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‘Gran Turismo’ and ‘Barbie’ Are Neck-And-Neck at the Box Office 

This image released by Columbia Pictures shows a scene from "Gran Turismo." (Columbia Pictures/Sony Entertainment via AP)
This image released by Columbia Pictures shows a scene from "Gran Turismo." (Columbia Pictures/Sony Entertainment via AP)
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‘Gran Turismo’ and ‘Barbie’ Are Neck-And-Neck at the Box Office 

This image released by Columbia Pictures shows a scene from "Gran Turismo." (Columbia Pictures/Sony Entertainment via AP)
This image released by Columbia Pictures shows a scene from "Gran Turismo." (Columbia Pictures/Sony Entertainment via AP)

“Gran Turismo: Based on a True Story” and “Barbie” are in a dead heat for the box-office crown, with the video game adaptation just edging Greta Gerwig’s pop sensation, according to studio estimates Sunday.

Sony Pictures reported that “Gran Turismo” opened with $17.3 million over the weekend, while Warner Bros. estimated that “Barbie,” in its sixth week of release, took in $17.1 million. Those totals could change when final ticket sales are counted Monday.

Due to a few wrinkles, it’s all but certain that “Barbie” sold more tickets than any other movie Friday through Sunday, even if “Gran Turismo” is claiming the checker flag.

One reason: It was an usual weekend in multiplexes. US movie theaters held the second annual National Cinema Day on Sunday, with $4 tickets to all films and showtimes at nearly all of the country’s theaters.

“Barbie” was expected to be easily the top draw during the discounted day, with a particular boost coming from repeat viewings. With a domestic total of $594.8 million in ticket sales, “Barbie” has passed “The Super Mario Bros. Movie” ($574 million) to become the year’s biggest domestic hit. With $1.34 billion worldwide, “Barbie” will also soon surpass the leading $1.35 million worldwide tally of “Mario.”

National Cinema Day is meant to lure moviegoers to theaters during a typically slow period — and recoup the lost ticket revenue by selling a lot of popcorn. Last year’s event drew 8.1 million moviegoers, making it the busiest day of the year in theaters. Warner Bros. estimated that “Barbie” would gross $7.8 million on Sunday, which would mean almost 2 million people saw the film that day.

So what was the top movie in theaters this weekend?

“Barbie,” says Jeff Goldstein, distribution chief for Warner Bros. “Without any question.”

Though “Barbie” is the weekend’s top draw, “Gran Turismo” has a slight — and somewhat debatable — edge in gross earnings. In its weekend totals for “Gran Turismo,” Sony is also factoring in a hefty $3.9 million from preview screenings held before Thursday, along with $1.4 million in Thursday previews. Such accounting, while common practice for Hollywood, has stretched the definition of an opening “weekend.”

“We’ve made a big issue of it only because ‘Barbie’ has had incredible holds,” says Goldstein. “To take away the number one, which would make it five weekends at number one since it opened, kind of doesn’t feel right for the ‘Barbie’ filmmakers who really deserve the accolades.”

Sony executives declined to comment.

Either way, it’s a so-so start for “Gran Turismo,” which cost about $60 million to make. But the film, about a young man whose love of the PlayStation video game helps turn him into a real-life racer, has gone over well with audiences. Moviegoers gave the Neill Blomkamp-directed movie an “A” CinemaScore.

The ongoing strike by actors and screenwriters has taken away the studios’ ability to promote films with their casts. To help spread the word on “Gran Turismo,” Sony held several weeks of preview screenings and fan events.

“Obviously, every movie is in pursuit of being the number one film,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “But at the end of the day, ‘Barbie’ is just an out-and-out smash global blockbuster. No matter how you slice it, ‘Barbie’ is always going to be a winner no matter the outcome of this weekend. Sony, left without stars to go out and promote the movie, had to rely on the audience becoming the marketing voice.”

Last week’s top film, the DC Comics release “Blue Beetle,” slid to third place in its second week, with $12.8 million. The Warner Bros. film has made $46.3 million in two weeks, making it another misfire for DC.

Christopher Nolan’s “Oppenheimer” trailed in fourth, with $9 million in its sixth week. Like its “Barbenheimer” sibling, the Universal Pictures release has played remarkably well beyond the point at which most films fall off in theaters. “Oppenheimer” has passed $300 million domestically and reached $777.1 million globally.

A handful of other new releases also hit theaters. MGM’s high-school comedy “Bottoms” got off to a strong start in limited release, grossing an average of $51,600 per location in 10 theaters. The Liam Neeson thriller “Retribution” debuted with $3.3 million in 1,750 theaters for Lionsgate and Roadside Attractions.

