Last Resort Films Jukebox: Grand Theft Auto IV

 

Now Showing: Grand Theft Auto IV

 

Grand Theft Auto IV

Genre: Crime/Action/Drama

Director: Taylor Sheridan

Writer: Mo Buck

Based on the video game series

Cast: Sebastian Stan, Cameron Britton, Trevante Rhodes, Stephanie Beatriz, Joe Cole, Micheal Ward, Imogen Poots, Ashton Sanders, Pilou Asbaek, Alison Oliver

Plot: Niko Bellic (Sebastian Stan), a former soldier from Eastern Europe, steps off a cargo ship onto the rain-slicked docks of Liberty City. He breathes in the bitter night air. He has come seeking a better life—the American Dream. Waiting for him in a beat-up cab is his cousin Roman (Cameron Britton), whose smile is bright but strained. They hug and Roman rattles off stories of his success : a booming cab business, a beautiful girlfriend, a life on the rise. As Roman talks, the truth emerges: his cab company barely functions, battered cabs idling; Mallorie (Stephanie Beatriz) patches him up while arguing with collection agents. Roman flails, pleading with them to stop, while Mallorie curses at the mess he’s made. Niko listens quietly, a small, wry smile crossing his face as he tells Roman he can’t wait to experience this American Dream with him. When they arrive at Roman’s apartment, the illusion shatters. Niko curls up on the pull-out sofa, discouraged.

The following day, Roman introduces Niko to his friend he calls Little Jacob (Michael Ward) at the taxi depot. Roman tells Niko to get into Jacob’s car, he’ll fill him in on today’s job. He asks Niko about his past, he tenses and offers no answers. Jacob pulls up next to a bodega and pulls out two handguns from the glovebox. Niko is confused, but Jacob says it’s just in case and to follow his lead. They get upstairs and sit down with a Caribbean gang leader. They ask him to stop pestering Roman’s business, he’s going to pay eventually. Their discussion is interrupted by a rival gang downstairs. Chaos erupts, but Niko moves with the precision of a soldier. Niko fires five precise shots, taking out the intruders. Jacob is impressed, noting that Niko isn’t new to this type of stuff. The Caribbean leader then agrees to lay off Roman for a while. Jacob pats Niko on the shoulder, welcoming him to Liberty City.

Roman gave money to Niko, a thank-you for helping him out of trouble. He buys himself a suit at a nearby thrift store at Mallorie’s insistence. She sets him up on a blind date with her new friend, Michelle (Imogen Poots). She takes him to a quiet waterfront restaurant. Niko is eager to finally meet an American woman one-on-one. The initial meetup is awkward, but Michelle, a sweet young woman, tries to pierce Niko’s hard shell. She asks questions about his past, but he doesn’t reveal too much. A few awkward dates and a bowling night with Roman and Mallorie slowly break the ice. The montage ends with Niko and Michelle walking hand in hand as he drops her off at his apartment. Before she heads inside, she tells him Niko Bellic’s a tough nut to crack. She leans in and kisses him. He smiles back, telling her she might and wishes her good night.

Niko attends a triple date with Michelle, Roman, Mallorie and their friends Packie (Joe Cole) and Kate (Alison Oliver). They eat dinner, exchanging pleasantries. The cousins shares stories about their homeland. Michelle’s head is leaning on Niko’s shoulder as they empty the last bottle of wine. Packie then orders the cousins in his home office. Business calls Mallorie says with a worried smile. Michelle asks what kind of business they’re in. Kate is dismissive and Mallorie smiles awkwardly.

Packie opens his desk drawer and grabs a handgun. He tosses it to Niko. He says they’re going to a cash pickup from one of his bookies and he needs protection. Roman asks to stay behind, but Packie tells him to stop making excuses. The group heads into a nearby alley for the pickup. The spot is empty but sniper fire cracks, nearly hitting Roman. Niko reacts as a Russian attacks from behind a dumpster, killing him. They scramble through alleys to Packie’s place, shaken but alive. Niko asks what happened. Roman, out of breath, tells him they walked straight into an ambush by Dimitri’s men. Niko asks who Dimitri is, and Packie answers that he’s not the kind of man you want to owe money to—unfortunately, Roman already does.

