Although I'd seen it twice already, I went ahead and accompanied my father to a showing of Pineapple Express last night, only to be greeted with a surprisingly packed 8:10 showing in the theater's largest auditorium. When we exited, the immediate lobby was fairly lined up with those waiting to catch the next showtime, and when I dashed across the hall to peek in on the 9:30 showing that some of my friends had caught, it was in an auditorium half the size and equally packed, down to people actually sitting on the floor space typically reserved for those in wheelchairs (fire hazard, schmire hazard).

I only say this because, if I hadn't gone last night, I would've been truly taken aback with the film's record-breaking $12.5 million opening yesterday. (In comparison, Superbad opened to $12.3 million last year, but on a Friday.) This bodes better for Pineapple than I had expected in general, what with it only having a week to itself before Tropic Thunder does its best to snatch away its overlapping audience.

Oh, and The Sisterhood of the Traveling Pants 2 also raked in almost $6 million itself, so, um, yay for that.

Each day seems to bring us yet another piece of promotional marketing for Oliver Stone's Bush flick, W. Not long after Moviefone debuted the trailer, AICN now has a teaser poster and what you see above is one of two newly-released images from the film. They're definitely pimping it, trying to get folks interested in a movie about the life and times of George W. Bush even though many of us are tired of the man, the jokes, the legend -- all of it. We've spent 8 years with this dude ... can't we just shake his hand, thank him for a job done and move on?

Anyway, W (which feels like it was shot and edited in three weeks in order to make a pre-Election Day release date) arrives in theaters on October 17, and we were wondering how much you think it's gonna make? With one of the biggest presidential elections in years only a couple weeks away from that date, and with the entire world watching to see who we'll replace Dubya with, will all that chitter-chatter raise more or less interest in the Oliver Stone movie? Is this the kind of flick that will surprise everyone with a giant taking, or will it crash and burn? Sound off below ... and we'll revisit your answers in a couple months when W rolls out.

While The Dark Knight battled The Mummy on the mainstream charts, indie fans enjoyed much cooler movies. In its third week of release, Brad Anderson's Transsiberian continued its strong run, raking in $15,100 per-screen at the two locations where it's playing, according to estimates compiled by Box Office Mojo. The film has grossed $125,000 so far. Also set in a cold clime, Frozen River, Courtney Hunt's "single mother smuggles illegal immigrants" drama, took in $10,471 per screen at seven locations on its opening weekend.

Two other debuting indies had decent results: black and white romantic comedy In Search of a Midnight Kiss made $7,300 at the two theaters where it opened and British comedy Sixty-Six scored $5,700 per-screen at its two engagements. No figures were reported to Box Office Mojo for documentary America the Beautiful or for Japanese melodrama Love and Honor.

indieWIRE highlights the success of holdover Man on Wire, James Marsh's completely charming and suspenseful doc, which earned $12,500 per screen at four locations. They also point to the returns of two films in their second week of release: period drama Brideshead Revisited ($5,284 per screen at 94 theaters) and high school doc American Teen ("a rather disappointing" $4,487 per screen at 39 locations). I saw the former on Sunday afternoon (packed, people lined up for the next screening) and the latter on Saturday afternoon (maybe 15-20 people). Different crowds, definitely, but Brideshead Revisited is much more likely to gain as it opens further.

Behold my 1000-plus words way of asking you this simple question: how many times have you seen The Dark Knight?

Here's a little story I probably tell too often (it's even in my "Meet the Team" bio): Long ago, at an art school that should remain nameless (I hated the place too much to give it any kind of credit), I studied film production, with the crazy notion that I would be the one to bridge the gap between Steven Spielberg and Quentin Tarantino (this was in the mid-90s, when all film students just wanted to be the latter). And while I wasn't any good at being the kind of leader necessary to be a great director, I thought I was on track to (at the very least) become an Oscar-winning screenwriter.

Then, in the middle of my freshman year, I went to see 12 Monkeys. And when it was over, I stayed in the theater and I watched it again. I believe this to be the moment when I decided that I no longer wanted to be a filmmaker and wanted to be a film watcher. But it would take me another year of school -- during which I changed the names in my dream from Spielberg and Tarantino to Gilliam and Hartley -- to realize that I could be a ... professional movie theater employee!

Years more would go by before I actually realized that I was better off writing about the movies than attempting to write for the movies, and fortunately all that time managing multiplexes gave me an extra niche to write about, as well. This week's column, however, despite its long-winded introduction, is not about how I came to write "The Exhibitionist." It's actually more specifically about that repeat screening of 12 Monkeys 12 years ago. Because thanks to The Dark Knight's box office success reportedly linked in part to repeat business, I've been thinking about the few movies that I've actually seen in the theater more than once.

