Canadian box-office stats — April 24

Here are the figures for the past weekend, arranged from those that owe the highest percentage of their take to the Canadian box office to those that owe the lowest.

Le Survenant — CDN $340,959 — N.AM $340,959 — 100%
Sin City — CDN $8,217,384 — N.AM $67,267,000 — 12.2%

Sahara — CDN $4,622,103 — N.AM $48,919,000 — 9.4%
A Lot Like Love — CDN $676,265 — N.AM $7,743,000 — 8.7%
The Interpreter — CDN $1,983,530 — N.AM $22,809,000 — 8.7%

Guess Who — CDN $5,340,521 — N.AM $62,375,000 — 8.6%
Robots — CDN $10,182,912 — N.AM $120,168,000 — 8.5%
The Amityville Horror — CDN $3,550,607 — N.AM $43,809,000 — 8.1%
Fever Pitch — CDN $1,785,291 — N.AM $31,451,000 — 5.7%
Kung Fu Hustle — CDN $378,189 — N.AM $8,031,000 — 4.7%

A couple of discrepancies: Le Survenant was #7 on the Canadian chart (it doesn’t turn up on the North American chart at all, yet), while King’s Ransom was #10 on the North American chart.

I am rather surprised by the low percentage for Kung Fu Hustle — I guess this kinda disproves my theory that Asian-themed films always do remarkably better in Canada than they do in the States. On the flip side, and in a more typical vein, King’s Ransom is an African-American film that opened in the top ten despite not even being released in Canada yet. I hear it opens in Toronto this coming Friday, and I have not yet heard of any press screenings, much less release dates, for it here in Vancouver.

About Peter T. Chattaway

Peter T. Chattaway was the regular film critic for BC Christian News from 1992 to 2011. In addition to his award-winning film column for that paper, his news and opinion pieces have appeared in such publications as Books & Culture, Christianity Today, Bible Review and the Vancouver Sun. He has also contributed essays to the books Re-Viewing The Passion: Mel Gibson’s Film and Its Critics (Palgrave Macmillan, 2004), Scandalizing Jesus?: Kazantzakis’s The Last Temptation of Christ Fifty Years on (Continuum, 2005) and The Bible in Motion: A Handbook of the Bible and Its Reception in Film (De Gruyter, 2016).