StudioCanal’s F1 biopic overtakes Insidious: Chapter 2 with $2.1m (£1.34m) second weekend; Diana draws $1m (£623k) on debut.

Despite not debuting top last week, Rush has showcased a good engine to take pole position at the UK box office in its second week.

StudioCanal’s biopic of the rivalry between F1 drivers James Hunt and Niki Lauda sped to $2.1m (£1.34m), posting the week’s highest average of $4,623 (£2,880) in the process. After ten days in play, Rush stands at $7.5m (£4.67m).

Speaking to ScreenDaily, John Trafford-Owen, head of UK theatrical distribution at StudioCanal, said: “To be number one in our second weekend, despite a softer market, is very pleasing and shows what we have always believed - that the word of mouth is proving invaluable for a sustained run in cinemas now, and hopefully for over the coming weeks.”


Last week’s champion Insidious: Chapter 2 fell steeply in its second weekend – unsurprising for a horror – as it scared up a further $1.7m (£1.1m) through eOne.

James Wan’s sequel has now grossed $7.9m (£4.9m) as it attempts to chase down Wan’s biggest hit to date, The Conjuring, which currently stands at $16.7m (£10.4m). First in its sights though will be its predecessor’s $11.3m (£7.1m) UK haul.

eOne released Oliver Hirschbiegel’s Diana in 523 sites, resulting in a $1m (£623,051) debut at a somewhat soft $1,912 (£1,191) average. That being said, it does mark Hirschbiegel’s best-ever UK opening, topping The Invasion’s $374,000 (£232,994) from 301 sites.

However, Diana’s opening is behind The Queen’s UK bow of $1.4m (£856,273) from 347 sites, on its way to $14.4m (£9m).

Also for eOne, Justin and the Knights of Valour added $823,000 (£512,671) for $2.4m (£1.5m) after ten days in play, as Riddick climbed to $4.3m (£2.7m) following a $209,000 (£130,007) weekend.


Retaining third spot for a second consecutive week, Sony’s White House Down held well to record a $1.1m (£710,772) second weekend.

Roland Emmerich’s latest has now shot its way to $4m (£2.5m) in its attempt to overhaul Olympus Has Fallen’s $9.8m (£6.1m) UK tally.

Despite a new cut released in cinemas, One Direction: This is Us didn’t post a boost in its fourth weekend, adding $586,000 (£365,148) for $11.7m (£7.3m) to date through Sony, still around £2.5m away from Michael Jackson’s This is It’s $15.3m (£9.8m).

Also for Sony, Elysium is edging closer to District 9’s $14.4m (£9m) and currently stands at $13.9m (£8.7m).

Released in 79 sites through Sony, Cold Comes the Night could only manage a $7,800 (£4,833) debut.


Posting a slim drop of 36% in its third weekend, Universal’s About Time fell to fourth as it took $1.1m (£700,000).

Richard Curtis’ alleged directorial swansong is now up to $8.5m (£5.3m) and should overtake The Boat That Rocked’s $9.8m (£6.23m) in the coming week, even if it won’t get close to Love Actually’s $59m (£36.8m).

Also for Universal, sci-fi R.I.P.D. recorded an $810,000 (£505,000) opening in the UK at an average of $2,164 (£1,349) to chart seventh. That ranks as director Robert Schwentke’s lowest ever UK debut from a wide release, previously the $2.3m (£1.4m) debut of The Time Traveller’s Wife.

The year’s biggest hit to date Despicable Me 2 stands at $73.9m (£46.07m) after taking $353,000 (£220,000) in its 13th weekend through Universal.


Brad Anderson’s thriller The Call recorded a $658,000 (£410,000) debut through Warner Bros. That compares favourably with Halle Berry’s last lead wide release, Perfect Stranger, which debuted to $444,000 (£277,047) back in 2007.

Also for Warner Bros, We’re the Millers is up to $12.2m (£7.6m) following a $550,000 (£343,000) weekend. The comedy will require significant holds over the coming weeks if it’s to overtake Dodgeball: A True Underdog Story’s $15.6m (£10.03m).


Cars spin-off Planes has now flown to $12.4m (£7.8m) in the UK after adding $372,000 (£232,282) this weekend through Disney.

Meanwhile, Monsters University has overtaken A Bug’s Life in terms of Pixar outings in the UK. Disney’s prequel stands at $47.27m (£29.48m), narrowly topping A Bug’s Life’s $47.21m (£29.45m).


Continuing its excellent run in the UK, Artificial Eye’s The Great Beauty grossed a further non-final $155,000 (£96,395) for a healthy running total of $768,000 (£479,013).


Fantasy sequel Percy Jackson: Sea of Monsters has taken $11.2m (£6.97m) to date following a non-final $112,000 (£69,988) weekend.

Also for Fox, The Way, Way Back and Epic have amassed $2.2m (£1.4m) and $21.9m (£13.7m), respectively.


In its fourth weekend, Paramount’s Pain and Gain added $40,000 (£25,000) and currently stands at $3.9m (£2.4m).


Released in 30 sites through Dogwoof with the majority for a one-off live satellite event on Saturday [Sept 21], InRealLife took $18,000 (£11,394) on debut.


On the back of it becoming the UK’s official submission for the Best Foreign Language Oscar, Metro Manila was released in eight sites by Independent Film Company resulting in an $18,000 (£10,958) debut.


This week sees saturation releases for Fox’s Runner Runner, Warner Bros’ Blue Jasmine and eOne’s Prisoners.

Lionsgate’s Girl Most Likely receives a wide release, while Sony’s Austenland and Soda’s Hannah Arendt are among the films receiving a limited release.