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Dunkirk remains on top in US ahead of The Emoji Movie

Dunkirk

Story by Jack Foley

CHRISTOPHER Nolan’s Dunkirk has remained on top of the US box office for a second week despite the competition posed by new animated release The Emoji Movie and action thriller Atomic Blonde.

The Second World War drama fell by just 44% in its sophomore run, which enabled it to jump the $100 million mark in the US (where it took a further $28.1 million). It has also made $100 million overseas.

Going into the weekend, it was predicted to lose top spot to animated family film The Emoji Movie, from Sony Animated Pictures. But lacklustre reviews contributed to a $25.7 million start that wasn’t enough to displace Nolan’s critically-acclaimed war film.

Nevertheless, Sony president of worldwide marketing and distribution Josh Greenstein commented: “We are thrilled the audience has spoken and embraced The Emoji Movie.”

He described the opening figure as a major win for the studio, given that it cost $50 million to produce – a modest sum for a major studio animation.

Based on the ideograms used in text messages on social media platforms, The Emoji Movie follows an emoji named Gene (T.J. Miller) who, unlike the other inhabitants of Textpolis, has multiple expressions.

Determined to be normal, he and his friends embark on an adventure to locate the code that will fix him, only to find themselves in a race to save the world.

The weekend’s other new release, Charlize Theron’s actioner Atomic Blonde, debuted to a solid $18.6 million for Universal. Directed by David Leitch (of John Wick fame), the film is based on the graphic novel The Coldest City and follows an MI6 spy during the final days of the Berlin Wall.

James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella and Toby Jones also star in the movie, which cost around $30 million to produce.

Atomic Blonde placed fourth behind R-rated comedy Girls Trip, which fell just 36% in its second outing to $20.1 million for a US total of $65.5 million.

At the specialty box office, both Kathryn Bigelow’s racial drama Detroit and Al Gore’s climate change documentary An Inconvenient Sequel: Truth to Power opened to strong returns in limited release.

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