In Contention

Author: Chad Hartigan

  • SUNDAY CENTS: ‘Cloudy’ clears up box office

    Cloudy with a Chance of Meatballs(EDITOR’S NOTE: My fault on the belated nature of Chad’s column.  Back on track next week.)

    *All historical figures cited are adjusted to today’s dollars.

    It had been almost two months since a PG-rated film hit the marketplace and parents were desperate for something to take their kids to. The result is “Cloudy With a Chance of Meatballs” topping the chart with $30.1 million and the seventh-biggest September debut of all time.

    It also tops the $25.9 million of “Open Season” to become the biggest animated debut ever for Sony, which is not really considered a major player in that arena. The real money here should be in fast food tie-ins, though. Why haven’t I seen a correlative toy in my happy meal? Somebody dropped the (meat)ball there.

    A distant second place is where “The Informant!” landed with a $10.5 million gross. I’ve said it before and I’ll say it again: 2009 is the year of the mustache and the proof is in the pudding. Anyway, this performance is more or less identical to the $10.8 million debut of “Michael Clayton” and I see no reason why this can’t perform with similar legs, reaching $40-$50 million total. That’s plenty enough to buy Matt Damon some Slim-Fast shakes and keep him on the lips of Oscar voters come January.

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  • SUNDAY CENTS: ‘Do Bad’ does good!

    I Can Do Bad All By Myself*All historical figures cited are adjusted to today’s dollars.

    Another day, another dollar for Tyler Perry. The man has released two films a year since 2006 and can’t seem to be unsuccessful if he tried. “I Can Do Bad All By Myself” is an easy candidate for worst title of the year, but it opened to the tune of $24 million and first place by a mile.

    That ranks as Perry’s third-biggest debut as director and his best outside of February. If you are looking for one of the most unique and successful box office stories of the decade, look no further than the rise of the Perry Empire. He is the Pixar of religious cable-TV drama meets fat suit comedy.

    Second place goes to “9,” which earned $10.9 milion over the weekend and $15.3 million since opening on Wednesday. For a PG-13 rated animated flick with seemingly very little appeal outside of young males, that’s a great result. The best thing about this success is that all you need is a potato sack and a highlighter and you’ve got a recognizable Halloween costume. You’re welcome.

    “Inglourious Basterds” holds firm in the top three and passes the $100 million mark in the process. Tarantino was in very real danger of making a series of films that diminished his audience rather than expanded it, but he has turned it around here. Now all you need is a Clark Gable mustache and some prop scalps and you’ve got a recognizable Halloween costume.

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  • MONDAY CENTS: ‘Destination’ Labors to another victory

    All About Steve*All historical figures cited are adjusted to today’s dollars.

    Labor Day is known as the end of the summer season and the void it causes at the multiplexes is the underline to that point. This year was no different as “The Final Destination” repeated at the top of the chart with $15.4 million over the four-day period. Even with an extra day, that’s still a 44% drop from last week, but as you’ll see with “Halloween II,” it could have been a lot worse. The film’s running total has passed $50 million, which means that Warner Bros. is scrambling to invent 5D technology to make the naming of the fifth film more convenient.

    Second place goes to “Inglourious Basterds,” which could very well be number one when actual figures are released tomorrow. Another $15 million takes the cume to $95.2 million and earns the film a place in the top 10 success stories of the summer. Revisionist World War II films are now totally in vogue and “Harold and Kumar Inadvertently Join the Third Reich” is currently on the fast track.

    Third place goes to our first debut of the week, “All About Steve,” starring Sandra Bullock and Bradley Cooper. To those who thought I was low-balling the film last week I just want t0 say: “Good call.”  Despite a staggering 5% rating at Rotten Tomatoes, the film managed to sucker $13.9 million worth of lonely women and whipped men to the theater. Personally, it’s a rule of mine to avoid films that have a lame pun for a title.

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  • THE LISTS: Top 10 highest grossing films of the decade derived from original material

    Russell Crowe in GladiatorBehold! I give to you the very first edition of The Lists to be based on fact and not opinion — unless you count box office data as the ultimate opinion of the masses.

    The decade is drawing to a close and unless something miraculous happens, the top 10 highest grossing films of the aughts is probably set in stone. At first I thought that would be a fun list to compile, but it turns out to be extremely boring and exactly what you’d expect it to be. If ever there was a doubt that this decade would be defined by anything but franchises, then let me put it to rest here. Number of sequels in the top 10 highest grossing movies of the 1990s: 1. Number of sequels in the top 10 highest grossing movies of the 2000s: 7.

