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Warner Bros., which will release the pic under its Warner Animation Group banner, is hoping the Scooby-Doo feature leads to a series of movies featuring characters from the stable of

Corpse Bride and Frankenweenie. (She is also married to Cervone.)

Dan Povenmire, co-creator of the cartoon Phineas and Ferb, is also involved in a creative capacity and will exec pro-duce. Matt Lieberman wrote the script.

AUGUST 18, 2015

Warner Bros. is hoping its upcoming Scooby-Doo feature will lead to a series of movies featuring characters from the stable of Hanna-Barbera, the animation powerhouse that ruled the television airwaves in the 1960s and early 1970s.

By By Borys Kit

FOR THOSE ASK ING “SCOOBY-Doo, where are you?” the answer is this: back on the big screen.

After more than a dozen years, Warner Bros. is bringing the canine and his quirky crew of crime-busting kids to theaters, this time as an animated feature.

Tony Cervone, an Emmy-nominated animation veteran who already has Scooby experience having helmed several straight-to-own movies in the lucrative franchise, is set to direct the pic, which Warners has slated for Sept. 21, 2018.

Charles Roven and Richard Suckle, who previously produced the studio’s live-action Scooby Doo movies — 2002’s Scooby-Doo and 2004’s Scooby-Doo 2: Monsters Unleashed — are producing along with Allison Abbate.

Abbate brings considerable anima-tion expertise to the table, with credits including The Iron Giant, The Fantastic Mr. Fox and the Tim Burton movies

Animated Scooby-Doo Movie in Works at Warner Bros.

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MOVIE NEWS

Hanna-Barbera, the animation power- house that ruled the television airwaves in the 1960s and early 1970s.

“Like countless fans, I have always loved the Hanna-Barbera cast of char- acters,” Greg Silverman, Warner Bros. president of creative development and worldwide production, said Monday in a statement annoucing the news. “As one of their most famous brand ambassa-dors, Scooby-Doo will take the lead in reintroducing this pantheon of endur-ingly popular animated stars on a grand scale with an exciting new movie.”

UNI REVISES COMPTON’S OPENING TALLY UPWARDS By Gregg KildayTURNS OUT THAT UNIVERSAL’S

Straight Outta Compton did even better at the North American box office over the weekend than originally estimated.

While the studio predicted a weekend box office of $56.1 million on Sunday morning, it revised that number to a whopping $60.2 million on Monday.

The movie opened to $24.1 million on Friday (including Thursday-night screenings), corralled $19.3 million on Saturday and collected another $16.8 million on Sunday.

The pic now stands as the fifth-biggest August opening ever, narrowly surpass-ing M. Night Shyamalan’s Signs, which opened to $60.1 million in 2002.

The R-rated Compton — a biopic about groundbreaking hip-hop group N.W.A, which was produced for just $29 million — posted the best-ever debut for its direc-tor F. Gary Gray. It also overshadowed other rap movies like Eminem’s 8 Mile, which bowed to $51.2 million in 2002 and Notorious, the story of Notorious B.I.G., which opened to $20.5 million in 2009.

Co-financed by Universal and Legend-ary, Compton stars O’Shea Jackson Jr. as his real-life father, Ice Cube; Corey Hawkins as Dr. Dre; Jason Mitchell as Eazy-E; Aldis Hodge as MC Ren; Neil

Brown Jr. as DJ Yella; and Paul Giamatti as the group’s manager and Ruthless Records co-founder Jerry Heller.

Opening in 2,751 theaters, Compton was produced by Ice Cube and Dr. Dre (among others). Ice Cube, as producer, managed to beat his own best-opening mark as a lead actor in 2014’s Ride Along, which launched to $41.5 million.

GOLDWYN NABS RIGHTSTO MIIKE’S APOCALYPSEBy Borys KitAHEAD OF ITS NORTH AMERICAN premiere at the Toronto International Film Festival, Takashi Miike’s comedic vampire action-thriller Yakuza Apocalypse has been picked up by Samuel Goldwyn Films.

