The Top 10 Highest-Rated Films of 2018 on Letterboxd (So Far)

From Sundance favorites to superhero blockbusters, these are the 10 movies Letterboxd users love most this year.

July marks the official midpoint of 2018, and sitting comfortably in the top 10 on IndieWire’s running list of the year’s best films are “First Reformed,” “Hereditary,” “The Rider,” and “Paddington 2.” These four movies are proving to be favorites with audiences as well, as they are all included on Letterboxd’s list of the year’s 10 highest-rated movies. Letterboxd, the social network where movie lovers share movie ratings, reviews, and rankings, has released its 10 best films of 2018 so far, curated by the company’s team.

Topping Letterboxd’s list as of July 2018 is the acclaimed family film “Paddington 2,” which boasts a rare 100% on Rotten Tomatoes from 198 reviews. Paul King’s sequel earned an A- grade from IndieWire when it opened stateside in January and has been included on many publications’ lists of the year’s best films so far. Paul Schrader’s “First Reformed,” which has made Ethan Hawke an early dark horse for an Oscar nomination, comes in at the #2 spot on Letterboxd’s list. The character drama is currently IndieWire’s best film of the year.

In addition to indie films (others are “The Tale” and “Hereditary”), superhero tentpoles also make a strong showing on Letterboxd’s list. Marvel’s record breaking “Avengers: Infinity War” comes in at #4, while Pixar’s “Incredibles 2” is right behind it in the #5 spot. Both movies broke records at the box office on their debut weekends, with “Avengers” setting the bar for biggest opening weekend in history and “Incredibles 2” claiming the title of biggest animated opening ever. Ryan Coogler’s “Black Panther,” the most critically acclaimed blockbuster of 2018, is surprisingly in the tenth spot.

The biggest surprise on Letterboxd’s list is “Love, Simon,” the LGBTQ teen movie starring Nate Robinson as a high school kid struggling to come out to his friends and family. Titles you’d expect to see on the list but are missing include “Annihilation,” “The Death of Stalin,” and “You Were Never Really Here.” Check out the full list below.

Letterboxd’s 10 Highest-Rated Films of 2018 (So Far)
1. “Paddington 2,” Paul King
2. “First Reformed,” Paul Schrader
3. “Hereditary,” Ari Aster
4. “Avengers: Infinity War,” Anthony and Joe Russo
5. “Incredibles 2,” Brad Bird
6. “Isle of Dogs,” Wes Anderson
7. “Love, Simon,” Greg Berlanti
8. “The Tale,” Jennifer Fox
9. “The Rider,” Chloe Zhao
10. “Black Panther,” Ryan Coogler

World Cup Box Office Impact: Fancy Scheduling Footwork, Possible Breakouts

Every four years, the world tunes into the World Cup — or at least the most soccer-loving nations do, including pretty much all of Europe and Latin America. As with other major sporting events, this provides a long-lead challenge to distributors …

Every four years, the world tunes into the World Cup — or at least the most soccer-loving nations do, including pretty much all of Europe and Latin America. As with other major sporting events, this provides a long-lead challenge to distributors with regards to scheduling and counterprogramming at the international box office. With World Cup 2018 kicking off in Russia today, and almost half of the globe's 7.6B population expected to tune in throughout the tournament…

As John Hughes’ Films Face Criticism, ‘Love, Simon’ Marks a New Era For Teen Movies

As the world grapples with the dated sexual politics of ’80s teen romances, new classics are taking their place.

For decades, John Hughes’ six-movie run between 1984 and 1987 was the gold standard of teen-centric high school films including “Sixteen Candles,” “The Breakfast Club,” “Pretty in Pink,” “Ferris Bueller’s Day Off,” and “Some Kind of Wonderful.” Hughes didn’t direct all of those films, but was sole screenwriter on each — enough to stamp them in the cultural consciousness as “John Hughes films,” a term that became synonymous with the teen cinematic experience.

Save for perhaps “Ferris Bueller’s Day Off,” which centers on a kid who is literally too cool for school, Hughes’ work centered on characters who were “other.” That’s also proved to be a saving grace in reexamining Hughes’ work. His ’80s-era muse, Molly Ringwald, recently wrote an essay for The New Yorker that explored her relationship with his films from her 2018 perspective.

What she unearthed was well-considered and thoughtful, and it forced both her and her readers to confront some hard truths about Hughes’ work: Despite its impact and honesty, his films are rife with uncomfortable and outdated behaviors, including some from the very outsiders who brought Hughes’ stories to life.

As the world grapples with the dated politics of old teen romances, new standard-bearers are taking their place. Greg Berlanti’s “Love, Simon” is one of the first. While the March release may have initially traded on trivia — it’s the first studio movie focused on a teen gay romance — it’s become a phenomenon of its own. It’s inspired audience members to come out, charmed filmmakers like Xavier Dolan, and even pushed Hollywood execs to open their own wallets to buy out screenings.

As BuzzFeed’s Adam B. Vary noted, after less than a month at the box office, Berlanti’s film has become one of the most domestically successful teen movies in four years. (Also heartening: Of the top 10 films on Vary’s list, “Love, Simon” is one of the few that’s not about imminent death, chronic illness, or life-threatening drama, signaling that audiences are ready to break out of the “Fault in Our Stars” doldrums that have ruled since that film came out in 2014.)

Berlanti’s film is straight from the Hughes mold: It’s focused on a handsome, well-liked kid (Nick Robinson, the rising star of films such as “The Kings of Summer” and “Jurassic World”) who has a nice family and good friends, but who feels personally defined by a big secret. Hughes’ characters often concealed (sometimes, not so well) various issues related to class, family life, and emotional health — specific dramas, speaking to the sense that everyone has some sort of cross to bear.

the breakfast club

“The Breakfast Club”

The hope, of course, was that through some kind of reckoning — Saturday detention, a wedding, a really great prom dress — characters could reach a new place of honesty with both themselves and everyone around them. That’s exactly what Simon goes through in Berlanti’s film, as Robinson’s closeted character discovers that at least one of his fellow classmates is also gay, and making tentative moves towards coming out. The pair take to emailing each other, even as Simon attempts to find his new friend (and perhaps more) in the wilds of their high school.

From the outside, Simon might not seem like an outsider, but he feels like one, and that’s the person viewers get to know. What teen, what person, has never felt that way?

Even when Hughes’ films veered into the fantastic (like “Weird Science,” where the creation of a perfect woman is one of the more believable elements) or into comedy (“Sixteen Candles” is always more off kilter than you remember), his characters grounded the stories. Most were outsiders — geeks and nerds, awkward boys and shy girls, from the wrong side of the tracks, from poor families — even if Hughes almost exclusively trafficked in stories told by good-looking white people.