“The Hill,” a sports drama starring Dennis Quaid, launched with $2.5 million from 1,570 locations for Briarcliff and Open Road. And “Golda,” starring Helen Mirren as the former Israeli prime minister, debuted with $2 million in 883 theaters for Bleecker Street.

According to Comscore, the North American box office is now just $70 million shy of breaking $4 billion for the summer. After an up-and-down season that saw some major releases like “Indiana Jones and the Dial of Destiny,” “The Flash” and “Mission Impossible: Dead Reckoning Part One” fall short of expectations, “Barbie” and “Oppenheimer” have spurred a comeback. If the box office manages to reach $4 billion for the summer, it would be the first time since 2019.

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Entertainment

Hulu's 'Good American Family' with Ellen Pompeo Scrambles a Wild True-Crime Case

This image released by Disney shows Ellen Pompeo in a scene from "Good American Family." (Ser Baffo/Disney via AP)
This image released by Disney shows Ellen Pompeo in a scene from "Good American Family." (Ser Baffo/Disney via AP)
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Hulu's 'Good American Family' with Ellen Pompeo Scrambles a Wild True-Crime Case

This image released by Disney shows Ellen Pompeo in a scene from "Good American Family." (Ser Baffo/Disney via AP)
This image released by Disney shows Ellen Pompeo in a scene from "Good American Family." (Ser Baffo/Disney via AP)

If Ellen Pompeo was going to find a new role after 20 years as a series regular on ABC's "Grey's Anatomy," it had to be good. She thinks she found it as a supermom whose world collapses in Hulu's "Good American Family."

"I was looking for a real creative challenge. I think this was an opportunity for me to completely disappear into a role,″ she says. "Characters like this don't come along all that often."

"Good American Family" fictionalizes the true story of Natalia Grace, a Ukrainian-born orphan with dwarfism, adopted as a child by an American family who soon accuse her of being a troubled adult masquerading as a child.

Pompeo plays the adoptive mother, whose character has become a sought-after speaker and author after raising a son with autism but now finds herself at her breaking point with Natalia, her marriage strained, in legal jeopardy and her reputation in tatters.

"We were taking all of this research that we had and amplifying certain moments or adjusting certain moments for kind of dramatic license," says creator and co-showrunner Katie Robbins, who also created "Sunny" and wrote for "The Affair."

"The thing that was important was to tell a propulsive, compulsively watchable thing. But, at the end of the day, the most important thing was to tell it in an emotionally authentic way to the people involved."

Over the years, the case has been the focus of several TV shows, podcasts and documentaries, including Investigation Discovery's documentary series "The Curious Case of Natalia Grace."

If viewers hope to get clarity on who the heroes are, they'll not get it with "Good American Family." It tells the story from multiple points of view, flashing forward and back, to create a complex family drama that also has elements of a thriller.

"You really have to pay attention to who's doing the telling," says Robbins. "Using perspective felt like an opportunity both to tell the story in kind of a fresh way, but also to allow us as storytellers to take the viewers on an experience that would help them confront their own biases in unexpected ways."

The series starts from the perspective of the adoptive parents — Mark Duplass plays the husband — who eventually turn on their new family member, but then shifts to Natalia (played by Imogen Faith Reid), slowly cracking any snap judgements the viewer may have had going into it.

"Everybody comes into the experience of this story with sort of a different way of looking at it," says co-showrunner and executive producer Sarah Sutherland. "It's sort of like a Rorschach test. I just thought it was super-fascinating to sit with the kind of uncomfortableness of that."

The eight episodes that begin debuting Wednesday seamlessly blend darkness and light, showing moments of family levity but also scenes of terror, as when Natalia approaches her parents' bed with a knife.

"In terms of the tone, I am a firm believer that life is a real genre blend," says Robbins. "The happiest moments in my life have been undercut often with tragedy, and the saddest moments I've often found myself finding something absurdly hilarious. So everything that I write, I try to let all live in that sort of tension because that's what it is to be a person."

At its core, "Good American Family" is about how we are raised and how that can echo through generations. We learn how Pompeo's character was treated by her mother and how Natalia wasn't always raised with familial love, priming them for a face-off.

"We're examining the ways in which one is parented trickles down and affects the way that one is a parent," says Robbins. "It changes the way that you perceive the world. And I think that it's a fascinating thing that runs through the arc of this series."

Pompeo sees an even larger point — how everyone these days has their own definitive version of events and sees things though their own lens.

"Even if you know you're wrong, it takes an extraordinary amount of humility to admit you're wrong. It's so much easier to just go with it, stick to the ego and say, 'I wasn't wrong,'" she says.

"We see that with what's happening in our country right now. People will fight to the death before they admit they were wrong. It doesn't matter what we see, right?" she adds.

"We're seeing things before our eyes, and people are saying something else, and we're choosing to believe what was said instead of what we're seeing. And that is the human condition."