    Audiences have overwhelmingly turned against original product in favor of something, anything with some sort of pre-existing source material, and it has happened over the last 10 years. Of course, I think audiences have always depended on something familiar to get them into the multiplex.  It used to be the reputation of an actor or director that provided that comfort. Now, star power is a thing of the past and brand recognition is the wave of the future. Of course, there are always a few exceptions to the rules, and so I’ve compiled this list to celebrate some of the films that were able to permeate the public consciousness and earn the right to be called a blockbuster the hard way: by being original (relatively speaking).

    First, some caveats. A film like “The Passion of the Christ” is technically an original screenplay but obviously is based on stories from the Bible and carries an enormous built-in “fanbase,” so it was not considered for this list. I also decided to exclude animated films because if I didn’t, 50% of the list would be dominated by Pixar titles and that’s no fun either. In the interest of fairness, though, I will post the top 10 including animated films in the comments section.

    One final note. If I did a similar chart for the 1970s, 1980s and 1990s, the number one film would also actually be the highest grossing film of the decade. For the 2000s, the number one film on this chart is the 32nd highest grossing overall film.

    Oh, and all the numbers are adjusted to today’s figures, as always.

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  • SUNDAY CENTS: ‘Halloween’ suffers ‘Final’ cut

    The Final Destination*All historical figures cited are adjusted to today’s dollars.

    When it comes to a death match, would anyone bet against death himself? Two high profile horror franchises released their latest installments on the last weekend of the summer and the winner is “The Final Destination.”

    $28.3 million is a new high for the series and proves the value of 3D, at least as far as body parts flying out of the screen are concerned. There’s no other explanation as to why these movies would continually improve since they are, quite literally, the exact same plot done again and again with only the most minor of tweaks. Now the only interesting thing about the series is trying to guess what they’ll call the next movie. “The Real Final Destination: Honest”?

    “Halloween II” could only muster up $17.4 million for third place, which is a steep drop from the original film’s showing, most likely because everybody hated that movie. Rob Zombie seemed to offer nothing but more of the same and if uncomfortable glasses and flying body parts coming straight at me aren’t in the equation, then there’s nothing else to say.

    It’s interesting that the Weinsteins chose to release this only one week after their other big summer film and against competition they should have known they would lose to.

    Sandwiched between those two is Quentin Tarantino’s “Inglourious Basterds.” A respectable 48% drop to $20 million for the weekend and $73.8 million so far means that Tarantino and his film have to be taken a little more seriously by Oscar. I mean, it’s got World War II subject matter, a return-to-form director, critical and public approval, Mike Myers. Three of those four things, the Academy can’t resist.

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  • To adjust or not to adjust — thoughts on box office reporting

    Box officeIt seems every week somebody writes a comment on the Sunday Cents column questioning the historical figures I present or wondering why I choose to use adjusted numbers when I cite them. The answer, I suppose, is pretty simple. I feel that’s the way to most accurately provide context for what happens today.

    Tracking box office in general is a fool’s game. Box office reporting is done by the studios that release the films on, more or less, the honor system. In other words, a theater playing “Julie & Julia” calls Sony and reports their gross and Sony compiles it and reports it to the press. What’s stopping them from inflating the actual figures? Nothing really.

    There are independent services that also compile grosses from theaters and every studio has a general idea of what every other film is doing but neither is 100% accurate. So when it comes time to report a final figure for “Indiana Jones and the Kingdom of the Crystal Skull”’s opening weekend ($100.1 million, if you forgot), there’s no way that Paramount is reporting a figure under $100 million, even if it actually clocked in at $99.2 million.

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  • SUNDAYE CENTZ: Glory for ‘Basterds’

    Inglourious Basterds*All historical figures cited are adjusted to today’s dollars.

    An advertising campaign built around aggressive violence and the reputation of a polarizing director, a late August release date and mixed early word coming out of Cannes were all factors working against “Inglourious Basterds” leading up to its release. All for naught, however, as the film took in a fantastic $37.6 million, marking a new career high for the director.