In addition to considering his films from the vantage of #MeToo, Ringwald’s thoughtful essay also included anecdotal evidence that the films spoke to members of the LGBTQ community, the same people now more closely served by “Love, Simon.” As Ringwald wrote, “I have been told more times than I could count, by both friends and strangers, including people in the L.G.B.T. community, that the films ‘saved’ them.”

Ringwald wrote about Emil Wilbekin, who is both gay and African-American, and who told her that “The Breakfast Club” “saved his life by showing him, a kid growing up in Cincinnati in the eighties, ‘that there were other people like me who were struggling with their identities, feeling out of place in the social constructs of high school, and dealing with the challenges of family ideals and pressures.’ These kids were also ‘finding themselves and being “other” in a very traditional, white, heteronormative environment.'”

Ringwald added that Duckie, the best friend of her “Pretty in Pink” character, “was loosely based on my best friend of forty years, Matthew Freeman … Like Emil, he’s out now, but wasn’t then,” and Freeman told Ringwald, “The characters John created spoke to feeling invisible and an outsider,” adding that they captured “how we felt as closeted gay kids who could only live vicariously through others’ sexual awakenings, lest we get found out with the very real threat of being ostracized or pummeled.”

While the need for films about outsiders hasn’t changed (and likely never will), living vicariously doesn’t need to cut it anymore. “Love, Simon” is a film destined to enter the teen canon, alongside Hughes’ own oeuvre, and for similar reasons: The outsider’s story remains universal, but now it can be more specific than ever.

“Love, Simon” is currently in theaters. 

Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

‘Love, Simon’ Isn’t Allowed to Be Seen by Anyone Under the Age of 21 in Singapore, Leading to a Petition

The petition has received nearly 12,000 signatures so far.

A petition has been launched to protest the fact that “Love, Simon” has received a rating of R21 in Singapore, meaning that no one under the age of 21 will be permitted to see it. Given that the drama concerns a gay teenager coming to terms with his sexuality, that includes much of its target audience. The Infocomm Media Development Authority’s (IMDA) classification information specifically cites the film’s “homosexual theme” as part of the reason for its advisory.

The central theme of the film revolves around a homosexual character coming to terms with his identity as “a homosexual and his attempts to gain acceptance from his family and friends,” according to the film’s classification.

“The theme of homosexuality, therefore, forms the main narrative of the film as the protagonist is portrayed to overcome his fear of being rejected as a gay male; and coupled with the support of his friends, gradually gains confidence to seek out the real identity of his love interest. According to the R21 Classification Guidelines ‘stronger and more explicit portrayal and exploration of mature themes are allowed,'” it continues.

Nearly 12,000 people have signed the petition, which calls upon the IMDA to give “Love, Simon” an NC16 rating instead. “By making ‘Love, Simon’ NC16, I am positive that it will have a huge impact on young teenagers struggling to find acceptance from family and friends,” reads the petition. “It will also educate people that being free and accepted is just what everyone in this extensive community wants. Hopefully, it will also change people’s negative perception of the LGBTQ+ community.”

“Love, Simon” is rated PG-13 in America.

‘Love, Simon’: Kristen Bell and Neil Patrick Harris Buy Out Screenings So People Can See the Film for Free

“There are so many important stories that don’t get made,” says Bell.

As evidenced by its rare A+ CinemaScore and strong showing at the box office, “Love, Simon” is a crowdpleaser. Among those smitten by the film about a gay teenager struggling to come out of the closet are Kristen Bell and Neil Patrick Harris, both of whom have bought out screenings so that others can see the movie for free.

““Love, Simon is a KNOCKOUT,” Bell posted on her Instagram page. “There are so many important stories that don’t get made. I am so grateful this one did. I had absolutely nothing to do with the making of this movie—I just have a huge crush on it and I’d like to share the love. Minneapolis, please enjoy a screening of Love, Simon this Sunday on me. 🙂 Enjoy!”

“So my husband David (@dbelicious) and I enjoyed @lovesimonmovie so much, we wanted to pay it forward,” Harris writes on his own Instagram. “Others are doing this, and I’m so on board. So we bought out a screening at a theatre in my hometown of Albuquerque, NM for this Sunday afternoon. It’s free, and a great chance to see this wonderful film.”

“Love, Simon” is now playing in theaters nationwide, most of which (sadly) haven’t been bought out by celebrities.

Instagram Photo

Instagram Photo

‘Love, Simon’ Director Greg Berlanti Almost Quit ‘Dawsons Creek’ Job Early in Career Over Banned Gay Kiss

Berlanti remembers a time when even “edgy” shows weren’t allowed to show same-sex make outs, and how far things have come in the years since.

It took until 2018 for a major studio to produce a movie with a gay teen lead; that 20th Century Fox’s “Love, Simon” is a romantic comedy about coming out makes it even sweeter. Adult LGBTQ filmgoers got to see a story that looks even a little bit like their own, while knowing the impact it will have on a younger generation. Much like the movie’s director, teen television superstar, Greg Berlanti, they remember a time when the only queer people onscreen were psychopaths or murder victims.

Best known for teen comic-book shows like “The Flash,” “Supergirl,” and “Riverdale,” Berlanti got his start with the original “edgy” teen drama: “Dawson’s Creek.” That show was the first time Berlanti broke barriers, when he lobbied for network television’s first romantic kiss between men (Prior to that, “Will and Grace” showed a peck.) Berlanti and “Dawson’s” creator Kevin Williamson introduced the character of Jack McPhee (Kerr Smith) together, but experienced pushback the following season when Berlanti wanted to show Jack’s first kiss.

“I had to threaten to quit [‘Dawson’s Creek’], basically because they wouldn’t let us have the characters kiss,” Berlanti said. “At the time … there were shows that were fine to show lots of violence in network, but they wouldn’t allow a kiss between two gay characters. They asked me to run the show that year, and part of my agreement with them was that they would allow the character, Jack, to have a kiss. There was a lot of negotiation about that kiss.”

Nick Robinson in “Love, Simon”

20th Century Fox

Because of television’s fast metabolism, Berlanti noticed a marked change within a few years. “I went from executives telling me, ‘You’re not allowed to have a gay kiss. If you’re gonna have a gay kiss, you have to shoot it from across the street.’ To within five years—’Wait a minute, why would you cut away here? Wouldn’t the characters kiss?’ And I’m thinking, ‘Yeah, sure. I’ll go back and put a gay kiss in the scene.'”

Berlanti hopes mainstream movies might see the same kind of rapid change that television underwent in the mid-aughts. “In TV, when we were trying to do certain kinds of LGBT representation over the last 15 years, walls started to fall, then they fell really fast. And we were able to get more and more specific with the storytelling. Cinema has always been at the forefront of that stuff. But I don’t think that mainstream studios have been.”

