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Review: ‘Suicide Squad’ Is Not The Home Run That WB/DC Needs

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Title: Suicide Squad
Director: David Ayer
Summary: A secret government agency recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency.

I believe that DC and Warner Bros were in an interesting spot going into Suicide Squad, or at least not in a position they expected. It seemed like the plan was for Batman v Superman: Dawn of Justice to be the ‘sure thing’ while giving Suicide Squad the freedom to do things different and take some risks. However, Batman v Superman might have made back its budget although it was critically panned and did not do as well as DC/WB were hoping. Now the pressure was on Suicide Squad to basically justify the entire DC Cinematic Universe. That is a lot of pressure on a movie banking on a very different concept with a marketing campaign that seemed to owe more to Guardians of the Galaxy than any previous DC property. There has been a cautious optimism following this movie from the moment its trailer leaked from Hall H at Comic-Con in 2015.

Suicide Squad is not the full scale disaster that Batman v Superman was, but due to an extremely lackluster script and some poor aesthetic decisions it does not hold up.

'Suicide Squad'
The Suicide Squad

To start off allow me to be clear that while I do prefer Marvel movies I did try to go into this movie with as little of a bias as humanly possible. I enjoyed director/writer David Ayer’s previous movie Fury a lot and I’ve been enjoying the marketing for this movie quite a bit. I went into this one a lot more hopeful than I did going into Batman v Superman and in a lot of ways that makes this failure even worse . I wanted this movie to be good because I want there to be good DC movies but Suicide Squad barely rises into ‘average’ territory. The structure of this script is a complete disaster. There is barely a first act and it’s littered with brief flashbacks to how each member of the team got caught, and then no second act at all. It was like there was an entire reel of the movie missing, only movies aren’t shown on reels anymore. The transition is about as clunky as you can imagine.

The decision to jump into the action diminishes the very thing that makes team-up movies fun; team dynamics. It is the thing that makes movies like this fun, but while the cast has decent chemistry and is obviously having fun none of that is derived from the script. There aren’t any moments where they really bond or even talk to each other, aside from the moment in the bar that is featured in the trailers. By then it’s too late and more than halfway into the movie. The movie moves from set piece to set piece without any of the connective tissue that makes a movie great. The fun of a team-up is watching the clash of various personalities, but for a bunch of sociopaths we don’t really see anything like that. In fact, for a bunch of criminals, we don’t get to see them do anything really fun.

There is also the fact that this movie is rather atrocious toward its female characters. I could write an entire article on this (and I probably will) but to say that this movie fails the women in it would be an understatement. Katana (Karen Fukuhara) is woefully underused and doesn’t really have a point to her being there. Amanda Waller (Viola Davis) isn’t given any dimension that might make a morally dubious character like her fun. In fact she is just as bad as the people she is controlling, if not worse, and it just makes her unlikable. Enchantress (Cara Delevingne) is a character I can’t get into without spoiling things but her look of a metal bikini is so over the top and pointless that I had to roll my eyes. Harley Quinn (Margot Robbie) makes off worst of all. She has no agency aside from the various men in her life and her design is so pointless and over sexualized that, at times, it felt like it was part of a joke I didn’t get. The movie doesn’t address how messed up her relationship with the Joker (Jared Leto) is and, at times, I felt like it was even romanticizing it in a positive way.

Suicide Squad is a movie I could discuss using another one thousand words about all of the ways it disappoints. Leto goes for broke in the performance but he and Robbie feel like they are trying way too hard half the time. There is not a single person worth rooting for here, and while I understand that they are bad guys they aren’t engaging enough to make watching them interesting. The plot makes zero sense, even by comic book standards, and there isn’t a single action scene that I remember fondly less than twelve hours after seeing the movie. While Batman v Superman: Dawn of Justice was the equivalent of a sucker punch to the face Suicide Squad is a sharp kick to the shins. While one is objectively better than the other, it doesn’t make either of them good.

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‘Luke Cage’ Episode 4 Title Revealed

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As reported on Friday, July 29, the first three episode titles for the upcoming Luke Cage series were released. To read that article, click here. The showrunner, Cheo Hodari Coker, claimed that he would release new episode titles every Friday until the show’s premiere date, September 30; to our surprise, however, he dropped the title for episode 4 on Twitter.

