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Box office report: 'Jack the Giant Slayer' leads a dismal weekend; 'Identity Thief' becomes the first $100 million movie of 2013

Jack the Giant Slayer (CinemaScore: B+) picked up significantly over the weekend, earning a $28 million opening on 3,525 screens. This is better than it was tracking on Friday, likely due to the fact that families waited until the weekend to see the film. Still, it’s nowhere near what the movie needed to take in on its opening weekend, and will likely not even come close to making up for its almost $200 million budget. To put a little perspective on this March weekend, the same timeframe last year had an animated opening and an R-rated party movie that fared much better than Jack and 21 and Over (in third place)–Dr. Seuss’ The Lorax opened at $70.2 million and Project X at $21.1 million.

As the first $100 million movie of 2013, Identity Thief made $9.7 million in its fourth weekend in theaters. Down 31% from last weekend, Universal’s Jason Bateman and Melissa McCarthy comedy picked up eight new theaters. If it wasn’t obvious that Identity Thief was a runaway success, the R-rated movie has already made three times its opening weekend. Paul Feig and company should be anxious to find out if the McCarthy/Sandra Bullock vehicle The Heat will boast similar profits when it opens in June.

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New 'Stoker' poster features Nicole Kidman, and Mia Wasikowska's bloody hands -- EXCLUSIVE

Family? It’s complicated … but also bloody, at least when it comes to Oldboy director Park Chan-wook’s thriller Stoker, which stars Nicole Kidman and Mia Wasikowska.

Case in point, check out this exclusive one-sheet poster for the film that features an unusual holiday-esque portrait warning “DO NOT DISTURB THE FAMILY” with a blood splattered twist.

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Coming to America: South Korea's top directors on hitting Hollywood with English language films -- EXCLUSIVE

There’s a scene in South Korean director Park Chan-wook’s 2003 revenge classic Oldboy, currently being remade by Spike Lee, in which the film’s wild-haired, wild-eyed lead Min-sik Choi plops down at a restaurant and slurps on a huge fidgety live octopus, its long tentacles squirming out of his mouth. To American audiences, the moment may seem totally strange. But Park says the scene is less disgusting to Korean audiences. “They would be able to sympathize with the protagonist at that stage, who was incarcerated for 14 years,” he told EW. “He wants to eat something that is alive and moving. By chewing on this living thing, he’s venting his anger to an unknown protagonist.”

What is really gained, or lost, in translation? READ FULL STORY

'Stoker' soundtrack premiere of Emily Wells track 'Becomes the Color' -- EXCLUSIVE LISTEN!

In South Korean Oldboy director Park Chan-wook’s upcoming first English language movie Stoker, out March 1, Nicole Kidman throws eye daggers as the unloving mother of a budding, brown-haired Mia Wasikowska. The family thriller, itself, is awash in blue-tinged darkness.

In keeping with Stoker‘s intense vibe, check out this exclusive track, “Becomes the Color,” by classical-hip-hop-electronic hybrid violinist and singer Emily Wells from the film’s soundtrack, out on Milan Records on Feb. 26. “I became the color, I became the daughter and the son, when the feast is over,” sing-raps Wells, who was hand-picked by Park for the film, in a ghostly voice behind a skittering mix of keyboard blips, floating electronic melodies and a steady drum beat. The soundtrack also includes a score by Clint Mansell (Black Swan) and original pieces by experimental composer Philip Glass.

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