The most exciting news from Labor Day weekend at the box-office -- traditionally a slow period -- is that America seems to have caught on to the scam that Jason Friedberg and Aaron Seltzer have been running for... what is it now? Almost three years? (I'm not counting the Scary Movie franchise, which always retained some redeeming value despite their idiocy.) Anyway, their latest travesty, Disaster Movie, opened to $6.9 million over four days, just over a third of the (nearly identical to each other) first three-day weekends for Date Movie, Epic Movie and Meet the Spartans. Could that be the end of that?

Not that any of Disaster Movie's competitors did spectacularly better. The strongest of them -- the poorly-reviewed sci-fi flick Babylon A.D. -- only managed second place and a $12 million four-day. Don Cheadle's Traitor came in fifth with $10 million, which I actually think is robust for an barely-marketed film opening on just over 2,000 screens. College crashed and burned, landing outside the top 10 with $2.6 million. The best explanation is that there simply wasn't any reason to see it.

The holdovers did well. Mamma Mia!, now in its seventh weekend of release, continues to lurk in the bottom half of the top 10; its take actually grew compared to last weekend, even if you use the 3-day numbers. It's up to $133 million. The Dark Knight barely lost steam, going from fourth place to third and breaking the $500 million threshold. Vicky Cristina Barcelona also continues to do very well on under 700 screens. And of course, Tropic Thunder managed a third weekend atop the charts, leapfrogging past Pineapple Express.

The full estimates after the jump.

It's difficult (and a little silly) to try and judge an entire quarter-year's movies in one lump sum -- but that's what we seem to do at the end of every Summer Movie Season. That's when all our excitement, expectations, and final reactions come colliding together and we find ourselves thinking: "Was I actually looking forward to that piece of crap for four months?" But to me, each summer is like a walk through a carnival: Some of the attractions dazzle me, others simply don't interest me, and a few are just a waste of tickets. But once early May rolls around, I'm always ready for another trip to the Hollywood Movie Carnival. (It's where you find all the tentpoles!)

So while I'm elated to greet the upcoming season of "prestige movies," there's little denying that we've had one hell of a good summer, cinematical-ly speaking. I'm not talking about box office grosses, because frankly that stuff is so unimportant. What matters is that we got some good flicks, a few pieces of mindless (yet well-made) popcorn adventures, and even a few great films that will enjoy a very long shelf life. So while I'm not exactly sure that 2008 represents the finest Summer Movie Season of all time, I'd definitely say it was more good than bad. But if you can think of a summer that was better than this one, you know where to throw your comments. (In the comments section.)

There were no big surprises at the box office this weekend. To officially ring in the fall, it was the first weekend since April when no film debuted to more than $20 million. The best opener was the tolerably-reviewed Anna Faris vehicle The House Bunny, with $15.1 million. Interchangeable Jason Statham Movie, a.k.a. Death Race, followed with an estimated $12.3 million -- among Statham's weakest showings and the worst ever for director Paul W.S. Anderson (not counting the indie Shopping, which played on one screen).

Neither The House Bunny nor Death Race could dethrone Tropic Thunder, which held up fairly well to stay on top with a $16.1 million second weekend. It looks to have better legs than Pineapple Express, and should pass that film before all is said and done. In other holdover developments: The Dark Knight fell to fourth, but should reach $500 million by next weekend; Star Wars: The Clone Wars fell an unsurprising 60%+, and will top out around $35 million -- still not bad for a cartoon, I think.

Two more wide release debuts fared poorly. The Longshots -- the Ice Cube/Keke Palmer football drama directed by Fred Durst -- made a predictably tepid $4.3 million bow. But boy was I ever wrong about The Rocker, which was heavily advertised and promo-screened, but landed out of the top 10 with $2.8 million and an under-$1000 per-screen average. Color me surprised -- it's a decent flick, too. I guess Rainn Wilson not only can't open a movie, but affirmatively turns people off.

Hamlet 2 opened on 100 screens before going wide next weekend. Its $435,000 gross -- around $4,200 per screen -- isn't terrible, but doesn't inspire confidence for the expansion.

The full estimates after the jump.

In a weekend glutted with new releases battling the aftershocks of The Dark Knight earthquake, Tropic Thunder debuted below expectations -- but well enough to steal the top spot from The Dark Knight in that film's 5th weekend. The R-rated comedy's $26 million weekend and $37 million 5-day was roughly on par with Pineapple Express' performance the previous weekend, but I think Tropic Thunder was predicted to have broader appeal. In retrospect, the advertising may have emphasized the film's inside-baseball aspects a bit too much.

