This weekend Universal’s hit kidpic Hop became the first film of 2011 to spend back-to-back weeks at number one as the bunny pic fended off competition from four new wide releases to remain the most popular film in North America. Its star Russell Brand also claimed second place with his comedy remake Arthur making the British comedian that rare star to hold the top two spots at the box office. The frame’s other debuting titles had mixed results with the teen girl-led films Hanna and Soul Surfer faring well while the raunchy fantasy comedy Your Highness failed to make much of a splash. As usual, the overall box office was down by double digits compared to last year.

Dropping a reasonable 42% in its second turn with moviegoers, Hop grossed an estimated $21.7M boosting its ten-day total to a healthy $68.2M. The Universal release cost only $63M to make so the studio has a solid moneymaker on its hands that could possibly find its way to $120-130M from North America alone. So far the animation/live-action hybrid is following the same path as Johnny Depp’s Rango from early March. After a similar $38.1M debut, the lizard toon declined by 41% putting its ten-day tally at the exact same figure as Hop’s. Rango now sits at $117.5M after its sixth session on its way to $120M+. Hop follows an eleven-week streak of new films opening at number one each frame.

Russell Brand’s Arthur remake finished in second place for the weekend thanks to the widest release of any new title and grossed an estimated $12.6M. The PG-13 redo of the 1981 Dudley Moore hit averaged a lackluster $3,848 per theater from 3,276 locations. Slammed by critics, the Warner Bros. release was meant to bring the story of a rich lovable drunk playboy to a younger audience by using the British comic as the anchor. But unfunny trailers and Brand’s not-so-sizable box office power led Arthur to a disappointing debut as moviegoers stayed away for the most part. The actor’s only other lead role in a film came in last summer’s Get Him To The Greek which carried an R rating and bowed to a better $17.6M on its way to $61M. Arthur co-starred Helen Mirren and Jennifer Garner who also failed to contribute commercial muscle. Though it ranked second overall, the comedy placed fifth in the top ten when comparing per-theater averages. The reported production budget was $40M with a hefty marketing tab added on top of that.

Focus landed in third with a commendable performance from its new action title Hanna which debuted to an estimated $12.3M from 2,535 playdates. The PG-13 espionage thriller averaged $4,861 and was the only action film in the top five. Starring Saoirse Ronan, Eric Bana, and Cate Blanchett, the pic earned strong reviews from critics which helped it appeal to upscale adult audiences looking for something without talking bunnies or bumbling drunks. Few films are anchored by a teen girl assassin so the fresh feel and the strong marketing push helped Hanna stand out as an option paying top dollar for.

The inspirational family drama Soul Surfer exceeded expectations and debuted in fourth with an estimated $11.1M. Posting the best average among the new titles, the PG-rated true story of a teen surfer who gets her life back on track after a shark bites off her arm averaged a good $5,014 from 2,214 sites. Sony’s TriStar unit handled distribution while FilmDistrict took marketing duties. Starring AnnaSophia Robb, Dennis Quaid, Helen Hunt, and superstar singer Carrie Underwood in her film debut, earned mixed reviews from critics. Moms and daughters made up a big portion of the audience. Exit polls showed that a whopping 80% of the crowd was female and 56% was under 25. Soul Surfer earned an A+ grade from CinemaScore which is rare these days so word-of-mouth should allow the pic to play well for the rest of the spring season especially with the Easter holiday still to come.

The horror film Insidious posted a shockingly low second weekend decline of only 27% and ranked fifth with an estimated $9.7M in ticket sales. Fright films routinely lose over half of their opening weekend take in the sophomore frame so this result is indeed rare. With a solid $27.1M in its first ten days, rookie distributor FilmDistrict’s first release could find its way to an impressive $50M or more. With Insidious, four of the top five films had one-word titles.

Faring worst among the weekend’s four new wide releases was Universal’s fantasy comedy Your Highness which bowed to an estimated $9.5M from 2,769 locations for a dull $3,438 average. The R-rated action laugher starring Danny McBride, James Franco, and Natalie Portman tried to attract older teens and young adults by mixing an effects-driven Medieval quest with crude sexual humor but failed to impress. The $50M production skewed towards young men with 58% of the audience being male and 55% being 25 and older. A weak C+ CinemaScore and horrible reviews indicate a fast fade in the weeks ahead. Saturday sales dropped 9% while all other new releases – even rival comedy Arthur – enjoyed increases.