The distributor has pen-ciled in an Oct. 9 release date for the movie.

Apocalypse debuted in May at the Cannes Film Festival and will screen next month as part of Toronto’s Midnight Madness sidebar.

The following is the pic’s logline from Samuel Goldwyn: “Yakuza boss Kamiura is also a bloodsucking vampire. One day, men arrive from a competing clan and deliver him an ultimatum: Play nice or die. Kamiura refuses and, during a fierce battle, is torn limb from limb. With his dying breath, he passes on his vampire powers to his loyal lieutenant, Kageyama. His first order of business is to avenge his mentor, setting him on a collision course with the seemingly unstoppable foreign syndicate and to take his place as the new Yakuza boss.”

Miike, the enveloping-pushing director behind such as cult films as Ichi the Killer, said Monday in the company’s announce- ment: “I wonder if it’s really okay to let this film loose outside of Japan. As it’s not anything anyone can deal with on their own, it’s best to watch with friends.”

XYZ Films represented the filmmakers in the deal.

PAIR OF CHARIOTS SEQUELSTAKING DIFFERENT TACKSBy Paul BondTWO MOVIES THAT ARE BILLING

themselves as sequels to Chariots of Fire are in the works, but they have differ- ent sensibilities regarding Christianity, a central plot point.

One pic, called Absolute Surrender, is about Eric Liddell, the devout Christian runner whose refusal to compete on Sun- days during the 1924 Olympics was the basis for 1981’s Oscar-winning Chariots.

But while Chariots explored Liddell’s friendship with fellow British Olympian Harold Abrahams, a Jew who endured anti-Semitism while competing in 1924’s Summer Olympics held in Paris, both of the upcoming films will instead explore what came after the games for Liddell.

While Scottish, Liddell was born in China to parents who were Christian missionaries and he returned there after his victory at the Olympics to follow in their footsteps. Along with his charitable works, Liddell raced sporadically in China.

In 1941, Japanese aggressors made things very dangerous in China, so Lid-dell’s pregnant wife and their children left for Canada while he stayed behind, where he was eventually forced into the Weihsien Internment Camp.

Liddell died there in 1945, five months before the camp was liberated. Decades later, Chinese authorities confirmed that when the Japanese offered him an oppor- tunity to leave via a prisoner swap, he instead gave his spot to a pregnant woman.

Absolute Surrender, which has no direc-tor or stars attached yet, is a $20 million indie film written by Eric Eichinger and Howard Klausner with Mark Joseph in negotiations to produce. Klausner co- wrote Space Cowboys for Clint Eastwood, and Joseph is currently producing a bio-pic about Ronald Reagan.

While Absolute Surrender won’t shy from the obvious religious aspects of Liddell’s story, the other pic, The Last Race is ex-

Miike

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AUGUST 18, 2015

pected to downplay his Christianity.“Our story is not telling religion, it’s

telling about love among people,” The Last Race co-director Stephen Shin told The Independent in June. Liddell’s religious beliefs, he said, “will not be emphasized.”

Last Race stars Joseph Fiennes as Liddell and is largely a Chinese produc-tion, so it won’t be considered one of the 34 movies allowed under China’s quota system for foreign films. The pic will be distributed by Hong Kong-based Alibaba Pictures Group.

Since the Chinese Civil War ended in 1949, a Communist party that promotes atheism has ruled, so the notion that Last Race would not focus on Liddell’s Christian motivation isn’t surprising. Eichinger, though, is hoping audiences do not confuse the competing titles.

“We can’t speak for other films, but fans of Eric and Chariots of Fire can be assured that we do not come to his life story from a worldview that mocks, per-secutes or forces into the underground those who share Eric’s beliefs,” he said.

Liddell’s three daughters, still living in Canada, are aware of both projects. Asked about Absolute Surrender, daugh-ter Maureen Liddell Moore called it “a gift,” but regarding Last Race, she said, “If you can’t say something nice, don’t say nothing at all.”

