Eric D. Snider tried his best to trick me into watching Beverly Hills Chihuahua this week. It didn't work on me, but it worked on millions of Snider acolytes all over North America, who joined forces to give the talking-animals kidflick a strong $29 million, first-place debut. I didn't see it, as I say, so it would be wrong for me to bemoan the decline of civilization that this surely (if unsurprisingly) represents. Feel free to do so in the comments.

Nick & Norah's Infinite Playlist opened to $12 million and third place, which I'd have to say is okay for the low-profile, borderline-niche film. That number, though not terribly impressive, is actually a fair testament to Michael Cera's star power, since his presence was literally the only mass-marketable aspect of the movie. So the debut is at least a draw for Sony.

It was an interesting weekend in that there were several films opening in, or expanding into, semi-wide release. The biggest winner of that bunch has to be Religulous, Bill Maher's aggressively anti-faith documentary, which did $3.5 million on around 500 screens for $6,972 per screen. Given the preaching-to-the-relatively-small-choir quality of the film, I don't expect it to hold up too well in the weeks ahead, but this level of interest is a mild surprise. Facing off against Religulous ideologically was David Zucker's conservative spoof An American Carol which, according to the estimates, edged out Religulous with $3.8 million on over 1,600 screens.

Ed Harris's lightweight western Appaloosa expanded to roughly 1,000 screens and took in $5 million -- which is okay, but seems like a missed opportunity. Faring worse were Flash of Genius (1100 screens) and Blindness (1700), with $2.3 and $2 million respectively, both landing outside the top 10. The grim Blindness was a no-sale from the beginning, especially since the critics never got on board, but the unabashedly populist Flash of Genius underperformed. Maybe the ads emphasized windshield wipers too much.

A bit more plus the weekend's top 12 after the jump.

Not a lot of people liked Eagle Eye (I thought it wasn't bad, myself), but at least it broke up the box office monotony a bit. Its $29.2 million finish is the highest weekend gross for any movie since the first weekend in August (The Dark Knight's third week at the top). A combination of strong marketing and Shia LaBeouf's draw probably did the trick for the film, which had a slew of bad reviews to overcome.

The Nicholas Sparks weeper Nights in Rodanthe took in $13.6 million for second place. That is actually almost precisely in line with Sparks' hit The Notebook, but that film hung around for weeks back in 2004, buoeyed by strong word-of-mouth. That seems unlikely for the more soap opera-ish Rodanthe.

Sneaking its way to fourth place on just over 800 screens is a movie called Fireproof, which you may not have run across unless you're a regular churchgoer. (We literally have not mentioned it here on Cinematical.) The Christian-themed movie starring Kirk Cameron had the second best per-screen average in the top 10, demonstrating the continued potency of marketing to religious audiences. Spike Lee's more obliquely religious Miracle at St. Anna, on the other hand, flopped with $3.5 million and 9th place.

A bit below the top 10, in semi-wide release, the Chuck Palahniuk adaptation Choke performed unspectacularly with $1.3 million on 435 screens. Still further down you'll find one of the year's most undignified crash-and-burns: Neil Burger's The Lucky Ones, about three soldiers returned from Iraq, which landed in 25th place with $208,000 on 425 screens, for $489 per screen. Ouch.

Find the full weekend estimates after the jump.

Unsurprisingly, the Samuel L. Jackson thriller Lakeview Terrace won box office honors last weekend with a solid $15 mil. Of the week's two wild cars, one fizzled (Ghost Town), while the other prospered (Igor). Lesson learned: Never underestimate adorable hunchbacks.