Star Wars: The Clone Wars did okay in third place with $15 million -- weak for a purported Star Wars film, but not bad for a Saturday morning cartoon. The woeful Mirrors took in a relatively paltry $11 million, a wuss-out signaled by the 11th hour press screening cancellation. Contrast The Strangers, the summer's other major R-rated, non-Shyamalan horror film, which debuted to almost twice as much despite not having as nifty a high-concept.

The Dark Knight, meanwhile, continues to edge toward $500 million. Its 5-weekend total stands at $471 million, enough to top Star Wars' unadjusted numbers. Titanic still looks out of reach, even setting aside the apples-and-oranges aspect of comparing a 1997 release to a 2008 one.

Pineapple Express fell 57% in its second weekend, putting $100 million out of reach. On the other hand, Mamma Mia! continues to be popular, suffering drops of around 20% each week thanks to good word-of-mouth and likely repeat viewings.

Woody Allen's Vicky Cristina Barcelona came in at #10, with $3.7 million on 700 screens, Woody's second-best opening ever. Two spots below that, the poorly-reviewed 3-D spectacle Fly Me to the Moon made $2 million on 450 screens.

The full estimates after the jump.

The weekend estimates have The Dark Knight taking the top spot for the fourth straight week in another squeaker -- though not as close as last week's victory over The Mummy: Tomb of the Dragon Emperor. It dropped 39% to $26 million, which was good enough to beat the $22.4 million showing for the stoner comedy Pineapple Express. That brings The Dark Knight to $441.5 million, edging out Shrek 2 for third place on the all-time domestic charts. By next weekend, it should pull ahead of Star Wars (its unadjusted numbers, anyway) for second place. Titanic still remains out of reach, or at least it seems that way right now.

It's worth noting that Pineapple Express was released on Wednesday (since Wednesday's the new Friday, doncha know), and pulled in $40.5 million over the five days -- a victory for an R-rated stoner comedy. The horribly titled The Sisterhood of the Traveling Pants 2, also released on Wednesday, had a $19.7 million five-day on just over 2,700 screens, a reasonably strong showing for a sequel to a niche film that made $39 million in 2005.

The Mummy: Tomb of the Dragon Emperor dropped 60% to $16.1 million -- whoops. It looks to top out at around $100 million, which would make it a distant third in the main franchise, though it might beat out The Scorpion King.

One of the summer's biggest box office surprises is lurking down at #7 on the weekend chart. Journey to the Center of the Earth continues to suffer only miniscule drops; it's taken in $82 million after five weekends of release, after an opening weekend of only $21 million. That sounds like a ringing audience endorsement of Real-D 3-D to me.

The full estimates after the jump.

Moviegoing seems to be living in the past these days, as both 3-D and large format projection have become attractions at mainstream cinemas again, just as they were half a century ago. Of course, there are updated differences -- the new 3-D is digital and now employs glasses that don't give us headaches, and the large format presentation, IMAX (which is actually almost 40 years old and is technically not really similar at all to the Cinemascope, Cinerama, VistaVision, etc., which were used in the 1950s), is finally separating itself from its usual museum-set association to move into more multiplexes and offer more blockbusters, like the popcorns and sodas, appropriately super-sized.

So where is the return of that other, less successful, less fondly remembered novelty also implemented in desperate times to woo audiences away from their television? You know, that ridiculous idea that's so unappealing that it's a wonder it was even allowed to enter public awareness, let alone cement itself undeservedly onto the timeline of significant moments in film history. Smell-O-Vision. Where is the return of Smell-O-Vision?

Although I'd seen it twice already, I went ahead and accompanied my father to a showing of Pineapple Express last night, only to be greeted with a surprisingly packed 8:10 showing in the theater's largest auditorium. When we exited, the immediate lobby was fairly lined up with those waiting to catch the next showtime, and when I dashed across the hall to peek in on the 9:30 showing that some of my friends had caught, it was in an auditorium half the size and equally packed, down to people actually sitting on the floor space typically reserved for those in wheelchairs (fire hazard, schmire hazard).

