This graph shows Dan Stevens’s score on our annual analysis of leading stars at the box office. The Star Score represents points assigned to each of the leading stars of the top 100 movies (based on box office) in the current year and two preceding years. For appearing in the number one movie in a year a star gets 100 points, the number two movie 99 points and so on..
Latest Ranking on Selected Box Office Record Lists
Reluctantly, 17-year-old Gretchen leaves her American home to live with her father, who has just moved into a resort in the German Alps with his new family. Arriving at their future residence, they are greeted by Mr. König, her father’s boss, who takes an inexplicable interest in Gretchen’s mute half-sister Alma. Something doesn’t seem right in this tranquil vacation paradise. Gretchen is plagued by strange noises and bloody visions until she discovers a shocking secret that also concerns her own family.
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The dystopian action-thriller Civil War will almost certainly become the widest release in theaters this weekend. We don’t have an official theater count from A24, but after its strong opening last weekend, it’s safe to assume it’ll be playing in about the same number of theaters as last time, maybe slightly more. Abigail is the widest new release, and is joined by The Ministry of Ungentlemanly Warfare and Spy x Family Code: White as new options for theatergoers.
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After a group of would-be criminals kidnap the 12-year-old ballerina daughter of a powerful underworld figure, all they have to do to collect a $50 million ransom is watch the girl overnight. In an isolated mansion, the captors start to dwindle, one by one, and they discover, to their mounting horror, that they’re locked inside with no normal little girl.
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Since its debut in early September, Shang-Chi and the Legend of the Ten Rings has enjoyed the limelight as the widest film, coupled with impressive numbers at the box office. For the first time, however, the Marvel film dips below the 4,000 theater mark, landing this week in 3,952 locations, which will likely be neck-and-neck with Cry Macho, which opened in 3,967 theaters last weekend and will probably stay at the same number (Warner Bros. is not releasing official counts at this time). New this week is the musical Dear Evan Hansen. The teen-drama starring Ben Platt follows a high schooler who, plagued with social anxiety, concocts a story to become closer to the family of a deceased classmate. Directed by Stephen Chbosky and based on the music stage play by Steven Levenson, Dear Evan Hansen debuts in 3,364 theaters. Also new in wide release this week is Courageous Legacy. The film from Sony Pictures is a re-release of the 2011 film, which contains the original storyline with an extended, remastered cut 10 years later. It arrives in 1,023 theaters across North America this weekend. Lastly, The Eyes of Tammy Faye, which debuted last week, expands to 1,352 locations this week.
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A lot of films on this week’s list are earning good reviews, but not great reviews. This means most of them will have to wait till the home market to find an audience. That’s not to say there are no movies worth going to the theater to see. Summer 1993 is the best, but both Pad Man and the 2018 Oscar Shorts collections are also worth the trip.
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It is Thanksgiving weekend, but while that’s a great week for wide releases, it’s a terrible one for limited releases. Normally, we only mention films that have ten or more reviews on Rotten Tomatoes. However, this week there are only seven films in total, so we might as well talk about them all. To be fair, just because it is a slow week, doesn’t mean there’s nothing worth checking out. In fact, there are several films worth checking out. The Man Who Invented Christmas is the widest release, opening in over 600 theaters. Call Me by Your Name is clearly the best and it is already making waves during Awards Seasons. Finally, Bombshell: The Hedy Lamarr Story is the one I’m most interested in seeing.
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There have been threepreviousadaptations in Disney’s recent streak of live-action adaptations. I’ve previouslyreviewed all of them and only really liked Maleficent. In fact, I like Maleficent more now than I did when it first came out, because it took the characters and made an original story with them, while the other two only had minor changes, but were mostly beat-for-beat remakes. I mention all of this before even mentioning Beauty and the Beast, because this is what I want in these movies. I want a reason to watch this version rather than the original. Does this film give me a reason?
