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The Reaping continues to tumble, falling 54% to $4.5 million and bringing it's total to $19 million, and probably won't even cover the cost of the billboards they put up to promote it. 300 finally took a hit, dropping 48% to $4.3 million and bringing its total to a staggering $200 million dollars. And Grindhouse collapsed in its second weekend, crashing 63% to $4.2 million, a $1.6k average, and a total of just $19 million. If Miramax was the house that Quentin built (as Harvey Weinstein often referred to it), then the newly formed Weinstein Company could be the house that Quentin collapsed. Now maybe Harvey can work some of that old marketing magic when he splits the films up for a second release- which seems certain now- but things are definitely looking bleak for the once-mighty exec.
A couple of movies opened very poorly outside the top ten. Redline, for instance, came in at number eleven with $3.9 million from 1,600 theatres for a weak $2.4k average. I guess hot chicks and fast cars weren't enough to draw the teenage boys; with a $26 million budget, Chicago Pictures looks to lose a bungle on that one. 
Aqua Teen Hunger Force Colon Movie Film for Theatres (title's not as funny as they seem to think it is) did even worse, coming in fourteenth with $3 million, but a not-quite-disastrous per-screen average of $3.4k from 877 theatres. No budget reported, but this one must have cost next to nothing, and with such a targeted release, First Look will probably do alright with it. Much like the Reno!: 911 movie, this is basically a big ad for the show. No such excuses can be made for poor Ray Liotta's Slow Burn, which was savaged by critics and made less that $800,000 from 1,163 theatres for a per screen average of $669 dollars. No doubt about it; Liotta's is a fine character actor (Narc and Blow in particular), but he'll never carry a movie again.
So that's it for this week, fellow movie nuts. Tune in next week when Ryan Gosling tries to capitalize on that Oscar nom opposite Anthony Hopkins (doing his best Hannibal Lechter impersonation) in Fracture; Edgar Wright returns to spoofing genre films in Hot Fuzz, another Kasdan child tries to follow in his father's footsteps with In the Land of Women, and Luke Wilson tries to recapture some box office glory by jumping on the horror bandwagon in Vacancy. See you then.