I only say this because, if I hadn't gone last night, I would've been truly taken aback with the film's record-breaking $12.5 million opening yesterday. (In comparison, Superbad opened to $12.3 million last year, but on a Friday.) This bodes better for Pineapple than I had expected in general, what with it only having a week to itself before Tropic Thunder does its best to snatch away its overlapping audience.

Oh, and The Sisterhood of the Traveling Pants 2 also raked in almost $6 million itself, so, um, yay for that.

Brendan Fraser's third outing as a mummy wrangler did OK, but not well enough to unseat The Dark Knight which has held the number one sport for three weeks now. Here's the top five:

1. The Dark Knight: $42.6 million
2. The Mummy: Tomb of the Dragon Emperor: $40.5 million
3. Step Brothers: $16.5 million
4. Mamma Mia!: $12.6 million
5. Journey to the Center of the Earth: $6.6 million

We've got two new releases this week, both of which are arriving in theaters today in hopes of building buzz for the coming weekend (and to avoid the start of the Olympics). Also, neither of them is directly targeting the same audience as The Dark Knight, which, even in its fourth week of release, is still the one to beat.

Pineapple Express
What's It All About: A stoner (Seth Rogen) and his dealer (James Franco) find themselves on the run after seeing a cop commit murder. Rogen wrote the script with Evan Goldberg, and this is the writing team behind Superbad.
Why It Might Do Well: Judd Apatow isn't directing, but he's on board as producer and he's got a story credit, so hopefully his magic touch will be in evidence. Also, most theaters provide comfortable seating with easy access to snacks, so the stoner crowd should feel right at home.
Why It Might Not Do Well: The aforementioned stoners might be saving their money for the recently announced Cheech and Chong reunion.
Number of Theaters: 3,072
Prediction: $24 million

Hey, when did the LA Times become the new Cinematical (ahem ... and ahem)?

We've got such craziness this week with two big summer films landing in theaters on Wednesday instead of Friday. No, you don't have some fancy holiday weekend coming up (sorry cubicle dude), but the Olympics do begin later this week, and, well, some of us really want to get our Women's Swimming 100m Butterfly on. That said, those mid-weekers have a choice between the weed action/comedy Pineapple Express and the sober adventure/comedy/romance/jeans-wearing sequel The Sisterhood of the Traveling Pants 2.

I imagine each film has a completely different audience, with one attracting stoners, fans of Judd Apatow-produced content, comedy nuts and the Girls Obsessed with Seth Rogen Association of America (or GOWSRAA), while the other looks to bring in pre-teen and teenage girls (and their parents) who like to watch other girls come of age and explore the rest of their lives ... or something like that. Word has it each flick is worthy of your nine bucks (I've seen Pineapple and can vouch for its coolness), so it's really about which movie fits your cinematic tastes.

So, what are you watching: Pineapple Express or The Sisterhood of the Traveling Pants 2?

(No, I'm not stoned. It's just that Pineapple Express opens today (8/6), but my review was published over a week ago. This reprint is brought to you by Cinematical's Recycling Division. We care about wasted bandwidth.)

I won't get into the precise reasons, but my friends always seem to think I'm going to LOVE the next big "pot comedy." They chuckle and assume such silly things despite the fact that the only real pothead comedies that I truly enjoy are Up in Smoke, Next Movie, and a large portion of the Harold & Kumar misadventures. Frankly I'm of the opinion that most pot comedies feel like they were written by someone very stoned, and let's just say that writers don't always do their best work when they're extra-baked. (They might THINK their stuff is hilarious, but usually it's not. That's just the weed talking.) Oh, you'll definitely find a few cannabis-caked giggles in Half-Baked, Grandma's Boy, and Smiley Face -- just not enough to sustain a whole movie, if it's me you're asking.

So it is with much pleasure, enthusiasm, and recently-applied Visine that I offer you Pineapple Express, which just may be the Casablanca of Pot Comedies. Or perhaps it's more like When Ultra-High Harry Met Super-Stoned Sally, but either way Pineapple Express showcases some of the funniest "weed culture" insights since the arrival of Richard Linklater's fantastic Dazed & Confused -- which I wouldn't call a full-bore "pot comedy," but it sure isn't shy about passing those joints around. Best of all, while Pineapple Express will absolutely appeal to both the casual and committed pot-smokers, it's also just a very funny buddy comedy / action flick parody that comes bearing the very unique stamp of director David Gordon Green.