Matthew Monagle

It’s now been two weekends since Pennywise the Dancing Clown was unleashed upon unsuspecting audiences, and Hollywood may never be the same. Seriously. The kind of box office numbers we’re seeing right now will inspire, uh, major changes in how Hollywood tries to jump on specific trends. And while two new movies made a sort of solid showing for themselves over the weekend, the fact is this: it’s Pennywise’s world. We’re just living in it. Here’s the box office projections as of Sunday afternoon:

Today the world of comedy lost one of its brightest stars. Jerry Lewis was no stranger to controversy during his decades-long career, but his impact on both Hollywood and comedy in general cannot be denied. From his early days as Dean Martin’s partner-in-crime to his career-capping turn in Martin Scorsese’s The King of Comedy  —  and countless box office success in the interim  —  Lewis’s impact on Hollywood will be a source of much discussion for years to come.

Be honest with me: did you really want to see a picture of The Emoji Movie at the top of this article? You had to be hoping that Atomic Blonde or Dunkirk would hang strong enough to keep The Emoji Movie from finishing in the top spot of its opening weekend, right? Well, good news for you: it’s not the highest-grossing movie in America this weekend! Has there ever in the history of Hollywood been a box office one-two as disparate as Dunkirk and The Emoji Movie? Actually, don’t answer that, I don’t want to know. Here’s the projected grosses as of Sunday afternoon:

While Colossal may not have broken box office records, it was a welcome reminder that Anne Hathaway deserved better than whatever rom-com hell we’d locked her in for the past few years. In fact, as Lauren Duca recently pointed out on Twitter, now would be a perfect time revisit our opinions of the actress altogether, dating all the way back to her breakout role in The Princess Diaries. I mean, it can’t be a coincidence that now that we’re learning to appreciate Hathaway again, we’re suddenly getting talk of another Princess Diaries movie. These strange things happen all the time.

While it probably wouldn’t be fair to say that I enjoy James Franco as an actor, I certainly find him to be one of the more interesting talents working today. Unlike most actors, Franco is entirely immune to decline; he can make an independent horror film or a second-rate biopic and immediately pivot into a new blockbuster franchise or prestige television series. And since his career refuses to conform to any established patterns, it makes it really difficult to know if his upcoming projects are actually any good. Is The Vault an arthouse horror film or a movie elevated from the VOD ranks by Franco’s presence? Who knows?

What did you see this weekend? Was it the dour World War II epic? The raunchy New Orleans sex comedy? Or the movie where Cara Delevingne shoves her head into a telepathic jellyfish’s butt? Truly, with options like this, anyone who complains about the death of cinema has no idea what they’re talking about. Anyways, here’s the box office numbers through Sunday afternoon:

For many people who grew up in the 1990s, Home Alone is a film that ages alongside them. When you’re a child, you feel an immediate kinship with Macaulay Culkin’s Kevin, sharing in his delight at being able to run around the house entirely rule-free. The older you get, though, the more you find yourself goggling at the actions of John Heard and Catherine O’Hara‘s parents. How on earth could they manage to leave their youngest child behind? Was it really that easy to breeze through airport security in the ‘90s? Why do I still feel so sympathetic towards them even after all that?

If we’re lucky, every few years we’re treated to a will-they-or-won’t-they love story that sparks our imagination and warms our hearts. Ross and Rachel from Friends. Jim and Pam from The Office. Daniel and Barbara from Bond 25. Yes, these are classic, iconic love stories, where two people who are destined to be together must nevertheless fight through a series of unfortunate events before going public with their mutual love and affection. Which is all a complicated and jokey way of saying, c’mon, Daniel Craig and Barbara Broccoli, we know y’all are going to make Bond 25 happen, so just do it already!

It’s the moment you’ve all been waiting for, Edgar Wright fans: did the filmmaker’s action-packed Baby Driver score big with audiences? Or does this weekend belong to sequels, sequels, and more sequels? This weekend was always going to belong to Despicable Me 3— it’s a big hit with the kiddos, don’t you know— but there’s definitely some room for optimism in how the rest of the weekend Top 10 shook out. Here’s the numbers as of Sunday afternoon:

Let me make this perfectly clear: I’m less of a Top Gun fan and more of a fan of putting Tom Cruise and Val Kilmer in more blockbuster movies, but the end result is pretty much the same: I am ready for a little Top Gun 2 action. The long-rumored film — or perhaps just long-desired film — was finally confirmed by Cruise earlier this year, and now Paramount Pictures is cranking up the movie-making machine to deliver on the promise of more midair dogfights and subtle homoeroticism. With Cruise back, and Kilmer hopefully soon to follow, this could be the perfect throwback to the heydays of studio filmmaking of the late ’80s and early ’90s.

Another weekend, another Weekend Box Office Report! While it won’t surprise you to find out that Michael Bay’s latest episode of Rock ’Em Sock ’Em Robots won the weekend, the specifics of that win come with enough asterisks to make even Barry Bonds blush. It was a terrible weekend for Transformers: The Last Knight one on continent and a record-breaking opening on another, which just goes to show how confusing this whole box office thing can be at times. Here’s the projected numbers as of Sunday afternoon:

When it comes to Hollywood pitches that practically greenlight themselves, “Apocalypse Now in space” has to be pretty high on the list. That’s the premise of Ad Astra, the next film by acclaimed writer-director James Gray (The Immigrant, The Lost City of Z). In February, news broke that Brad Pitt  —  who had served as a producer on Gray’s previous film  —  was looking to join the filmmaker for his science-fiction epic about a man who heads into space to pursue his missing father. And now it seems that Gray has found his film’s father figure (put your tiny haaaaand in mine), with Tommy Lee Jones recently signing on to play the vanished astrona