ACADEMY HIRES MUNOZ TO OVERSEE MEMBERSHIPBy Gregg KildayLORENZA MUNOZ, A FORMER STAFF

writer for the Los Angeles Times, is join-ing the staff of the Academy of Motion Picture Arts and Sciences as its manag-ing director membership and awards.

Beginning Sept. 3, Munoz, who will report to Academy CEO Dawn Hudson, will assume the role of overseeing the activities and initiatives involving the organization’s nearly 7,000 members, including global membership outreach and engagement events.

Munoz, who worked for the Times from 1994 to 2008, most recently served as press and policy deputy for Los Angeles County Supervisor Mark Ridley-Thomas,

overseeing media coverage, policy strategy and com-munity outreach.

“We are thrilled to welcome Lorenza to our leadership team,” Hudson said Monday in a statement.

“She brings a deep passion for movies, extensive knowledge of our film industry and years of effectively working with different constituencies and community groups. Lorenza will play a key role in our efforts to develop a more internationally connected membership and to advance the global mission of this organization.”

DIGITAL DOMAIN TAPSWELCH AS PRESIDENT By Carolyn GiardinaVISUAL-EFFECTS STUDIO DIGITAL Domain announced Monday that post- production/VFX industry veteran O.D Welch recently came on board in the newly created role of president, respon-sible for Digital Domain’s Playa Vista, Calif., and two Vancouver locations.

Welch will run day-to-day operations at the company, which is headed by Daniel Seah, CEO of Digital Domain 3.0 and chairman-CEO of Digital Domain Holdings.

With three decades of industry expe-rience, Welch had most recently been working through his Evolve consulting firm, following three years as COO of James Cameron’s 3D venture Cameron Pace Group. Earlier, he held COO roles at Prime Focus Group and the Computer Cafe group. Welch also spent 14 years as president and CEO of 525 Studios.

Digital Domain uses the term “3.0” to describe itself following a series of ownership changes that have made it a closely watched VFX business. After fil-ing for Chapter 11 bankruptcy protection in 2012, China’s Galloping Horse became

its majority owner. Galloping Horse U.S. was then acquired by Sun Innovation in 2013. Hong Kong-listed Sun was then renamed Digital Domain Holdings.

The VFX house is currently working on X-Men: Apocalypse, led by Digital Domain VFX supervisor Lou Pecora. Recent proj-ects include Furious 7 and Pixels.

Digital Domain’s VFX work has earned several Oscars, notably for Titanic and The Curious Case of Benjamin Button. It also services commercials and video games.

“My goal is to ensure that DD is doing groundbreaking work for a long time to com,” said Welch in a statement.

MOVIE ATTENDANCE HITS FIVE-YEAR HIGH IN RUSSIABy Vladimir KozlovMOSCOW — Movie theater attendance in Russia hit a five-year high in July, thanks to the stellar performance of the animated pic Minions.

Just under 22 million admissions were registered in July, which is 36.7 percent more than in June, 20.4 percent more than in July 2014 and the highest figure over the last five years, according to research company Movie Research.

The impressive numbers were largely explained by the successful theatrical run of Minions, which became the year’s highest-grossing movie as well as second highest-grossing film of all time, outper-formed only by 2009’s Avatar.

The spinoff of Despicable Me generated 7.67 million admissions in July, followed by Terminator: Genisys with 4.3 million.

Cybernatural, produced by Russian filmmaker Timur Bekmambetov’s company Bazelevs, attracted 464,400 admissions, which was the highest num-ber among domestic movies.

July’s total box office reached 5.21 bil-lion rubles ($80 million), according to Movie Research, a 34.9 percent rise over June and up 19.9 percent from July 2014.

Meanwhile, local movies did poorly, accounting for only 3.6 percent of the total box office.

Munoz

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TV NEWS

AUGUST 18, 2015

By Lesley GoldbergK EVIN REILLY IS REUNITING WITH

one of his former Fox projects.The TNT and TBS

president has handed out a pilot pickup to drama Home, The Hollywood Reporter has learned.

From executive producer Jerry Bruckheimer, Home is described as a dramatic thriller that delves into the secrets lingering behind the facade of a seemingly idyllic suburban family.

