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.
INDEPENDENT FILM COMPANY
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.