Limitless #1, Rango #2, Battle drops to 3rd

By Keith Williams

Marauding Aliens found themselves pulverized at multiplexes across America this weekend as lawyers, drug takers and a friendly Alien called Paul entered the battle zone that has become the nation’s cinematic box-office.

Limitless, starring Bradley Cooper and Robert de Niro, got high on an estimated $19 million at 2756 pill factories, The Lincoln Lawyer as portrayed by Matthew McConaughey sued for $13.4 million at 2707 car rentals, and that little fella from outer space, Paul, landed with $13.1 million from 2802 ufo sightings.

Sounding vaguely reminiscent of Flowers for Algernon, though admittedly given a major twist, semi-sci/fi thriller Limitless exceeded industry pundits’ expectations by scoring a much bigger opening gross than was originally predicted.

For Bradley Cooper in his first outing as the main lead character, this is very good news indeed after the ensemble debacle of The A-Team and ensemble success of The Hangover, proving his likeability with the public is there for the milking given the right role.  For co-star de Niro, redemption of a kind after the universally reviled Little Fockers, for director Neil Burger another respectable mainstream success after The Illusionist which took $88 million worldwide back in 2006.

Slipping by only 32%, second place in the charts went to Johnny Depp’s Rango, raking in $15.3 million for a grand haul to date of $92 million – proof that you don’t need expensive 3D glasses to appreciate animated features these days.

Battle: Los Angeles, bumped into third spot after last week’s opening assault, fell by 59% to ransack $14.6 million from moviegoers’ pockets, that’s $60 million to beam back to whatever waterless planet they left to get all the way to Santa Monica.

Based on the novel by best-selling author Michael Connelly, The Lincoln Lawyer debuted at 4, shocking the hell out of critics by showing Matthew McConaughey could actually act.  More than that, open a movie that didn’t depend on him being shirtless throughout.

Reviews were uncommonly generous, mainly focusing on McConaughey delivering his best performance since 1996’s A Time To Kill before dive-bombing into hunkathon pix like Reign of Fire and Sahara, and romcoms such as The Wedding Crasher and Ghosts of Girlfriends Past.  Perhaps something about a shirt and tie brings out more of a challenge in him than bare-chested romps like Fool’s Gold do.  Then again, it could be the excellent supporting cast featuring Marisa Tomei, Ryan Phillippe and William H Macy everyone turned out for.

No, I didn’t think so either.  The combo of literary best-seller, good write-ups, and a film that actually suggests it might have a story one suspects is what lured ticket-buyers in, with the added bonus of a male star who still holds interest for female audiences and those who appreciate the possibility of a muscular physique eventually on view.

Landing at 5, sci-fi comedy Paul did modestly well, considering its humor and appeal lay mainly in the nerd section of the ticket-buying public.  Previous efforts teaming Simon Pegg and Nick Frost fared less well with 2004’s Shaun of the Dead grossing $13 million (US) and 2007’s Hot Fuzz $23 million (US), though both did much better in foreign markets, especially the UK where their pedigree appeal comes from TV.

Both those lattar two movies were directed by Edgar Wright who went to Hollywood to direct last year’s smoking crater at the box office, Scott Pilgrim vs The World, leaving Adventureland’s Greg Mottola to helm the comedy pair’s latest effort.

Critical reaction to Paul has been gentle, neither loathing nor loving it, with reactions from UK viewers that the humor was broadened for US appeal.  For Simon Pegg, it’s growing confirmation of his recognition in big mainstream American movies such as the last Star Trek, while for director Mottola, proof that he’s the one to go to with scripts heavy on character and humorous idiosyncracies.

Red Hiding Hood continued on her fairytale way at 6, albeit through thinning woods, picking up $7.2 million on a 48% fall in wolf attacks.  The Adjustment Bureau stalked her at 7, sliding by 49% for a click/confirm purchase of $5.9 million, while the charts saw red at 8 with Mars Needs Bombs, er Moms, fading by only 23% to abduct $5.9 million from mo-cap fanatics and those curious to see what this disaster is actually like.

Beastly claimed the 9 spot, moulting by 35% to gain $3.2 million in fur coats ($22 million to date for a CBS Films – a “hit”?), while the legendary top ten exit door swung open this weekend for The Farrelly Brothers’ Hall Pass, down by 48% for $2.6 million and $39 million in toto before it dives lower.

Weekend Estimates courtesy boxoffice.com