New Line's FREDDY VS. JASON continued its assault on the box office, despite a 64% decline in its second weekend, scoring $13.1M for a cume of $61.1M (with vfx principally by Cinesite of Hollywood, Pixel Magic and Asylum). However, the big story is that Disney/Pixar's FINDING NEMO officially became the all-time animation leader, picking up another cool million to bring its phenomenal ledger to $329.7M. Meanwhile, Warner Bros.' THE MATRIX RELOADED reached a whopping $450M in international ticket sales.
Holding their positions at two, three and four were S.W.A.T., OPEN RANGE and FREAKY FRIDAY. The Sony film (with vfx by Pixel Magic) brought in $10.5M to run its total to $87.8M; Disney's Kevin Costner western tallied $9.4M for a cume of$29.3M (packed with vfx by Centropolis Effects LLC, Cinesite of Hollywood, Northern Effects and U & Co.). Disney's comedic remake added $9.3M to the coffers, which stands at $74.4M (with Jacqueline Allard serving as digital compositor).
Debuting at number five was THE MEDALION, the Jackie Chan actioner (with Paddy Eason as vfx supervisor). The Screen Gems release took in $8.1M. Disney's PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL held the sixth spot with $7.2M. To date, the swashbuckling blockbuster and the surprise of the summer has nabbed a bounty worth $260.9 (with vfx by Industrial Light & Magic, Boy Wonder, CIS, Digiscope, Gray Matter FX, Method and Pacific Title).
Universal's SEABISCUIT actually improved a notch to seventh place, collecting $6.1M for a total of $92.9M. The Cinderella racehorse saga featured vfx by Pixel Playground Inc., Sony Pictures Imageworks and The Orphanage. MGM's UPTOWN GIRLS slipped to eighth, picking up $5.6M for a total of $22.3M. Universal's AMERICAN WEDDING (with vfx by Soho VFX) hit ninth place, garnering $5.4M for a hefty $90.5M. Dimension's comedy, MY BOSS'S DAUGHTER debuted at number 10 with $4.8M. Box office information obtained from boxofficemojo.com.
Bill Desowitz, former editor of VFXWorld, is currently the Crafts Editor of IndieWire.