The sci-fi thriller Source Code dropped 39% in its second weekend to an estimated $9.1M. Holding up well despite plenty of competition, the Summit release has grossed $28.6M in ten days and looks headed for a $50M finish. Relativity’s action pic Limitless fell by an identical 39% to an estimated $5.7M boosting the impressive cume to $64.4M.

The kidpic Diary of a Wimpy Kid: Rodrick Rules tumbled 51% to an estimated $4.9M giving Fox $45.5M to date. Lionsgate’s The Lincoln Lawyer enjoyed another moderate drop with an estimated $4.6M, off only 33%, for a $46.5M sum rounding out the top ten.

New films in limited release did not fare very well over the weekend. The IMAX 3D animal documentary Born To Be Wild debuted in 206 locations and took in an estimated $850,000 for a mild $4,126 average per site. The G-rated pic about orangutans and elephants was narrated by Morgan Freeman. Running only 40 minutes in length, Born played to regular ticket prices despite being an IMAX 3D presentation. Many exhibitors were able to squeeze in seven or eight showtimes per day meaning each showing attracted just 20-25 people. Reviews were terrific across the board. Lionsgate released the Spanish-language romantic comedy No Eres Tu, Soy Yo (It’s Not You, It’s Me) in 226 theaters but averaged a weak $2,655 with its estimated $600,000 take.

The top ten films grossed an estimated $101.2M which was down 14% from last year when Clash of the Titans remained in the top spot with $26.6M; and off 17% from 2009 when Hannah Montana The Movie debuted at number one with $32.3M.

Author: Gitesh Pandya, Box Office Guru!

New releases all fared well as the April box office kicked off with the Easter-themed hit Hop which powered its way to number one playing well to family audiences. Older adults drove the action thriller Source Code to a second place debut while fright fans lined up for the new horror pic Insidious which finished in third. But overall ticket sales continued to struggle as last year’s top four films alone grossed more than all films this weekend combined.

Universal delivered the biggest opening ever for a kidpic in April with its Easter Bunny flick Hop which bowed to an estimated $38.1M. The PG-rated hybrid of animation and live-action averaged a potent $10,650 from a very wide launch in 3,579 theaters and connected with its target audience of children and their parents with a debut that exceeded pre-release expectations. Universal and its promotional partners attacked the marketplace from all angles with marketing tie-ins designed to engage consumers – and especially those all-important decision-making moms – in numerous ways. The estimate matched the bow of Rango which currently holds the record for 2011’s largest opening weekend. Final numbers to be released on Monday will determine if the rabbit film can edge Johnny Depp’s lizard toon.

With no huge stars appearing on screen or providing voices, the $63M-budgeted Hop was promoted as being from the producer of Despicable Me and the director of Alvin and the Chipmunks. Those overachievers grossed a combined $469M from North America alone and were crowd-pleasers with kids so families felt safe coming out for this new offering. A familiar Easter Bunny storyline and colorful trailers helped too as did a release date a few weeks before the family-friendly holiday. With a CinemaScore grade of A- and no new kidpics slated for next weekend, the road ahead looks promising although the 3D toon Rio will cause a major distraction on April 15. Overall, Hop enjoyed the fifth-biggest opening ever for April which generally is a slow month at multiplexes.

The well-reviewed sci-fi film Source Code opened in second place with an estimated $15M from 2,961 theaters for a good $5,076 average. Starring Jake Gyllenhaal as a soldier that takes multiple trips back in time in hopes of preventing a train disaster, the PG-13 film attracted some of the best reviews of the year for an action film and debuted just a few notches behind recent adult-skewing thrillers like Limitless ($18.9M), The Adjustment Bureau ($21.2M), and Unknown ($21.9M). But its B CinemaScore suggests that the coming weeks may not be smooth sailing. Produced for $32M, Source Code played to older men with studio research showing that 54% of the audience was male and 64% was over 30.

New distributor FilmDistrict got off to an encouraging start with its first release, the horror picture Insidious, which bowed to an estimated $13.5M in third place. The PG-13 chiller averaged a good $5,605 from 2,408 locations and took advantage of a severe lack of competition as 2011 has barely seen any scary movies be released. Marketed as being from the makers of Paranormal Activity and Saw helped it to reach its target audience and the rating certainly broadened the appeal to younger teens looking for a non-gory scare. Reviews were quite good for this genre and Saturday sales enjoyed a 12% bump – something not often seen with horror titles. Insidious debuted ahead of expectations establishing FilmDistrict as a distributor to watch for.

