim character instead of the Invisible Man character, who here is an abusive ex-boyfriend.<\/p>\n

\u201cThe Invisible Man\u201d carried a relatively modest budget, costing under $10 million to produce, and exceeded expectations by a few million dollars. The film, which had been well-received by critics, drew diverse audiences to the theatres (46% Caucasian, 20% African American and 18% Hispanic), according to exit polls.<\/p>\n

\u201cWe couldn’t be more pleased,\u201d said Jim Orr, Universal’s president of domestic distribution. \u201c(Whannell) brought this century-old character to life in a very clever and relevant way.\u201d<\/p>\n

The studio expects it to continue to play well into March, although it will have some extra competition when \u201cA Quiet Place Part II\u201d opens on March 20.<\/p>\n

Paramount Pictures’ \u201cSonic the Hedgehog\u201d slid to second place in its third weekend in theatres adding $16 million and bringing its domestic total to $128.3 million. \u201cThe Call of the Wild,\u201d with Harrison Ford, placed third in its second weekend with $13.2 million.<\/p>\n

Fourth place went to the anime superhero film \u201cMy Hero Academia: Heroes Rising\u201d which opened to $6.3 million from just 1,260 screens.<\/p>\n

\u201cWe should never underestimate films like this that may not have broad recognition among the general public,\u201d said Comscore’s senior media analyst Paul Dergarabedian.<\/p>\n

\u201cBad Boys for Life\u201d rounded out the top five with $4.3 million in its seventh weekend. The Will Smith and Martin Lawrence pic is just shy of reaching the $200 million mark in North America and has earned over $400 million globally.<\/p>\n

In limited release, \u201cWendy,\u201d Benh Zeitlin’s long-awaited follow-up to his Oscar-nominated film \u201cBeasts of the Southern Wild,\u201d got off to a bumpy start with just $30,000 from four theatres. The Peter Pan-inspired film has garnered mixed reviews from critics and will be expanding in the coming weeks.<\/p>\n

Although it’s still early in the year, overall the box office is up nearly 3.5%.<\/p>\n

\u201cThis weekend it was business as usual in North American theatres,\u201d Dergarabedian said. \u201cPeople went to the movies to escape the trials and tribulations of the real world.\u201d<\/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 are also included. Final domestic figures will be released Monday.<\/p>\n

    \n
  1. \u201cThe Invisible Man,\u201d $29 million ($20.2 million international).<\/li>\n
  2. \u201cSonic The Hedgehog,\u201d $16 million ($26.8 million international).<\/li>\n
  3. \u201cThe Call of the Wild,\u201d $13.2 million ($11 million international).<\/li>\n
  4. \u201cMy Hero Academia: Heroes Rising,\u201d $6.3 million ($117,000 international).<\/li>\n
  5. \u201cBad Boys for Life,\u201d $4.3 million ($4.9 million international).<\/li>\n
  6. \u201cBirds of Prey,\u201d $4.1 million ($4.6 million international).<\/li>\n
  7. \u201cImpractical Jokers: The Movie,\u201d $3.5 million.<\/li>\n
  8. \u201c1917,\u201d $2.7 million ($5.3 million international).<\/li>\n
  9. \u201cBrahms: The Boy II,\u201d $2.6 million ($2.4 million international).<\/li>\n
  10. \u201cBlumhouse’s Fantasy Island,\u201d $2.3 million ($1.9 million international).<\/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. \u201cSonic The Hedgehog,\u201d $26.8 million.<\/li>\n
    2. \u201cThe Invisible Man,\u201d $20.2 million.<\/li>\n
    3. \u201cThe Call of the Wild,\u201d $11 million.<\/li>\n
    4. \u201cThe Gentlemen,\u201d $8.5 million.<\/li>\n
    5. \u201cDolittle,\u201d $6.4 million.<\/li>\n
    6. \u201cParasite,\u201d $5.8 million.<\/li>\n
    7. \u201c1917,\u201d $5.3 million.<\/li>\n
    8. \u201cBad Boys for Life,\u201d $4.9 million.<\/li>\n
    9. \u201cBirds of Prey,\u201d $4.6 million.<\/li>\n
    10. \u201c10 Jours Sans Maman,\u201d $2.7 million.<\/li>\n<\/ol>\n

       <\/p>\n","protected":false},"excerpt":{"rendered":"

      LOS ANGELES \u2014 The Elisabeth Moss-led thriller \u201cThe Invisible Man\u201d rode a wave of good reviews to a very visible …<\/p>\n","protected":false},"author":44,"featured_media":246730,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,106],"tags":[],"class_list":["post-246729","post","type-post","status-publish","format-standard","has-post-thumbnail","category-entertainment","category-hollywood","mauthors-the-associated-press"],"_links":{"self":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/246729","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=246729"}],"version-history":[{"count":1,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/246729\/revisions"}],"predecessor-version":[{"id":246731,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/posts\/246729\/revisions\/246731"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media\/246730"}],"wp:attachment":[{"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/media?parent=246729"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/categories?post=246729"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/canadianinquirer.net\/v1\/wp-json\/wp\/v2\/tags?post=246729"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}