Riding Globes, ‘1917’ ends ‘Star Wars’ box-office reign

Advertisement

Advertise with us

LOS ANGELES - It took the Great War to finally take down “Star Wars.”

Read this article for free:


or

Already have an account? Log in here »

To continue reading, please subscribe:

Subscribe and receive a limited-edition Free Press branded hat or tote.

Digital Subscription

One year of digital access for only $205*

  • Enjoy unlimited reading on winnipegfreepress.com
  • Read the E-Edition, our digital replica newspaper
  • Access News Break, our award-winning app
  • Play interactive puzzles

*First annual payment billed as $205.00 + GST for one year. This annual subscription will automatically renew at $233.00 + GST every 52 weeks (10% off the regular annual price of $259.35). Offer available to new and qualified returning subscribers only. Cancel any time.

To continue reading, please subscribe:

Add Free Press access to your Brandon Sun subscription for only an additional

$1 for the first 4 weeks*

  • Enjoy unlimited reading on winnipegfreepress.com
  • Read the E-Edition, our digital replica newspaper
  • Access News Break, our award-winning app
  • Play interactive puzzles
Start now

*Your next Brandon Sun subscription payment will increase by $1.00 and you will be charged $17.95 plus GST for four weeks. After four weeks, your payment will increase to $24.95 plus GST every four weeks.

Hey there, time traveller!
This article was published 13/01/2020 (2457 days ago), so information in it may no longer be current.

LOS ANGELES – It took the Great War to finally take down “Star Wars.”

Director Sam Mendes’ World War I story “1917″ brought in $36.5 million in its first weekend of wide release, easily topping the box office and ending the three-week reign of “Star Wars: The Rise of Skywalker,” which brought in $15 million, according to studio estimates Sunday.

Universal’s expansion strategy worked beautifully for “1917,” as the film went from just 11 screens in its first two weeks to more than 3,400 on the weekend after it won Golden Globes for best director and best drama film, and just before Monday’s Academy Award nominations, where it’s likely to get nods in several categories.

This image released by Disney/Lucasfilm shows Daisy Ridley as Rey in a scene from
This image released by Disney/Lucasfilm shows Daisy Ridley as Rey in a scene from "Star Wars: The Rise of Skywalker." (Disney/Lucasfilm Ltd.)

“This is the blueprint for how to perfectly execute the platform release for a potential Oscar nominee and Oscar winner,” said Paul Dergarabedian, senior media analyst for Comscore.

While the epic wartime feel of “1917,” which was shot and edited to appear as though it was done in a single take, makes it a natural for major awards, its triumphs at the Golden Globes were a surprise over other dramas including “The Irishman” and “Marriage Story.”

“I hope this means that people will turn up and see this on the big screen, the way it was intended,” Mendes said at the Globes ceremony. Those hopes weren’t unfounded.

A good weekend was expected for the film, but it shot past those expectations.

“It’s the not like the kids were clamouring for a World War I trench drama,” Dergarabedian said. “A film like this could have easily slipped off the radar.”

With its previous two-week take, “1917″ has now earned $39.2 million in the U.S. and Canada and over $60 million globally. That’s of course dwarfed by Disney’s total domestic take of $478.2 million for “Star Wars: The Rise of Skywalker,” which is on the verge of reaching $1 billion globally after four weeks.

“Jumanji: The Next Level” was in third place in its fifth week of release for Sony with earnings of $14 million, and has totalled more than $257 million domestically.

Sony has a smaller sort of hit in “Little Women,” which could also make a mark at Monday’s Oscar nominations and continues its strong run for a film of its kind, bringing in another $7.65 million to put it in the sixth spot with a total of $74 million after three weeks.

The usual January box-office blahs were in effect for the week’s new releases.

“Like a Boss,” Paramount’s comedy starring Tiffany Haddish and Rose Byrne, finished in a fourth-place tie at $10 million with “Just Mercy.”

“Underwater,” 20th Century Fox’s deep-sea adventure starring Kristen Stewart, brought in a tepid $7 million and finished below “Little Women.”

“For newcomers, this is usually not a bountiful time for the box office,” Dergarabedian said. “It’s usually about the holdovers and awards-season contenders.”

The tied-for-fourth $10 million finish was better news for Warner Bros.’ smaller-budgeted “Just Mercy,” which stars Michael B. Jordan in the true story of an attorney appealing a murder conviction, and like “1917” was expanded from just a few screens to a few thousand in its third weekend.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theatres, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included.

1. “1917,” $36.5 million, ($19.9 million international).

2. “Star Wars: Rise of Skywalker,” $15.1 million, ($24.2 million international).

3. “Jumanji: The Next Level,” $14 million, ($22.6 million international).

4. “Like a Boss,” $10 million.

4. “Just Mercy,” $10 million.

6. “Little Women,” $7.65 million, ($8.1 million international).

7. “Underwater,” $7 million, ($7.1 million international).

8. “Frozen 2,” $5.76 million, ($19.1 million international).

9. “Knives Out,” $5.73 million, ($5.5 million international).

