Truckasaurus

Wonder Woman's third Friday is bigger than that of TDKR, Age of Ultron and Civil War.

Oof, Rough Night turned out to be such an apt title.

Don't overthink it, dude. Take her to your place and have a good time.

$15M Friday for WW? Wow, $50M second weekend in the cards! Go, Diana!

So you might say you've gotta feeling... that tonight's... gonna be a good night.

Only one, you say?

I don't blame him on that one.

Speaking of superheroes, I'mma need RTH to swoop in with some sexy Sat numbers in the near future.

Do we have any Saturday numbers yet?

Low blow, ERC.

Gitesh Pandya‏ @GiteshPandya 3 minHá 3 minutos Mais With very positive aud satisfaction + kid appeal, #WonderWoman set for very strong SAT. SUN drop shd not be too bad either.

Nah, he's usually reliable. Much, MUCH more reliable than early DHD numbers, for starters.

YES DADDY

Gitesh obviously made a typo, he clearly meant 43M.

Dat bad WOM, tho!

Tell that to Deadpool and Jurassic World (just to name a few off the top of my head).

1) Wonder Woman $127.6M 2) Captain Underpants $32M 3) Pirates of the Caribbean: Johnny Depp's Lawyers Tell no Tales $21.2M (-66%) 4) Guardians of the Galaxy Vol. 2 $9.3M (-55%) 5) Babewatch $7.7M (-58%)

I don't know if Disney got cold feet over the whole Johnny Depp-Amber Heard scandal or if it was another factor, but centering their entire marketing over that vanilla Brendan Thwaites kid was really not a smart move. Hiring him in the first place was all wrong. He has the charisma of a bar of soap. I wish Hollywood would stop trying to make these bland pretty boys happen.

A 66% drop for Alien: Covenant?

It's like if the first Alien and Prometheus had some really sloppy drunk sex and neither of them is able to finish and they just keep thrusting awkwardly into each other, hoping that they're doing it for one another, but the magic is totally gone and all that's left is a massive hangover.

FYC: ANGEL HEART (Alan Parker) Back when Mickey Rourke was supposed to be the next Brando and Robert De Niro was already a legendary thespian, they worked together in this violent, unnerving psychological thriller that's something of a cult classic nowadays. It's a sleazy reimagining of the film-noir genre, tackling the relationship between the religious with the supernatural. Assured filmmaking from Parker, perhaps his best movie along with Midnight Express. Rourke is magnetic in this role and he plays off a scenery-chewing De Niro with ease. PREDATOR (John McTiernan) If you told me that John McTiernan is the best action director of all-time, you'd find no resistance from my side. It's hard to argue against a filmmaker who's delivered not only Die Hard, a benchmark for every single director who ventures into the action genre, but also Predator, a film so meticulously crafted that it sort of gets less credit than it deserves. Like the first Alien film, directed by Ridley Scott, this one feels like there's not a single ounce of fat in the narrative - it's lean, slick and moves at such a brisk pace you'll wonder where the time went by. McTiernan uses the vast landscape of the jungle to increase the tension and mystery surrounding its title character, and his creativity is on full display when we enter the POV of the creature. It's a film bathed in iconography and a smart deconstruction of the machismo tropes that permeated action films in the 80's. THE UNTOUCHABLES (Brian de Palma) Brian De Palma may be nothing more than a punchline nowadays, but make no mistake: he was one of the best American directors working throughout the 80's. Few filmmakers had the ability to extract so much from pulp genre films like De Palma, and The Untouchables is one of his crowning achievements. A throwback to the gangster movies of the old days, it's a showcase to De Palma's crafting of set pieces, mood building and character development. There's a stairway scene inspired by Eisenstein's Battleship Potemkin that is so good that is has arguably surpassed its source in notoriety. And Morricone's soundtrack is one for the ages, as most of his work tends to be. Robocop (Paul Verhoeven) Reason number 246 of why I love the 80's: it was the time when Hollywood honchos first gave Paul Verhoeven the freedom to direct major blockbusters. Can you imagine something like Robocop coming out currently? And no, I don't mean the absolutely toothless, bland reimagining that no one watched back in 2014; I mean a hyperviolent, drenched in subtext dystopian sci-fi disguised as a brainless actioner. Verhoeven is a master of satire, and it seems like Robocop flew over many people's heads back during its original release. Better yet, it's a film that feels more relevant than ever in this Trump era we live in, as its depictions of police brutality and overall fascism find parallels to many current events. Most importantly, it's a ton of fun: Verhoeven is a masterful action director and there's a biting sense of black comedy in almost every frame.

1) Guardians of the Galaxy Vol. 2 $36.8M (-44%) 2) Alien: Covenant $35.3M 3) Everything, Everything $11.6M 4) Snatched $8.5M (-56%) 5) Diary of a Wimpy Kid: The Long Haul $6.6M 6) King Arthur: Legend of the Sword $5.9M (-61%)

At the first light of the fifth day; at dawn, look to the east.

1) Guardians of the Galaxy Vol. 2 $68.8M (-53%) 2) Snatched $16.7M 3) King Arthur $13.8M 4) Fate of the Furious $4.8M (-44%) 5) The Boss Baby $4M (-32%)