Date Night almost made it to number 1 (Sunday estimates had it first with 0.2 million more than Clash of the Titans) but in the end it was a repeat in first place for this remake of the 1980′s classic Perseus story.

Clash of the Titans managed a decent 56.5% drop among similar movies in the past with $26.6 million (300 had a 53.6% drop and $129.1 million after 10 days compared to $110.2 million for Clash). I did see the movie over the weekend and I got exactly what I was expecting out of it, some people didn’t so word-of-mouth (what you hear from other people about the film) is not that great for Clash of the Titans but I can still see it finishing around $160 million in North America, good for the $125 million budget when we take into account the worldwide box office that should lead to at least $350 million before the movie leaves theaters.

On the other hand I don’t think Fox are too happy about Date Night, only a $25.2 million debut for a movie that (according to some) was tracking higher and cost the studio $55 million (higher than it should for this type of movie). I don’t know if this can make back money for Fox at the box office, they will probably have to wait for the DVD release to get some of that green paper back.

How to Train Your Dragon is showing exactly the kind of box office legs I was talking about in my past reports, the kind that show people have embraced what is (for me at least) the best animated movie that has come from DreamWorks Animation so far (and this coming from a Shrek 1/2 and Kung Fu Panda fan). Dragon will give Pixar a run for their money next year at the Oscars with this gem. Anyway, back to the box office, only a 14.3% drop from last weekend and $133.4 million so far. With Shrek 4 still far away (so no competition) I’m pretty sure How to Train Your Dragon is headed to the $200 million club and hopefully will get a sequel based on the second book in the series (How to Be a Pirate).

Tyler Perry’s Why Did I Get Married Too? is exactly as expected, 62.4% drop, $11 million, $48.5 total on a 20 million budget. Tyler Perry is the man when it comes to making profitable movies, enough said.

The Last Song is surprisingly strong yet again in 5th place with $9.8 million and $42.2 million total. Will finish high among Nicholas Sparks adaptations. Nice box office teethes you got there Miley Cyrus.

Hot Tub Time Machine and Alice in Wonderland are in 6th and 7th place dropping slowly. Alice now stands at $319 million in the US and more then $780 million worldwide, damn, with Prince of Persia, Toy Story 3 and Tron Legacy all coming out this year, Disney is sure to have one of the best years ever at the box office.

The Bounty Hunter and Diary of a Wimpy Kid just can’t stand away from each other for a 4th consecutive weekend (Wimpy was above Hunter only once, opening weekend) and both look like good hits for their studios, $55.9 million for The Bounty Hunter and $53.6 million for Diary of a Wimpy Kid.

And finally Letters to God debuting in 897 theaters reached the 10th spot with $1.1 million.

Next week we have Death at a Funeral and Kick Ass, but mostly Kick Ass. Not hard to guess who will Kick Ass at the box office next weekend.

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Shawn Levy hasn’t exactly been on my personal watch-list of directors in recent years. Night at the Museum didn’t do anything for me, and I literally did not crack a smile watching his 2006 Pink Panther film. But Date Night was a surprisingly fun comedy that, while silly at some points, has an undeniable charm to it. There are way worse things to see in a theater right now, so if you haven’t seen How To Train Your Dragon yet, I’d say give it a shot.

I wasn’t thrilled about seeing this film. My apprehension began with my first viewing of the trailer, filled with broad comedy, a tired “marriage in a rut” premise, and a “one crazy night” structure which seemed painfully middle-of-the-road. I didn’t think the film could overcome these elements and rise above its central conceit, but I was wrong. Carell and Fey elevate the material much higher than it has any right to be, and their performances (their chemistry, in particular) allows us to put aside notions of legitimacy and overlook ridiculous plot details in the hopes of seeing these lovable characters work out their problems and live to see the light of the next day.

Carell and Fey are goofy and honest as Phil and Claire Foster, a New Jersey couple whose marriage is beginning to stagnate. They are very much in love, but thanks to busy work schedules (he’s a tax advisor, she’s a realtor) and the daily routine of raising their three kids, they have lost a bit of the spark that brought them together. Most of the film’s heart shines through these characters in little moments: on their regular date night at the local steakhouse, they play games with each other, humorously creating backstories and dialogue for other couples in the restaurant. Spurred into action after learning of their friends’ impending divorce, Phil and Claire deviate from their normal Jersey steakhouse and head for an exclusive restaurant in Manhattan. When they assume the identity of “the Tripplehorns” to snag a table, a case of mistaken identity throws our heroes straight into film noir territory, complete with dirty cops, corrupt public officials, low level thugs, and everything in between.

The side characters aren’t quite as entertaining as the leads, but they hold just enough weight to earn their way past cameo status. Mark Wahlberg is funny as the perpetually shirtless Holbrooke Grant, a former client of Claire’s to whom the couple turn when they realize they’re in over their heads. Common (Smokin’ Aces) and Jimmi Simpson (It’s Always Sunny in Philadelphia) are convincing as the goons chasing the Fosters/Tripplehorns, and small roles for James Franco and Mila Kunis don’t hinder their comedic performances in the least. There are appearances by other recognizable actors as well, but I won’t give those away since their presence is part of Date Night‘s charm.

As you might expect, things get absolutely ludicrous as the plot unfolds and the stakes are seemingly raised at every turn. But because we can relate to these characters and care about their plight (however ridiculous it may be), the film is an enjoyable ride to the sunrise and I was totally on board for the whole trip. Josh Klausner’s script provides consistent laughs mixed with “aww” moments of realization for Phil and Claire, and, aside from relying on a blatant deus ex machina at the climax of the film, is effective and well-crafted.

One of the aspects I enjoyed the most was how the film treated Phil and Claire’s relationship. They truly feel like a real couple, and even though the trailer features their kids jumping up and down on them to violently wake them up, the children are (thankfully) quickly banished in favor of the adult storyline. Their relationship felt organic and genuine, about as far from a Bill Engvall punchline as you can get.

As you’ve probably gathered, I liked Date Night quite a bit. I’m not claiming it’ll be one of my favorite films of the year by any means – in fact, I’m sure I’ll forget large chunks of it by this time next year. But this film did its job admirably: it entertained me, and it reintroduced me to Tina Fey’s comedic talent. Her performance and comedic timing may have convinced me to start watching NBC’s 30 Rock. Until next time…

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The trailer for Date Night, which stars Tina Fey and Steve Carell, is now online. The pair play a boring couple who are in need of some excitement, so they go on a date. Steve Carell becomes a little spontaneous and takes up a reservation that wasn’t his. Common then turns up and wants to kill them. How’s that for excitement?

We also see a few small appearances from Mark Wahlberg, James Franco and Mila Junis.

Date Night is directed by Shawn Levy (Night of the Museum) and will be released next April.

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