August Movie Recap

With the amazing high of The Dark Knight in July pushing the yearly tally for 2008 beyond the heights of 2007, the big question for August was whether it would be able to keep up the pace. There weren’t any expectations for this August to beat last August (not after the exemplary performance from both The Bourne Ultimatum and Superbad), but staying within spitting distance would help keep the year on pace.

The Mummy: Tomb of the Dragon Emperor

Prediction: $40m Open, $130m Final

Actual: $40m Open, $100m Current, ~$105m Final

If, at the beginning of the year, you had looked at the two Brendan Fraser films and tried to guess which would be considered a hit and the other a miss, you’d probably have guessed that if any, this would have been the hit. It’s not a flop, and given the overseas success it’s likely to turn a tidy profit when all is said and done, but the domestic tally is disappointing. In comparison, Journey to the Center of the Earth manages to switch itself up twice this summer as a success story, doing it here and with Prince Caspian.

The reason for the lack of success here can mostly be summed up in the loss of fun from the earlier films. Fraser is still game, but in light of what moviegoers can get in 2008, there wasn’t any life around him. The lesson to take from this is that if you want to revive a franchise, you don’t give it to Rob Cohen to direct.

Swing Vote

Prediction: $10m Open, $45m Final

Actual: $6m Open, $16m Current, ~$16m Final

For the most part, Americans don’t like politics in their movies. They don’t like films that focus on the failures abroad, and they don’t like films that focus on the troubles at home. When things are relatively bad, Americans don’t like to be reminded that they, as a country, are fallable and mortal.

So over the past couple of years, the extreme failure of any film to deliver a message about the state of the US in relation to the rest of the world isn’t too surprising. Swing Vote didn’t have any of that, but my comparison to Dave was way off the mark. In retrospect, this makes sense for two reasons. First, the state of the US in 1993 was perceived quite a bit better than it is today, so a lighthearted comedy about the presidency could work quite well. Instead we’ve got a situation where all Americans are focused on the election. Second, the election itself is providing far more entertainment than any movie could deliver.

Ten years ago, Swing Vote might have worked perfectly, but not today.

Pineapple Express

Prediction: $30m Open, $110m Final

Actual: $23m Open, $41m Five-Day, $85m Current, ~$95m Final

The first of many August movies to get a Wednesday release without any holidays, in this case it was done to try and offset the loss of business due to the Olympics. Intially, it seemed to work quite well, because it earned $12m on it’s opening day. By Saturday, it seemed it had failed, because the business wasn’t up on Friday at all. But on Sunday, things looked good again, because it had barely dropped. It was truly one of the weirdest five-day openings we’ve seen in quite some time.

Pineapple Express hasn’t displayed the legs of the stronger Apatow films like 40-Year-Old Virgin or Superbad, but it’s not done that poorly, either. For a film that cost $27m to make and had the prime of its run go up against Michael Phelps, this is quite rosey.

The Sisterhood of the Traveling Pants 2

Prediction: $10m Open, $45m Final

Actual: $11m Open, $43m Current, $46m Final

Much like Pineapple Express and the first Traveling Pants film, this got a Wednesday release. It’s not been a breakout, but neither has it been a disappointment. There’s a showing of quiet consistency with this film, which probably means we could see a third Pants film in the not too distant future (assuming the stars don’t get too old to play the parts.) The book series has two more volumes, so there is room.

Star Wars: The Clone Wars

Prediction: $45m Open, $140m Final

Actual: $15m Open, $33m Current, ~$35m Final

There really isn’t much of a market for Star Wars outside of the hardcore fans. And apparently this turned them off as well. What this means for the forthcoming TV series remains to be seen, but it’s a terrible result for the film. I believe Lucas saw $100m as the break even point for this one.

Tropic Thunder

Prediction: $30m Open, $110m Final

Actual: $25m Open, $37m Five-Day, $96m Current, ~$110m Final

Like Pineapple Express, this got a non-holiday Wednesday release. It wasn’t quite so spectacular from the start, earning half as much on the opening day, but it’s held up much better. It managed to grab the #1 spot from Batman and hold it for three weeks, only losing the position this past weekend to Nicholas Cage, and even there just barely.

The difference between this and Pineapple Express is the budget. While the Apatow comedy had a small $27m budget, this one apparently cost at least $90m to make. It’s still likely a success, since the home video market will certainly cover the costs, but the road is a bit longer. There’s a chance it might break even with the overseas totals, but that’s not guaranteed. This is a film that’s aimed rather strongly at American audiences.