Beginning with the summer of Surf Ninjas and concluding with last year's Underdog, Vulture has compiled a list arguing that August movies generally blow. Sifting through the titles from the past fifteen years, it's hard to ignore their point. If Bushwhacked, Spawn and The Thirteenth Warrior don't convince you, how about Hollow Man? The Adventures of Pluto Nash? Anacondas?

August usually means a lot to America. It's big for vacationers. The sun comes out and everyone gets one last hurrah before the summer recedes for the year. So why would studios dump their worst movies at this time? Maybe it's just a coincidence, but either way, it's hard to say whether or not this August will break the trend. Swing Vote seems to confirm Vulture's dire prediction, but Vicky Cristina Barcelona, Pineapple Express and Tropic Thunder will surely find some appreciative audiences. And we all know The Dark Knight will continue to make bank. However, before you start thinking that a turnaround is on the way, consider the third Mummy movie -- and, once again, Vulture might have something here: Variety has called it "cheeseball stuff." Could that be the codeword for "typical August movie"? It would seem so.

Love him or hate him, you've got to hand it to Brett Ratner for keeping his career in motion. Variety brings word that the hustling filmmaker plans to take his Rat Entertainment company from New Line, where it first settled in 1996, to a first-look deal with Paramount Pictures. Ratner says the departure of New Line execs Bob Shaye and Michael Lynne in February convinced him it was time to move on. At Paramount, Ratner will probably get bigger budgets and executives more receptive to his blockbuster-ready concepts. Stating the obvious, Ratner told Variety he "will not be pitching art films. I want to make major tentpole movies." You don't say?

Unless you're Scott Foundas, you probably balk at the idea of more Ratner movies populating the mainstream film scene, but the guy does fit the proper archetype of the classic Hollywood powerhouse. A modern day Sammy Glick, he knows how to make movies that bring out the audiences, whether or not they're any good. But maybe that determination means that, one day, Ratner will make a lot of great movies. His planned Hugh Hefner biopic sounds promising -- or at least, appropriate.

Still, that's a little ways off. Encouraged by his experience with X-Men: The Last Stand, Ratner decided he wanted to work on a new superhero franchise, so he's adapting Valiant Comics' Harbinger. Also in his queue: Beverly Hills Cop 4, The Incredible Shrinking Man and The Boys From Brazil. Do these projects get anyone excited? Anyone at all?

According to a report conducted by Nielsen PreView published today in The Hollywood Reporter, R-rated comedies don't do so hot at the box office. The timing of these findings seems odd, considering that Step Brothers made a solid $30 million last weekend, while analysts are predicting that another summer comedy slapped with the restricted label, Tropic Thunder, will collect at least that much. Right in the middle of those two releases comes Pineapple Express, which, like Step Brothers and Tropic Thunder, has a built-in core audience interested in raunchy masculine humor. The findings of this report suggest that larger audiences don't want to attend R-rated movies, but it's sort of a pointless observation because R-rated comedies are only made for people who want to see them. Everyone else can check out You Don't Mess with the Zohan.

Of course, there is the occasional R-rated comedy with cross-over appeal, such as Knocked Up, but studios are probably hesitant to make many of those when a safely PG-13 Juno will suffice. Anyway, it's usually not difficult for Hollywood movies to trim a few vulgarities or the fleeting shot of exposed skin in order to knock down the rating a notch and maximize turnout. Horror films are a different story: They usually make bank with the R-rating intact.

Speaking to the 18 and over audience here: Do ratings play any role in the movies you choose to see?

Last weekend, the box office exploded with The Dark Knight, which broke the opening weekend record, while Mamma Mia! did what it could in the shadow of bat wings and Space Chimps couldn't reach the top five with its $7.2 million. Matt was almost spot-on with his predictions last week, but I'll try to hold down the fort this week while he's away.

The top five totals:

1. The Dark Knight: $158,411,483 *
2. Mamma Mia!: $27,751,240
3. Hancock: $14,040,178
4. Journey to the Center of the Earth: $12,340,435
5. Hellboy II: The Golden Army: $10,117,815

There's two new wide releases this week -- one for laughs, and one for those who yearn to believe.