Coker is now on track to release each episode title before the show’s premiere date.

To summarize, here are the episode titles we know so far.

Episode 1: Moment of Truth.

Episode 2: Code of The Streets.

Episode 3: Who’s Gonna Take The Weight?

Episode 4: Step In The Arena. 

“Luke Cage is a former gang member who is framed for a crime. In prison, he volunteers for a medical experiment that goes awry, giving him super strength and bulletproof skin. Using his newfound powers, Cage escapes and becomes a hero for hire. His archenemy is Willy Stryker, a former childhood friend from Harlem. The two committed petty crimes together, and both fell for the same woman, Reva Connors, which led to their eventual falling out. It was Stryker who framed Cage for a drug deal that sent him to prison.”Screencrush.

Season one of Luke Cage hits Netflix on Friday, September 30.

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Paul Dano Announces Directorial Debut, ‘Wildlife’

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Paul Dano has worked with quite a few high profile directors over the years. Paul Thomas Anderson. Steve McQueen. Denis Villeneuve. Bong Joon-Ho. Rian Johnson. Spike Jonze. Richard Linklater. That’s only naming a handful. The 32-year-old actor continuously builds an exceptional resume for himself, and it was only complimented with Swiss Army Man, which currently sits as my favorite film of the year. So he’s ready to take on the next step: the director’s chair. The prolific performer will make his directorial debut with Wildlife, based on the 1990 novel of the same name by Richard Ford.

As Variety notes, the coming-of-age drama centers on a teenage boy who watches his parents’ marriage come apart after they move to Montana. Perhaps not the most riveting synopsis in the world, but Dano provides a sensitivity, patience and observance in his acting that will very likely translate well in his work on the other side of the camera. He adapted the screenplay alongside Zoe Kazan, his real-life partner and co-star in 2012’s Ruby Sparks, which she wrote. Kazan will also executive produce while Dano produces. Also producing are Oren Moverman and Ann Ruark, who both previously worked with Dano on last year’s underseen Love & Mercy. Also attached to produce is Alex Saks of June Pictures.

At this moment, neither Kazan nor Dano are expected to act in the film, and there are currently no actors attached to the project at this time. There’s no production date announced at this time either. More details should come momentarily, however. While it’s impossible to know for sure how this one will turn out, Dano’s past work — along with all the great filmmakers he has worked with — suggests he’s poised to become an exceptionally bright independent filmmaker, one with a great depth of empathy, delicacy and susceptibility that should serve him well in this youthful story. I truly hope for the best.

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Review: ‘Steven Universe’: Gem Hunt: Tundra Troubles

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Steven and Connie track a Gem monster through the wilderness but its tracks lead them to mystery.

SPOILER ALERT

From here on as the season enters its last nine episodes it will be very hard not to talk about these episodes without dropping some kind of spoiler so might as well just spoil them so all the details can be addressed properly. Pearl takes Steven and Connie on their first joint mission to look for corrupt Gems. They do end up finding a pair and to properly investigate the group must split up allow the episode to become centered on Steven and Connie.

The experience allows the creators to display what Steven and Connie have learned through their training. Moments like this help to show the characters have grown and stresses he importance of watching every episode to appreciate the journey. This can be hard at times given the lighter and more comical episodes this season but now it pays off.

With only nine episodes left the drama and action are starting to build. Jasper appearance shows she is working to build an army of corrupted Gems. She is obviously trying to defeat the Crystal Gems and make up for the mistakes she’s made in the past. Defeating them would make put her on back in good graces with Homeworld but with any luck Steven and the rest will be able to stop her before something bad happens.

It does feel weird to have Connie talking about conspiracy theories about society collapsing. Still her cool head and preparation does help to balance out Steven’s goofy antics. Hopefully she will be back a few more times this season. Her efforts have shown she needs to be a part of whatever happens in the upcoming season finale. She doesn’t deserve to be absent from battle like she was with the incident with the Cluster.

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Agents of S.H.I.E.L.D. Casting News: Season Four

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Caution: While S.H.I.E.L.D. casting does not directly spoil plot points for season four, the discussion includes many spoilers from the end of Season Three. Casting news also answers a question or two left open-ended last season. Proceed at your own risk.