Tumbling 57% from its top spot debut was the kidpic sequel Diary of a Wimpy Kid: Rodrick Rules which took in an estimated $10.2M in its second weekend for fourth place. The Fox release, which cost just $20M to produce, has grossed a solid $38.4M in ten days and is headed for the vicinity of $55M, or just slightly below the $64M of its predecessor from last spring.

The Bradley Cooper-Robert De Niro hit Limitless followed with an estimated $9.4M, off only 38%, for a $55.6M total in 17 days for Relativity. Lionsgate’s Matthew McConaughey legal drama The Lincoln Lawyer also held up well in its third round slipping only 34% to an estimated $7.1M for a $39.6M cume to date. Both films are benefiting from strong word-of-mouth.

On the other hand, audiences abandoned the stylish action fantasy Sucker Punch which collapsed in its sophomore outing falling a steep 68% to an estimated $6.1M. The pricey $75M production has banked just $29.9M in ten days and is not likely to collect much more with a $35-40M final likely for Warner Bros. Rango, the year’s top-grossing title, dropped 53% and took in an estimated $4.6M pushing Paramount’s sum to $113.8M.

Alien flicks Paul and Battle: Los Angeles were once again neighbors on the box office chart and this time rounded out the top ten. Universal’s comedy collected an estimated $4.3M, down 45%, and has taken in $31.9M to date. Sony’s action pic fell harder with a 54% decline to an estimated $3.5M. The invasion film’s domestic total stands at $78.5M while the overseas tally crossed the century mark this weekend with $100.7M putting the global cume at $179.2M.

In limited release, Sony Classics platformed this year’s Oscar and Golden Globe winner for best foreign language film In A Better World in four sites in New York and Los Angeles and grossed an estimated $35,400. The Danish film averaged a respectable $8,850 per theater and earned mostly good reviews from U.S. film critics. The bullying drama played numerous film festivals like Toronto and Sundance and was released in Scandinavia last fall.

The top ten films grossed an estimated $111.8M which was down a sizable 33% from last year when Clash of the Titans opened in the top spot with $61.2M; and off 24% from 2009 when Fast & Furious debuted at number one with $71M. The two films still stand as April’s biggest opening weekends by a wide margin.

Author: Gitesh Pandya, Box Office Guru!

This week at the movies, we’ve got identity intrigue (Source Code, starring Jake Gyllenhaal and Michelle Monaghan); a funny bunny (Hop, starring James Marsden and Russell Brand); and a juvenile ghoul (Insidious, starring Patrick Wilson and Rose Byrne). What do the critics have to say?

Source Code


Recipe for a sci-fi thriller: take a sprig of Memento, a dash of Groundhog Day, and a pinch of Inception. Mix them together and you’ve got Source Code, which critics say is a smart, suspenseful popcorn flick with excellent performances. Director Duncan Jones’s follow-up to the bleak, haunting Moon, Source Code stars Jake Gyllenhaal as a soldier on a mission: to save a Chicago commuter train from a bomber. One issue: he’s part of a government experiment called the Source Code, in which he can transmogrify into the bodies of others for the last eight minutes of their lives, thereby finding clues as to the identity of the bomber. But can our hero save the day? And who is our hero, anyway? The pundits say the Certified Fresh Source Code is multiplex fare of a very high order: it’s challenging, emotionally engaging, and brutally exciting.



Easter’s right around the corner, so it would seem like an ideal time for a family comedy about a bunny battling with an army of chicks for control of the holiday, right? Unfortunately, critics say the CGI/live action hybrid Hop isn’t all that tasty – it might provide some laughs for the little ones, but parents and older siblings won’t find much to enjoy beyond some admittedly impressive animation. The seemingly ubiquitous Russell Brand provides the voice for E.B., a giant hare who ditches his pre-ordained occupation to become a drummer in L.A. After moving in with Fred (James Marsden), our cottontailed hero discovers that a bunch of little chicks are looking to depose his kind from making the annual rounds. The pundits say Hop lacks bounce — it’s short on both quality gags and inspiration, a confection that lacks substance. (Check out this week’s Total Recall, in which we present a list of memorable movie rabbits.)