The drama centers on the newly pregnant Rose Altman, an accomplished designer with a suc-cessful business and wonderful life with her husband, Joe, a highly regarded prison psychologist, and his two sons from a previous marriage. But her image of her perfect family is shattered when she discovers secrets that threaten to destroy the very foundation of her life.

The drama — originally picked up in February 2014 by Fox during Reilly’s “no pilots” period with a series prototype and additional scripts — hails from Jerry Bruckheimer Television and Warner Hori- zon Television.

Bruckheimer and his Warner Bros. Television-based JBT topper Jonathan Littman will executive produce along-side Aron Eli Coleite (Heroes), who wrote the pilot, and Brad Anderson (Fringe), who will direct. JBT’s Kristie Anne Reed (Hostages) is set as a co-executive producer. WBTV was originally attached to pro-duce the Fox project, which moved to the studio’s cable-focused arm with the jump to TNT.

For TNT, the pilot pickup comes as Reilly has been looking for edgier fare as he reshapes the Turner-owned net- work. Also in the works at TNT are pilots

Animal Kingdom, redeveloped from Showtime; Will, originally ordered straight to series at Pivot in 2013; and Good Behavior, starring Michele Dock-ery. They join pre-Reilly pilots Titans, a cocaine drama also from Bruckheimer that’s being redeveloped, and Lumen.

Fore Bruckheimer, the TNT pickup comes as he is already off to a hot start this development season, having landed a Training Day reboot at CBS as well as a straight-to-series order for Harvest at Spike TV. His company’s credits include the upcoming series finale of CSI, spinoff CSI: Cyber and The Amazing Race.

NBC SETS CYRUS, MORGAN, SCHUMER AS SNL HOSTSBy Lesley GoldbergNBC ON MONDAY ANNOUNCED THE first three hosts for Saturday Night Live’s upcoming 41st season.

Miley Cyrus will kick off the season on Oct. 3, followed by Trainwreck’s Amy Schumer on Oct. 10 and Tracy Morgan on Oct. 17.

For Cyrus, it will be her third time hosting the show. The singer-actress will segue from her Aug. 30 hosting gig at the MTV Video Music Awards to SNL.

Schumer, meanwhile, will make her hosting debut a week before her comedy special Amy Schumer: Live From the Apollo is set to premiere on HBO.

Former castmember Morgan, mean-while, is set to return for his second time as host of SNL. The gig will mark one of the 30 Rock alum’s first televised appearances since the June 2014 car accident that injured the comedian and claimed the life of his longtime friend James McNair.

Musical guests for the shows will be announced at a later date.

BASH NAMED CNN’S CHIEF POLITICAL CORRESPONDENTBy Michael O’ConnellAS CAMPAIGN COVER AGE OF THE 2016 presidential election starts to heat up, CNN has filled one of its most coveted posts. The cable news network on Monday announced that Dana Bash has nabbed the chief political correspondent job after more than 20 years with the network.

CNN chief Jeff Zucker told some staff on Monday, with the Washington bureau’s Sam Feist and Virginia Moseley acknowl-edging the promotion in a memo.

“This morning, Jeff announced that our friend and colleague Dana Bash has been named CNN’s chief political corre-spondent, serving as the network’s lead correspondent covering the Republican field of 2016 presidential hopefuls, our lead correspondent covering Capitol Hill, and as a prominent player in CNN’s election night coverage,” the two wrote. “Today we are also announcing that Dana will be participating in the questioning of Republican candidates at CNN’s Reagan Library debate next month.”

Bash’s new title comes nine months after longtime chief political correspon-dent Candy Crowley left the network. CNN host Jake Tapper will take on Crowley’s old moderating gig when the network hosts one of the GOP debates on Sept. 16, but Bash and Hugh Hewitt will also be on hand to lob questions at the Republican hopefuls.

Joining CNN in 1993 as a Washington bureau library assistant, Bash rose to producer and ultimately became a con-gressional correspondent and a White House correspondent.