Jason O'Mara S.H.I.E.L.D. castingEver since SDCC, news has steadily rolled out about season four of Marvel’s Agents of S.H.I.E.L.D.  Most of this news relates to casting–and the latest gossip is no exception. The newest confirmed addition to the show is Jason O’Mara (ComplicationsJustice League Dark). O’Mara joins the cast as the new Director of S.H.I.E.L.D (Marvel).

The Pros

O’Mara is a talented actor with credits all over the map. From Batman one-shots to television dramas, all the way to the Royal Shakespeare Company and back again, his talents will certainly translate well at S.H.I.E.L.D.

Luke Mitchell Lincoln Campbell
Did You Know Luke Mitchell is Australian?

O’Mara is also Irish, which means he may have long-lost ties to Fitz. That adds competition to the “Dr. Dadcliffe” theories from season three. And yes–we know that not all actors have kept their accent on the show. We also know that Ireland is a different country from Scotland. Neither fact eliminates him from the running, in our opinion.

To the contrary, executive Producers and writers Jed Whedon and Maurissa Tancharoen confirmed that season four will delve more into Fitz and Simmons’ backstories. In an interview at SDCC, Whedon explained more specifically: “Now that [Fitz and Simmons] are together, the obstacles that usually come when you find someone is the people that come with them and the families. Everything will change.”

The Cons

mack-and-may-shieldLet’s address the elephant in the room here: a new, white, male character is added to the show in favor of seeing May, Mack, or Maria Hill in a position of power. Watching a new character take the position of Director instead of these powerhouses feels like the disappointment Snape suffers every year when he’s passed up for the Defense Against the Dark Arts job. Again.

We know that May didn’t want to get back into the field circa Season one. Now that Andrew is dead and Quake on the run, many fans were holding out hope that she would take over the agency. Mack took the position of interim director several times, as well. While we saw him in the field with Coulson at the end of season three, there were still theories that he’d take the position officially while his partner is missing.

The possibility that Maria Hill would join the cast on a permanent basis was also among the Director theories. Keeping things in the “family” would downgrade the threat of another betrayal within the ranks of S.H.I.E.L.D. Adding a new character brings that (now repetitive) threat back up to orange.

Questions Raised by S.H.I.E.L.D. Casting News

Nick-Fury-ComicsAccording to Marvel’s press release, the new director is a character “whose Marvel roots go back to the 1940s”, which doesn’t give away much. In fact it raises more questions than it answers, considering the only canon director with roots that long is Nick Fury himself. For O’Mara to play Fury, some uncomfortable retconning would have to unfold. We’re guessing Marvel isn’t choosing that route.

This quote also begs the question: are we talking “real” 1940’s, or MCU 1940s? Is O’Mara a brand new descendant of characters from Agent Carter? A Howling Commando? Someone completely new to the universe?

Who else could O’Mara play? Options for his character litter the field of possibility. This leaves us with more questions than answers. What do you think of this S.H.I.E.L.D. casting news?

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Foggy Nelson To Appear In ‘The Defenders’

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The Defenders might have a conceptual trailer but the series is still at least a year and a half away. However, that doesn’t mean that rumors of casting aside from the four core members of Daredevil (Charlie Cox), Jessica Jones (Krysten Ritter), Luke Cage (Mike Colter), and Iron Fist (Finn Jones) have’t started. Aside from those four we have confirmation that Malcolm (Eka Darville) from Jessica Jones it appears that the other half of Nelson and Murdock might be making an appearance.

According to the MCU Exchange Elden Hensen, who plays Foggy Nelson, confirmed that he’s going to make some sort of appearance in the upcoming team up.

“During an appearance at a convention this weekend, Elden Henson, who plays Foggy Nelson in the Daredevil series, confirmed that he’ll be appearing in The Defenders in an unknown capacity. This makes the second cast member from one the solo shows to be confirmed for The Defenders – outside of our heroes, of course – as Eka Darville (Malcolm in Jessica Jones) has previously confirmed his involvement.”