    Films opening at this point in August simply aren’t supposed to do this well, with the previous high debut on this particular week in the year belonging to “Blade” with $26.1 million in 1998. For The Weinstein Company, this is very welcome news and serves as only the company’s second number one film and first since “Scary Movie 4” in 2006. It is bad news, however, for 2nd grade spelling teachers.

    Interestingly enough, the debut is a near mirror image of last week’s “District 9,” which dropped a very respectable 49% to $18.9 million and second place. The running total stands at $73.5 million and the film continues to generate talk around the water cooler. And by water cooler, of course I mean anonymous virtual chat rooms.

    “The Time Traveler’s Wife” dipped 46%, probably because people realized that a movie about the person who travels through time would have been way more exciting than the movie about the person who sits around waiting for him to come back.

    Tarantino’s old partner in crime, Robert Rodriguez, tried to one-up him with pandering children’s fantasy but “Shorts” came up short (ba-zing!) at $6.6 million and sixth place. Rodriguez loves to throw one of these kids movies in every few years or so and that’s cool, but maybe he should come up with something a little more clever than a rock that grants wishes next time.

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  • SUNDAY CENTS: ‘District’ shines

    District 9*All historic figures cited are adjusted to today’s dollars.

    Internet hype doesn’t always translate into box office success, but “District 9” was able to live up to the buzz and debut with a strong $37 million and the top spot this weekend. For a film that cost a reported $30 million to make, this is obviously a huge win for Sony and one of the bigger surprises of the summer. As a buddy succinctly put it in a tweet: “’District 9’ might be the only movie this year I want to see that I didn’t know I wanted to see six months ago.”

    Credit the fantastic marketing and an interesting/original concept in a summer-friendly genre for the success. The first two weeks of August are typically robust but then the month just dies and only two movies released past the 14th of the month have debuted higher than “District 9” (“Freddy vs. Jason” and “Mortal Kombat”). Audience reception is fantastic so I can see this one sticking around enough to reach $85 million or so. Now, who else is going as Wicus with a prawn arm for Halloween?

    “G.I. Joe: The Rise of Cobra” takes second place after a 59% drop to $22.5 million. That actually could have been worse so Paramount will take it. The running total is already $98.8 million and that’s enough to encourage the inevitable sequel. Might I suggest the title “G.I. Joe: The Recasting of Channing Tatum?”

    Third place goes to “The Time Traveler’s Wife” with $19.2 million. I’ve got nothing to say about this because quite frankly, this movie bores me. I like Rachel McAdams so I wish she’d hurry up and make a movie that looks halfway tolerable again.

    “Julie & Julia” dropped a respectable 38% to $12.4 million and that should be the largest drop it experiences during its run. No other direct competition comes into play until “All About Steve” after Labor Day so I expect Meryl and Amy to be the number one choice for adult females for a while.

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  • SUNDAY CENTS: ‘G.I.’ dough

    G.I. Joe: The Rise of Cobra*All historical figures are adjusted to today’s dollars

    Paramount secured what is likely to be the last blockbuster opening of the summer with “G.I. Joe: The Rise of Cobra” this weekend. For a film that was plagued with bad buzz a few months ago and was withheld from most critics, a $56.2 million start is a fantastic result and on par with other kid-friendly action films like “Fantastic Four” and the early August start of “XXX.”

    Of course, legs will be atrocious and a total gross of around $120 million is the likely tipping point, but Paramount will be more than happy to take that to the bank along with solid international grosses. It may not be a “Transformers”-like success, but the studo must have known Stephen Sommers is no Michael Bay. And Marlon Wayans is no Shia LaBeouf.

    Sony’s “Julie & Julia” had a solid bow in the runner-up spot with $20.1 million on nearly half the screens of “G.I. Joe.” To be honest, I thought it would be bigger, but this is a film that could definitely play well through Labor Day. Reviews are good enough and older audiences are the only demographic left who don’t necessarily rush out on opening weekend. “Mamma Mia!” only debuted with $27.8 million en route to a $144.1 million finish, let’s not forget. Forget 3D, perhaps this was the film to usher back smell-o-vision.

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  • SUNDAY CENTS: ‘Funny’ money

    Funny People*All historical figures are adjusted to today’s dollars.

    It was no laughing matter at the box office this weekend as Judd Apatow’s “Funny People” opened at the top spot with a disappointing $23.4 million. Not only is that lower than both “The 40 Year Old Virgin” and “Knocked Up,” but it’s also the lowest figure to top this particular summer weekend since “A Time to Kill” in 1996. Don’t forget that “Virgin” and “Knocked” cost $26 million and $30 million, respectively, while “Funny People” carries a price tag of $70 million.

