New movies like “Plane” and “House Party” were no match for “Avatar: The Way of Water” and the killer doll horror “M3GAN” at the box office this weekend. The two holdovers topped the charts again according to studio estimates Sunday. In first place for the fifth weekend in a row was James Cameron’s “Avatar” sequel, which added an estimated $31.1 million through Sunday. That total will likely balloon to $38.5 million by the end of Monday’s Martin Luther King holiday. As of Sunday, the film's domestic total now rests at $562.9 million (the 13th biggest of all time) and its global total is $1.89 billion. “Avatar 2” needs to pass $1.92 billion to trump “Spider-Man: No Way Home,” which is currently the sixth highest grossing film of all time globally. “There were such huge expectations and a lot of naysayers that opening weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “But ‘Avatar,’ for a James Cameron movie, is moving at lightning speed up the domestic and global box office chart. I think he always knew this would be a $2 billion movie." Second place went to Universal and Blumhouse’s “M3GAN” which in its second weekend in theaters added $17.9 million through Sunday and an estimated $21.2 million including Monday. The modestly budgeted thriller that cost a reported $12 million to produce has made $59.8 million in North America. Read more: 10 Most Anticipated Movies of 2023: Unleash the Craze of Movie Mania Horror movies typically have very steep second weekend drop offs in ticket sales, but “M3GAN” only fell 41%. Dergarabedian said that’s almost unheard of for a horror picture and shows “world class staying power.” Universal also claimed the third place spot, with “Puss in Boots: The Last Wish,” which audiences continued to seek out in theaters even though it’s currently available to rent at home. The family-friendly animated film added $13.4 million in its fourth weekend, bringing its domestic total to $110.3 million. “A Man Called Otto,” from Columbia Pictures, expanded to 3,802 theaters this weekend, adding $12.7 million through Sunday, and $15 million including Monday, to take fourth place. Directed by Marc Forster, the adaptation of “A Man Called Ove” starring Tom Hanks is proving to be something of a rarity in the theatrical marketplace as an adult-targeted drama that is doing well. The Gerard Butler action pic “Plane,” a Lionsgate acquisition for release in North America, rounded out the top five with a better-than-expected $10 million in its first three days. In the film, Butler plays a pilot whose crash landing on an island is only the first of his troubles. On the island, most of the passengers are taken hostage. “Plane” got better-than-average reviews with 75% positive from critics on Rotten Tomatoes. Sixth place went to the second major new offering this weekend, “House Party,” a reboot of Reginald Hudlin’s 1990 hit that spawned several spinoffs. The film, which made $3.9 million through Sunday from 1,400 locations, was originally intended as a straight-to-HBO Max property but Warner Bros. pivoted to a theatrical release as a gesture to audiences and exhibitors hungry for new films. The R-rated, youth-oriented comedy did not score well with critics. Overall, the three-day box office total is going to net out around $100 million, which is not quite at pre-pandemic levels, but still up some 44% from the same weekend last year. "January is not going to be the slow month we thought. It’s a great combination of films out there that's not just dominated by ‘Avatar: The Way of Water,’" Dergarabedian said. “Theaters need movies and the studios are supplying those.” Read more: 2022 Highest Grossing Movies Worldwide Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, with Wednesday through Sunday in parentheses. Final domestic figures will be released Monday. 1. “Avatar: The Way of Water,” $31.1 million. 2. “M3GAN,” $17.9 million. 3. “Puss in Boots: The Last Wish,” $13.4 million. 4. “A Man Called Otto,” $12.7 million. 5. “Plane,” $10 million. 6. “House Party,” $3.9 million. 7. “Black Panther: Wakanda Forever,” $2.2 million. 8. “The Whale,” $1.5 million. 9. “I Wanna Dance With Somebody,” $1.2 million. 10. “Waltair Veeraya,” 905,000.