Niko lies on the couch in his own place, no longer living with Roman. He receives a text by an unknown number, asking to go a downtown nightclub for a meeting. He calls Roman to ask if he knows the number, but he doesn’t. Niko decides to go, but he receives a second text warning they’ll force him to come if he doesn’t. He mulls it over, thinking about what kind of trouble Roman got himself into again. He puts on his best brown tracksuit and heads for the subway.

Niko is escorted in the club, past the pulsing lights and the thumping bass to Playboy X (Ashton Sanders), a notorious drug dealer. He sits in his private booth, explaining he inherited the biggest crack cocaine distribution network in Liberty City from his mentor Dwayne. Playboy exudes arrogance and dresses loudly. A sharp contrast from Niko. Niko asks why he contacted him and Playboy says people are trying to assassinate him and he needs protection. Niko’s actions are the talk of the town lately. Niko asks how much it pays, Playboy laughs. Playboy doesn’t pay, people get to enjoy his presence. Niko says he’ll think about it as Playboy complains over the music.

Niko is about to leave the nightclub when the Russian mob bursts in, firing wildly. He dives behind the bar, spotting Playboy X slipping out the back. A gun skids towards him but is kicked away. One of them catches Niko’s reflection in the broken glass, but before he can act, Dwayne Forge (Trevante Rhodes) and his men storm in. A tense shootout erupts, and the Russians are cut down. After the dust settles, Dwayne helps Niko get back up and introduces himself to Niko. He says he’s heard all about him, he’s tight with his cousin Roman. Niko thanks him for saving the day and Dwayne asks him to never forget that it was him who saved him tonight, not that punk Playboy. Dwayne then tells Niko to head home and make sure he isn’t followed. The Russians know who he is now.

Niko freezes at his apartment door. A thin line of light slips out from underneath it. He pats himself down for a weapon but finds nothing. His breath quickens. Someone might already be inside, waiting for him. He pushes the door open and jolts when Michelle stands there. He asks her what she’s doing here and she takes him by the hand and leads him inside. Two men in suits sit at his kitchen table. He asks her what’s going on and Michelle breaks the news to him. She’s an agent with the International Affairs Agency and they are her handlers. Her name is Karen, not Michelle. Niko’s face breaks, she was working him all along. She doesn’t flinch, saying to him he isn’t just some immigrant starting over. He’s a man who leaves graves behind. The agents explain the situation: they want Niko to infiltrate the circle of Dimitri Rascalov, one of Liberty City’s biggest criminal operators. Niko has the reputation and connections to get close. Niko asks what happens if he refuses. Karen explains he’ll face charges for everything he’s done since stepping foot in Liberty City. Help us, and you walk clean, she concludes. They leave him alone in the silent apartment. Niko stands there, shattered.

Niko lies in bed, eyes wide open, still thinking about what happened last night. He’s chased out of his thoughts by a knock on his door. He puts on a shirt and looks through the eye to see a man in a suit he doesn’t recognize, accompanied by two large men in tracksuits. Russians, he mutters. The man calls Niko by name, saying they know he’s in there and to just open the door. Niko obliges and the man introduces himself as Dimitri Rascalov (Pilou Asbaek). He says it’s nice to finally meet the man who killed his employees. Niko denies killing people at the nightclub, but Dimitri says whether Niko pulled the trigger or not, they died because of him. Dimitri reassures Niko he’s just here to make a deal. He says Niko and Roman are friends with the wrong people, Dwayne Forge is becoming a problem, whereas he is not. Niko takes Dwayne out and Roman stays safe. Everyone wins. Niko’s mind races, Karen’s betrayal and chance at a redemption, Roman’s innocence, Dwayne’s trust and now Dimitri’s threat. Niko stays silent, revealing nothing. Dimitri tells him to think about it, but to keep in mind that loyalty gets men killed and to think carefully who he wants to die for.

Niko sits at his table, phone flickering. Roman’s texts go unanswered. The line blinks, it’s Dwayne; he’s yelling, breathless: Playboy tried to kill him again and he’s going after him. He asks Niko if he’s coming. Niko hesitates, then a new message: Playboy, desperate, offering $150,000 to take out Dwayne. Enough to pay off Roman’s debts. Niko answers both he’s on his way and leaves.