    Bottom line: this film didn’t perform like an Adam Sandler summer comedy at all. This is a guy who has opened six low-brow comedies in the summer months and had an average debut of $46.0 million. “You Don’t Mess With the Zohan” opened with $38.5 million, for Pete’s sake. Even his notorious misfire “Little Nicky” opened to $21.4 million. So no matter how Universal wants to spin this, it’s not pretty. It dropped from Friday to Saturday, indicating that fanboy rush and word of mouth is not going to be great enough to keep it in theaters much longer than Labor Day.

    I think a $65 million finish is the best-case scenario and Apatow has officially lost his “cancer subplot” and “two-hour-plus running time” privileges. And you can kiss those Best Original Screenplay chances goodbye.

    “G-Force” fell 46% to third place and $17.1 million. The guinea pigs already have $66.5 million in the bank so go ahead and mark your calendars for “G-Force 2” in July 2011. And just to reiterate, no matter how bad or good you think “Funny People” is, it’s a filmmaker with a distinct voice trying something a little different and people soundly rejected it in favor of films like this.

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  • SUNDAY CENTS: ‘G-Force’ hits the G-spot

    G-Force*All historical figures cited are adjusted to today’s dollars.

    $32.2 million worth of Americans needed to see what happens when talking guinea pigs are entrusted with saving the world this weekend and have made “G-Force” our number one movie at the box office. Since I predicted $35 million last week, I can’t say this was unexpected, even if it is depressing. With yet another solid performance, the days of talking CGI critters interacting with cash-strapped human actors are just beginning.

    Second place goes to “Harry Potter and the Half-Blood Prince,” which dipped a now standard 61% to $30 million. It was only eight years ago when the first film opened but its 36% second weekend drop is already a figure from a bygone box office era. In 2009, if you open above $50 million and drop under 50%, then you are a word of mouth sensation.

    “Potter” has $221.8 million in the bank after 12 days, which is third best in the series at this point but I think we’re still looking at the second lowest total grosser when it’s all said and done.

    Katherine Heigl and Gerard Butler tried to convince Americans that no matter how repulsive or reprehensible you find someone, if you spend a little bit of time with them you will fall in love – providing they are attractive, of course – in “The Ugly Truth” and $27 million worth of patrons took the bait. That’s not quite “The Proposal” numbers but it won’t do either star any harm in landing their next awful projects.

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  • SUNDAY CENTS: Wild about ‘Harry’

    Harry Potter and the Half-Blood Prince*All historical figures are adjusted to today’s dollars.

    To the surprise of no one, “Harry Potter and the Half-Blood Prince” was the number one movie at the box office this weekend with $79.5 million. The film made an additional $80.1 million on Wednesday and Thursday, so Daniel Radcliffe and company have just under $160 million in the bank after five days. Comparisons to other Potter flicks are pointless except the previous entry since it was the only other film to debut on a Wednesday in the summer.

    “Order of the Phoenix” opened in 2007 to $80.5 million over three days and $146 million for five. This latest installment already seems a bit more front-loaded, so I think we might be looking at a total gross in the same ballpark as the $288 million for “The Prisoner of Azkaban,” which is currently the lowest earner of the franchise. But with worldwide sales, DVD and merchandise, every film in this 8-part series is worth about a billion dollars each to Warner Bros., so any scrutiny on the numbers is irrelevant.

    “Ice Age: Dawn of the Dinosaurs” holds on to second place for the third week in a row by dropping 36% to $17.7 million. A fourth film is already in the works where the three prehistoric friends get frozen and then thawed out in modern times for a museum exhibit. So, basically, it’s “Star Trek IV” with woolly mammoths. Where do I start the line?

    “Bruno” dropped a brutal 73% to fourth place and $8.4 million. In terms of major wide releases, only “Gigli,” “Friday the 13th,” “Star Trek: Nemesis” and George A. Romero’s “Land of the Dead” have lost more of their opening weekend audience. As I mentioned in last week’s piece, though, this was not unexpected and won’t keep Universal from making a tidy profit on their investment.

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  • SUNDAY CENTS: One fine gay

    Bruno*All historical figures cited are adjusted to today’s dollars.