The Defenders will go into production along side Jessica Jones season 2 later this year previous reported. Since Luke Cage is making his solo debut September 30th and Iron Fist is well into shooting it’s safe to assume that Iron Fist is looking at the spring 2017 release and The Defenders is looking at the fall 2017 slot for its release date. Once production starts later this year we can expect even more casting confirmations and rumors to start up.

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Michael Biehn is Back for Neill Blomkamp’s ‘Alien’, and He Hints at a New Newt

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Here’s some awesome news for your Monday: it sounds like Michael Biehn is returning to the Alien franchise in Neill Blomkamp’s upcoming Alien sequel.

Biehn was Corporal Hicks in James Cameron’s Aliens, and survived the attack along with Sigourney Weaver’s Ellen Ripley and Newt. But then, Fox’s nihilistic third entry into the franchise killed off Hicks and Newt, and went on to gain more fame for its troubled production than anything else.

Since Blomkamp’s movie is ignoring Alien Cubed and Resurrection, it makes sense that Corporal Hicks is back. But that didn’t necessarily mean Michael Biehn – the GREAT Michael Biehn – was back on board. Well, in an interview with Simon Thompson at Forbes, Biehn confirmed he was, in fact, returning:

Well, she’s [Sigourney Weaver] doing the movie, Chappie, and he pitches her an idea for another movie in the Alien franchise, which I thought was dead and gone as she probably did too as well as Fox. He tweeted out some pictures of me, he said he’s going take the third and fourth film and act like they never happened and things blew up. It looked like it was all go and then Ridley Scott decided that he was going to do a second and third film in the Prometheus series, but Sigourney says they are still doing their project. I think it would be very embarrassing to Fox if they don’t give Sigourney the movie that she really wants to go out on. I don’t know when it’s going to happen but I know it’s going to happen and I know I’m going to be in it and there’s going to be a new Newt, she’s going to be about 26 or 27 and looks a lot like Jennifer Lawrence to me but I don’t know. Maybe there’ll be a passing of whatever and then the franchise can move on so they can make more money because that’s what it’s all about.

Excellent news. Also, how about the little nugget Biehn dropped in there about the new Newt possibly looking a lot like Jennifer Lawrence? This project is transforming in front of our eyes from some sad attempt at a reboot with the flailing Blomkamp behind the camera, to a thrilling new entry into a franchise that needs a shot in the arm.

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30 Years Since Jason Lives: A Look Back At ‘Friday The 13th VI’

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We Look Back At The Movie That Changed The ‘Friday The 13th’ Franchise Forever!

It’s hard being one of the longest running horror franchises. You have to remain fresh with new ideas. There is a new ‘Friday The 13th’ film scheduled for 2017 and they have to find ways to be original. Now, imagine how the creators of 1986’s ‘Jason Lives’ felt. They had the task of following a critical and commercial bomb titled ‘Friday The 13th: Part 5’. Also, you had the hype of bringing back the Jason Voorhees we know. The film turned out to be a re-invention of the franchise and pushed the boundaries of what slashers could be.

The director of ‘Friday The 13th VI: Jason Lives‘ Tom McLoughlin was given the chance to create something spectacular and fun for the character of Jason. Inspired by Universal Horror pictures and the director’s comedy background, audiences received a proper departure from previous films without disrespecting previous installments. Recurring character Tommy Jarvis brings Jason back to life in a Frankenstein homage; turning Jason Voorhees into an zombie-like character. It helps explains why we can have the slasher come back to life so easily and adds something new to the character.

These changes started creating a more well-rounded film and made the film feel more involved with the fans. With the meta humor, ‘Jason Lives‘ feels like a pre-cursor for iconic self-referential film ‘Scream‘. Characters are aware that maniacs like Jason exist and we get subtle humor sprinkled throughout.

“I’ve seen enough horror movies to know any weirdo wearing a mask is never friendly.”
-Lizabeth (‘Jason Lives‘)

For years the films seemed behind the times but ‘Jason Lives‘ tried to get in touch with the mainstream. Their biggest attempt was connecting with rocker Alice Cooper who provided 3 songs for the film, one being the film’s theme song. 1980’s was about connecting rock & roll with your project but this seemed like a failed attempt to make Jason cool.

https://www.youtube.com/watch?v=1Vbb9Z2J0bA

It seemed like audiences didn’t agree with attempts at bringing back hardcore fans. Maybe they were jagged by the last film or tired of slashers but it failed at the box-office. ‘Jason Lives‘ lost out to ‘Aliens‘ for the first place spot during its opening weekend. It also became the lowest grossing film in the franchise at the time.