This is not Berlanti’s first foray into filmmaking, though “Love, Simon” is his first major-studio movie. Sony low-budget division Screen Gems released his first feature in 2000, “The Broken Hearts Club: A Romantic Comedy,” which followed the lives of a group of gay friends living in West Hollywood. The movie starred Dean Cain, Timothy Olyphant, and Zach Braff, and was generally well received, with critics praising Berlanti’s script for portraying normalizing gay characters. Nevertheless, Berlanti stressed that his analysis of the film industry comes as an audience member rather than an insider.

“If movies are going to remain vital, then they have to tell the stories that feel like our world, especially the human ones,” he said. “It’s pretty apparent that audiences don’t want to see all the same people on the screen. Hopefully, stuff changes fast and furious, and it doesn’t take another however many years before there is another mainstream studio film with a gay lead front and center.”

Indie films have long been telling queer stories, often to great critical acclaim and sometimes even earning a profit. Following Ang Lee’s “Brokeback Mountain” in 2005, there was a steady stream of quality queer films in the awards conversation, most recently with “Carol,” “Moonlight,” and “Call Me By Your Name.”

“Love, Simon” is an entirely different kind of movie, aimed at teenagers and released by Fox in 2,402 theaters nationwide. Berlanti likens the difference between indie and studio films to the broadcast-versus-cable divide.

“HBO was doing it the same time we were doing ‘Dawson’s,'” he said, referring to shows like “Oz” and “Six Feet Under.” “They were doing really daring and specific stuff that was inspiring. But we had a different platform with a slightly different version of the medium that we had to work in, with standards and practices. But you knew that it was going to be consumed by more people.”

“Love, Simon,” with its diverse teen-idol cast and tearjerking blend of comedy and sentiment, seems to take a page directly from the Berlanti playbook. However, he joined the project only after Fox committed to making the movie.

“This was supported by the studio from the beginning,” Berlanti said. “Everyone who was involved prior to myself, that I’m aware of, the producer, executives, writers, and the writer of the book were all straight. And they still saw the need for something like this. Which speaks about them as people, but also how important allies are in all of this.”

Berlanti, for his part, had the same experience many LGBTQ critics described while watching the film. “It was filling a void that I didn’t realize that I needed, until I was actually was witnessing the scenes. You know? I guess that’s just the power of representation, that I wasn’t even totally aware of.”

“Love, Simon” is currently playing in theaters nationwide.

Xavier Dolan Writes a Love Letter to ‘Love, Simon’: ‘A Door Has Opened and I Can See the Light Pouring In’

Dolan explains why the new LGBTQ romance is such a milestone and wishes he had a film like it when he was a teenager.

“Love, Simon” has garnered a lot of attention for being the first studio movie to feature a gay protagonist, and the milestone is being celebrated by Xavier Dolan. The writer-director is one of the leading voices in contemporary queer cinema, and he took to Instagram to praise the Nick Robinson-led teen romance after its opening weekend.

“Let’s not discuss the movie itself, but rather focus, on its existence and the fact a major studio has released a film on a teen coming out,” Dolan writes. “A door has opened, which has opened before, but this time, I can see the light pouring in.”

“I’ve watched so many LGBTQ films as a kid, desperately looking for answers, locked up in my room…Most of them were brilliant and invigorating for the young artist I wanted to be, but left the young man I was with little to hope for,” he continues. “Suicides, heartbreaks, bullying, gay-bashing. ‘Love, Simon,’ in all its earnestness, in all its normalcy, shows the struggle of coming out, but with an inspiring conclusion for teenagers who will see ‘Love, Simo’” because they don’t feel “normal”. Perhaps this will teach them that, even if their life isn’t as privileged as Simon’s, they can make a move.”

Dolan goes on to write what a gift the film would’ve been to him if it came out when he was 15 years old. He says the movie will be a “huge step” for those teens struggling with their identity and looking for a film that speaks directly to them.

“Love, Simon” is now playing in theaters nationwide. You can read Dolan’s love letter in the Instagram post below.

After seeing Love, Simon, I felt like coming out to my mom Jennifer Garner (the 13 Going on 30 Jen), and walking in the corridor of my high school with a lost, yet sexual gaze. Congrats to my friend @therealnickrobinson who is so generous and genuine in this that I filed a proper adoption form. I’ve stored my passport in the freezer once or twice Nick but I can be a good parent to you. More seriously, let’s not discuss the movie itself, but rather focus on its existence, and the fact a major studio has released a film on a teen coming out. A door has opened, which has opened before, but this time, I can see the light pouring in. I’ve watched so many LGBTQ films as a kid, desperately looking for answers, locked up in my room, where I’d download movies on LimeWire for lack of a decent video store. Most of them were brilliant and invigorating for the young artist I wanted to be, but left the young man I was with little to hope for. Suicides, heartbreaks, bullying, gay-bashing… Love, Simon, in all its earnestness, in all its normalcy, shows the struggle of coming out, but with an inspiring conclusion for teenagers who will see “Love, Simon” because they don’t feel “normal”. Perhaps this will teach them that, even if their life isn’t as privileged as Simon’s, they can make a move. And perhaps this can teach us, as an industry, that it’s time to stop relinquishing LGBTQ protagonists to insubstantial, typically comical supporting roles, but rather offer them narratives designed around them, and around the opposite of what is commonly referred to as ”normal people”. Normal is a changeful notion. Had a movie like that existed when I was 15, I maybe wouldn’t have lied to my father about that Ashton Kutcher poster I pretended to give my cousin Stefanie in front of him while it was actually mine. Had I seen it then, things would’ve been different. And I’m happy with how things went, and despite the loneliness you feel as a teen coming out, I felt supported. I was lucky. But most kids aren’t. Love Simon is a huge step for them, and for us. Thank you to all the artists and people involved.

A post shared by xavierdolan (@xavierdolan) on

SaveSave

SaveSave

SaveSave

SaveSave

‘Love, Simon’ Inspires Young Man to Come Out as Gay During a Screening: ‘Teens Need This’

“I’ve never seen a movie bring people together this close,” he writes.

“Love, Simon” has earned praise for its depiction of a gay teenager keeping his sexuality a secret from his friends and family, and now one young man in a similar situation has credited the movie with inspiring him to come out — while the movie was playing.

“I came out during love Simon. my friends were there, my parents were there, a full theatre was there,” writes Twitter user @endlesslyqueer. “People were laughing an singing and crying and clapping throughout the whole movie. Ive never seen a movie bring people together this close. I made friends there. Teens need this.”