Prediction: $5m Open, $15m Final

Actual: $11m Open, $27m Current, ~$33m Final

While the shine has certainly come off of Asian horror remakes, there’s still a bit of life left in the genre. The run for this one is eerily reminiscent of February’s The Eye. This is probably an okay result for distributor Fox, as horror tends to be a cheap genre.

The House Bunny

Prediction: $10m Open, $30m Final

Actual: $15m Open, $37m Current, ~$55m Final

Call this one a win for Anna Faris. She can probably do enjoyably dumb better than anyone else in Hollywood, and her success here probably means she’ll have more of a career than Scary Movie sequels. In six or seven years, she’ll probably be ready to do a daring dramatic turn that’ll get her an Oscar nomination.

Death Race

Prediction: $10m Open, $25m Final

Actual: $13m Open, $30m Current, $40m Final

Some people are calling this a failure, but I’m really not sure why. He makes films that end up in the $25-$45m range, and he does that consistently and usually enjoyably. The niche he’s found in providing low-brow, low-budget, high-thrills entertainment in the dregs of summer is something that Hollywood should celebrate, frankly. It’s not like they have to pay the guy a ton. Death Race is playing right in line with his films.

If anyone deserves the blame here, it’s probably Paul W.S. Anderson. Had this film cost $25m, everything would have been golden, but it cost $45m and it’s considered a failure. It’s not a failure, because it would be nearly impossible for this to lose money after the home video release, but there’s still some headline focus on the theatrical release as the profit-maker.

Next up for Statham is Transporter 3, where he gets a massive holiday upgrade from Labor Day to Thanksgiving.

Fly Me to the Moon

Prediction: $5m Open, $10m Final

Actual: $2m Open, $8m Current, ~$10m Final

There was a plan here, I think, to try and use this film to springboard a studio to getting more computer animation films in wider release. It didn’t work. Neither did the 3D release.

Babylon A.D.

Prediction: $20m Open, $45m Final

Actual: $9m Open, $17m Current, ~$25m Final

Vin Diesel apparently passed on the lead role in Hitman for this. Not that passing on Hitman is anything to be ashamed of, but with Diesel in that role instead of Timothy Olyphant, it might have even gotten to $50m. Instead we’ve got this film, which is a less-good Children of Men. In fact, it’s so bad that director Mathieu Kassovitz disowned it before the release. Not entirely, since this isn’t an Alan Smithee film, but he did contend that the studio had ruined it.

For Diesel, he’s got Fast & Furious coming out next June, which reconnects him with fast cars and Paul Walker, who has arguably had a better career than Diesel since they starred together in the first film. If it doesn’t fly, Diesel might end up taking the Wesley Snipes career route.


Prediction: $8m Open, $15m Final

Actual: $2m Open, $4m Current, ~$6m Final

With the success of Tropic Thunder, Pineapple Express, and The House Bunny there really hasn’t been room for other comedies. There are many reasons this film is a failure, but I think that one stands out: “Best. Weekend. Ever.” is a terrible tagline to try and sell a film. I bet they wish this film was as successful as Eurotrip ($17m final).


Prediction: $2m Open, $5m Final

Actual: $8m Open, $17m Current, ~$30m Final

After an extremely soft Wednesday release of under $800,000, Traitor managed to surprise a bit over the long Labor Day weekend, with over $11m in six days. It hasn’t garnered strong critical praise, but this is going to be Don Cheadle’s biggest headlining film. It’s even bigger than some which have paired him with bigger stars, such as Reign Over Me with Adam Sandler.

Disaster Movie

Prediction: $5m Open, $10m Final

Actual: $6m Open, $11m Current, $17m Final

Slowly but surely, the [x] Movies are dying and may soon be but a bad memory. I’m not sure how long that will take, though, as they’re dirt cheap to produce.

The Rocker

Prediction: $15m Open, $55m Final

Actual: $3m Open, $6m Current, $6m Final

Well, it got bumped a few weeks, so instead of competing with Step Brothers and Pineapple Express for comedy dollars, it ended up competing with Tropic Thunder, The House Bunny, Disaster Movie, College, Hamlet 2, AND Pineapple Express. There’s really no good news here except that the film only cost $15m to produce. The opening (actually $2.6m) is the worst for any film to open in 2500 theaters or more.

