Weekend Receipts: The American Is Number One, Machete Deported To Third Place

theamerican_rev_2.jpgGeorge Clooney was the king of the (very weak) box office this weekend, as his bare-bones thriller The American took the top spot. In a tightly-fought battle for second place, it was the surprisingly still-strong Takers who edged out Machete -- though the difference between them is so small, they may swap places come Tuesday morning. And meanwhile Going the Distance ended up not going anywhere at all. Your weekend receipts are here.

1. The American

Gross: $12,968,000 ($16,114,000)

Screens: 2,823 (PSA: $4,594)

Weeks: 1

So, good news / bad news for you, George Clooney. The good news, you've got another number one movie, you're richer than Croesus, and you never lack for beautiful female companionship. The only black fly in your chardonnay is that The American received an awful D- CinemaScore grade from viewers. To put that in context, Vampires Suck, a movie that flirted with a 0% fresh rating on Rotten Tomatoes, got a solid D. Ouch.

2. Takers

Gross: $11,450,000 ($37,900,000)

Screens: 2,206 (PSA: $5,190)

Weeks: 2 (change: -44.2%)

A sleeper sorta-hit, once again Takers has the best per-screen-average in the top five. T.I. must be feeling pretty good, even if the cops confiscated his ecstasy. Plus, the success of this movie means that Hayden Christensen doesn't have to move back in with his parents up in Canada.

3. Machete

Gross: $11,300,000 (new)

Screens: 2,670 (PSA: $4,232)

Weeks: 1

If this is the best opening that the neo-grindhouse cinema can muster, I fear for the future of Hobo with a Shotgun.

4. The Last Exorcism

Gross: $7,645,000 ($32,477,000)

Screens: 2,874 (PSA: $2,660)

Weeks: 2 (change:-62.5%)

When not causing an unholy conflagration, The Last Exorcism has been bothering people with it's "twist" ending. I don't want to toot my own horn here, but while I was watching it, I had a feeling Bruce Willis was dead the entire time.

5. Going the Distance

Gross: $6,885,000 (new)

Screens: 3,030 (PSA: $2,272)

Weeks: 1

So, Southwest is prominently featured in this movie--big, bright Southwest signs and placards everywhere, the characters fly it, etc. etc. Clearly Southwest shelled out some dough to be the airline of choice. So why, when surrounded with all this Southwest paraphernalia, does Justin Long get a big huffy scene where exclaims "Oh no, not a middle seat!"? Southwest doesn't assign you a seat, it's always been first come, first seated. I'm not asking for some great verisimilitude out of a yukky rom-com, I'm just asking people to LOOK AT THE SCRIPT AND THEN LOOK AT WHAT NAME IS NEARLY COVERING EVERY INCH OF THE SET.

[Numbers via Box Office Mojo]


  • Brian says:

    As good as The American was, it was marketed as an action/espionage movie, but it is more of an arthouse drama. I loved it, but I heard a lot of groans when the credits rolled, no doubt from people expecting a cross between Bond and Bourne.
    The deceptive marketing of this film reminds me a little of Jennifer's Body, which was sold as a teen slasher flick, but was really a dark comedy/teen melodrama. It also pissed off a large percentage of the people who watched it, though I loved it too.

  • casting couch says:

    I haven't seen much of the marketing for The American, but this looks an awful lot like Clooney's first movie The Peachmaker.

  • Edward Wilson says:

    The Peachmaker? Is that a sequel to Return of the Killer Tomatoes?...

  • Independence - The last thing I wanted them to learn is independence, which was not difficult neither. Yes, you heard me right. We got money and kids but we lost our precious little ones at the same time.