Mark Harris, a film journalist and author who is himself gay, added an amusing postscript to the story: “This is really moving, but also, don’t talk during movies.”

‘Black Panther,’ ‘Tomb Raider,’ a Gay Romance, and a Christian Breakout Couldn’t Save the Box Office

‘I Can Only Imagine,’ the faith-based drama from Andrew and Jon Erwin, is the sleeper success of the year.

As “Black Panther” continues its astonishing run, the breakout surprise of the weekend was $17-million opener “I Can Only Imagine,” a Christian crowdpleaser, as well as gay teen romance “Love, Simon.”

A month ago, the strong showing for “Panther” suggested a positive trend for the industry; this weekend, the total box office collapsed compared to 2017, when it was boosted by “Beauty and the Beast.” (Given spring break and holiday factors, exact correlations are tough.) Two years ago, 2016 saw six $30-million openers by this point. This year, we only have “Black Panther.”

"Tomb Raider"

“Tomb Raider”

Tomb Raider’ Opens Bigger Overseas

That’s the context for measuring Warner Bros.’ $23-million domestic opening for $100-million franchise reboot “Tomb Raider,” starring athletic Swedish Oscar-winner Alicia Vikander, who nabbed better reviews than the movie. It’s hardly a disaster. After all, it has already booked $102 million overseas, with China the biggest at $41 million. The international take will likely propel it to profit.

Still, it’s an example of how the studio’s emphasis on worldwide appeal does not support domestic theaters. In 2001, “Lara Croft: Tomb Raider” opened to (adjusted) $77 million. It was a female action-hero precursor to the even bigger “Wonder Woman” last year.

“Jumanji: Welcome to the Jungle” recently demonstrated that a franchise could be retooled  to find as much success as the original. While “Tomb Raider” is a far better movie than its predecessor, Warner Bros.’ new marketing team (without leader Sue Kroll) failed to initially reach their “Wonder Woman” demo.

Total ticket sales this weekend look to end up around $132 million; last year’s total was almost double that. So even with the “Black Panther” numbers, there’s a $130 million shortfall. We’re up by just two percent over last year; by next weekend, the box office will likely fall behind.

"I Can Only Imagine"

“I Can Only Imagine”

Christian Breakout

The weekend box office damage was lessened by the stunning showing for faith-based “I Can Only Imagine.” The $17 million gross doubled even the optimistic high-end estimates, and reverses a recent decline in similar films.

Based on a multi-million selling song by MercyMe, the most-played single in the Contemporary Christian music genre, the movie was directed by brothers Andrew and Jon Erwin whose track record includes faith-based films such as “Woodlawn” (PureFlix, $14 million), as well as the 2014 TriStar release “Moms’ Night Out” ($10.4 million).

Among contemporary Christian community titles, only “Heaven Is for Real” had a better opening. That 2014 film, based on a non-fiction bestseller, scored $22 million and came at time when other lower-budgeted and less professional titles like “God’s Not Dead” had found a niche audience.

This looks like a major coup for Roadside Attractions (which initially pursued the film) and their partners at Lionsgate. Roadside, more often a specialized distributor, has the chops to reach a wider audience. Amazon’s “Manchester by the Sea,” launched in platform release into the awards period, was their top performer at just under $50 million. In fact, it is their only title to pass $25 million.

Given the Christian movie’s A+ Cinemascore, even if its initial audience skewed heavily older (80 percent over 35) and female (67 percent), it should easily top $50 million. Its marketing, heavily oriented to basic cable and broadcast buys, is reported to be under half the standard $30 million-plus for most wide releases. With a production cost of $7 million and strong post-theatrical interest, this will be a big profit maker.

“Love, Simon”

20th Century Fox

Gay Teen Romance Breakthrough

At $10 million,20th Century Fox’s “Love, Simon” is another low-cost studio film with a decent initial response. The gay teen romance managed $11.5 million as well as an A+ Cinemascore, suggesting strong word of mouth ahead. It had a much different audience than “Imagine” in terms of age (59 percent under 25), which skewed female.

Both these films continue a surge of domestic interest in non-franchise titles. The recent success of films like “Wonder” and “The Greatest Showman” should inspire production heads to be more open to original concepts; the audience is there. “Tomb Raider” might not top $50 million domestic. Both “I Can Only Imagine” and “Love, Simon” will get there.

Marvel Studios' BLACK PANTHER..Ph: Film Frame..©Marvel Studios 2018

“Black Panther”

null

Holdovers

“Black Panther” has now passed $600 million domestic. It took the #1 spot for the fifth straight weekend, the first to do so since “Avatar.” Though its repeat came in part because of the disappointing “Tomb Raider” take, the better context is comparing it to “The Avengers,” up to now the top Marvel (and comic book movie) performer.

In its fifth weekend, “Black Panther” did better than the “The Avengers,” with a drop of just 34 percent. (“The Avengers” had a fifth-weekend drop of 44 percent.) That’s huge, thanks to repeat business and reaching even wider audiences.

In its second weekend, “A Wrinkle in Time” dropped 50 percent to fourth place. It could still hit $100 million domestic, and most of the world has yet to open, but this will need a big foreign surge to push it into profit. “Game Night” has a decent showing, with a 29 percent fourth weekend drop. “Peter Rabbit” became only the second 2018 release to hit $100 million, with only a 23 percent drop. Ongoing school vacations ahead will continue to boost it.

The Top Ten

1. Black Panther (Disney) Week 5; Last weekend #1

$27,024,000 (-34%) in 3,834 theaters (-134); PTA (per theater average): $7,049; Cumulative: $605,401,000

2. Tomb Raider (Warner Bros.) NEW – Cinemascore: B; Metacritic: 46; Est. budget: $100 million

$23,525,000 in 3,854 theaters; PTA: $6,104; Cumulative: $23,525,000

3. I Can Only Imagine (Roadside Attraction) NEW – Cinemascore: A+; Metacritic: 27; Est. budget: $7 million

$17,065,000 in 1,629 theaters; PTA: $10,476; Cumulative: $17,065,000

4. A Wrinkle in Time (Disney) Week 2; Last weekend #2

$16,565,000 (-50%) in 3,980 theaters (no change); PTA: $4,162; Cumulative: $61,060,000

5. Love, Simon (20th Century Fox) NEW – Cinemascore: A+; Metacritic: 73; Est. budget: $10 million

$11,500,000 in 2,402 theaters; PTA: $4,788; Cumulative: $11,500,000

6. Game Night (Warner Bros,) Week 4; Last weekend #5

$5,570,000 (-29%) in 2,686 theaters (-375); PTA: $2,074; Cumulative: $54,174,000

7. Peter Rabbit (Sony) Week 6; Last weekend #6

$5,200,000 (-23%) in 2,725 theaters (-387); PTA: $1,908; Cumulative: $102,440,000