    Sacha Baron Cohen’s full frontal assault on audiences took the top spot at the box office this weekend with an estimated $30.4 million from 2,756 screens. Considering that “Borat” made $29 million from 837 screens in its debut and then $31 million from 2,566 in its second weekend, I think it’s safe to say that lightning hasn’t struck twice in the same spot here.

    Universal can still be happy with its $40 million investment as the film has bright prospects overseas and on home video. But with almost 50% of the weekend figure coming from Friday alone, the signs are there for this to vanish from U.S. theaters pretty quickly. $65 or $70 million seems like the probable domestic total, or roughly half of what “Borat” finished with.

    If you’re looking for an explanation, I’ve got one for you: Gay Sexual Content = Box Office Poison in 60% of the country.

    “Ice Age: Dawn of the Dinosaurs” retains the runner-up position with a slim 33% drop from its somewhat disappointing debut. Another $28.5 million in the bank brings the running total to $120.6 million and sets the film on track to finish in the $175 million range, or exactly what was expected of it. Ray Romano may actually have himself quite the successful film career, as long as we never have to see his face again.

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  • SUNDAY CENTS: Photo finish on ‘Ice’

    Ice Age: Dawn of the Dinosaurs*Historical figures quoted are adjusted to today’s dollars.

    It was another close race at the box office this weekend with estimates calling it an exact tie between “Ice Age: Dawn of the Dinosaurs” and “Transformers: Revenge of the Fallen,” but Monday actuals might tell a different story.

    The third entry in the animated series (only the second major animated franchise to reach three films) earned $42.5 million for the three-day weekend and $67.5 million since opening on Wednesday.  Independence Day falling on a Saturday was always going to hurt but given the fact that the first two “Ice Age” films opened with $57.2 million and $74.6 million respectively, this is a bit on the low side.

    There really wasn’t enough material with these characters for one movie, let alone three, so it’s not surprising that the shine is wearing off.  But Fox will still cross $400 million worldwide with this sucker so it’s no big deal to them.

    Hot on its heels was “Transformers.”  A 62% dip to $42.5 million gives Michael Bay’s magnum opus $293.5 million after 12 days.  Uptight movie nerds need not worry though because at 12 days “The Dark Knight” had already amassed $333.9 million, so there’s no chance of Shia rubbing elbows with the bat’s total gross.  It does have a great chance of becoming the 12th film from this decade to cross $400 million though, and that’s a damn shame.

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  • SUNDAY CENTS: Box office ‘Trans’-stormed!

    Transformers: Revenge of the FallenAfter a critical mauling the likes of which is usually reserved for Uwe Boll, Michael Bay’s mega-budget sequel “Transformers: Revenge of the Fallen” opened to the second largest five day opening of all-time behind “The Dark Knight.” Is that surprising? Not really.

    The original film is one of only two non-sequels in the last three years to make over $300 million at the box office and was the highest selling DVD of 2007, beating the much-higher profile third films in the “Spider-Man,” “Shrek” and “Pirates of the Caribbean” franchises. In short, for whatever reason, people loved that film and the two years that passed was short enough to strike while the iron was hot, but long enough to significantly improve effects and get bigger, badder robots on screen for longer.

    $112 million for the three days and $201.2 million since opening Wednesday are the official estimates and that is astounding. Word of mouth could be absolutely poisonous and the film would still out-gross the original and collect over a half billion worldwide. This was the blockbuster that summer has been waiting for and it will take less than 10 days to pass “Up” as the highest grossing film of the year so far.

    The only other new action came from “My Sister’s Keeper” at number five with $11.8 million. For a cancer drama, that’s a fine start, but a troubling amount of it came from Friday, indicating some kind of fanboy rush. Are there groupies for this book like there are for “Twilight?” Just couldn’t wait to see if they added a cancer-free twist at the end? Very odd.

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  • THE LISTS: Top 10 directorial debuts of the decade

    JimMyron Ross in BallastTo me, “great cinema” means something I haven’t seen before or something I have seen before presented in a new way. With 110 years of motion pictures behind us, it’s becoming increasingly difficult to meet those standards, especially since filmmakers find it a lot easier to give in to preconceived notions of story structure, character arcs and tidy resolutions than to try and present something truly unique on the screen. So more often than not, when something new comes along, a new filmmaker unhinged to big money or heavy reputations is brought along with it.

