Did great reviews help Inside Out exceed projections? (Box Office Mojo predicted “only” $71 million, which was among the more optimistic estimates.) The near-universal praise the film has earned (even Armond White kind of likes it) might have eased any fears grown-up guardians had about the quasi-abstract nature of the plot. They weren’t enough, though, to push Inside Out into the top position on the box-office charts: Amazingly, the film’s nearly nine-digit haul still put it a few million behind Jurassic World, which continued to rampage its way across the globe, devouring records. In the U.S., the sequel made another $102 million—the second-best second weekend ever, behind the first Avengers. Internationally, Jurassic World is poised to soon surpass this year’s Furious 7 in the race for fastest climb to a billion in worldwide ticket sales. Sorry Vin, but that T. Rex in the rearview mirror is closer than it appears.
Next to these box-office behemoths, the week’s new indie releases looked small enough to fit inside the brain of a preteen girl—or to be swallowed whole by some kind of prehistoric sea lizard. The big fish in that much smaller pond was Dope, which actually did pretty incredible business for a film of its scale; landing in fifth place with an impressive $6 million, the Sundance favorite performed much better than another Sundance favorite, Me And Earl And The Dying Girl, which has made just $645,000 in two weeks, maybe because reviews haven’t been universally ecstatic. (Fox Searchlight, who is said to have paid more than $10 million for the Park City prizewinner, may be drawing up walking papers for some unlucky festival attendees on the company payroll.) Otherwise, it was a quiet three days for The Overnight ($62,000), Infinitely Polar Bear ($47,000), Eden ($20,000), and Manglehorn ($13,000)—all mere drops of water in a bucket of Pixar-wrung tears and Jurassic dino drool.
For more detailed numbers, visit Box Office Mojo.