10. “Spies in Disguise,” $5.1 million, ($11.4 million international).

___

Follow AP Entertainment Writer Andrew Dalton on Twitter at: https://twitter.com/andyjamesdalton.

Report Error Submit a Tip

More Stories

Letters, Oct. 5

7 minute read 2:01 AM CDT

Fighting the good fight

Re: Transit, roads and city council’s priorities (Oct. 2)

Many thanks to Erna Buffie for once again speaking up for transit.

When will Winnipeg finally make the shift from a car-dependent culture to a greener and more efficient way?

Hydro’s planned outages turn out the lights for thousands across province

Nicole Buffie 4 minute read Preview

Hydro’s planned outages turn out the lights for thousands across province

Nicole Buffie 4 minute read Wednesday, Jul. 15, 2026

Business owners in the East Beaches area of Lake Winnipeg hauled out generators Wednesday after a planned Manitoba Hydro outage left thousands of residents and cottagers without power.

Lise Bourassa, who runs several stores in Grand Beach, had to rent generators to accommodate the eight-hour blackout, which affected the area from Beaconia to Victoria Beach as well as Sagkeeng First Nation, while Hydro crews fixed a pole that was damaged by fire in May .

Despite the spare power source, she was only able to open one of her stores during the outage and said it came at a bad time.

“I understand the importance of what Manitoba Hydro is doing, the problem all the businesses in this area are having is that our season is very short and to be shut down for a full day has a fairly big impact, plus they added cost of getting generators,” she wrote in a message to the Free Press. “We also had less than one week to make arrangements, find electricians and generators to be able to keep all the food safe.”

Read
Wednesday, Jul. 15, 2026

Stuck ship thrusts sleepy Suez Canal village into limelight

Samy Magdy, The Associated Press 4 minute read Preview

Stuck ship thrusts sleepy Suez Canal village into limelight

Samy Magdy, The Associated Press 4 minute read Monday, Mar. 29, 2021

I yearn to see the man at the helm. Does he resemble the overgroomed Francesco Schettino, the captain who steered the Italian cruise ship Costa Concordia onto the rocks off Tuscany in 2012 and then hastily hopped off the ship? Are they the same man?

Read
Monday, Mar. 29, 2021

Hydro Québec faces issue we should avoid

Editorial 4 minute read Preview

Hydro Québec faces issue we should avoid

Editorial 4 minute read 2:01 AM CDT

You might be tempted to call it a canary in an electric power generation coal mine.

But instead, it’s just another heads-up into the already-obvious problem with the proliferation of data centres.

This week, Hydro-Québec went before the Régie de l’énergie, Québec’s public utilities board, to change the rules for new and existing large data centres.

Now, it was not that long ago that Hydro Québec was actively wooing data centres — offering bulk power rates to be used to lure labour-intensive, power-hungry heavy industry (think aluminum smelters) with rates substantially lower than they offer Québec’s own residential customers. It was a way to use surplus power to create jobs and drive economic activity.

Read
2:01 AM CDT

Three could prove an awkward crowd

Maureen Scurfield 4 minute read 2:00 AM CDT

DEAR MISS LONELYHEARTS: My girlfriend and I — two women in our late 20s — are finally getting married.

Previously, we were both living with guys and it didn’t ever work for us. She thinks marriage itself was not her problem, but that guys are basically not suited to “loving” in the special ways two women can love.

So, here I am getting ready to give marriage another go — but with her! She’s a woman who’s a wonderful chef, decorator and a mother of two from her previous marriage. The problem we have as partners? I don’t care for the domestic arts myself — but I’d still like to have a child of my own.

That brings up another issue. I also have a male friend who’d be happy to get me pregnant — an old pal of mine who is a bachelor and would like to be a father and continue being platonic friends with me. He’d also help support the child financially.

Uncanny acting and bittersweet script a fitting tribute to Laurel and Hardy

Randall King  4 minute read Preview

Uncanny acting and bittersweet script a fitting tribute to Laurel and Hardy

Randall King  4 minute read Friday, Feb. 1, 2019

Laurel and Hardy, arguably one of the greatest comedy teams ever to grace the Vaudeville stage and screen, enjoyed a long and fruitful partnership. In fact, it lasted so long, it might as well have been a marriage.

That is the dramatic gist of this film by Jon S. Baird (Filth), who examines the duo in their career twilight, touring the music halls and theatres of England, circa 1953.

The Lancashire-born Stan Laurel (Steve Coogan) has the advantage of being on home turf. Oliver Hardy (John C. Reilly) is hobbled by health issues. While their routines are very much rooted in the English music hall tradition, they are past their prime. Feature films are the medium of choice for comedy duos. Laurel, who has a plaintive moment staring at a freshly installed billboard for the latest Abbott and Costello movie, is trying to cut a deal for a new film based on the legend of Robin Hood. It becomes increasingly obvious that the English producer he’s trying to contact is avoiding him.

Hardy is under different stresses, including failing health and an unhealthy penchant for the vices of drinking and gambling.

Read
Friday, Feb. 1, 2019