Niko arrives at the scene, Dwayne waits, rifle in hand. They clasp forearms, a silent pact. Assault rifles now, they move through the neon-lit city. Elevator doors open—bullets ricochet as masked men ambush them. Sparks fly from panels; Dwayne rolls, Niko dives, returning fire with precise, cold efficiency. They sprint, leap through alleyways, scaling fire escapes, until they reach Playboy’s penthouse. Glass shatters under fire; neon lights flash as bodies fall. Playboy is nowhere to be found. A helicopter whirs above; he flips them off, laughing as it ascends. Dwayne curses, shaking his head, chest heaving. Niko’s phone vibrates, it’s Dimitri. Wrong choice. You’ll regret this, he writes. Niko pockets the phone, eyes narrowing. The city is alive with danger, and every choice has a price.

Niko and Dwayne race down the penthouse steps, Dwayne clapping a hand on his shoulder, saying Niko stayed loyal, he won’t forget it. Niko’s phone buzzes. It’s Mallorie, panicked. Roman’s been taken. Men with Russian accents stormed the depot and dragged him into a van. Dimitri, no doubt, thinks Niko. He promises her he’ll bring Roman home. Dwayne overhears and curses under his breath. He says he’s heard whispers: the Russians have been moving guns through a warehouse by the docks. It’s the only lead they’ve got. Niko calls Little Jacob and Packie, telling them to meet there.

The four men regroup in the shadows of the harbor. A cluster of blacked-out cars sits outside the warehouse, two armed guards circling. A frontal assault means Roman dies. They spot an access ladder leading to an open skylight. Inside, they stalk across the rafters in silence. Below them, Roman is tied to a chair, bleeding but alive. Dimitri paces around him, taunting him about his cousin’s “misguided loyalties.” Niko raises his pistol, but Dwayne grabs his wrist—one shot and the whole room erupts.

A guard starts up the stairs toward them. Jacob silently pulls him into the shadows, knife flashing. Niko’s pulse pounds. They move as one, slipping down the rafters, ready to strike and pull Roman out before the Russians realize death is already above them. They drop from the rafters in a coordinated blur. Jacob fires first, silencing the lookout. Packie grabs Roman’s chair, tipping it back as Dwayne tackles one guard and Niko disarms another with brutal precision. Dimitri bolts for the exit, shouting in Russian as his men scramble. Niko hesitates, chasing him means leaving Roman exposed, so he cuts the ropes instead. Roman collapses into his arms, shaking. Gunfire erupts behind them as Dwayne and Jacob hold the line. They push through the maze of crates as bullets crack overhead. Packie leads them toward a side door he spotted earlier. Jacob pops smoke from his jacket pocket—thick gray fog swallowing the warehouse. Dimitri’s men shout blindly, firing into nothing. Niko hauls Roman forward, his cousin limping but conscious. They burst into the cold night air just as Dwayne kicks the door shut behind them. A black SUV screeches up, Dwayne’s people behind the wheel. Everyone piles in. As they speed off, Roman looks at Niko, eyes wet, thanking him for saving his life.

The bells ring over the downtown church, guests filling the pews for Roman’s wedding to Mallorie. He proposed the night he returned from his kidnapping, messy, emotional, shaking, and Mallorie said yes before he even finished the sentence. Now Niko stands as best man, dressed in his sharpest suit, opposite Kate McReary as maid of honor. He scans the crowd: Dwayne, Packie, Little Jacob, all here to celebrate Roman’s first stroke of real happiness. Then he spots her : Michelle. No, Karen. She pulls him aside, whispering that he’s running out of time with the agency. Niko tells her she has some nerves coming here today and walks away before she can finish. The ceremony is simple and tender. For once, Roman isn’t performing. He’s glowing. When he kisses Mallorie, the room erupts in cheers. Outside, the couple steps onto the church stairs for a photo. Mallorie laughs. Roman squeezes her hand.

A black sedan screeches past. Gunfire erupts. Roman jerks forward, blood blooming across Mallorie’s white dress. She screams as Niko lunges, catching his cousin before he hits the ground. Kate presses her hands to the wound, but Roman’s pulse fades under her fingers. Little Jacob fires back, chasing the car until it vanishes. Mallorie holds Roman’s lifeless body. Niko rises slowly, his jaw clenched, his eyes burning. The war is no longer about royalty, it’s personal now.

Niko, Jacob, Dwayne and Packie pull up at the warehouse, but this time they covered the skylight. Gunfire cracks the moment Niko kicks the warehouse door open. No stealth this time—just fury. Jacob and Packie sweep in behind him, Dwayne covering from the rear as Russians scramble for cover. Niko charges forward like a wounded animal, firing until the slide clicks empty, then grabbing a dropped rifle without breaking stride. A bullet grazes his arm, but he barely reacts.

