With $97Mln Second Weekend, ‘Deadpool & Wolverine’ Sets New High Mark for R-Rated Films

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool and Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool and Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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With $97Mln Second Weekend, ‘Deadpool & Wolverine’ Sets New High Mark for R-Rated Films

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool and Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool and Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

After 10 days in theaters, “Deadpool & Wolverine” is already the highest-grossing R-rated movie ever, not accounting for inflation.

In its second weekend, the Marvel Studios blockbuster starring Ryan Reynolds and Hugh Jackman continued to steamroll through movie theaters, collecting $97 million according to studio estimates Sunday. That raised its two-week total to $395.6 million, pushing it past the long-reigning top R-rated feature, “The Passion of the Christ,” which held that mark for 20 years with $370 million domestic.

Worldwide, the Shawn Levy-directed “Deadpool & Wolverine" has quickly amassed $824.1 million in ticket sales, a total that already surpasses the global hauls of the first two “Deadpool” films. The 2016 original grossed $782.6 million worldwide; the 2018 sequel collected $734.5 million.

The weekend’s primary challengers both struggled.

M. Night Shyamalan’s latest thriller, “Trap,” managed a modest opening of $15.6 million at 3,181 theaters for Warner Bros. The film, starring Josh Hartnett as a serial killer hunted by police at a pop concert, didn’t screen for critics before opening day and scored lower in reviews (48% fresh on Rotten Tomatoes) than Shyamalan’s films typically do. Audiences gave it a C+ CinemaScore.

With a budget of about $35 million, “Trap” didn’t need a huge opening, but may struggle to break even.

“This is a soft opening for an M. Night Shyamalan suspense crime thriller,” wrote David A. Gross, a film consultant who publishes a newsletter for Franchise Entertainment. “The writer/director’s movies out-earn other original thrillers by a wide margin, and that’s true here, but this start is not on the level of recent Shyamalan films.”

The live-action “Harold and the Purple Crayon,” adapted from the classic kids book, also didn’t make much of a mark in theaters. The Sony Pictures release debuted with $6 million. It, too, got dinged by critics (28% fresh on Rotten Tomatoes), though audiences (an A- CinemaScore) liked it more.



‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
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‘I’m Still Here’: Joan Chen Plays Thwarted Immigrant Mom in ‘Didi'

Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)
Chinese-American actress Joan Chen poses during a photocall for Chinese director Jia Zhang Ke's film '24 City' at the 61st Cannes International Film Festival on May 17, 2008 in Cannes, southern France. (AFP)

Long before Joan Chen charmed Western audiences with seductive turns in "The Last Emperor" and "Twin Peaks" she was a child star in China, hand-picked for her debut movie role by Mao Zedong's wife.

That remarkable personal journey, from Red Army propaganda movies to glamorous Hollywood roles directed by Bernardo Bertolucci and David Lynch, could not appear more different to Chen's character in new coming-of-age film "Didi."

Chen plays Chungsing, a Taiwanese single mom and frustrated artist in California, whose 13-year-old is too busy trying to impress his skater friends and navigate adolescent crushes to be nice to his family.

Yet the role -- which is already earning Oscars buzz -- "poured out of me, because that's the life I've lived," Chen told AFP.

"I am, like Chungsing, an immigrant mother, who raised two American children -- with such an intimate, loving relationship, but also fraught with cultural chasm, misunderstanding, unmet expectations," she said.

It all started for Chen, aged 14, when she was spotted by a film director who worked for Chairman Mao's wife Jiang Qing.

"The director picked me out of school, then sent my dossier and my pictures for her to approve," recalls Chen.

"I was so happy that I happened to be the type that they needed. It wasn't my dream. I never thought about it, when they picked me to be an actress. And then slowly, I learned to love it."

She quickly became a beloved movie star in 1970s China -- a job that spared her from being sent to work in rural provinces during the devastating Cultural Revolution.

Chen moved to the US at age 20, studying film but skeptical about her prospects as an Asian woman in Hollywood.

She landed a lead role in Bertolucci's "The Last Emperor," as the wife of China's final dynastic ruler. The film won nine Oscars, including best picture.

Yet Chen, now 63, recalls: "Back then, there just weren't any Asian filmmakers or scriptwriters who could create a part for me."

"I could have been this ingenue, this breakout new lead (actress)... So that was a shame. Nothing could really follow up."

- 'Still here' -

In "Didi," out in theaters on August 16, Chen's character is a talented artist who had to forsake her ambitions for her family, in their new country.

Chungsing is stoic, quietly bearing her disappointment while devoting herself to her frequently oblivious, Americanized children.

Unlike her character, Chen continued to work prolifically through parenthood, acting and directing in both the US and Asian film industries.

Chen's part as femme fatale Josie Packard in "Twin Peaks" remains popular with fans of the cult TV series to this day.

But her Western roles have failed to match the success of her early career.

And she still reflects on the "night and day" difference between her daughters' experience growing up in the West, and her own arrival in the United States as an immigrant, with "that uncertainty of the ground you're standing on."

"The pains and joys we see in the film is a lived experience for myself as well," said Chen.

With "Didi" winning awards at the Sundance film festival, there are hints of a late-career comeback. Chen and director Sean Wang are earning mentions as dark horses for the next Academy Awards.

"I am so thrilled that young filmmakers like Sean exist... when there are enough scriptwriters, directors, then you create more parts for people who look like them," she said.

"It's wonderful. And I'm so happy that I'm still here."