8. Strangers: Prey at Night (Aviron) Week 2; Last weekend #3

$4,810,000 (-54%) in 2,464 theaters (no change); PTA: $1,952; Cumulative: $18,612,000

9. Red Sparrow (20th Century Fox) Week 3; Last weekend #4

$4,450,000 (-48%) in 2,583 theaters (-481); PTA: $1,723; Cumulative: $39,584,000

10. Death Wish (MGM) Week 3; Last weekend #7

$3,368,000 (-49%) in 2,676 theaters (-206); PTA: $1,259; Cumulative: $29,950,000

‘Black Panther’ Five-Peats at Box Office, Crossing $600 Million Domestic

“Black Panther” is now the first film since “Avatar” in 2010 to take the No. 1 spot at the box office for five consecutive weeks, earning $27 million this weekend to pass the $600 million mark domestically.

With a total of $605 million, the film will pass the $623 million made by “The Avengers” sometime this week, making it the top superhero movie on the domestic charts. At 31 days, it’s the second-fastest film to gross $600 million domestically, sitting only behind “Star Wars: The Force Awakens.”

Overseas, the film is approaching the $100 million mark in China with a $96 million total after ten days, giving the film a $577 million international haul and a $1.18 billion global total. That puts it past the $1.15 billion made by “Captain America: Civil War” two years ago and places it in the top 15 on the all-time global charts. Next on the list is “Iron Man 3” with $1.21 billion.

Also Read: Film Academy President John Bailey Faces Sexual Harassment Investigation

In second place is Warner Bros./MGM’s “Tomb Raider,” opening to $23.5 million from 3,854 screens. With a $90 million budget and mediocre critical reception — 50 percent on Rotten Tomatoes and a B on CinemaScore — “Tomb Raider” will need help from overseas markets to turn enough of a profit to keep the franchise going.

In third place, with the big surprise of the weekend, is Roadside Attractions/Lionsgate’s faith-based film “I Can Only Imagine,” taking in a very impressive $17 million from 1,620 screens. The $7 million film had been projected by trackers to make $5-6 million, but has earned huge word of mouth among Christian audiences with an A+ on CinemaScore.

A likely factor in the film’s success is its built-in audience with the fanbase of MercyMe, the Christian rock band whose titular song and the inspiration behind it inspired the movie. The strong opening puts it ahead of Disney’s “A Wrinkle In Time,” which saw a 50 percent drop-off of its $33 million opening for a second weekend total of $16.6 million and a ten-day total of $61 million.

Also Read: ‘I Can Only Imagine’ Film Review: Christian Pop Megahit Becomes One-Note Redemption Tale

Completing the top five is Fox’s “Love, Simon,” which hit tracker expectations with $11.5 million. Like “I Can Only Imagine,” the teen gay romcom was a huge hit with its core audience and scored an A+ on CinemaScore; but it has also earned critical acclaim with a 90 percent score on Rotten Tomatoes.

Outside the top five, two Sony films have hit major milestones. “Peter Rabbit,” which came in seventh with $5.2 million, became only the second 2018 release to hit the $100 million milestone, with “Fifty Shades Freed” expected to become the third later this week.

Meanwhile, “Jumanji: Welcome To The Jungle,” which dominated the box office in January, reached $400 million domestically with $1.6 million in its 13th weekend. It is now one of only four films released in 2017 to hit that mark, posting a higher domestic total than all of Marvel Studios’ releases last year.

Related stories from TheWrap:

Indie Box Office: ‘Shape of Water’ Adds $2.4 Million After Best Picture Win

Producer of John Bailey’s Latest Film Says ‘No One On Our Movie’ Accused Him of Harassment

“Black Panther” is now the first film since “Avatar” in 2010 to take the No. 1 spot at the box office for five consecutive weeks, earning $27 million this weekend to pass the $600 million mark domestically.

With a total of $605 million, the film will pass the $623 million made by “The Avengers” sometime this week, making it the top superhero movie on the domestic charts. At 31 days, it’s the second-fastest film to gross $600 million domestically, sitting only behind “Star Wars: The Force Awakens.”

Overseas, the film is approaching the $100 million mark in China with a $96 million total after ten days, giving the film a $577 million international haul and a $1.18 billion global total. That puts it past the $1.15 billion made by “Captain America: Civil War” two years ago and places it in the top 15 on the all-time global charts. Next on the list is “Iron Man 3” with $1.21 billion.

In second place is Warner Bros./MGM’s “Tomb Raider,” opening to $23.5 million from 3,854 screens. With a $90 million budget and mediocre critical reception — 50 percent on Rotten Tomatoes and a B on CinemaScore — “Tomb Raider” will need help from overseas markets to turn enough of a profit to keep the franchise going.

In third place, with the big surprise of the weekend, is Roadside Attractions/Lionsgate’s faith-based film “I Can Only Imagine,” taking in a very impressive $17 million from 1,620 screens. The $7 million film had been projected by trackers to make $5-6 million, but has earned huge word of mouth among Christian audiences with an A+ on CinemaScore.

A likely factor in the film’s success is its built-in audience with the fanbase of MercyMe, the Christian rock band whose titular song and the inspiration behind it inspired the movie. The strong opening puts it ahead of Disney’s “A Wrinkle In Time,” which saw a 50 percent drop-off of its $33 million opening for a second weekend total of $16.6 million and a ten-day total of $61 million.

Completing the top five is Fox’s “Love, Simon,” which hit tracker expectations with $11.5 million. Like “I Can Only Imagine,” the teen gay romcom was a huge hit with its core audience and scored an A+ on CinemaScore; but it has also earned critical acclaim with a 90 percent score on Rotten Tomatoes.

Outside the top five, two Sony films have hit major milestones. “Peter Rabbit,” which came in seventh with $5.2 million, became only the second 2018 release to hit the $100 million milestone, with “Fifty Shades Freed” expected to become the third later this week.

Meanwhile, “Jumanji: Welcome To The Jungle,” which dominated the box office in January, reached $400 million domestically with $1.6 million in its 13th weekend. It is now one of only four films released in 2017 to hit that mark, posting a higher domestic total than all of Marvel Studios’ releases last year.