CNN has been beefing up its political staff this year, a move clearly justified by the early interest in the election — most notably evidenced by the Donald Trump- driven 24 million viewers who tuned in to Fox News’ first GOP debate.

Bruckheimer

Bruckheimer’s Home Lands TNT Pilot Order

Coleite

Bash

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LEGAL NEWS

AUGUST 18, 2015

By The Associated PressSALT LAKE CITY (AP) — Actor Emile Hirsch has pleaded guilty to mis- demeanor assault after being accused of putting a female studio executive in a chokehold at a Utah nightclub during the Sundance Film Festival.

The Into the Wild star entered his plea Monday under a deal with prose-cutors. The 30-year-old from Encino, Calif., will spend 15 days in jail, pay a $4,750 fine and do 50 hours of com-munity service. If he completes the sentence, the charge will be dismissed.

Daniele Bernfeld, an executive for Paramount subsidiary Insurge Pictures, told police that Hirsch put her in a chokehold from behind on Jan. 25 at Tao Nightclub in Park City, dragged her across a table and body slammed her to the floor, records show.

Hirsch was slurring his words and struggled to balance, public reports show, and said he had three or four drinks. He told police he couldn’t remember exactly what happened but acknowledged “mouthing off” a bit with Bernfeld and then defending himself when she came at him. He reiterated Monday that he couldn’t remember what happened that night.

Summit County Attorney Robert Hilder said Hirsch has been sober since the incident, has taken responsibility and expressed remorse on multiple occasions. Prosecutors know Hirsch was drinking that night and was taking medication that may have mixed with the alcohol, Hilder said, acknowledging that it is troubling Hirsch can’t explain why he did what he did.

Bernfeld described the incident as being “insanely painful and absolutely terrifying,” according to public records obtained by The Associated Press.

Bernfeld said the violent and unpro-voked attack has caused long-lasting effects beyond the physical injuries.

“It took two people to pull him off me, and if not for their intervention, the attack would have continued,” she said. “I thought I was going to die.”

Bernfeld said in a statement that she wasn’t happy with the plea deal, saying the punishment should be tougher.

“If a violent attack in front of a room- ful of witnesses can be labeled a misde-meanor and dismissed, what of women who are assaulted while alone in hall-ways or bathrooms, or behind the closed doors of their own homes?” Bernfeld said in a statement sent by Los Angeles attorney Don Etra.

Attorneys for Hirsch have said that he entered rehab within days of the incident.

Hirsch was at Sundance for the pre-miere of drama Ten Thousand Saints. He is best known for his starring role in Into the Wild and has also appeared in The Girl Next Door, Milk and Lone Survivor.

SHAME PRODUCERS BEAT SCRIPT THEFT LAWSUITBy Eriq GardnerNEW YORK — The production com-panies behind 2014 film Walk of Shame, as well as its lead star Elizabeth Banks, have prevailed in a lawsuit alleging the script about a reporter’s journey after a one-night stand was stolen.

The copyright and breach-of-implied-contract complaint was filed by Shame on You Productions, operated by Dan Rosen, who alleged the film was illicitly derived from his screenplay Darci’s Walk of Shame. Rosen claimed that in 2007, he met with Banks and her husband, Max Handelman, who produce films through Brownstone Productions, to pitch the

screenplay. Despite supposed interest, Banks and Handelman never got back to Rosen, who learned in late 2014 of a Walk of Shame production credited to writer-director Steven Brill.

The lawsuit would commence against Banks, Handelman, Brill, Sidney Kimmel Entertainment, Film District and Lake- shore Entertainment. The parties engaged in a brutal discovery process where each side heaped angry words on the other.

In an opinion on Friday, U.S. District Judge Margaret Morrow agreed with the plaintiff that the facts plausibly suggest that many of the defendants had direct access to Rosen’s screenplay. This means that Rosen’s company needed to satisfy a lower standard of proof to show substan- tial similarity. The lawsuit still fell short.

Morrow looked at the articulable similarities in the plot, themes, dialogue and other elements of the two works to determine whether it rose to a viable copyright claim when common, non- protectible elements are stripped away.