Scarlett Johansson is suing the Walt Disney Co. over its streaming release of “Black Widow,” which she said breached her contract and deprived her of potential earnings. In a lawsuit filed Thursday in Los Angeles Superior Court, the “Black Widow” star and executive producer said her contract guaranteed an exclusive theatrical release. The Wall Street Journal first reported the news of the lawsuit. Johansson’s potential earnings were tied to the box office performance of the film, which the company released simultaneously in theaters and on its streaming service Disney+ for a $30 rental. Also read: Bollywood actress Shilpa Shetty's husband arrested “In the months leading up to this lawsuit, Ms. Johansson gave Disney and Marvel every opportunity to right their wrong and make good on Marvel’s promise,” the lawsuit said. “Disney intentionally induced Marvel’s breach of the Agreement, without justification, in order to prevent Ms. Johansson from realizing the full benefit of her bargain with Marvel.” Disney said the lawsuit has “no merit whatsoever.” “The lawsuit is especially sad and distressing in its callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic,” Disney said in a statement. “Disney has fully complied with Ms. Johansson’s contract and furthermore, the release of Black Widow on Disney+ with Premier Access has significantly enhanced her ability to earn additional compensation on top of the $20M she has received to date.” After its release was delayed more than a year because of COVID-19, “Black Widow” debuted to a pandemic-best of $80 million in North America and $78 million from international theaters three weeks ago, but theatrical grosses declined sharply after that. In its second weekend in release, the National Association of Theater Owners issued a rare statement criticizing the strategy asserting that simultaneous release lends itself only to lost profits and higher quality piracy. Also read: ‘Titane’ wins top Cannes honor, 2nd ever for female director Once taboo, hybrid theatrical and streaming releases have become more normal for many of the biggest studios during the pandemic, with each adopting its own unique strategy. This weekend, Disney is employing the same strategy with “Jungle Cruise,” and next weekend Warner Bros. big budget “The Suicide Squad” opens both in theaters and on HBO Max. The revised hybrid release strategies over the 16 months have occasionally led to public spats from not just theater owners, but stars, filmmakers and financiers who are unhappy with the potential lost revenues and the alleged unilateral decision-making involved. The WSJ said Warner Media, for instance, paid over $200 million in “amended agreements” with talent over its decision to release its entire 2021 slate simultaneously in theaters and on HBO Max. But none have been as public as Johansson’s lawsuit. The actor, who has been in nine Marvel movies going back to 2010’s “Iron Man 2,” quickly became a trending topic on Twitter on Thursday after news of the lawsuit broke.

Once again, mayhem and mass destruction is back at the box office. It’s almost like old times. “Godzilla vs. Kong,” one of the few tentpoles to dare release during COVID times, is poised this weekend to set a new high in ticket sales during the pandemic. It won’t be the kind of blockbuster business such a big-budget release would typically manage, but experts forecast a launch of at least $25 million. Opening-day ticket sales on Wednesday for “Godzilla vs. Kong” totaled $9.6 million, Warner Bros. said Thursday — a single-day pandemic record and more than most 2020-2021 opening weekend hauls. Last weekend, the monster mash pulled in an impressive $123.1 million internationally. In China, where moviegoing is close to pre-pandemic levels, the movie made about $70 million, double the debut of 2014′s “Godzilla.” Also read:The pandemic is changing Hollywood, maybe forever For the first time in a long time, there’s the faint hint of a hit at the box office. “It’s a good omen that the tastes of the consumer have not shifted so much that there’s no possibility of restarting the movie business,” says Joshua Grode, chief executive of Legendary Entertainment, which produced “Godzilla vs. Kong.” “This tells everybody: the moviegoing business is here, and, yes, it may be different post-pandemic. But there is a viable industry there.” Huge challenges remain to the revival of moviegoing. With so many cinemas shuttered for nearly an entire year, many moviegoers are out of the habit. Some are unlikely to return to sitting indoors with strangers until they’re vaccinated or the pandemic has ebbed. And even those who have been convinced of the safety of moviegoing by theaters’ health protocols, they now have only more in-home options. “Godzilla vs. Kong” is streaming simultaneously on HBO Max in North America. But few scream big screen as much as King Kong and Godzilla. To help kickstart moviegoing and bring back a little chest-thumping swagger to theaters, the industry is counting on two of the movies’ most iconic, long-running leviathans. Laying another metropolis to waste might help