Step Brothers
What It's All About: It's the typical new-family scenario with a much older twist. Will Ferrell and John C. Reilly star as spoiled adults who live at home and are less than pleased when their parents meet and get married. Quickly, however, they become best friends who indulge in all the fun things kids do. You know, whispering after lights out, making things... But then their folks have had enough and want to kick them out, spoiling their fun.
Why It Might Do Well: It's Ferrell and Reilly acting like kids, the bunk beds scene is flipping hilarious, and the two actors have a solid following.
Why It Might Not Do Well: The duo's shtick could be getting old, and it still has to face the roaring-forward Dark Knight.
Number of Theaters: 2,800+
Prediction: $23 million

While The Dark Knight dominated the weekend box office here in the US -- with a little love spared for Mamma Mia! and Transsiberian -- in Asia things looked a little different. The Good, the Bad, the Weird , which was just picked up by IFC for the US, opened in its native South Korea to outstanding returns, according to Variety.

The film, a salute to Spaghetti Westerns with a modern twist, is expected to surpass 2.2 million admissions over the weekend, which would make it the fastest to hit that mark this year, beating out police comedy Public Enemy Returns. Its opening day returns put it in the company of previous monster smashes D-War and The Host. We should hear more about The Good, the Bad, the Weird when it plays at Toronto in September.

The news is not as good in Japan, where master filmmaker Hayao Miyazaki's latest animated achievement, Ponyo on the Cliff by the Sea, was expected to dominate. Opening on a record number of screens for a local picture (481), Ponyo is said by its distributor to have earned 83% of the total made by Miyazaki's blockbuster Spirited Away, which sounds good. But as reported by Mark Schilling in Variety, those numbers may be misleading.

As always, we seek to highlight indie films with this weekly post, so let's pause a moment and celebrate the success of a good, old-fashioned railroad movie. Brad Anderson's Transsiberian opened on two screens and earned a very tidy $17,600 at each, according to estimates compiled by Box Office Mojo. That has to be considered a triumph in the face of "The Bat Effect." Perhaps Transsiberian will get to a few more cities before its eventual landing on DVD shelves.

In a very welcome upturn of events, French thriller Tell No One expanded from 19 to 55 screens in its third week of release and averaged $9,725 per screen. More people will have a chance to catch this word-of-mouth success when it expands again this coming Friday.

Also in its third week out, The Wackness expanded by three theaters and kept a decent $4,441 per-screen average. It finally opened where I live and, while I loved Olivia Thirlby more than I should and was convinced that Jonathan Levine has good instincts as a filmmaker, I'm amazed it's done as well as it has, considering how drab so much of it feels. But that's just my minority opinion. I would still encourage you -- especially you 90s kids -- to consider checking it out when it expands wider this Friday.

Finally, Lou Reed's Berlin earned a per-screen average of $3,825 at the two theaters where it opened. Must be more Lou Reed fans out there than I thought.

Not to be a snake in everyone's boot, but the all-time opening weekend record is not in the bag for The Dark Knight just yet. The $155.3 million weekend estimate is just that -- a studio estimate -- and when the final numbers come out later this afternoon, Spider-Man 3's $151.1 million may still be on top of the heap. So everyone should chill for a few more hours.

Still -- $150 million! In one weekend! For a movie that's dark and scary and complicated and dead serious! That's pretty amazing, though my hopes for this wonderful film's box office staying power were dampened somewhat when I saw it a second time yesterday and heard the banter of the couple next to me, which consisted of statements like "Do you know what's going on? I don't know what's going on," and "I don't even understand who the bad guy is." (?!??) I guess you can't please everyone.

Anyway. $150 million +. First person to call it a disappointment because it's not the world's first $200 million opening weekend gets a kick in the crotch.

The weekend's counterprogramming saw mixed results. Mamma Mia!'s $27.6 million is an undeniable victory, though I think the market was begging for something not action- or family-oriented. I'm not sure what to say about Space Chimps' $7.4 million, seventh-place bow. I don't think anyone could have expected much more from a movie called Space Chimps.

The Dark Knight did a number on the superhero-themed holdovers, kicking Hellboy II down to the tune of 71%, and Hancock a somewhat gentler 57%. Hancock should see $200 million by the end of the week; Hellboy II probably won't get to $70 million domestic, though it should beat its predecessor's $60 million take.

The full top 10 estimates after the jump.

Holy cow, Batman! We knew it would be big, but The Dark Knight blew away all expectations, posting the biggest box office opening ever over the weekend. The film gobbled up more than $155 million, overtaking Spider-Man 3 for the crown, according to The Associated Press. The total is estimated to be $155.34 million, besting the previous high water mark of $151.1 million established by last year's web-spinning superhero yarn.

