‘Beetlejuice Beetlejuice’ Is No. 1 Again; Conservative Doc ‘Am I Racist’ Cracks Box Office Top 5

US director Tim Burton poses on the red carpet upon arrival to attend the UK premiere of the film "Beetlejuice Beetlejuice", in central London, on August 29, 2024. (AFP)
US director Tim Burton poses on the red carpet upon arrival to attend the UK premiere of the film "Beetlejuice Beetlejuice", in central London, on August 29, 2024. (AFP)
TT

‘Beetlejuice Beetlejuice’ Is No. 1 Again; Conservative Doc ‘Am I Racist’ Cracks Box Office Top 5

US director Tim Burton poses on the red carpet upon arrival to attend the UK premiere of the film "Beetlejuice Beetlejuice", in central London, on August 29, 2024. (AFP)
US director Tim Burton poses on the red carpet upon arrival to attend the UK premiere of the film "Beetlejuice Beetlejuice", in central London, on August 29, 2024. (AFP)

Moviegoers said yes to more “Beetlejuice Beetlejuice” this weekend.

After its monster opening, the Tim Burton sequel easily topped the domestic box office charts again with $51.6 million in ticket sales, according to studio estimates Sunday. Down only 54% from a week earlier, the North American gross for the Warner Bros. release is already at $188 million. Internationally, it added $28.7 million, bringing its worldwide total to a staggering $264.3 million.

“To drop just 54% is really impressive and indicative of a pretty solid word of mouth,” said Paul Dergarabedian, the senior media analyst for Comscore. “Audiences are enjoying the film.”

While its hold was strong, “Beetlejuice Beetlejuice” didn’t have much in the way of major new competition. Fresh offerings included the James McAvoy horror “Speak No Evil,” a satirical documentary following right wing podcaster Matt Walsh; and a new Dave Bautista action pic, “The Killer's Game.”

Second place in weekend ticket sales went to “Speak No Evil,” a remake of a 2022 Danish horror film about an unsuspecting family who decides to spend a weekend with new friends in the country. McAvoy stars in it, along with Mackenzie Davis and Scoot McNairy. With positive reviews and a shrewd release date of Friday the 13th, the Blumhouse production released by Universal Pictures made an estimated $11.5 million from 3,375 locations.

“Deadpool & Wolverine ” landed in third place in its eighth weekend with another $5.2 million. The Disney and Marvel blockbuster is now up to $621.5 million in North America and $1.3 billion globally.

The Daily Wire movie “Am I Racist?” placed fourth at the box office, with an estimated $4.7 million from only 1,517 theaters. Described as a mockumentary in the style of “Borat,” the movie has conservative columnist Walsh going undercover as a “DEI trainee.” Walsh had a similar gimmick, pretending to be a gender studies professor, in the 2022 movie “What is a Woman?” Both were directed by Justin Folk.

“Am I Racist?” cost a reported $3 million to make. To release it, the Daily Wire — the Ben Shapiro co-founded company — partnered with SDG Releasing, a distribution company founded by writers Cary Solomon and Chuck Konzelman, who promise the “lowest fees in the business.” Among the trailers playing before “Am I Racist?" is another film targeting conservative audiences: The upcoming Dinesh D'Souza movie “Vindicating Trump.”

Rounding out the top five was “Reagan,” the Showbiz Direct release starring Dennis Quaid as the former president, which added another $3 million in its third weekend, bringing its total domestic total to $23.3 million.

“The Killer's Game," meanwhile, debuted in sixth place with $2.6 million. Bautista stars as a hit man with a terminal illness in the action comedy, which got dismal reviews.

Next weekend, theaters will get the Optimus Prime origin pic “Transformers One,” but it may be a quiet few weeks at the box office until “Joker: Folie à Deux” dances its way onto the big screen on Oct. 4.



‘Dirty Dancing,’ ‘Beverly Hills Cop,’ ‘Up in Smoke’ among Movies Entering the National Film Registry

 This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
TT

‘Dirty Dancing,’ ‘Beverly Hills Cop,’ ‘Up in Smoke’ among Movies Entering the National Film Registry

 This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)

Nobody puts baby in a corner, but they're putting her in the National Film Registry.

“Dirty Dancing,” along with another 1980s culture-changer, “Beverly Hills Cop,” are entering the Library of Congress' registry, part of an annual group of 25 announced Wednesday that spans 115 years of filmmaking.

“Dirty Dancing” from 1987 used the physicality and chemistry of Patrick Swayze as Johnny Castle and Jennifer Grey as Frances “Baby” Houseman to charm generations of moviegoers, while also taking on issues like abortion, classism and antisemitism. In the climactic moment, Swayze defiantly declares, “Nobody puts baby in a corner” before taking Grey to dance to “(I’ve Had) The Time of My Life.”

1984's “Beverly Hills Cop,” the first Eddie Murphy film in the registry, arguably made him the world's biggest movie star at the time and made action comedies a blockbuster staple for a decade.

Since 1988, the Librarian of Congress has annually selected movies for preservation that are “culturally, historically or aesthetically” significant. The current picks bring the registry to 900 films. Turner Classic Movies will host a TV special on Wednesday, screening a selection of the class of 2024.

The oldest film is from 1895 and brought its own form of dirty dancing: “Annabelle Serpentine Dance” is a minute-long short of a shimmying Annabelle Moore that was decried by many as a public indecency for the suggestiveness of her moves. The newest is David Fincher's “The Social Network" from 2010.

A look at some of the films entering the registry “Pride of the Yankees” (1942): The film became the model for the modern sports tear-jerker, with Gary Cooper playing Lou Gehrig and delivering the classic real-life line: “Today I consider myself the luckiest man on the face of the Earth.”

“The Miracle Worker” (1962): Anne Bancroft won an Oscar for best actress for playing title character Anne Sullivan and 16-year-old Patty Duke won best supporting actress for playing her deaf and blind protege Helen Keller in director Arthur Penn's film.

“Up in Smoke” (1978): The first feature to star the duo of Cheech Marin and Tommy Chong established a template for the stoner genre and brought weed culture to the mainstream. Marin, who also appears in the inductee “Spy Kids” from 2001, is one of many Latinos with prominent roles in this year's crop of films.

“Star Trek II: Wrath of Khan” (1982): The second movie in the “Star Trek” franchise featured one of filmdom's great villains in Ricardo Montalban's Khan, and showed that the world of Captain Kirk and Mr. Spock could bring vital thrills to the cinema.

“Common Threads: Stories from the Quilt” (1989): The Oscar-winning documentary on the NAMES Project Aids Memorial Quilt was a landmark telling of the devastation wrought by the disease.

“My Own Private Idaho” (1991): Director Gus Van Sant's film featured perhaps the greatest performance of River Phoenix, a year before the actor's death at age 23.

“American Me” (1992): Edward James Olmos starred and made his film directorial debut in this tale of Chicano gang life in Los Angeles and the brutal prison experience of its main character.

“No Country for Old Men” (2007): Joel and Ethan Coen broke through at the Oscars with their adaptation of Cormac McCarthy's novel, winning best picture, best director and best adapted screenplay, while Javier Bardem won best supporting actor for playing a relentless killer with an unforgettable haircut.