Beyond ongoing releases, this is never a significant weekend; most of the specialized action is in Toronto. Outside the festival circuit, however, three-month-old hit “The Big Sick” remains on top. Young J.D. Salinger biopic “Rebel in the Rye” had the most traction among openers, with decent grosses considering its negative reviews.
Rebel in the Rye (IFC) Metacritic: 44; Festivals include: Sundance 2017
$44,280 in 4 theaters; PTA (per theater average): $11,070
Ongoing interest in “The Catcher in the Rye” and J.D. Salinger as well as strong theater placement helped this do good initial business in New York and Los Angeles.
What comes next: Similar appeal should be seen as this expands starting Friday in other big cities.
True to the Game (Independent)
$(est.) 500,000 in 431 theaters; PTA: $(est.) 1,160
This adaptation of a 1997 drug world thriller/romance made little impact in its nationwide mid-level release. Grosses did improve Saturday, which gives it some hope to stick around for a second week, but it isn’t likely to get to far over a $1 million despite significant play.
What comes next: Little chance for expansion.
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The Unknown Girl (IFC) – Metacritic: 64; Festivals include: Cannes, Toronto, New York 2016
$(est.) 16,000 in 2 theaters; PTA: $(est.) 8,000
The Dardenne Brothers’ latest film gets a delayed release (it played in competition at Cannes 2016) to middling results in its initial two New York dates. A strong New York Times review (ahead of the overall consensus) helped elevate this story of a Belgian doctor caught up in a mystery when a woman is found dead outside her office.
What comes next: Los Angeles adds on this Friday.
Trophy (The Orchard) – Metacritic: 81; Festivals include: Sundance, South by Southwest 2017
$3,474 in 1 theater; PTA: $3,474
Strong reviews continue after Sundance for this CNN documentary about the complicated world of trophy hunting. It opened in one Manhattan theaters to modest results.
What comes next: Los Angeles opens this Friday with nationwide theatrical play before its later CNN showings.
Hazlo Como Hombre/Do It Like an Hombre (Lionsgate)
$375,000 in 382 theaters (no change); PTA: $982; Cumulative: $2,022,00
A big drop for the second weekend of this Mexican comedy about a homophobic man who freaks out when he realizes his future brother in law is gay.
Tulip Fever (Weinstein)
$285,300 in 772 theaters (+7); PTA: $370; Cumulative: $1,936,000
A drop of 75 percent from an already poor opening will mark the end of most runs for this much-delayed period romance that never overcame its troubled history.
Viceroy’s House (IFC)
$148,641 in 41 theaters (+37); PTA: $3,621; Cumulative: $220,214
Another period British historical drama set in the transition to Indian independence expanded in its second weekend to major markets to modest returns. Still, better than many recent films.
$53,610 in 5 theaters (+4); PTA: $10,722; Cumulative: $70,900
This documentary about the activist who was by Cesar Chavez’s side during the migrant worker labor movement of the 1960s moved into the Los Angeles area with continued impressive results.
Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)
The Big Sick (Lionsgate) Week 12
$480,000 in 535 theaters (-735); Cumulative: $42,029,000
The year’s biggest independent success remains the top gross among specialized films. With its Oscar push to come, it has an outside chance of topping fellow Amazon film “Manchester by the Sea.” (That film grossed $47 million.)
Ingrid Goes West (Neon) Week 5
$152,685 in 200 theaters (-425); Cumulative: $2,753,000
This Sundance acquisition had a wide play right after its platform release, but has failed to find much interest for its intended younger audience.
The Trip to Spain (IFC) Week 5; also available on VOD
$125,000 in 125 theaters (-15); Cumulative: $775,271
Though below the two earlier “Trip” films, the performance of this buddy road-trip reprise is much better than most parallel VOD releases.
Menashe (A24) Week 7
$123,540 in 117 theaters (-9); Cumulative: $1,468,000
One of the top subtitled performances of the year has come from this U.S.-made Yiddish language drama, which could reach $2 million.
Columbus (Superlative) Week 6
$90,702 in 36 theaters (+7); Cumulative: $526,557
The impressive numbers for this small scale-drama keep adding up. With significant expansion still possible, this could reach $1 million or more.
Beach Rats (Neon) Week 3
$72,491 in 34 theaters (+26); Cumulative: $208,446
Another younger audience-centered independent Sundance debuting drama fails to connect in any significant way as it expands in top markets, still in limited release.
Patti Cake$ (Fox Searchlight) Week 4
$68,000 in 109 theaters (-186); Cumulative: $722,496
Yet another Sundance film that didn’t connect, this time with a $9.5 million acquisition price.
Good Time (A24) Week 4
$67,680 in 75 theaters (-560); Cumulative: $1,879,000
Despite strong reviews, this Robert Pattinson-starring prison break thriller is already on its final legs.
Detroit (Annapurna) Week 7
$53,000 in 151 theaters (-180); Cumulative: $16,694,000
The end of the run for the disappointing performance of Kathryn Bigelow’s latest effort.
Maudie (Sony Pictures Classics) – $43,894 in 79 theaters; Cumulative: $6,018,000
Crown Heights (IFC) – $36,360 in 99 theaters; Cumulative: $213,630
Polina (Oscilloscope) – $23,000 in 15; Cumulative: $75,233
California Typewriter (Gravitas Ventures) – $21,551 in 16 theaters; Cumulative: $92,827
Gook (Goldwyn) – $20,385; Cumulative: $223,222
The Little Hours (Gunpowder & Sky) – $15,320 in 13 theaters; Cumulative: $1,623,000
Lost in Paris (Oscilloscope) – $15,000 in 17 theaters; Cumulative: $609,578