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Beauty and the Beast set out this weekend to show that it’s not just super heroes who can deliver big openings at the box office, and it’s doing so in some style. Disney is projecting a $170 million opening weekend for the live action fairytale, and the film is setting records around the world. At home, it’ll have the biggest March weekend of all time, and the fourth-best Saturday of all time. The studio is projecting it will have the sixth-best Sunday in history, although my money would be on it slightly outperforming today, for the fifth-best Sunday, and that it will challenge Iron Man 3’s $174 million for the sixth-best opening of all time. Only Star Wars, super heroes, and dinosaur-themed movies have done better on opening weekend.
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February was an okay month. The films that missed expectations were mostly balanced by the films that were pleasant surprises. Unfortunately, last February was amazing as Deadpool dominated the chart, so 2017 has fallen further behind 2016 and 2016’s lead is now about $100 million. It is not so bad that a good March won’t help 2017 back into the lead. Will that happen? We have some good news and some bad news. Good news: Every week there is one movie that has at least a shot at $100 million. Two of them, Logan and Beauty and the Beast, could reach $200 million or a lot more. Bad News: last March, both Zootopia and Batman v Superman: Dawn of Justice earned more than $300 million. That’s a really powerful one-two punch and I don’t think we can replicate that this time around. On the other hand, last March, the third best film of the month was 10 Cloverfield Lane, while there were four films that were expected to open wide that earned less than $10 million at the box office. 2017 likely won’t be as good at the top, but I also don’t think it will have as many bombs either. If Beauty and the Beast reaches the very high end of expectations, then 2017 could even close the gap with 2016 entirely. I’ll be happy getting halfway there.
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As expected, January was dominated by holdovers with Star Wars: The Force Awakens and The Revenant leading the way. That's not to say there were no new releases that did well, as Ride Along 2 and Kung Fu Panda 3 were hits with moviegoers. Looking forward, there is only one film that looks like a sure hit, Deadpool. There's a slim chance it could be a surprise $200 million hit. There's a much better chance it will be the only $100 million hit. Conversely, last February started with a $100 million hit coming out, The SpongeBob Movie: Sponge Out of Water, while there were two other $100 million movies to come out that month, Fifty Shades of Grey and Kingsman: The Secret Service. Looks like 2016 is going to lose in the year-over-year comparison.
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A Walk Among the Tombstones opened in September, which is a bad sign. It did earn good reviews, but failed to find an audience in theaters. Granted, it was a September release, so perhaps that's the problem. Or perhaps Liam Neeson has done one too many similar roles and moviegoers have grown tired of these movies.
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It's an overly busy week for limited releases with nearly two-dozen films on this week's list. There are a number of films on this week's list that are earning outstanding reviews, like 20,000 Days on Earth, or strong buzz, like The Zero Theorem. But there are not a lot earning both. Films like Stop the Pounding Heart or The Guest will likely not live up to their Tomatometer Scores. Tracks is probably the film with the best chance at breakout success.
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It's the weekend after the Oscar nominations were announced and it is closing in on Sundance, so it is not a good time to release a film in limited release, as art house aficionados are focuses elsewhere. Unfortunately, there are lots of limited releases on this week's list, most of which are earning weak, or really weak reviews. There are a few that are earning good reviews, Big Bad Wolves, G.B.F., Like Father, Like Son, etc., but with the competition, I can practically guarantee that most of them will get lost in the crowd.
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Vamps was written and directed by Amy Heckerling and stars Alicia Silverstone. The pair previously worked together on Clueless, which is arguably the highlight of the careers of both women. This film won't be as big as Clueless was in theaters (although bizarrely, it did better in its second weekend than its first). But will it find an audience on the home market?
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There are not a lot of new releases on this week's list, and even fewer that have a good shot at earning some measure of mainstream success. This Must Be the Place is probably the best bet in that regard, but fans of B-movies should try and see Miami Connection.
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All Acting Credits
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