Even when changing the format in a positive way, the film tanked but ended up doing well on home video sales. Since ‘Jason Lives‘, the other ‘Friday The 13th‘ films have featured zombie Jason introduced here. Sadly, we weren’t treated to the same intelligent humor featured in Part 6.

30 years since the release, I admire what this movie has done for Friday The 13th and the horror genre. Jason Voorhees never seemed so brutal but this is also a chance to cheer for the villain. ‘Friday The 13th VI‘ remains one of the best of the 12 deep film franchise. Only the original & ‘The Final Chapter‘ rate higher than this.

Jason Lives

Do you like ‘Friday The 13th VI: Jason Lives‘?

Let me know in the comments below!

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‘Mario Warfare’ – Webseries Review

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One of the things I love about Youtube is how you can find a real gem on the internet. And you can do it with little effort. From finding new music, to youtubers doing hilarious Let’s Plays or movie reviews and the like, you’ll find everything.

Among a recent find for me was the webseries, Mario Warfare. Under the Beat Down Boogie channel, the series follows the famous plumber and his brother as they fight a very rude invasion by Bowser and company.

This is a fan film based on several properties associated with the Nintendo company. Or at the very least they have been in a Smash Brothers game. Anywho, the series is a true labor of love and it shows throughout the project.

Something I was impressed was the writing in the series. Characters like Mario, Peach and Luigi had more life to them outside of what is seen in their respective games. Let’s be honest, Mario games are not known for hard hitting story lines, and probably never will.

Here there’s death, destruction, blood, and adult humor abound. And it’s great!

Mario is not a man to be trifled with and holds his own in a fight. Luigi, one of my favorite characters, stole more than a few scenes he was in. And it was great to see Peach take on role that didn’t require her to be a damsel in distress.

Fight scenes are well choreographed. And the pacing usually hits the mark. Though there were a couple seemed to draw on longer than the scene required. I still think the first scene with Mario taking on some bad guys was the best of the series. And Toad’s introduction was none too shabby either.

I liked how characters ranging from Link, Ness, Red/Ash, Kirby and others were used in the story that actually worked in the story. They didn’t feel forced and more importantly, it didn’t mess with the pace of the story.

I was also impressed with the cinematography, as most fan made projects tend to suffer from technical limitations. This was rarely an issue for this one, and helps to immerse the audience into the movie.

One issue I did have with the film was the treatment of Peach’s atory arc. While I was thrilled with seeing her being more than a goal for a male lead, I found her arc to being a little stifled near the climax of the film.

We see her go from a proper princess, to a warrior trained in combat, to winning the respect of the other protagonists in pugilist combat. She wins their respect by her own skill, which was why I was little bummed when her big fight at the end ends with her being rescued by another character.

It felt anti-climactic, and seemed to undermine her growth as a character, which I loved.

I also loved the music as it didn’t feel like it was hastily thrown together to the lowest bidder.

All in all, this was a web series I really enjoyed watching. Which is a feat since I’ve never been a fan of Mario. If you’re looking for something to watch in lieu of the recent crop of summer flicks, I would highly recommend you check Mario Warfare out.

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Box Office Breakdown: ‘Jason Bourne’ Hits Big, ‘Bad Moms’ Does Pretty Good

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There was no question who would take the weekend. It was Jason Bourne‘s for the picking, and the Universal picture delivered as it was expected. The action sequel, the third directed by Paul Greengrass and the fourth to star Matt Damon, came in number one and earned a solid $60 million, making it one of the best releases of the summer — at least financially — and one of the few films to beat its predecessor of late, almost earning twice as much as The Bourne Legacy‘s $38.1 million debut. The studio should certainly be pleased.

