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'Wonka' Back Atop N.America Box Office in a Weak Film Year

(FILES) US-French actor Timothee Chalamet arrives for the US premiere of "Wonka" at the Regency Village theatre in Westwood, California, December 10, 2023. (Photo by Michael Tran / AFP)
(FILES) US-French actor Timothee Chalamet arrives for the US premiere of "Wonka" at the Regency Village theatre in Westwood, California, December 10, 2023. (Photo by Michael Tran / AFP)
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'Wonka' Back Atop N.America Box Office in a Weak Film Year

(FILES) US-French actor Timothee Chalamet arrives for the US premiere of "Wonka" at the Regency Village theatre in Westwood, California, December 10, 2023. (Photo by Michael Tran / AFP)
(FILES) US-French actor Timothee Chalamet arrives for the US premiere of "Wonka" at the Regency Village theatre in Westwood, California, December 10, 2023. (Photo by Michael Tran / AFP)

Fantasy musical "Wonka" bounced back to the top of the North American box office this New Year's weekend as an otherwise pallid film year came to an end, industry watcher Exhibitor Relations reported Sunday.

The Warner Bros. film took in an estimated $24 million for the three-day weekend in the US and Canada, and $31.8 million when New Year's Day is included. It has passed the $140 million mark domestically and taken in $244 million globally.

That strong showing came at the end of an off year for Hollywood, with numbers roughly 20 percent below the three-year pre-pandemic average, said analyst David A. Gross. Audience tastes are starting to change, he said, from universe-saving action films to stories closer to home.

Close to home -- at least if you live near a chocolate factory -- was family-friendly "Wonka," with Timothee Chalamet as a younger version of Roald Dahl's famous chocolatier. Hugh Grant has an unforgettable turn as a grouchy, green-haired, gnome-like Oompa Loompa.

Last weekend's leader, Warner Bros.' "Aquaman and the Lost Kingdom," took on a bit of water, slipping to second at $19.5 million for three days ($26.3 million for four). Jason Momoa again plays the sea-dwelling superhero, this time joining with his half-brother and former foe to fight turmoil and climate change.

In third was Illumination and Universal's animated comedy "Migration" about the adventures of a family of mallard ducks as they fly from New England to Jamaica. It earned $17.2 million for three days ($23 million for four).

Completing a strong weekend for Warner Bros. was the new musical version of "The Color Purple," in fourth spot at $13 million ($17.7 million). Based on the Alice Walker novel that became a beloved movie, "Purple" follows the struggles and triumphs of Celie, a young Black woman in rural Georgia in the early 20th century.

One-time "American Idol" winner Fantasia Barrino-Taylor plays Celie -- a role played by Whoopi Goldberg in the 1985 film -- with backing from Danielle Brooks, H.E.R. and Colman Domingo.

And in fifth was Sony rom-com "Anyone But You," at $9 million ($11.5 million). Sydney Sweeney and Glen Powell star in the tale, oh-so-loosely based on Shakespeare's "Much Ado About Nothing," that takes the two from instant connection to crossed signals to the scheming of friends to a lot of splashing in Sydney Harbor before ultimately ... but nay, the rest is silence.

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Billy Idol on His First Album in over a Decade, the Rock Hall and More

Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
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Billy Idol on His First Album in over a Decade, the Rock Hall and More

Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)

When Billy Idol first entered American consciousness in the early '80s, leather-clad and bleached hair in tow, he not only brought a punk rock sound to the mainstream. The Englishman brought a new attitude, a new, rebellious way of being.

In the time since, songs like “White Wedding,” “Rebel Yell” and “Eyes Without a Face” have become instant classics — for those who've worn a spiky jacket and those who've only imagined what it might be like.

Now, over four decades later, he's got the wisdom to reflect. It's led to a new documentary about his life, “Billy Idol Should Be Dead,” which will premiere at the Tribeca Film Festival — and a new album, the polished punk-pop of “Dream Into It.”

“It was a gradual process, really,” he said of the 11-year span between albums. “It wasn’t so much that we didn’t want to make an album, it was more like we were building up to doing this.”

Idol discussed with The Associated Press this week his new album and forthcoming documentary, his past struggles with addiction, his first-ever Rock & Roll Hall of Fame nomination and more.

Remarks have been edited for clarity and brevity.

AP: You've described “Dream Into It” as autobiographical. I thought your last album, 2014's “Kings & Queens of the Underground,” pulled from your life as well.

IDOL: Being this age, in particular, 69, when you look back, you can really see your whole life, how it plays out. And maybe it’s also having grandchildren. My children are having children.

You sort of reach this vantage point where you can really look back and see all the sort of different eras of my life. And you can sing about it. And I think I didn’t go deep enough with the songs I did on “Kings and Queens.” I thought lyrically I could go deeper. That’s one of those regrets I had about the last album. So I really went for it, and I went for more imagery, (on ‘Dream Into It,’ in the) way of talking about my life. I’m not spelling it out exactly.

AP: There are a lot of rock ‘n’ roll women on the album. Joan Jett, Avril Lavigne and The Kills' Alison Mosshart are all featured.

IDOL: (Mosshart's) voice is just incredible. And of course, Joan Jett, I’ve known since 1978 after a Germs/Dead Kennedys concert. We hung out in Los Angeles. I was on a Generation X promotion tour for the first album. And then Avril, I mean, I’ve just been watching her career forever and she’s fantastic. So, it was just great.

AP: The documentary has an evocative title, “Billy Idol Should Be Dead.” It sounds like it may dive into your past struggles with addiction.

IDOL: There was a point in my life when I was living like every day, like, “Live every day as if it’s your last.” One day, you’re going to be right.

In the '70s, in England, you know, young people, we had this feeling that we were being completely ignored. You were even being told that you had no future. And so, we just didn’t think beyond the day-to-day existence. It was probably only when I really started having children and stuff like that, I really starting to realize I (should) try start to give up drugs and things.

I’ve always flirted with death, in a way. Even riding motorcycles, you’re staring at the concrete. It’s right there, you can come off that thing and get horribly messed up. And I’ve done it. It’s horrible. You find out how human you are, how vulnerable. There’s lots of things about my life that, yeah, I did kind of call death at times. Not really mean to, but you just were living like that.

Imagine if it was today. If I was doing what I was back then today, I would be dead because I would have run into fentanyl.

AP: You're nominated for the Rock & Roll Hall of Fame for the first time. Do you think your younger punk rock self would be excited?

IDOL: I do sort of think about Bo Diddley and Chuck Berry and Little Richard. “And what? Are you going to be in something with those guys?” You know, Buddy Holly. These are some of the seminal people who turned on the people that turned me on, you know? Somewhere down the road, it led to punk rock.

Also, my motorcycle has been in the Rock & Roll of Fame for like five years. So I might as well be in it, too.