Insidious‘s setup doesn’t get any points for originality — it’s got a spooky house, creepy children, and a portal to a demonic world. However, it’s not the elements but how you put them together, and critics say Insidious is often a devilishly good time, a film that steadily builds an atmosphere of dread while dishing out shocks with efficiency. Patrick Wilson and Rose Byrne star as a young couple who’ve just moved into the perfect house — or so they think until the oldest of their three children falls into a coma, and seems to be attracting evil spirits. The pundits say Insidious is a good old fashioned horror flick crafted with style and smarts — though the film’s ending is a bit of a letdown after a terrific buildup. (Check out our roundup of the creepiest movie children.)

Also opening this week in limited release:

  • The Elephant In The Living Room, a documentary about people who keep exotic and deadly animals as pets, is at 100 percent.
  • Circo, doc about a Mexican family’s hundred-year-old traveling circus, is at 100 percent.
  • The 2011 Best Foreign Language Film Oscar winner In A Better World, about the violent repercussions of school bullying, is at 83 percent.
  • The Four Times, a drama about the cycle of life in a small Italian village, is at 78 percent.
  • Trust, starring Clive Owen and Catherine Keener in a drama about the fallout from a teenager’s online encounter with a predator, is at 65 percent.
  • Super, starring Rainn Wilson and Ellen Page in a dramedy about a self-made superhero, is at 53 percent.
  • Rubber, a horror/comedy about an abandoned tire that comes to life, is at 50 percent.
  • Wrecked, starring Adrien Brody as a man who awakens to find himself trapped in a crashed car, is at 50 percent.
  • Queen to Play, starring Sandrine Bonnaire and Kevin Kline in the tale of a French chambermaid who becomes obsessed with chess, is at 50 percent.
  • Fat, Sick and Nearly Dead, a documentary about a man’s attempt to lose weight and get off his meds, is at 50 percent.
  • Cat Run, starring Paz Vega in an action/comedy about two average guys who start a detective agency and stumble upon a deadly plot, is at 13 percent.

What has two long ears, a pair of drumsticks, a vendetta against Easter chicks, and a habit of pooping jelly beans? Why, it’s E.B., the Russell Brand-voiced star of the brand new Easter comedy Hop — and the latest example of Hollywood’s long-standing fascination with rabbits. As main characters and supporting players, they’ve shown up in comedies and dramas, children’s animation, and even a horror movie or two. With that in mind, we decided to take a cue from this weekend’s release schedule and honor rabbits in the movies with a very special cottontailed edition of Total Recall!



Among cinema’s rabbits, Bugs is the wascalliest, but Thumper is our most irascible — a good-natured young troublemaker whose irrepressible humor and infectious laugh (memorably provided by the then-four-year-old Peter Behn) helped provide a sunny element to a story that had some rather, shall we say, dark overtones. The character that coined the term “twitterpated” and taught generations of kids that if they couldn’t say anything nice, they shouldn’t say anything at all, Thumper may not have been the star of Bambi, but he’s a big part of why critics have always loved it — and why Alex Sandell of Juicy Cerebellum wrote “It still brings tears to my eyes,” calling it “Disney at its finest.”

The Bugs Bunny/Road Runner Movie


The most famous rabbit in showbiz, Bugs Bunny made his official theatrical debut in 1940, but didn’t get his full-length due until 1979, when Warner Bros. bundled 25 classic shorts into The Bugs Bunny/Road Runner Movie. Reheated leftovers? Absolutely. But America loves it some Bugs, and with or without the newly developed stitched-in bridging segments, audiences were happy to have him back on the big screen — in fact, this approach was so successful that the studio repeated it for The Looney Looney Looney Bugs Bunny Movie (1981) and 1001 Rabbit Tales (1982). As TIME’s Richard Schickel wrote, “This modest retrospective provides a fine occasion to salute an American original working in a medium that will never get its critical due, but continues to exercise a mighty claim on affectionate memory.”

Donnie Darko


When is a rabbit not a rabbit? When it’s Frank, the evil, man-sized creature who uses his supernatural powers to manipulate Donnie Darko (Jake Gyllenhaal) into breaking all sorts of laws — and ultimately saving the world, or something, depending on how you choose to interpret Donnie Darko. Its dense, violent plot certainly didn’t do the movie any favors at the box office, but Darko quickly became a cult favorite, marking writer/director Richard Kelly as one to watch and impressing critics like Salon’s Andrew O’Hehir, who called it “A stunning technical accomplishment that virtually bursts with noise, ideas and references.”