Moreover, it’s second-to-third weekend drop of 84% is terrifically bad, in the territory of Uwe Boll films and Gigli. It also lost the second most theaters going into the third weekend, beaten only by Meet Dave. Rainn Wilson might have wanted to try his hand at movies in the TV offseason, but he really needs to get in on a film with some bigger stars to carry him along.


The Dark Knight’s total is up over $510m, and it’s almost certain to get to $530m. It’s entirely possible that it shoots past $550m, if only because of IMAX screenings. $55m of its total has come from the bigger than big screens and they’re apparently still selling out on weekend. Plus there’s a chance that WB will re-release it for the Oscar season. If they do, it’s possible that it would nudge past Titantic on the all-time list. Of course, the money is likely better if they just do a DVD release in time for the holidays, but there are a lot of bragging rights to being number one. And it’s not likely that the record would fall any time soon. The only real chance is if Star Wars gets another theatrical release which earns it $140m or more. After the reception of The Clone Wars, that’s not too likely.

Also, while there’s some good in August, it wasn’t enough to keep ahead of last year’s pace. 2007 managed to pass $7 billion by the end of the Labor Day weekend. 2008 isn’t quite there and is running about 1% behind right now.

July Movie Recap

Before I drop into the recap for July, I’d like to look at Wall-E again. In my June recap, I estimated that it would end up around $250 million. This was largely because Pixar films tend to have strong legs with final tallies at least four times the opening weekend. The opening here was $15m ahead of Ratatoille, so a final tally about $45-60 million more in the end would be about on par.

Instead, Wall-E has taken its fantastic reviews and strong audience response in hand while falling quite fast. Fast, at least for a Pixar film. This would be a strong result for any other studio, but with its current total (about $205m) it is unlikely to earn much more than $220m, if even that. Indeed, its final tally will likely be roughly the same as Kung Fu Panda.

And while that may be the strongest Dreamworks effort ever, it isn’t the same. Pixar is the name in animation, and I’m beginning to wonder if audiences are starting to take them for granted. There’s this expectation that the films will be great, and they are, but how do you top greatness? I’m sure that they’re wondering the same thing over in Emeryville, even as they work on next year’s expected masterpiece.

Now, onto the July films.


Prediction: $70m open, $230m final

Actual: $63m open, $215m current, ~$230m final

My open was low because trying to predict how an Independence Day film opens is a crapshoot from. It earned about $100m in the 5+ day opening frame and is tracking rather close to 2005’s War of the Worlds. Will Smith’s going to make a run at three straight $200m earners this december with Seven Pounds, but even if it doesn’t make it, he’s proving again and again that he’s the strongest draw in Hollywood… and he makes smart film choices.

Hellboy II: The Golden Army

Prediction: $30m open, $75m final

Actual: $35m open, $71m current, ~$75m final

After the opening, I held out hope that Hellboy would see some strong legs and end up north of the century mark, if only barely. However, it’s fallen rather hard and fast in just about every weekend since and will instead end up close to my original final prediction. I’m figuring that the market for Hellboy was just about saturated. Fans of the first film likely went out this time and may have dragged along some friends, as did the advertising. This is a nice uptick and, after he’s done with the Hobbit movies, del Toro may come back and do a third.

Meet Dave

Prediction: $25m open, $70m final

Actual: $5m open, $11m current, ~$11m final

Usually it seems Murphy can show up in bad films and just barely eke out success. Usually. Sometimes there’s a Pluto Nash. Meet Dave isn’t quite that bad, but, really, when you’re underperforming at this level, it’s all bad. He might really be wanting a Beverly Hills Cop IV right about now.

Journey to the Center of the Earth

Prediction: $15m open, $40m final

Actual: $21m open, $72m current, ~$90m final

At the beginning of the summer, if anyone had tried to guess which of the two Walden Media films would be marked a success and which a failure, I’ll bet most people would have chosen Journey to be the latter. As it happens, it’s turning into yet another mid-range success for the development studio, and will soon be the highest grossing of theirs outside of the Narnia flicks. And the recent one of those is probably best forgotten, at least business-wise.

There’s an outside shot this crosses $100m, which would be a stunning success. Depending on how hard and fast The Mummy falls this coming weekend, this might even be the higher grossing Brendan Fraser film of the summer.

Apparently, it doesn’t suck, either, which helps a lot for the final tally.