    Actually researching the titles eligible for inclusion made me realize just how few great debut films there really are, let alone in this decade. Most great filmmakers needed at least one title or two to really get their bearings straight. M. Night Shyamalan, Christopher Nolan, Michel Gondry, David Fincher and Alexander Payne all come to mind. Not everyone can be Spike Jonze after all.

    That said, there’s also something amazing and beautiful about catching an artist at their most raw and naïve. Often, the only way to rewrite the rulebook is to be unaware that you are breaking any rules in the first place. When it comes to art, the line between genius and stupidity can be nearly invisible. For example, a film that came close to making this list was “Anchorman: The Legend of Ron Burgandy.” Less a movie than a patchwork of scenes and caricatures, Adam McKay clearly had no specific vision for this thing since an entire second movie was constructed out of deleted scenes. But what he came up with benefits from a legitimate sense of anarchy that isn’t present in any of his or Will Ferrell’s subsequent work. And from Chaplin and Keaton to Johnny Knoxville and Sacha Baron Cohen, the cornerstone of great comedy has been anarchy.

    Let’s get the obvious out of the way. This list may be a bit premature as there are six whole months left for some obnoxiously talented filmmaker to set my world on fire with their debut work and I’m denying him or her a rightful spot on this list. Well, what are you gonna do? It’s not like I’ve seen all the films eligible for inclusion released up until this point anyway. I’m taking my chances. And before I get stick in the comments, believe me, I was surprised and disappointed that no foreign film made the list. It’s not that I didn’t see many; it’s just that I didn’t see any that deserved it. And yes, I’ve seen “Amores Perros.”

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  • SUNDAY CENTS: Audiences accept Bullock’s ‘Proposal’

    The ProposalWith absolutely nothing targeted towards the date crowd yet this summer, Sandra Bullock and Ryan Reynolds took the stalest looking romantic comedy all the way to the top of the box office with $34.1 million. That’s far and away Bullock’s best debut as she’s used to figures in the high teens and then leggy runs after that. For Reynolds, well, it’s not even his biggest opening this summer but he now has thousands of Grandma’s to count as new fans. Given the dearth of direct competition, I think this has enough gas in the tank to get to $100 million.

    Way past that figure is “The Hangover,” dropping a microscopic 18% in second place for $26.9 million and $152.9 million total. There’s not much left to say here except that this is a film that tapped into the zeitgeist and there’s no duplicating or explaining it. Moving on.

    “Up” also held well, passing the domestic total for “WALL-E” and it’s still in the top three. While the film certainly stands on its own, some of that success is due to “Ratatouille” and “WALL-E” building the company’s reputation amongst adults. They set ‘em up, and Carl Fredricksen knocks ‘em down.

    Fourth place is where you’ll find the other new release, “Year One.” Plagued with bad buzz from vitriolic internet users, a $20.2 million opening isn’t actually half bad. The Friday to Saturday drop is, however, and this will be lucky to get to $50 million total. It may not make it’s money back until way down the line but nobody’s getting fired over this one and Michael Cera will live to see another painfully awkward day.

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  • SUNDAY CENTS: Bad ‘Hangover’ for new openers and holdovers

    The Taking of Pelham 123After denying “Up” the bragging rights of a repeat at the top of the box office at the last minute, “The Hangover” has accomplished that feat itself.

    The R-rated comedy dropped a minuscule 26% to add another $33.4 million to the bank and give it a very real shot at $200 million-plus. That’s a benchmark reserved for very few comedies and only the best of the best like “My Big Fat Greek Wedding” and “Crocodile Dundee.”  Speaking of those two, it’s a pity Nia Vardalos didn’t look to Paul Hogan’s career for a glimpse at the dangers of repetitive ethnic-centric comedy. If there’s a bigger success story than “The Hangover” this summer, we are in for some big shockers.

    Speaking of shockers, I saw the movie this week and I didn’t like it at all. Aside from some fresh stuff from Zach Galifianakis, it was pretty stale to me. It’s no “Wedding Crashers,” that’s for sure.

    “Up” also held up extremely well, dropping only 31% and staying in the runner-up spot with $30.5 million. It now seems likely to pass “Cars” and wind up the sixth highest grossing Pixar film when all is said and done.* I’ve always said that miscarriages in cartoons equals big bucks and finally somebody listened.

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