A fuel drum ruptures under stray fire, spraying gasoline across the floor. Packie shouts a warning, but Niko is already tackling a guard behind a crate, driving a knife into the man’s ribs in a frantic, shaking motion. Another thug surrenders, hands up, but Niko lunges before Jacob grabs him, shouting that they need information. Niko snarls, ripping free. A Molotov arcs across the room. Flames roar up, lighting the rafters. The four push deeper as the warehouse becomes an inferno. Dwayne kicks open a metal door and a blast of smoke pours out—Dimitri’s last line of defense. More gunmen rush them, and Niko cuts through them brutally, smashing one into a wall and stabbing another in the throat. The hallway clears. Dimitri’s office door stands ahead. Niko steps through, eyes burning.

Dimitri tries to ambush Niko, but he throws it across the room. He tries to talk his way out of it, saying Roman was just collateral damage so he could unleash the beast inside Niko and he could become his best henchman. Niko is about to stab him, but Dimitri dodges the attack. He says they could still talk this out, perhaps he could do something to help, he has connections. Niko doesn’t answer, letting his eyes do the talking. Dimitri says Roman was dragging him down, Niko deserves better than a cab depot. He wants the American dream and Dimitri can offer it to him. Niko grabs Dimitri by the collar and throws him on his desk. He stabs him right in the heart telling him Roman was the only light he had left in his life, and you stole it. Nothing would make it right by him. Niko breaks down for the first time, crying as he lays on the floor, the knife still in Dimitri’s body. Packie and Jacob enter the office and drag him out, the fire has progressed.

Niko is sitting alone on the docks. Dwayne joins him silently. Niko says he came here for a new life, but all he found was the same war in another language as tears come down his face.

IN DEVELOPMENT

 

Grand Theft Auto IV: Rounding out the cast of the long-awaited fourth Grand Theft Auto film will be Imogen Poots (Sandbox, Flicker), Ashton Sanders (Malik, The Nickel Boys), Pilou Asbaek (Norse: Valhalla, Thorne), and Alison Oliver (Wuthering Heights, "Task"). Taylor Sheridan helms from a script by Mo Buck.

Nightwing: Bloodhunt: Two familiar female faces will be returning for the next Nightwing film for LRF's DC Comics Universe in the form of Rachel Brosnahan (Nightwing, The Deadliest Night in Show Business) as Amy Rohrbach and Madelaine Petsch (Batgirl, Bunker 17) as Barbara Gordon/Oracle. A new addition will be Alessandro Borghi (No Pain, "Supersex") as the son of Alfred Molina's villain from the previous film. Sam Hargrave is once again directing from a script by Jimmy Ellis and APJ.

Bloodsong: The Native American-themed supernatural horror project Bloodsong has added some talented supporting players, with Martin Sensmeier (Sgt. Rock, Ocean Pawn), Wes Studi (The Lone Ranger, Scion 3), and Q'Orianka Kilcher (Days Without End, Green Arrow) all signing on to the project. Issa Lopez is directing the Holden Abbott-penned film.

X-Force: The latest Marvel Universe project, X-Men spin-off X-Force has cast a trio of young mutants to add to franchise: Rowan Blanchard (Mask of the Phantom, Revolution) will play Maria Callasantos aka Feral, D’Pharaoh Woon-A-Tai (The Dogs of Winter, "Reservation Dogs") will play James Proudstar aka Warpath, and Rudy Pankow (Ecstasy, Robopocalypse) will play Warren Worthington III aka Angel. Robert Rodriguez is directing the mutant mayhem based on a script by Dwight Gallo.

The Righteous Path: Speaking of X-Men, LRF's Jean Grey herself, Jessie Buckley (The Midnight Library, Dust Saint), is set to headline the drama The Righteous Path. She will play a woman raised in strict religious cult who feels and encounters the outside world for the first time. She will be joined by Alicia Witt (Redhead, Batgirl) as her guide in the outside world and Cary Elwes (The Incredible Shrinking Man, The Maid) as the cult's leader. Todd Haynes (Prodigy, Starlight) is set to direct from a script by Andrew Doster (Rise Again, The Letter Never Sent).