The Dark Knight

Prediction: $85m open, $270m final

Actual: $158m open, $393m current, ~$510m final

It passed my predicted final tally sometime on its 9th day. It will pass $400m in 19 days. Shrek 2 is the current fasted to that mark with $43 days. And it will cruise past all but the loftiest of goals by the time it leaves theaters.

I went into detail in my last post, but that was prior to the second weekend of the film, where it saw $75m. That’s a mighty total, and good for the biggest second weekend of all time, but it was likely at that point that Titanic became out of reach. A weekend north of $80m might have kept it in sight, and $90m would have made it a fight, but even though it had covered half the distance in 10 days, the latter $300m is the hurdle. Its third weekend of $43m is good for second best in history (after Spider-Man’s $45m) which further proves that Batman can’t top James Cameron. So the boat has sailed out of sight, but it can rest assured that it will be the second biggest film of all time, could break into the top 30 adjusted for inflation, and could possibly have the biggest fourth weekend with a strong hold (beating Titanic at something.)

Mamma Mia!

Prediction: $25m open, $80m final

Actual: $28m open, $87m current, ~$130m final

Welcome to the success of counter-programming. There’s money to be made in hitting a niche beneath a behemoth. The ABBA musical started off a near copy of Hairspray, but in the weeks since it’s held on strongly and will likely end up the third highest grossing musical in history (after Grease and Chicago). This could become a summer tradition to run counterpoint to all the exposions.

Space Chimps

Prediction: $10m open, $35m final

Actual: $7m open, $21m current, ~$25m final

While Wall-E’s fallen off faster than expected, it didn’t lose so much business that families were looking for something else in its place. Also, Journey to the Center of the Earth has provided business for that market. Space Chimps will likely be remembered as another disposable computer animation flick. Or forgotten as one.

Step Brothers

Prediction: $35m, $115m final

Actual: $31m open, $63m current, ~$100m final

It’s not doing quite as I predicted, but I think the final tally will be in the same ballpark. For Ferrell this marks a slight return to his preferred consistency. Semi-Pro’s final tally of $33m was probably quite worrisome. However, at this point it’s probably quite clear that he’s not going to replace Adam Sandler. While he does have three films above $100m and this one could join them there, it’s definitely not a sure thing and he’s not likely to see grosses in the range of Talledega Nights for his comedies unless they’re exemplary.

The X-Files: I Want to Believe

Prediction: $25m open, $65m final

Actual: $10m open, $17m current, ~$20m final

As it happens, no, this film cannot re-establish the series for the big screen. It’s performing even worse than Serenity.

American Teen

At the time I did this prediction, it was slated to get a semi-wide release. Instead, the distributors have opted for an indie/platform release. It will probably end up with at least a few million but isn’t likely to take off.


While The Dark Knight is justfiably hogging the spotlight, July was quite a strong month overall. Thanks largely to Batman’s amazing performance, the year on year tally has surged ahead of last year’s record pace. It’s completely up in the air as to whether it can keep that up, though. Last August was quite strong, with Bourne, Superbad, and Halloween all delivering stronger than expected performances.

Rarified Air

I’m going to break a bit from my monthly previews and recaps to talk about some box office specifics. A lot of numbers follow, but we’re looking at some awesome numbers.

If you’ve been following entertainment news at all over the past few days, you probably know that The Dark Knight is huge. It’s historically huge, earning $18.5 million in Friday midnight shows, over $67 million over the entire Friday, and a massive $158 million for its opening weekend.

These are all record breaking numbers. Bigger than Revenge of the Sith for the midnight shows and bigger than Spidey 3 for the opening day and weekend totals. Batman’s also gotten the record for biggest Sunday, widest release (in terms of theaters, not screens), and highest per-screen average for an ultra-wide release. (For wide releases, the record still belongs to the greatest musical talent of all time, Hannah Montana. But her film only hit 600 screens, not 4,366.)

With this performance, The Dark Night has blown away just about every weekend prediction. The stock for the film has rose steadily over time. My early summer prediction of $85 million seemed a bit bullish at the time, but was laughable by the beginning of July. The excellent ad campaign, curiosity due to Heath Ledger’s Death, and stellar performance from heroic rival Iron Man (which gives a good barometer for expectated response) were coming together to create a perfect storm of audience excitement. As such, the predictions rose from the $90s to the low $100s to the $130s up until about a week before the performance.

