Thor sequel powers ‘Ender’s Game’ down from box office top spot

Credits: Marvel Studios
Credits: Marvel Studios

Thor sequel powers ‘Ender’s Game’ down from box office top spot

Thunder was an expectant third resonance of filmmaking in the Marvel Cinematic Universe for 2014. After “Thor” and “The Avengers” the Aussie donned into Asgardian caped duds Chris Hemsworth was a reprising star matter for bringing the hammer down in “Thor: The Dark World”. With the sequel expected to do well, lightning striking twice became an actual box office factor.

But the Marvel hero film co-starring Natalie Portman and Tom Hiddleston while recurring the surging role of Odin by Anthony Hopkins has the director Alan Taylor establishing not just “Game of Thrones” ratings, but a top ticket sales usurper at a few 2014 benchmark pedestals.

At a gain of $85.7 million over a three-day period, “Thor: The Dark World” notches itself along the Marvel Cinematic Universe’s stable at a box office level above it’s prior origin flick and just below all three Iron Man franchise films. “The Avengers” plants at the topmost starter’s circle, while at fifth place for Marvel’s all-time opening weekends this Thor franchise is emerging with its own umbrella following next to and potentially on par with Tony Starks mainstream fandom.

For Nov. 8 – Nov. 10, there’s an altogether separate industry saga. “Jackass Presents: Bad Grandpa” had a diving $11.3 million and second-placing weekend. The animation “Free Birds” won third at $11.1 million. But the fall into a darker corner isn’t just a Thor premise. “Ender’s Game” crash lands from a leader’s run during last weekend to a fifth place marking at $10.2 mil. Just before “Gravity” hits with a sixth place’s $8.5 million accumulation.

Asgard, Dark Elves and superhero fare wasn’t just an awakening dynamic over an early low-generating month on the domestic front. “Thor: The Dark World” has been a blockbuster at international theaters, taking in $240.9 million in its foreign theatrical hammering success.


Read More by Mark Ruffin


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