Space Sheriff Helios: Takashi Miike (The Crow: Yomi, Bad Lieutenant: Tokyo) is back behind the camera for LRF, this time for film based on the Japanese "Space Sheriff" television franchise. Kazuya Kamenashi (Policeman and Me, Lumberjack the Monster) is set for the title Space Sheriff. He'll be joined by Miike regular Tadanobu Asano (The Crow: Yomi, Shogun) as Helio's reluctant pilot ally. Meirad Tako (The Midnight Library, Police Story: Retribution) penned the adaptation.

PREMIERE MAGAZINE #362

 

The Roundup with Jeff Stockton (Season 37 Round 2)

 

Well, that didn’t take long. After I complained last round that Season 37 wasn’t giving me enough material for the “Down” section, the studio apparently took that as a challenge. Round 2 gave us two money-losers, a mobile game adaptation that barely seemed interested in being a mobile game adaptation, and another trip into the surprisingly depressing universe of Metroid. Thanks, guys. My job is safe again. Here's The Roundup....

JON BERNTHAL

Twenty-six seasons. That’s how long it’s been since Jon Bernthal last got to headline an LRF movie. Bernthal certainly hasn’t disappeared during that stretch. He’s remained a dependable supporting presence in plenty of projects, but Below the Surface finally puts him back where he belongs: at the center of the movie. Now, I thought Below the Surface itself was a pretty average drama. Nothing particularly wrong with it, nothing that’s going to stick with me six months from now. Bernthal was not the problem. He has exactly the kind of weathered, lived-in presence this material needed, and it was nice seeing LRF remember that he’s capable of doing more than showing up for 25 minutes, growling at somebody, and making the lead actor look tougher by association.

Hopefully he won’t have to wait another 26 seasons for the next starring role.

MEL GIBSON

On paper, Hay Day made a lot of sense for Mel Gibson. Stubborn old farmer. Family legacy. Corporate villains. Violence. Old-fashioned values colliding with the modern world. You can practically hear Gibson saying yes before finishing the pitch. And as both star and director, I thought he committed completely. Whatever problems I had with this movie—and there were plenty—they weren’t because Gibson mailed it in. If anything, he seemed to understand the movie Hay Day could have been better than the screenplay did. There’s a grittier, angrier, more emotionally grounded version of this story hiding somewhere inside the finished product, and Gibson occasionally manages to drag pieces of it onto the screen through sheer force of personality. Unfortunately, Alex Conn never gave him enough material to build the rest.

VIDEO GAME FILMS

Two rounds. Two major video game adaptations already. And we’re nowhere close to finished. After Pokémon opened the season, Metroid Prime keeps the gaming train moving, with Grand Theft Auto, Mortal Kombat, The Legend of Zelda and more still coming later this season. At this point, Season 37 is starting to look like LRF’s unofficial video game season. And honestly? I’m interested. Hollywood spent decades treating video games like source material that needed to be apologized for. LRF seems much more willing to just embrace the worlds people already love and build actual movies around them. They won’t all work. But judging by the schedule, we’re certainly going to find out which ones do.

BOX OFFICE

Two out of three films losing money is never a good round. Period. Metroid Prime did its job. It made a healthy profit and prevented Round 2 from becoming a complete financial disaster. But it wasn’t Pokémon. Last round, Pokémon made so much money that the studio could basically shrug at anything happening around it. Metroid Prime was successful, but it wasn’t successful enough to completely erase the losses from Below the Surface and Hay Day. That’s the difference between a hit and a blockbuster.

Season 37 still has plenty of financial cushion thanks to its opening round, but this was a reminder that you can burn through that cushion surprisingly quickly.

ALEX CONN

I generally try not to single out writers in this column. Generally. But Hay Day has some fundamental problems that trace directly back to the page. First question: Why is this a Hay Day adaptation? Seriously. Other than the title and the existence of a farm, what exactly required the branding of a mobile game? If you’re going to adapt something—even something as narratively thin as Hay Day—then either find an ingenious way to incorporate what makes that property recognizable or just write an original movie.

Instead, Conn takes pieces that could have made for a genuinely compelling modern western about family farms, corporate agriculture, inheritance, and economic desperation... and never develops them deeply enough. That’s the frustrating part. I can see the better movie sitting right there. Hay Day isn’t anywhere near the worst thing Alex Conn has written, but this feels like a concept that should have been challenged much earlier in development. Why this property? Why this story? Why these characters? The movie never came up with convincing answers.