Despite this (which was putting Batman in the running with Jack Sparrow for the second biggest opening of all time) there were two strong undercurrents of thought. The first was that Spidey’s record was safe: Batman’s considerably darker, DC heroes don’t open as big, the competition is much more fierce in July than early May. At the same time, Warner Bros. was publically stating that they expected ONLY about $90-100m.

I believe the high water prediction was somewhere in the mid $140s, within spitting distance of Spiderman 3, but still shy.

When Friday’s numbers hit, all bets were off. The $67 million was a good $8m beyond Spidey’s Friday, and even a large drop on Saturday would keep it in the running. For large opening films, especially sequels, a poor weekend multiplier (ratio of Friday to the whole weekend) is somewhat expected. There’s a lot of demand to get there and see the film opening day, and as such the ratio will be very low because after the Friday, demand decreases a big way. Even so, Spidey 3 had a large drop and with the extra $8m, Batman could take a bigger drop and still come out ahead.

As it happened, there was a large drop on Saturday, to $47 million. That $20m drop is huge, almost 30%, and it led to some speculation that, despite the big Friday, Batman wouldn’t even stick around enough to even take the weekend total. That would be very bad news for Warner Bros. They played it conservatively, and gave an early weekend estimate of $151-1533m, just barely ahead of Spidey 3. A bit later, they estimated $155m, but rival studios were suspicious. WB had only estimated a drop of about 20% on Sunday, which seemed small, especially in light of the 30% on Saturday.

However, on Monday, the weekend figures hit the final numbers, and the weekend haul came in at $158m, a clear jump up from Spidey. Sunday’s figure was $43m, a mere 8% drop from Saturday.

So what happened here? Why the big drop from Friday to Saturday, but the small one from Sunday? Well first is that unlike many huge sequels, the critical response from both the media and audiences has been overwhelmingly positive. While it’s probably a close toss-up in the end, The Dark Knight is at least on par with Iron Man in terms of percieved quality. Heath Ledger’s performance as The Joker is consistently cited as a standout point and has already garnered some Oscar buzz.

Second is that, counter-intuitively, it seems the market wasn’t saturated. So many people wanted to see this film, that even with 4300 screens they couldn’t find a place to sit. If they’re stuck trying to find a place on Friday or Saturday, they wait until Sunday.

But wait, wasn’t Friday still 20m bigger than Saturday? Why wasn’t Saturday huge and Sunday small if there was that much extra money in the making.

Consider the Midnight shows. Theaters did a massive number of showings early on Friday which accounted for over $18 million of that day’s business. A number also scheduled 3am (and 6am and 9am) shows to try and meet demand that first day. While a number probably did shows for Midnight Saturday and Midnight Sunday, they would be less inclined to keep things running 24 hours a day for three straight days. Hence, there were less showings, and less chances for people to get in. While it’s not a perfect fit, remove the midnight haul from Friday’s take and you’ve got about $49m. Now the drop to Saturday is miniscule and the small drop to Sunday doesn’t seem so strange.

After $158 million in three days, it sat a mere $42m from the vaunted $200m barrier. The big question was how much it would drop in the weekdays and thus how long it would take to cross that point. For mid-summer films, a drop of about 50% from Sunday to Monday is about normal, especially if the Sunday is large. But the subsequent weekdays will probably see consistent drops of about 10% or so. Demand is high for the weekend and tails off somewhat rapidly from there. It’s for this reason that almost all huge-opening films see extremely large drops in the second weekend, even if they’re well-received. There’s a bit of a limit to how much business these things can retain when you’re opening over the century mark.

Speculation follows: If Monday was $21m, it would sit at $179m after four days and probably in the upper $190s after day five. It would fairly easily pass $200m in six. Over the course of the week, we could get a good idea of what it would haul in weekend two. If it dropped, say, to $14m on Thursday, it would probably be close to $225-$230m for the first week, and absolutely astounding haul, but it probably wouldn’t be looking at much more than $60m for the second weekend. Still spectacular, but probably indicative that it’s going to drop fairly fast, so after weekend three it would be below $30m and around half that for weekend 4. A track record like that would see The Dark Knight cruising past $400m, but probably petering out somewhere in the realm of Pirates 2 ($423m).

However, we’ve got an actual number for Monday, and it’s amazing: almost $24.5m. This puts the total haul in four days at almost $183m, and it’s just $17m shy of $200m. It needs a drop of 30% on Tuesday to FAIL to get to the double century in five days. This is almost impossible. Its drop on Sunday and Monday are the lowest in the top ten. Given how much distance is between it and the number 2 film (Mamma Mia! which, to be perfectly fair, is doing wonderfully) this is amazing.

