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.



Red Sea International Film Festival Is Accepting Submissions for 4th Edition  

Red Sea International Film Festival Is Accepting Submissions for 4th Edition  
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Red Sea International Film Festival Is Accepting Submissions for 4th Edition  

Red Sea International Film Festival Is Accepting Submissions for 4th Edition  

The Red Sea International Film Festival is still welcoming submissions for its fourth edition.

The festival extends an invitation to filmmakers from Saudi Arabia, the Arab world, Asia, and Africa to submit their films for the Red Sea: Competition and the Red Sea: Shorts Competition sections, along with the New Saudi/New Cinema section, which aims to showcase the talents and cinematic creativity of Saudi filmmakers.

The deadline for submissions is August 22.

Films participating in the event will vie for the prestigious Yusr Awards, including the Red Sea Golden Yusr Award for Best Film in Competition, which offers a cash prize of $100,000. Other accolades include Best Direction, the Jury Prize, and Best Short Film.

The forthcoming edition of the festival is scheduled to run from December 5 to 14 in Al Balad, Jeddah. It will provide diverse opportunities for emerging directors and filmmakers to present their work.

The festival remains a focal point for film enthusiasts, creators, and industry experts worldwide, featuring prominent film screenings.

The festival delves into rediscovering timeless masterpieces and restored works through experimental, audio-visual narratives that defy norms and blend reality with fantasy.