She wrote that “many of the purported similarities Shame on You identifies flow directly from the basic premise of a walk of shame,” which falls as scenes-à-faire.

The judge acknowledged there are cer-tainly similarities in the premise of both works, and the elements that flow from this premise, but that each story funda-mentally tells a different story. “Walk of Shame is the story of a conservative news anchor whose goal in life is to achieve perfection,” wrote Morrow. “Darci’s Walk of Shame is primarily a romantic comedy. Love and finding the ‘right guy’ are the focal points of the narrative ... .”

Ultimately, after analyzing the works in full, the judge wrote the similarities are only “abstract and generalized.” Morrow also declined to exercise jurisdiction over the contract claim. It is possible that Rosen could pursue such a claim in state rather than federal court, or file an appeal over aspects of the dismissal, such as the judge’s refusal to consider extrinsic evidence like experts who offered opinions about the similarities, but for now, the lawsuit is dismissed.

Hirsch

Hirsch Pleads Guilty to Assaulting Film Exec

PAGE 6 OF 7AUGUST 18, 2015

TV REVIEW

BLUNT TALKBy Keith UhlichAS THE INTERNET HAS PROVED,

there are few pleasures greater than watching Patrick Stewart having fun. (Google “Patrick Stewart Salt-n-Pepa” if you’re not convinced.) So there’s reason to despair during the horribly unfunny pilot episode of the actor’s newsroom workplace comedy Blunt Talk, created by Jonathan Ames, executive produced by Seth MacFarlane and airing on Starz. Surely Stewart’s talents are to be utilized for more than a boorish, cocaine-snorting riff on Network’s Howard Beale?

They are, thankfully, after a while. The series premiere focuses on a particularly terrible night-and-day in the life of Los Angeles-based British expat and cable pundit Walter Blunt (Stewart). Through a series of ridiculous contrivances, Blunt ends up on top of his car, spouting Shake-speare in front of paparazzi cameras and police officers who have interrupted his back-alley tryst with a trans female pros-titute. Blunt’s behavior does not go over well at the office the next day, though he finagles one more broadcast before the inevitable firing.

Every moment of the opening episode is off in some way. The pacing is slack. The performers, from Jacki Weaver as Blunt’s stalwart executive producer to Adrian Scarborough as the newsman’s

militaristic valet, act bug-eyed and desper-ate. Few jokes land. The pilot feels very MacFarlane in its scattershot satire of cable news (Anderson Cooper jokes!) and juvenile naughtiness.

But it is fortunate that critics could preview seven of the season’s 10 episodes, because Blunt Talk gets better. This is mainly thanks to Ames’ strange sensibility, which is muted in the early installments but takes over by episode three. Fans of his canceled HBO series Bored to Death will get more of the same offbeat banter and light-touch plaintiveness, though Ames’ humor (structured around high-concept lowbrow gags) is an acquired taste.

In the third episode, for example, Blunt and his co-workers deal with a variety of sexual hangups, which, if MacFarlane were running the show, would be fodder for derisive buffoonery. But in Ames’

hands, there’s a profound melancholy underlying every vulgar moment. In one hilarious scene in a later episode, the twice-divorced Blunt goes to visit his young son at his elementary school and a suitor (played by Moby) for Blunt’s ex-wife makes an ill-advised wisecrack about child molestation. Once the WTF? aura of this bizarre interaction dissipates, Blunt’s pain — and not just at the bad joke — comes potently to the fore.

This is what may give Blunt Talk stay- ing power. (A second season already has been ordered.) Indeed, it’s the simmering, slowly bared pathos — the sense that these people constantly are trying and failing to suppress something all-too-human about themselves — that distinguishes the show from the cringe-comedy crop.

Airdate: Saturday, 9 p.m. ET/PT (Starz).

Patrick Stewart plays a coked-up

cable pundit whose private

and professional lives unravel on

Blunt Talk.