If it keeps with the trend of films of this size, it could see drops of 10-15% for each of the next few days, which means it could earn about $22m or more on Tuesday. Doing that could put it in shooting distance of meeting the entire run of Batman Begins… in five days. That was a spectacularly received film that did very, very good business, and The Dark Knight is making it look like a joke.

In fact, it’s making all of its Batman compatriots look like jokes. It surged passed the entire gross of Batman and Robin in two days. It passed Batman Returns in on Monday and ended up within 2 million of Batman Forever. Both of those films at one time had the opening weekend record. And at its current pace, it should pass Batman, the current highest grossing film in the franchise, sometime next weekend.

The speed that The Dark Knight is accomplishing these records cannot be understated. The current speediest grossing film is Pirates 2, which reached $200m in 8 days and $300m in 16. The Dark Knight will hit the first mark in 5 days and the second in 10 or 11. The current record holder for $400m is Shrek 2, which accomplished that feat in a stunning 43 days (Pirates 2 took 45.) With the way things currently look, a bullish prediction would have Batman crossing the quadruple century in under a month. It’s all but assured of knocking Star Wars Episode 1 and its $431m gross out of the top 5 of all time.

But the big question, which is starting to float, is the big T. Does Batman have what it takes to beat Titanic? Or, more realistically, does it even have a chance?

To answer this, we really need to understand how big that $600m gross really is. It is huge. The second place film of all time is Star Wars, which has just $460m. That $140m gap means you could add the grosses for any of the following films to Star Wars and not equal Titanic: Click, Anger Management, Teenage Mutant Ninja Turtles (the first one), Live Free or Die Hard, Superman, The Rock, The Departed, Minority Report, and so on. All of these films were regarded as strong box office contenders, which did some spectacular business. In the case of TMNT, it was the highest grossing film from its studio (New Line) until the release of Fellowship of the Ring. The Departed is far and away the highest grossing film of Martin Scorscese’s career. And Adam Sandler is one of the most consistently successful actors in history. Yet none of these films can make Star Wars match Titanic.

Here’s a story. In 2001, when Harry Potter shattered the opening weekend record with its $90m opening, it led to speculation that it might beat Titanic. In a conversation about this possibility, someone said it was all but guaranteed. After all, Harry Potter had this huge synergy across all demographics and was a huge cultural phenomenon. Plus it had an extremely strong holiday for its follow-up weekend (Thanksgiving) and was a really good movie. (The last was alleged by many fans of the series.)

Ultimately, Harry Potter was an extremely strong film, becoming the highest grossing of the year, but its final tally of $317m was barely more than half of Titanic’s final tally.

Of course, Harry Potter isn’t alone in that. Subsequent record weekend holders Spiderman and Pirates of the Caribbean: Dead Man’s Chest have also had such talk abound, as have Shrek 2, Star Wars Episode III and (before Harry Potter) Star Wars Episode I. All of these films have done stellar business, earning the most of their release year, but none have gotten even 75% of the total business that Titanic has.

If it isn’t clear, $600m is huge. And as big as the response for The Dark Knight has been, it probably doesn’t have the ability to top Titanic. But it’s not impossible to assume. If it earns $70m in weekend 2, $40m in weekend 3 and $25m in weekend 4, it will probably finish up at least on par with Star Wars’ $460m and could go somewhat more. But to get to $600m, it would need a historically strong hold. Better than Shrek 2 had in its second weekend ($72m, with the whole Memorial Day Holiday pulling in over $90m). It would probably need to see at least $90m for the three days to have a shot. And even then, it would need similarly strong holds in future weeks.

And as strong as it is right now, eventually audiences are likely to tire and look to other films. The third Mummy film will take some business. There’s another Star Wars film next month. And for people who aren’t strongly interested in the dark and brooding nature of The Dark Knight, they will be sidetracked by numerous comedies.

Still, when looking at the question of where The Dark Knight could end up (and Titanic isn’t outside the realm of possibility, but it’s rather unlikely) it is probably more important to consider where it is likely to end up.

Above $400m, certainly, and even $450m isn’t even three times its immense opening weekend. I would give it 2-1 odds of crossing the $500m mark. It would be just the second film in history to do that. Whatever the case, it’s certainly a run worth acclaim.