Fatal Attraction


When you think “rabbit movies,” you may not think of Fatal Attraction. But when you think of Fatal Attraction, what’s one of the first things that comes to mind? Yes, that’s right — a poor little rabbit-shaped prop, boiling in a pot of water brought to temperature by a love-mad Glenn Close. Blending sexual politics with animal cruelty, Attraction was one of the decade’s biggest hits; as Janet Maslin observed for the New York Times, “Years hence, it will be possible to pinpoint the exact moment that produced Fatal Attraction, Adrian Lyne’s new romantic thriller, and the precise circumstances that made it a hit.”



Think of rabbits in the movies, and it probably isn’t long before Harvey comes to mind — even though he isn’t technically a rabbit (or maybe even real, for that matter). Technicalities aside, he looks like one — to those who see him, anyway, a group that includes the good-natured Elwood P. Dowd (Jimmy Stewart), whose lifelong attachment to Harvey threatens to get him sent to the loony bin by his well-meaning sister (Josephine Hull, who won a Best Supporting Actress Oscar for her work). It’s an ode to nonconformity whose sweet lightheartedness has resonated with audiences from the buttoned-down Truman years right on through to the present day. “Regardless of whether or not we ‘believe’ in Harvey,” argued Brian Webster of the Apollo Guide, “and regardless of whether or not we choose to watch the movie for its good-natured low-key humour or for its smart social commentary, this is a fine film.”

Monty Python and the Holy Grail


This isn’t a movie about rabbits. In fact, for 95 percent of Monty Python and the Holy Grail, rabbits aren’t seen or mentioned. But in that other five percent? Well, we’ve got ourselves a long-eared doozy: the Rabbit of Caerbannog, a bloodthirsty bunny whose legendary rage separates Knight Bors from his head and prompts King Arthur’s entire Round Table to famously “RUN AWAY!” If you’ve never laughed your way through it, it might sound irredeemably silly, but don’t be so quick to judge: as Kevin Thomas of the Los Angeles Times writes, “For all its shenanigans, Monty Python and the Holy Grail has a sense of humor that is intellectual, even academic, at heart.”

Night of the Lepus


Pretty much everyone agrees that bunnies are adorable, which should have been enough to make MGM think twice about trying to put together a film about a town terrorized by carnivorous killer rabbits. You sort of have to give them points for chutzpah, but that’s about it — 1972’s Night of the Lepus scores high marks for unintentional humor and not much else, chiefly because the rabbits aren’t scary, in spite of director William F. Claxton’s best efforts (turns out making them bigger doesn’t really dial down their cuteness quotient) and the visible straining of a cast that included Janet Leigh and Stuart Whitman. Though it’s become a favorite among the so-bad-it’s-good crowd, Filmcritic’s Christopher Null summed up the cheerless response of his peers when he dismissed it as “one of the worst films ever made.”

Watership Down


One of a few animated efforts from the late 1970s and early 1980s that dared to subject its adorable talking animal protagonists to genuine darkness, violence and peril, Watership Down slightly rejiggered the plot of Richard Adams’ book, but retained its thoughtful, unflinchingly honest spirit — and emerged as not only one of the biggest British hits of 1978, but something of a cult classic among fans of sophisticated animation. Of course, using cute hand-drawn rabbits to tell a story about sacrifice, respect for tradition, and the fight for freedom has its pitfalls; some viewers were shocked by Watership‘s frank treatment of death and violence, while others assumed it was just another movie about talking animals. Cautions Jeffrey Overstreet of Looking Closer: “Don’t listen to anybody who writes it off as a ‘cartoon about bunnies.’ Stunning beauty, smart scripting, a splendid score … this is a serious film for serious moviegoers.”

Who Framed Roger Rabbit


Bugs Bunny’s floppy ears cast such a long shadow that an animation studio would have to be crazy to try and launch another cartoon rabbit — unless he’s Roger Rabbit, the plaintively sputtering, overalls-wearing little guy whose legal troubles formed the basis for one of 1988’s biggest (and best-looking) hits. Sure, he was framed for the murder of Marvin Acme (Stubby Kaye), but nobody really thought he did it — he was so sweetly likable that Bugs Bunny himself turned up for a cameo. And the movie itself? It inspired Combustible Celluloid’s Jeffrey M. Anderson to call it “a rare big budget blockbuster that concentrates on a clever story, crisp performances, and brilliant jokes while using its groundbreaking special effects only as window dressing rather than as the main event.”

Take a look through the rest of our Total Recall archives. And don’t forget to check out the reviews for Hop.

Finally, here’s the Jefferson Airplane With a hare-raising tribute to, ahem “chasing rabbits”:

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