Related stories from TheWrap:

Indie Box Office: 'Shape of Water' Adds $2.4 Million After Best Picture Win

Producer of John Bailey's Latest Film Says 'No One On Our Movie' Accused Him of Harassment

Box Office: ‘Black Panther’ Rules ‘Tomb Raider’ to Claim Fifth Top Weekend

Disney-Marvel’s “Black Panther” will score a rare fifth weekend at the top of the domestic box office with $27 million from 3,834 locations, beating out Warner Bros.-MGM’s “Tomb Raider,” which will open with about $22 million from 3,854 sites. “Black Panther” has continued to break records across the box office, having brought in $585 million […]

Disney-Marvel’s “Black Panther” will score a rare fifth weekend at the top of the domestic box office with $27 million from 3,834 locations, beating out Warner Bros.-MGM’s “Tomb Raider,” which will open with about $22 million from 3,854 sites. “Black Panther” has continued to break records across the box office, having brought in $585 million […]

‘Black Panther’ Holds on to Box Office Lead as ‘Tomb Raider’ Opens

“Black Panther” is on its way to becoming the first film in eight years to take No. 1 at the box office for five straight weekends, as it made $7.5 million on its fifth Friday in theaters.

With this result, “Black Panther” is on pace for a estimated $27 million weekend, which would put its domestic total over $600 million and put it in position to pass both “Star Wars: The Last Jedi” and “The Avengers” next week, making it the highest grossing superhero movie on the domestic charts.

Meanwhile, Warner Bros./MGM’s “Tomb Raider” led all films on Friday with $9 million from 3,854 screens, but is expected to finish second with an estimated $22-23 million. That sits on the lower end of pre-weekend studio projections, but is a rough start for the video game adaptation given its $90 million budget. Starring Alicia Vikander, the film has earned a mixed reception with 50 percent among critics on Rotten Tomatoes and a B from audiences on CinemaScore.

Also Read: ‘Black Panther’ Editor Reveals Two ‘Painful’ Scenes Cut From Film

Disney’s “A Wrinkle In Time” sits in third, making $4.6 million on its second Friday, as it looks to make roughly half its $33 million opening with an estimated $16 million second weekend. But surprisingly, it may lose the No. 3 spot by the end of the weekend to “I Can Only Imagine,” the indie faith-based film being distributed by Roadside Attractions and Lionsgate.

Expected to only gross $5-6 million this weekend, “I Can Only Imagine” ended up making $6 million on Friday alone, and now is looking at a top five finish with a $15 million opening from 1,620 screens. Starring J. Michael Finley and Dennis Quaid, “I Can Only Imagine” is based on the true father-son relationship that inspired the hit Christian rock song of the same name by MercyMe. While it had a mixed reception from critics with a 55 percent RT score, the film was a hit with Christian audiences on opening night with an A+ on CinemaScore.

In fifth is Fox’s teen gay rom-com “Love, Simon,” which is on pace to hit tracker projections with a $11-12 million opening from 2,402 screens. It’s first film of its kind from a major studio and has been a critical hit with a 90 percent RT score and an A+ on CinemaScore.

Also Read: ‘Tomb Raider’ Film Review: Alicia Vikander Gamely Attempts to Resuscitate Dead Franchise

Sitting in sixth is WB/New Line’s “Game Night” with an estimated $6 million. At a time when comedies are struggling to find a foothold in movie theaters, “Game Night” is hanging tough with just a 24 percent drop-off in each of the last two weekends, the best hold for an R-Rated comedy in the last five years.

Meanwhile, Sony’s “Peter Rabbit” took seventh, as it crosses the $100 million mark in its sixth weekend with an estimated $5.1 million. Ten weekends into 2018, “Peter Rabbit” is only the second release this year to cross that line on the domestic charts, though “Fifty Shades Freed” will squeak past that mark this coming week.

Related stories from TheWrap:

‘Black Panther’ Editor Reveals Two ‘Painful’ Scenes Cut From Film

‘Black Panther’ Hits $1 Billion at Global Box Office

‘Tomb Raider’ Runs to $2.1 Million at Thursday Box Office

“Black Panther” is on its way to becoming the first film in eight years to take No. 1 at the box office for five straight weekends, as it made $7.5 million on its fifth Friday in theaters.

With this result, “Black Panther” is on pace for a estimated $27 million weekend, which would put its domestic total over $600 million and put it in position to pass both “Star Wars: The Last Jedi” and “The Avengers” next week, making it the highest grossing superhero movie on the domestic charts.

Meanwhile, Warner Bros./MGM’s “Tomb Raider” led all films on Friday with $9 million from 3,854 screens, but is expected to finish second with an estimated $22-23 million. That sits on the lower end of pre-weekend studio projections, but is a rough start for the video game adaptation given its $90 million budget. Starring Alicia Vikander, the film has earned a mixed reception with 50 percent among critics on Rotten Tomatoes and a B from audiences on CinemaScore.

Disney’s “A Wrinkle In Time” sits in third, making $4.6 million on its second Friday, as it looks to make roughly half its $33 million opening with an estimated $16 million second weekend. But surprisingly, it may lose the No. 3 spot by the end of the weekend to “I Can Only Imagine,” the indie faith-based film being distributed by Roadside Attractions and Lionsgate.

Expected to only gross $5-6 million this weekend, “I Can Only Imagine” ended up making $6 million on Friday alone, and now is looking at a top five finish with a $15 million opening from 1,620 screens. Starring J. Michael Finley and Dennis Quaid, “I Can Only Imagine” is based on the true father-son relationship that inspired the hit Christian rock song of the same name by MercyMe. While it had a mixed reception from critics with a 55 percent RT score, the film was a hit with Christian audiences on opening night with an A+ on CinemaScore.

In fifth is Fox’s teen gay rom-com “Love, Simon,” which is on pace to hit tracker projections with a $11-12 million opening from 2,402 screens. It’s first film of its kind from a major studio and has been a critical hit with a 90 percent RT score and an A+ on CinemaScore.

Sitting in sixth is WB/New Line’s “Game Night” with an estimated $6 million. At a time when comedies are struggling to find a foothold in movie theaters, “Game Night” is hanging tough with just a 24 percent drop-off in each of the last two weekends, the best hold for an R-Rated comedy in the last five years.

Meanwhile, Sony’s “Peter Rabbit” took seventh, as it crosses the $100 million mark in its sixth weekend with an estimated $5.1 million. Ten weekends into 2018, “Peter Rabbit” is only the second release this year to cross that line on the domestic charts, though “Fifty Shades Freed” will squeak past that mark this coming week.

