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A dearth of major releases meant Ralph Breaks the Internet faced no serious challenge retaining the top spot at the UK box office. Takings declined by 39% from its opening weekend, and the tally after 10 days is £7.4m.
Disney has now spent 17 weeks at No 1 in the UK this year, with Coco, Black Panther, Avengers: Infinity War, Solo: A Star Wars Story, Incredibles 2, Ant-Man and the Wasp, Christopher Robin and now Ralph Breaks the Internet. Mary Poppins Returns, out on 21 December, is likely to add to the tally.
Ralph is facing competition from The Grinch, up from fourth to second place and declining just 14% at the weekend with takings of £2m – which was just £445,000 below Ralph. Families may be calculating that The Grinch, with its festive theme, has to be seen in the runup to Christmas, whereas Ralph can wait until later. The Grinch is now at a sturdy £19.5m. Both films face tough competition in the coming weeks.
Two titles straddling multiplexes and indie cinemas arrived at the weekend. David Lowery’s The Old Man & the Gun, featuring what is said to be Robert Redford’s last screen performance, edged out Boots Riley’s Sorry to Bother You – although it benefited from a slightly wider release. Respective grosses are £247,000 from 206 sites (£318,000 including previews); and £187,000 from 147 sites (£250,000 including previews). Stripping out the previews, screen averages were in the £1,200-£1,300 ballpark, which is no disaster, but nothing special.
Yann Demange’s White Boy Rick, starring Matthew McConaughey, began with a poor £30,100 from 103 venues. It suffered from weak bookings from indie cinemas – the film’s primary audience is unlikely to find it at the plexes where it is playing.
Tulip Fever, adapted from the acclaimed novel by Deborah Moggach, began a bit better, with £49,500 from 122 sites. The Amsterdam-set period romancewas released in the US in July 2017 via the Weinstein Company – one of the ill-fated company’s last ever releases. The impressive cast list includes Alicia Vikander, Dane DeHaan, Christoph Waltz, Jack O’Connell, Holliday Grainger, Judi Dench, Zach Galifianakis, Cara Delevingne, Joanna Scanlan and Tom Hollander.
Cinemas are reviving classic festive titles to lure audiences, and there are no fewer than nine in the Top 50: Die Hard, Elf, Home Alone, Home Alone 2: Lost in New York, The Muppet Christmas Carol, It’s a Wonderful Life, The Polar Express, Love Actually and a special package of animated shorts The Snowman and The Snowman and the Snowdog, based on the Raymond Briggs characters. Also playing at the weekend were White Christmas, Santa Claus: The Movie, Tim Burton’s Nightmare Before Christmas, Bad Santa, Arthur Christmas and more besides.
The month of November (technically the period 2 November – 6 December) delivered a handy 8% rise on the equivalent period from 2017. For the first 11 months of the year, takings are 3% up on the same period of 2017.
Despite the lack of new releases at the weekend, takings were 75% up on the equivalent session from 2017. A year ago, the following weekend greeted Star Wars: The Last Jedi, which powered the market to its top-grossing session of the year. This coming weekend, there is nothing in that league, but hopes are pinned on DC Comics’ Aquaman, animation Spider-Man: Into the Spider-Verse (both arriving in UK cinemas on Wednesday) and the Peter Jackson-produced Mortal Engines. Alternatives include documentary Free Solo – hoping to repeat the success of current doc hit Three Identical Strangers. Both titles cracked $10m in the US.
Rich Moore and Phil Johnston took a detour between making the Oscar-nominated “Wreck-It Ralph” in 2012 and its sequel, “Ralph Breaks the Internet,” this year — and that detour, the Oscar-winning 2016 film “Zootopia,” turned out to be instrumental in determining the new adventures of the lunkish, good-hearted Ralph (voiced by John C. Reilly) and his fiery pint-sized sidekick Vanellope von Schweetz (Sarah Silverman).
“Zootopia,” it seems, had brought the team some newfound respect for the way that film’s story of an animal society learning to embrace its differences echoed the currents of intolerance in the real world. And in its aftermath, the new “Ralph,” in which the lead characters venture into the vast landscape of the internet, needed to have something serious to say as well about how the bonds of friendship can be tested by the hostilities that lurk online.
“It’s the balance of a very, very simple story between two friends, a very emotional story in this huge crazy house of a place that is the internet,” said Moore, who directed “Wreck-It Ralph,” co-directed “Zootopia” with Byron Howard and co-directed the new film with Johnston.
We were very emboldened by our experience on ‘Zootopia,’” he added. “That experience really made us think about how deep we can take this thing emotionally. If the audience was that hungry for deeper themes and deeper subject matter in ‘Zootopia,’ it would be a disservice to them to not plumb as deep in this movie.”
Added Johnston, who co-wrote the first “Ralph” and “Zootopia” before writing and co-directing the new one, “The simple emotional story was the hardest nut to crack, given the circus nature of the internet. It’s hard to create an antagonist based on Ralph’s insecurity, and to capture how the internet can turn friendship toxic.”
But the internet can also house virtually everything, which led to the delirious sequence in which Vanellope discovers her inner Disney princess after encountering all of her predecessors. “The internet can be anything, so therefore you can meet anyone,” Johnston said. “We realized that Vanellope is technically a princess, so she could meet the Disney princesses there — and it became really integral to our story that she did meet them.”