METROID PRIME

Maybe the Metroid experts can correct me here. I’m certainly not one of them. I vaguely remember playing one of these games approximately 30 years ago, and I don’t remember thinking, “You know what this really needs? Crushing existential sadness.” Yet two movies into LRF’s Metroid series, this franchise is miserable. I understand Samus Aran has trauma. Her family was killed. That’s terrible. We got it. At some point, though, Jennifer Lawrence has to be allowed to do something other than stare mournfully into the middle distance like someone just canceled Christmas.

This is a giant sci-fi adventure series filled with alien worlds, space pirates, bizarre creatures and futuristic technology. Why does everything feel like we’re attending a funeral in space? Robert Pattinson’s Batman watches his parents die every time he closes his eyes and somehow looks like one of The Wiggles compared to Samus. Lighten up. Just a little. I’m not asking her to start cracking Marvel jokes every thirty seconds. I just want Metroid to occasionally remember that exploring strange planets and fighting giant alien monsters is supposed to be exciting.

On Location (Season 37 Round 2)

 

Hay Day

- Tahlequah, Oklahoma, USA

Metroid Prime

- Johannesburg, South Africa

Below the Surface

- Jasper, Alberta, Canada

BOX OFFICE BREAKDOWN (SEASON 37 ROUND 2)

 

METROID PRIME

Budget: $170,000,000

Total Box Office: $338,796,929

Total Profit: $66,229,489

The second Metroid film remained a solid commercial performer, even if it failed to match the box office of its predecessor. With a $66 million profit, the sequel still delivered a healthy return on a sizable production budget and kept the young franchise firmly in profitable territory.

BOX OFFICE FACT

Metroid Prime grossed about $12 million less than its predecessor, but the first two films in the series have still combined for nearly $690 million at the worldwide box office.

GENRE RANKINGS

Action: #153 

Sci-Fi: #64

BELOW THE SURFACE

Budget: $15,000,000

Total Box Office: $18,126,005

Total Profit: -$14,000,062

The modestly budgeted drama failed to connect with a theatrical audience, finishing with a worldwide gross only slightly above its production budget and ultimately losing $14 million. While the relatively small budget limited the damage, the result still places the film among the weaker performers of Sammy-Jo Ellis’ LRF career.

BOX OFFICE FACT

Below the Surface narrowly avoids becoming the lowest-grossing film of writer Sammy-Jo Ellis’ LRF career. That dubious distinction still belongs to Season 27’s Flick.

GENRE RANKINGS

Drama: #385

HAY DAY

Budget: $50,000,000

Total Box Office: $59,532,823

Total Profit: -$30,445,900

The unusual adaptation of the mobile farming game struggled to justify its $50 million budget, ultimately finishing more than $30 million in the red. The result becomes another setback for Mel Gibson behind the camera at LRF, where his directing record has been considerably weaker than his work as an actor.

BOX OFFICE FACT

Mel Gibson has enjoyed a much stronger LRF track record as an actor than as a director. His two directorial efforts — Hay Day and Season 20’s The Emperor of Latium — have now combined to lose approximately $73 million for the studio.

GENRE RANKINGS

Drama: #206

Thriller: #111

Season 37 Round 2 Total Box Office:

$416,455,757

Season 37 Round 2 Total Profit:

$21,783,527

Round 2 finished in the black entirely on the strength of Metroid Prime. Its $66.2 million profit was forced to absorb more than $44 million in combined losses from Below the Surface and Hay Day, leaving the round with only a modest overall gain.

Season 37 Total Box Office:

$1,353,027,560

Season 37 Total Profit:

$350,840,873

Two rounds into Season 37, the studio has already generated more than $1.35 billion worldwide and $350.8 million in profit, but the season remains heavily dependent on its enormous opening-round performance from Pokémon. Round 2 added relatively little to the bottom line, making it too early to tell whether Season 37 will develop the depth needed to turn its strong start into an exceptional full-season result.

SEASON 37 BOX OFFICE STANDINGS

1. Pokémon — $776,788,299 👑

2. Metroid Prime — $338,796,929 💰

3. Deadline — $112,721,449 ⚖️

4. Hay Day — $59,532,823 💣

5. The Passageway — $47,062,055 💣

6. Below the Surface — $18,126,005 💣