Related stories from TheWrap:

'Black Panther' Editor Reveals Two 'Painful' Scenes Cut From Film

'Black Panther' Hits $1 Billion at Global Box Office

'Tomb Raider' Runs to $2.1 Million at Thursday Box Office

Christian Indie ‘I Can Only Imagine’ Set to Over-Perform at Box Office

The nation’s moviegoers look to be turning out in bigger numbers for a Christian-themed independent film than for the first mainstream teen movie with a gay main character. Roadside Attractions’ “I Can Only Imagine,” based on the story of the biggest-selling Christian song of all time, is looking at an estimated $14 million-plus for the […]

The nation’s moviegoers look to be turning out in bigger numbers for a Christian-themed independent film than for the first mainstream teen movie with a gay main character. Roadside Attractions’ “I Can Only Imagine,” based on the story of the biggest-selling Christian song of all time, is looking at an estimated $14 million-plus for the […]

‘Black Panther’ Set to Beat ‘Tomb Raider’ in Rare Box Office Five-Peat

“Black Panther” will easily rule over Alicia Vikander’s “Tomb Raider” reboot at the North American box office this weekend for a rare fifth straight victory, early estimates showed on Friday. Disney-Marvel’s mega-hit “Black Panther” — which has already grossed $578.4 million domestically in its first four weeks — is heading for about $27 million at […]

“Black Panther” will easily rule over Alicia Vikander’s “Tomb Raider” reboot at the North American box office this weekend for a rare fifth straight victory, early estimates showed on Friday. Disney-Marvel’s mega-hit “Black Panther” — which has already grossed $578.4 million domestically in its first four weeks — is heading for about $27 million at […]

‘Tomb Raider’ Rings Up $2.1M On Thursday – Box Office

UPDATED with additional results: MGM/Warner Bros’ Tomb Raider dug up $2.1 million last night in previews at around 3,100 locations. The reboot of the videogame franchise on screen starring The Danish Girl supporting actress Oscar winner Alicia Vikander as explorer Lara Croft is expected to bring in a mid-$20M opening for a projected No. 2 debut as Disney/Marvel’s Black Panther continues its grip at No. 1 with a high $20Ms fifth weekend. That will give it a running B.O. of…

UPDATED with additional results: MGM/Warner Bros’ Tomb Raider dug up $2.1 million last night in previews at around 3,100 locations. The reboot of the videogame franchise on screen starring The Danish Girl supporting actress Oscar winner Alicia Vikander as explorer Lara Croft is expected to bring in a mid-$20M opening for a projected No. 2 debut as Disney/Marvel’s Black Panther continues its grip at No. 1 with a high $20Ms fifth weekend. That will give it a running B.O. of…

Fox Hopes Gay Teen Film ‘Love, Simon’ Goes Mainstream

“Love, Simon” director Greg Berlanti had just two marketing requests for 20th Century Fox, the studio behind the gay teen romantic comedy that bowed this weekend. Berlanti, the prolific showrunner of CW series like “The Flash” and “Riverdale,” said that first and foremost, he asked the studio not to downplay the lead character’s sexual orientation. “To […]

“Love, Simon” director Greg Berlanti had just two marketing requests for 20th Century Fox, the studio behind the gay teen romantic comedy that bowed this weekend. Berlanti, the prolific showrunner of CW series like “The Flash” and “Riverdale,” said that first and foremost, he asked the studio not to downplay the lead character’s sexual orientation. “To […]

Box Office: ‘Tomb Raider’ Finds $2.1 Million on Thursday Night

Alicia Vikander’s “Tomb Raider” ran off with $2.1 million on Thursday night. Fox’s comedy-drama “Love, Simon,” meanwhile, made $850,000 from 2,125 sites during Thursday previews. It’s expanding to 2,402 venues Friday. “Tomb Raider,” Warner Bros. and MGM’s adaptation of the popular video game, has been projected to take in about $25 million from 3,842 locations […]

Alicia Vikander’s “Tomb Raider” ran off with $2.1 million on Thursday night. Fox’s comedy-drama “Love, Simon,” meanwhile, made $850,000 from 2,125 sites during Thursday previews. It’s expanding to 2,402 venues Friday. “Tomb Raider,” Warner Bros. and MGM’s adaptation of the popular video game, has been projected to take in about $25 million from 3,842 locations […]

‘Sherlock Gnomes,’ ‘A Wrinkle in Time’ Top Studios’ TV Ad Spending

In this week’s edition of the Variety Movie Commercial Tracker, powered by the TV advertising attention analytics company iSpot.tv, Paramount Pictures claims the top spot in spending with “Sherlock Gnomes.” Ads placed for the animated film had an estimated media value of $5.07 million through Sunday for 1,043 national ad airings on 30 networks. (Spend […]

In this week’s edition of the Variety Movie Commercial Tracker, powered by the TV advertising attention analytics company iSpot.tv, Paramount Pictures claims the top spot in spending with “Sherlock Gnomes.” Ads placed for the animated film had an estimated media value of $5.07 million through Sunday for 1,043 national ad airings on 30 networks. (Spend […]

Can ‘Tomb Raider’ Take Down ‘Black Panther’ At The Weekend Box Office? – Preview

Videogame star Lara Croft will vie to get an extra life at the box office this weekend as MGM/Warner Bros.’ Tomb Raider starring Oscar winner Alicia Vikander hits 3,700 locations with a shot at $23M-$25M.
However, she’ll have to overindex if she wants to beat Disney/Marvel’s Black Panther which is looking at its fifth straight No. 1 frame with a take around $27M, -34%. The Ryan Coogler-directed movie currently counts $571M at the domestic box office, and it will easily…

Videogame star Lara Croft will vie to get an extra life at the box office this weekend as MGM/Warner Bros.’ Tomb Raider starring Oscar winner Alicia Vikander hits 3,700 locations with a shot at $23M-$25M. However, she’ll have to overindex if she wants to beat Disney/Marvel’s Black Panther which is looking at its fifth straight No. 1 frame with a take around $27M, -34%. The Ryan Coogler-directed movie currently counts $571M at the domestic box office, and it will easily…

Will ‘Tomb Raider’ Be the Movie to Finally Knock ‘Black Panther’ From Box Office Perch?

This weekend, “Black Panther” will attempt to do something that hasn’t been done in eight years: take the No. 1 spot at the box office for five consecutive weeks.

When the latest Marvel movie was released last month, even the most wildly optimistic of forecasts didn’t expect it to have a chance at this streak. But “Black Panther” took its fourth-straight No. 1 last weekend with a $40.8 million total, 19 percent ahead of the opening for fellow Disney release “A Wrinkle In Time.” It’s the first time ever that films from black directors (namely Ryan Coogler and Ava DuVernay) had a 1-2 finish at the box office, and the first time since “Star Wars: The Force Awakens” that a film stayed atop the charts for four straight weekends.