movie theaters build themselves back up. “The issue is less convincing consumers to go to the movies than it is convincing studios to open their movies,” says Rich Gelfond, IMAX’S chief executive. “There’s been a hesitancy on the part of Hollywood studios to release movies because they haven’t been convinced the demand is there. What I really hope this weekend shows is that there is a lot of demand there and it convinces them to open a lot of movies that have been sitting on the shelf.” Since the launch of “Tenet” fizzled last August, and virus cases soared, most studios have been postponing or rerouting their biggest releases to streaming services. But as vaccinations have ramped up and restrictions have eased, more theaters have opened. About 60% of theaters will be open this weekend, according to data firm Comscore. On Monday, Los Angeles County will expand cinema capacity from 25% to 50%. For the first time since last winter, wide release will mean playing in more than 3,000 theaters. That’s still about 1,200 shy of typical for a title like “Godzilla vs. Kong.” Recently, ticket sales, while still far below their usual levels, are ticking upward. The best debut of 2021 was “Tom & Jerry,” with $13.7 million in late February. The pandemic-high belongs to “Wonder Woman 1984,” which launched with $16.7 million in December. Each were Warner Bros. releases that landed simultaneously on HBO Max — a once controversial release plan that has helped theaters stay afloat and proved an interesting test case for how viewers prefer to see, and pay for, a movie. Nevertheless, the Walt Disney Co. recently delayed the planned summer-kickoff of “Black Widow” to July, while pushing a number of titles to its streaming platform, Disney+. Part of what’s holding blockbusters back is the need for a global release to make back their sizable production budgets and marketing spend. (“Godzilla vs. Kong” cost about $160 million to make.) While moviegoing in much of Asia is rejuvenated, rising cases in Europe and in countries like Brazil have, for now, made a full worldwide rollout impossible. Also read:Top 10 Hollywood movies of 2019 so far: Shazam, Us ... Paul Dergarabedian, senior media analyst for Comscore, believes “Godzilla vs. Kong” will be “another building block in our education in where the industry is heading.” “The theatrical experience will prove to be viable and resilient as it always has,” says Dergarabedian. “But it’s going to be a different world, no question. I think it’s going to be a leaner, meaner business going forward.” Some of the old standard practices that have governed blockbusters aren’t coming back. Studios like Warner Bros. and Universal Pictures have made deals to shorten exclusive theatrical windows. Warner Bros. next year will hold movies in theaters for a minimum of 45 days, or half of the traditional window, before moving releases to at-home platforms. Such new models mean a recalibrating of what movies get greenlit and how much they’re worth. “The value of those streaming/pay-TV rights are more valuable now because you’re getting access to them much, much earlier than you did before,” says Grode. “So you kind of have to rerun your model of how the movie is going to perform over its lifetime.” It’s also meant some tense negotiations over profit participation. When Warner Bros. surprised with its hybrid release plans for 2021, Legendary — whose highly anticipated “Dune” is to be released in the fall by Warner Bros. — considered legal action before arriving at an agreement. “We obviously didn’t like the way they announced what they were doing in 2021, and I think they would admit they didn’t handle it perfectly,” says Grode. “But when you look at the state of the world, the facts as we all knew them at the time, their decision made a lot of sense.” “You get over that pretty quickly and you get back to business,” he added. Helping theaters get back to business, Gelfond believes, are large-format screens “that differentiate the couch as much as they can.” IMAX accounted for 14% of the Chinese box office for “Godzilla vs. Kong.” This weekend, the film will be playing on 1,170 IMAX screens worldwide. Showings in New York and Los Angeles, Gelfond said, are already sold out, albeit at lower capacity. The box office might not quite roar again this weekend, but “Godzilla vs. Kong” may show it has a little bite left. Says Grode: “In years from now, when people write about coming back to the movies, I’m very proud that ‘Godzilla vs. Kong’ will be in that history.”

The Elisabeth Moss-led thriller "The Invisible Man" rode a wave of good reviews to a very visible spot atop the box office this weekend. Universal Pictures on Sunday estimated that the film from writer-director Leigh Whannell earned $29 million from North American theaters. Internationally, it picked up an additional $20.2 million.

New York, Aug 26 (AP/UNB) — "Angel Has Fallen" easily topped the box office with a $21.3 million debut, according to studio estimates Sunday, as the action sequel became the latest mid-budget release to find modest success in the often quiet late summer.