eOne’s drama records $2.2m (£1.4m) debut from 401 sites; Warner Bros’ Blue Jasmine scores Woody Allen’s best-ever UK debut with $1.3m (£832,000); Lionsgate’s Filth scores debut of just under $400,000 (£250,000) in Scotland.

Repeating its chart-topping performance in the US, Prisoners has overtaken Rush at the top of the UK box office.

eOne’s drama recorded a $2.2m (£1.4m) debut from its 401 sites at an average of $5,491 (£3,399), landing the distributor their second UK number one in three weeks following the success of Insidious: Chapter 2.

Unsurprisingly, it is director Denis Villeneuve’s best-ever UK opening; Incendies opened to $46,000 (£28,189) from 21 sites in 2011.

Prisoners’ debut is also ahead of other adult-orientated, award contender dramas such as Argo, which bowed to $2.1m (£1.3m) last year from 331 sites, including $462,000 (£286,045) in previews.

Also for eOne, Insidious: Chapter 2 has now scared up $9.7m (£6.02m) after adding $921,000 (£570,083) this weekend. James Wan’s sequel is likely to surpass its predecessor’s $11.3m (£7.1m) UK result, but faces a challenge to top The Conjuring’s performance of over £10m.

Justin and the Knights of Valour held well to post a $698,000 (£432,095) third weekend for $3.2m (£1.98m) to date. On the other hand, Diana fell heavily taking $439,000 (£271,565) for $2.2m (£1.39m) after ten days in play.


Last week’s champion Rush fell to second as it fell just 26% to post a $1.6m (£987,296) third weekend.

StudioCanal’s biopic of the rivalry between F1 drivers James Hunt and Niki Lauda is now up to a strong $10.5m (£6.5m) in the UK.


Achieving the strongest site average of the top ten with $7,267 (£4,497), Warner Bros’ Blue Jasmine recorded an excellent UK bow of $1.3m (£832,000) from 185 sites.

The debut includes $66,000 (£41,000) in previews but with or without those, it marks director Woody Allen’s best-ever UK opening, surpassing Match Point’s $1.2m (£751,992) from 130 sites.

With such a healthy debut, expansion this week seems likely, giving Blue Jasmine a chance to catch Midnight in Paris’ $4.5m (£2.8m) and become Allen’s best UK performer.

Also for Warner Bros, We’re the Millers grossed a further $339,000 (£210,000) for $13m (£8.07m) after six weeks in play, as The Call fell over 50% in its second weekend and stands at $1.5m (£970,000).


Charting fourth on debut, Fox’s Runner Runner was dealt into 435 sites for a $1.2m (£763,290) opening.

That result marks director Brad Furman’s best-ever UK debut, ahead of The Lincoln Lawyer’s $924,000 (£571,836) bow from 378 sites.


Now in its fourth weekend, Universal’s About Time added $782,000 (£484,000) for a drop of just 32%. Richard Curtis’ alleged directorial swansong is now up to $10.1m (£6.26m), overtaking The Boat That Rocked’s $9.8m (£6.23m) in the process.

Also for Universal, 3D action sci-fi R.I.P.D. dropped 47% in its second weekend as it grossed $433,000 (£268,000) for a ten-day tally of $1.7m (£1.04m).

Meanwhile, 2013’s biggest grosser Despicable Me 2 just keeps on going, taking $276,000 (£171,000) - a drop of just 22% - for a mighty $74.7m (£46.25m) running total.


Falling to seventh in its third week, Sony’s White House Down posted an additional $719,000 (£445,000) for $5.3m (£3.3m) to date, just over half Olympus Has Fallen’s final UK tally of $9.9m (£6.1m)

Also for Sony, One Direction: This is Us is up to $12.4m (£7.65m) following a $376,000 (£233,000) weekend, while Elysium added $121,000 (£75,000) for $14.2m (£8.85m).

Sequels The Smurfs 2 and Grown Ups 2 stand at $19.1m (£11.8m) and $13.7m (£8.5m), respectively.

Sony also released Austenland in 92 sites, resulting in a meek debut of just $19,400 (£12,000).


Climbing back into the top ten in its 12th week, Monsters University roared its way to a further $439,000 (£271,658) for $48.1m (£29.8m) to date.

Also for Disney, Planes has now flown to $12.9m (£8m) after adding $331,000 (£205,215).


Taking the top spot in Scotland, Lionsgate’s Filth opened with a terrific debut of just under $400,000 (£250,000) from just 38 sites for the week’s highest average of $10,541 (£6,523).

The result surpasses Trainspotting’s $153,000 (£94,460) debut in 1996.

Speaking to ScreenDaily, producer Ken Marshall of Steel Mill Pictures commented: “We are ecstatic about the results in Scotland and the job Lionsgate is doing promoting the film. Hopefully this success will carry south of the border when the film opens in the rest of the UK on October 4th.”


The Great Beauty is up to $973,000 (£602,558) in the UK through Artificial Eye, following a $81,000 (£50,224) weekend from its 33 sites with more to play through the week.

Meanwhile, Artificial Eye opened Mister John in six sites, resulting in a $6,500 (£4,022) debut, including previews of $1,500 (£925).


From a limited release of 18 sites, Hannah Arendt recorded a solid debut of $30,000 (£18,800) through Soda Pictures.


Opened in two sites through Peccadillo Pictures, In the Name Of recorded an $8,500 (£5,267) debut.


This week sees saturation releases for Koch Media’s Thanks for Sharing and Entertainment’s Sunshine on Leith, while Lionsgate’s Filth expands to the rest of the UK.

eOne’s How I Live Now receives a wide release, while Sony’s The To Do List, The Works’ Emperor, Warner Bros’ Rurouni Kenshin and Soda’s For Those in Peril are among the films receiving a limited release.