TOP 40 BOX OFFICE

AUGUST 18, 2015 PAGE 7 OF 7

Total: $147,386,155

This week

Last week Movie Distributor Weekend

grossPercent change

# of theaters

Per-theater average

Days in release

Cumulative gross

1 NEW Straight Outta Compton Universal $60,200,180 — 2,757 $21,835 3 $60,200,180

2 1 Mission: Impossible - Rogue Nation Paramount 17,186,540 -46 3,700 4,645 17 138,323,095

3 NEW The Man From U.N.C.L.E. Warner Bros. 13,421,036 — 3,638 3,689 3 13,421,036

4 2 Fantastic Four Fox 8,168,756 -70.8 4,004 2,040 10 42,129,974

5 3 The Gift STX 6,509,604 -50.7 2,503 2,601 10 23,586,927

6 5 Ant-Man Disney 5,493,417 -39 2,306 2,382 31 157,543,670

7 4 Vacation Warner Bros. 5,184,137 -48.6 3,088 1,679 19 46,706,202

8 6 Minions Universal 5,148,125 -39.8 2,640 1,950 38 312,916,835

9 7 Ricki and the Flash Sony 4,556,254 -38.3 2,064 2,207 10 14,641,971

10 8 Trainwreck Universal 3,836,160 -44.7 1,998 1,920 31 97,955,120

11 9 Pixels Sony 3,367,260 -46 2,176 1,547 24 64,485,041

12 11 Shaun the Sheep Movie Lionsgate 2,881,311 -38 2,360 1,221 12 11,148,582

13 10 Southpaw Weinstein 2,414,335 -55 1,727 1,398 24 45,621,625

14 12 Inside Out Disney 2,046,076 -35.4 1,019 2,008 59 339,365,873

15 13 Jurassic World Universal 1,239,840 -43.9 738 1,680 66 637,971,480

16 16 Mr. Holmes Roadside 837,339 -41.4 589 1,422 31 14,317,429

17 15 Paper Towns Fox 588,908 -66.2 599 983 24 30,404,908

18 25 The End of the Tour A24 405,650 65 133 3,050 17 944,313

19 17 Irrational Man Sony Classics 404,563 -51.6 425 952 31 3,083,423

20 NEW Brothers: Blood Against Blood Fox 357,404 — 164 2,179 3 357,404

21 18 San Andreas Warner Bros. 355,314 -32.7 266 1,336 80 153,465,030

22 23 The Assassination Well Go USA 293,230 1.9 29 10,111 10 819,111

23 19 Le Mirage E1 288,784 -28.4 80 3,610 12 1,483,791

24 30 Max Warner Bros. 276,120 81.1 304 908 52 41,170,952

25 20 Spy Fox 215,776 -46.2 226 955 73 109,847,503

26 24 Amy A24 210,517 -22.3 131 1,607 45 7,374,123

27 31 Phoenix IFC 208,239 62.6 54 3,856 24 524,186

28 21 Terminator Genisys Paramount 150,861 -58.1 185 815 47 88,809,708

29 28 Mad Max: Fury Road Warner Bros. 122,147 -36.3 168 727 94 152,727,123

30 37 Best Of Enemies Magnolia 120,986 48.3 47 2,574 17 341,675

31 27 Ted 2 Universal 117,920 -41.5 176 670 52 81,128,340

32 29 Tomorrowland Disney 117,000 -17.3 157 745 87 92,959,526

33 38 The Diary of a Teenage Girl Sony Classics 107,052 104.6 22 4,866 10 189,446

34 32 Avengers: Age of Ultron Disney 105,799 -13.2 103 1,027 108 457,358,116

35 26 Magic Mike XXL Warner Bros. 100,389 -63.4 162 620 47 65,591,642

36 NEW Mistress America Fox Searchlight 93,206 — 4 23,302 3 93,206

37 NEW Meru Music Box 91,279 — 7 13,040 3 91,279

38 35 Home Fox 63,779 -47.6 129 494 143 177,195,091

39 51 Cop Car Focus 50,826 80.4 60 847 10 86,165

40 NEW Go Away Mr. Tumor China Lion 50,036 — 15 3,336 3 50,036