Jason Bourne didn’t top Damon’s last spin as the titular character, as 2007’s The Bourne Ultimatum opened with $69 million. But it’s, nevertheless, the second-best opening Damon has had in his career. Even if the film didn’t quite rise to the quality of the past installments (read my review here to hear me elaborate on that), it’s easy to see why the actor/producer came back to the part. With a $120 million budget, not including marketing, it’s already halfway into the black and it shouldn’t have any trouble earning a profit. Don’t be surprised to see more Bourne movies with Damon in the future, if they can convince him to come back again.

Bad Moms

Also impressing this weekend was Bad Moms, the newest comedy written and directed by Jon Lucas and Scott Moore, the screenwriters behind the original The Hangover, which earned a better-than-expected $23.4 million in third place. With a budget of $20 million, this one is already a hit for STX Entertainment, the Chinese studio who has struggled to make their way into the business after disappointments like Hardcore Henry and straight-up bombs like Free State of Jones earlier this year. This is unquestionably their best showing to date.

I missed my screening to see Shrek: The Musical last Thursday, and I’m not disappointed with that decision. But reviews were kinder-than-anticipated for the raunchy comedy, and it seems to fill the same sweet spot made by female-driven comedies like Spy and Trainwreck last summer, as well as Ghostbusters earlier this summer, which came in seventh place this weekend with $9.8 million. Perhaps I’ll check out Bad Moms at some point down the road.

One that I’m also interested to see at some point is Star Trek Beyond, last week’s number one placeholder, which came in second place this weekend with a flat $24 million. This puts its domestic gross above $100 million with $105.7 million in its coin purse, as it continues on its way to make back its $185 million budget. The sci-fi blockbuster seems to be meeting expectations, which is more than what can be said for a few other films this summer. Like I said, I hope to add a little extra change to its gross soon when I get the chance to see it for myself.

3422CF7200000578-3589497-image-m-33_1463163962547A movie I did see, however, and enjoyed a surprising bit was Nerve, the other new release this week, which came in eighth place with $9 million. Released on Wednesday, that brings its total up to $15 million and, with a budget under $20 million, it should be doing just fine. Also holding their own are The Secret Life of Pets in fourth place with $18.2 million added to its incredible $296.2 million domestic gross and Lights Out in fifth place with an extra $10 million accumulated to its $42.9 million domestic gross (it only cost $5 million to make).

Meanwhile, Ice Age: Collision Course continues to disappoint, at least in the U.S., with a measly $10.5 million in its second weekend, making its domestic gross an underwhelming $42.9 million thus far. This is doubly disappointing for Blue Sky Studios, as animated family films have reigned king in an otherwise disappointing summer — especially with the aforementioned The Secret Life of Pets and Pixar’s Finding Dory, which came in ninth place over the weekend with $4.2 million added to its staggering $469 million domestic gross.

Bobby (Jesse Eisenberg) and Vonnie (Kristen Stewart) in CAFÉ SOCIETY.

Finally, Dinesh D’Souza’s slanderous documentary Hillary’s America: The Secret History of the Democratic Party got knocked out of the top ten behind The Legend of Tarzan‘s fifth weekend, but it came in eleventh place with $2.3 million, which makes its domestic gross $8.7 million thus far. It’s the highest grossing documentary of the year, whether I like it or not. Additionally, Woody Allen’s charming Cafe Society is working its way up as it enters more theaters. It came in twelfth place with $2.3 million, making its domestic gross $3.9 million at the moment.

Check out the list below, courtesy of THR and Box Office Mojo.

  1. Jason Bourne Weekend: $60 million Domestic Gross: $60 million
  2. Star Trek Beyond Weekend: $24 million Domestic Gross: $105.7 million
  3. Bad Moms Weekend: $23.4 million Domestic Gross: $23.4 million
  4. The Secret Life of Pets Weekend: $18.2 million Domestic Gross: $296.2 million
  5. Lights Out Weekend: $10.8 million Domestic Gross: $42.9 million
  6. Ice Age: Collision Course Weekend: $10.5 million Domestic Gross: $42.1 million
  7. Ghostbusters Weekend: $9.8 million Domestic Gross: $106.1 million
  8. Nerve Weekend: $9 million Domestic Gross: $15.1 million
  9. Finding Dory Weekend: $4.2 million Domestic Gross: $469 million
  10. The Legend of Tarzan Weekend: $2.4 million Domestic Gross: $121.9 million
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