The Dark Knight also broke Spider-Man 3's IMAX record. The caped crusader already set a record for its opening day haul. One inflationary note was sounded by box office tracker Media By Numbers, which pointed out that ticket prices have risen from last year's average of $6.88 to $7.08 this summer, so Spider-Man 3 may still have actually sold more tickets.

My personal anecdote to add is that when I ventured out to a multiplex to see another movie on Saturday morning, the first showing for The Dark Knight was already sold out by the time the box office opened at 9:30 a.m. When was the last time that happened? Feel free to share box office horror stories below. To talk about the movie itself, be sure to participate in the poll Erik set up last night.

Death is the ultimate dramatic device, but great art doesn't emerge from strong devices alone. In Take, the directorial debut of Charles Oliver, the impact of a single, startling tragic death immediately conveys the sense of watching a gravely serious movie, which is definitely the case. However, having immediately provided a tone, Oliver fails to follow up with a story powerful enough to justify it. That's not to say that the experience Ana (Minnie Driver) goes through after her son dies in a freak accident before the start of the film isn't relentlessly bleak, but there's hardly anything distinctive about the circumstances to make viewers care any more than they would if they were glancing at it in the morning headlines.

Still, Olilver has made a quietly observant work solely driven by the specific needs of two downtrodden protagonists with completely believable motives. In flashback, we learn that Ana struggled with her son's elementary school, which wants to put him in a special needs program. Meanwhile, she has a hard time communicating with her husband and finding decent work to get by. Elsewhere, reckless gambling addict Saul (Jeremy Renner) destroys his life in a whirlwind of debt. His misfortune, as it's shown in early scenes at a prison where Saul awaits execution, will lead him to accidentally murder Ana's innocent child, Jesse (Bobby Coleman).

It's a good time to be a cinematic super hero, and Jules Verne proved that his work still has legs 103 years after his death, but Eddie Murphy's Meet Dave died a thousand deaths pulling in a mere $5.2 million and not even making the top five. Here are the totals:

1. Hellboy II: The Golden Army: $34.5 million
2. Hancock: $32 million
3. Journey to the Center of the Earth: $21 million
4. Wall-E: $18.7 million
5. Wanted: $11.9 million

Three new releases this week, and in the very broadest of terms we have one for the guys, one for the gals and one for the kids.

The Dark Knight
What's It All About: Do I really need to explain this one? Christian Bale returns to the role of Batman in the sequel to the series rebooting Batman Begins, with Christopher Nolan once again in the director's chair. There's a new crime boss in Gotham City and he's called The Joker (Heath Ledger). The two clash, things blow up, awesomeness ensues.
Why It Might Do Well: This will be the movie to beat this Summer. Batman is so ingrained into American pop culture that he's bonded to our collective DNA. Batman Begins grossed $205 million domestically and $371 million worldwide. The Dark Knight is scoring 88% over at Rottentomatoes.com and Cinematical's own James Rocchi had some good things to say about it.
Why It Might Not Do Well: There remains the possibility that people with a fear of bats will join forces with those with a fear of clowns and boycott the film, which of course means more popcorn for the rest of us.
Number of Theaters: 4,300
Prediction: $125 million

Maybe you've seen them, maybe you haven't, but French thrillers are making a comeback in North America. That's good news for people uninterested in art houses solely for the sake of watching foreign films: You don't have to be a Francophile to appreciate smart, meticulously generated suspense, and that's exactly the appeal of several French movies hitting American theaters this year. A steady mixture of warm reviews and positive word-of-mouth appears to have helped Guillame Canet's breathlessly entertaining drama Tell No One land an impressive $240,858 at 18 locations. Earlier this year, veteran auteur Claude Lelouch, long known for his cinematic explorations of eroticism and lawbreaking, remained thematically consistent with a delightfully complex story of double-crossing novelists and dysfunctional families called Roman de Gare. The movie made over $25,000 on two New York screens when it opened in late April, and eventually pulled in more than $1.5 million after expanding to theaters around the country. It's not hard to argue that Tell No One and Roman de Gare put most recent American thrillers to shame. North America, once the haven of film noir, appears to be outsourcing.

As journalist Erica Abeel recently observed in an interview with Canet, "French filmmakers are currently making the best old-style Hollywood thrillers." It's not the first time for a country that has a long history of borrowing from American cinema, and often improving on it. At the beginning of the French New Wave in the early 1960s, former Cahiers du Cinema critics like Jean Luc-Godard discovered Hollywood genre films and decided to make their own loopy versions. The results were often strangely philosophical and experiment works, ranging from Godard's Breathless to François Truffaut's ambitious Shoot the Piano Player.