Also Read: Olympics Inspired Alicia Vikander to Try Curling, But She Sucked: ‘I Was Like a Bambi on Ice’

Now, with $1.09 billion grossed worldwide so far, “Black Panther” is expected to have a fifth weekend total in the high $20 million range. As it turns out, that’s the same range independent trackers have set for this weekend’s big wide release: Warner Bros./MGM’s “Tomb Raider.” Inspired by Square-Enix’s 2013 reboot of the long-running video game series, the action film is looking at a start of $27-29 million from 3,854 screens, with WB projecting a start of $23-25 million against a reported budget of $90 million.

Overseas, “Tomb Raider” opened in nine Asian markets last weekend, excluding China and Vietnam. It made $14.1 million from a combined 3,425 screens, while six reviews from that continent were evenly split to give it an early Rotten Tomatoes score of 50 percent. This weekend will likely be a neck-and-neck contest between Lara Croft and T’Challa, with “Wrinkle In Time” finishing in third.

Directed by Roar Uthaug, “Tomb Raider” features Alicia Vikander as Lara Croft as she goes off on her first adventure in search of her missing father (Dominic West). Walton Goggins, Daniel Wu, and Kristin Scott Thomas also star.

Also Read: ‘Black Panther’ Editor Reveals Two ‘Painful’ Scenes Cut From Film

Expected to take the No. 4 spot is Fox’s “Love, Simon,” the first gay teen romance film released by a major studio. Coming in with strong reviews and a 89 percent RT score, “Love, Simon” is expected to open with $10-12 million from 2,401 screens. Fox is projecting a start on the lower end of that range and reports a production budget of $17 million.

Based on the book “Simon vs. The Homo Sapiens Agenda” by Becky Albertalli, “Love, Simon” stars Nick Robinson as Simon Spier, a closeted gay teen who forms a relationship with an anonymous gay classmate online. His life is thrown into disarray when a blackmailer finds his online chats and threatens to out him to his family and school. Greg Berlanti directs the film, with Josh Duhamel, Jennifer Garner, Jorge Lendeborg, Jr., Katherine Langford and Alexandra Shipp also starring.

Finally, there’s Lionsgate/Roadside Attractions’ faith-based film, based on the story behind the hit song of the same name by Christian rock band MercyMe. Starring J. Michael Finley as MercyMe vocalist Bart Millard and Dennis Quaid as his father, Arthur, the film is expected to open outside the top ten with a $2-4 million opening from 1,620 screens, with a reported budget of $7 million.

Related stories from TheWrap:

‘Captain Marvel,’ ‘Tomb Raider’ Writers Take on Sony’s ‘Silver and Black’

‘Tomb Raider’ New Action-Packed Trailer Shows Alicia Vikander Fulfilling Her Destiny (Video)

This weekend, “Black Panther” will attempt to do something that hasn’t been done in eight years: take the No. 1 spot at the box office for five consecutive weeks.

When the latest Marvel movie was released last month, even the most wildly optimistic of forecasts didn’t expect it to have a chance at this streak. But “Black Panther” took its fourth-straight No. 1 last weekend with a $40.8 million total, 19 percent ahead of the opening for fellow Disney release “A Wrinkle In Time.” It’s the first time ever that films from black directors (namely Ryan Coogler and Ava DuVernay) had a 1-2 finish at the box office, and the first time since “Star Wars: The Force Awakens” that a film stayed atop the charts for four straight weekends.

Now, with $1.09 billion grossed worldwide so far, “Black Panther” is expected to have a fifth weekend total in the high $20 million range. As it turns out, that’s the same range independent trackers have set for this weekend’s big wide release: Warner Bros./MGM’s “Tomb Raider.” Inspired by Square-Enix’s 2013 reboot of the long-running video game series, the action film is looking at a start of $27-29 million from 3,854 screens, with WB projecting a start of $23-25 million against a reported budget of $90 million.

Overseas, “Tomb Raider” opened in nine Asian markets last weekend, excluding China and Vietnam. It made $14.1 million from a combined 3,425 screens, while six reviews from that continent were evenly split to give it an early Rotten Tomatoes score of 50 percent. This weekend will likely be a neck-and-neck contest between Lara Croft and T’Challa, with “Wrinkle In Time” finishing in third.

Directed by Roar Uthaug, “Tomb Raider” features Alicia Vikander as Lara Croft as she goes off on her first adventure in search of her missing father (Dominic West). Walton Goggins, Daniel Wu, and Kristin Scott Thomas also star.

Expected to take the No. 4 spot is Fox’s “Love, Simon,” the first gay teen romance film released by a major studio. Coming in with strong reviews and a 89 percent RT score, “Love, Simon” is expected to open with $10-12 million from 2,401 screens. Fox is projecting a start on the lower end of that range and reports a production budget of $17 million.

Based on the book “Simon vs. The Homo Sapiens Agenda” by Becky Albertalli, “Love, Simon” stars Nick Robinson as Simon Spier, a closeted gay teen who forms a relationship with an anonymous gay classmate online. His life is thrown into disarray when a blackmailer finds his online chats and threatens to out him to his family and school. Greg Berlanti directs the film, with Josh Duhamel, Jennifer Garner, Jorge Lendeborg, Jr., Katherine Langford and Alexandra Shipp also starring.

Finally, there’s Lionsgate/Roadside Attractions’ faith-based film, based on the story behind the hit song of the same name by Christian rock band MercyMe. Starring J. Michael Finley as MercyMe vocalist Bart Millard and Dennis Quaid as his father, Arthur, the film is expected to open outside the top ten with a $2-4 million opening from 1,620 screens, with a reported budget of $7 million.

Related stories from TheWrap:

'Captain Marvel,' 'Tomb Raider' Writers Take on Sony's 'Silver and Black'

'Tomb Raider' New Action-Packed Trailer Shows Alicia Vikander Fulfilling Her Destiny (Video)

Greg Berlanti Gay Teen Romance Pic ‘Love, Simon’ Posts Strong Sneak Previews

EXCLUSIVE: 20th Century Fox held previews last night for its gay teenage romance title Love, Simon and drew a strong estimated $800K from 927 theaters for a per location average of $863.
Now, it’s not often that sneak preview figures are reported, but to provide some perspective, and know that these are not comps, Dwayne Johnson’s movies racked up the following in their previews: Baywatch ($1.25M), Jumanji: Welcome to the Jungle ($2M) and San Andreas ($3.1M).
Directed by R…

EXCLUSIVE: 20th Century Fox held previews last night for its gay teenage romance title Love, Simon and drew a strong estimated $800K from 927 theaters for a per location average of $863. Now, it’s not often that sneak preview figures are reported, but to provide some perspective, and know that these are not comps, Dwayne Johnson’s movies racked up the following in their previews: Baywatch ($1.25M), Jumanji: Welcome to the Jungle ($2M) and San Andreas ($3.1M). Directed by R…