Going by the US result ($53m to date), you'd expect a UK total more in the region of £5m, and UK distributor eOne is rightly proud if its achievement here. Best picture champ 12 Years a Slave, still in the Top 10 in its ninth week of play, saw weekend receipts rise 4% on the previous frame, and added a nifty £766,000 over the seven days, bringing its total to £19.18m. With the awards season finally drawing to a close at the Oscars ceremony on 2 March, last week predictably saw an uptick for the films that won significant prizes. How much of the ticket price flows back to Fox is anyone's guess, but obviously a large chunk is needed to cover the costs of the Secret Cinema experience.ġ2 Years a Slave. The event is playing six shows per week for a five-week run, with a ticket price of £53.50, and could gross in the region of £500,000. So far, box office from the Secret Cinema run in London's Farringdon has not been added.

Currently, the IMDb user rating of 8.4/10 is in line with a MetaCritic score of 86/100.

It all depends on whether audience word on the 1930s-set comedy matches the ecstatic reviews. With Wes Anderson, you would always expect a strong performance on weekdays and in daytime, and a relatively gradual erosion of audience overall, so signs are propitious for a big final number. His last film, Moonrise Kingdom, began with a soft £252,000 in May 2012, although the film faced sunny skies on its opening weekend, and recovered to achieve a decent £2m by the end of its run. In live action, Anderson's box-office has been much more modest, with both The Darjeeling Limited and The Life Aquatic opening in the £430-460,000 range. The number is the biggest ever for a Wes Anderson film, beating even hit animation Fantastic Mr Fox, which debuted in 2009 with £1.52m, albeit without the benefit of previews. However, it's hard to point to the weather having impacted box-office, since the film debuted with a very impressive £1.53m, including previews of £96,000.

The sunny weather across much of the UK at the weekend must have given a few worries to the distribution and exhibition industries and none more so than at Fox: its Grand Budapest Hotel, with an upscale and older audience skew, might have been expected to perform robustly at Sunday matinees, which is when the sunshine was at its most glorious.

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