1. Lakeview Terrace - $15.0 million
2. Burn After Reading - $11. 0 million
3. My Best Friend's Girl - $8.2 million
4. Igor - $7.8 million
5. Righteous Kill - $7.4 million

This week's openings:

Eagle Eye
What It's About: Shia LaBeouf is forced to do all sorts of nasty things by an unfriendly cell phone caller.
Why It Might Do Well: LaBeouf is insanely popular, and so is talking on your cell phone wherever you go (including screenings of Eagle Eye).
Why It Might Not: Reviews have not been kind, but most PG-13 LaBeouf fans could probably care less.
Number of Theaters: 3,300
Prediction: $26 million

After a comatose weekend that saw the Bangkok Dangerous lead the pack with a whopping $7.8 million, the box office rebounded nicely with the first flock of fall arrivals, including Tyler Perry's The Family That Preys, The Coen Brothers' Burn After Reading, and Jon Avnet's Righteous Kill. Here are the final figures:

1. Burn After Reading: $19.1 million
2. Tyler Perry's The Family That Preys: $17.3 million
3. Righteous Kill: $16.2 million
4. The Women: $10.1 million
5. Tropic Thunder: $4.1 million

If you thought last weekend was a bit of a crapshoot, this weekend's not any easier, with three mid-major genre movies -- plus one animated one -- competing for whatever income you haven't lost in the stock market.

Lakeview Terrace
What It's About: Outraged that his new neighbors a) are an interracial couple, and b) didn't ask permission to plant those trees, an LAPD cop (Samuel L. Jackson) makes their lives hell. It's Jungle Fever meets Unlawful Entry.
Why It Might Do Well: Who hasn't had a god-awful neighbor before? Plus, Jackson is so much more fun to watch playing the rogue.
Why It Might Not Do Well: With so many god-awful neighbors in the world, people may be scarred. And with a PG-13 rating, Jackson may only be allowed a single "mutha f***a."
Number of Theaters: 2,400
Prediction: $17 million

Was it the controversy over the title? Or the controversy over the bloody tampon scene? Either way, Alan Ball's Towelhead finished the weekend with the best per-screen average of all films, earning $13,250 at four engagements in New York and Los Angeles, according to estimates compiled by Box Office Mojo. Neither this flick, first unveiled at Toronto last year, nor Ball's recent return to HBO, Southern Gothic vampire drama True Blood, have drawn unanimous critical praise, but specialty audiences still seem interested in whatever the American Beauty scribe / Six Feet Under creator is doing.

Speaking of directors with a strong following, Takeshi Miike's Sukiyaki Western Django expanded to Los Angeles and maintained a healthy $4,200 per-screen average in its third week of release. Also in its third week, comedy I Served the King of England expanded into 37 locations but hasn't picked up much steam ($2,262 per screen), while steady earners Tell No One ($2,263 per screen; 11th week), Frozen River ($2,011 per screen; 7th week), Elegy ($1,948 per screen; 6th week), and Vicky Cristina Barcelona ($1,724; 5th week) all saw somewhat predictable declines in business. After all, sex and thrills only go so far among indie filmgoers.

Our criteria for inclusion in the Indie Weekend Box Office report hinges on the distributor, so here's another shout out to the #1 overall earner, Burn After Reading, from Focus Features. Likewise, soon-to-shutter Picturehouse released Diane English's The Women on the largest number of of screens they've ever handled -- 2,962 -- resulting in a per-screen average of $3,405. The picture earned more than $10 million total.

It would be nice to be able to say that the Coens are finally getting some drawing power, but I suspect the insane cast of Burn After Reading -- Pitt, Clooney, Malkovich, Swinton, McDormand -- had something to do with its exceptionally strong $19.4 million bow, the Coens' strongest ever. It barely beat out The Family That Preys, which opened to $18.02 -- slightly below par for Tyler Perry, though still nabbing the highest per-screen average in the top 10 on just over 2000 screens.

The third-place, $16.5 million take for Righteous Kill seems about right: a compromise between the draw of De Niro and Pacino, and the toxic buzz surrounding the film. As for The Women, $10 million isn't exactly gangbusters, but probably more than Picturehouse had any right to expect given that the movie came out of nowhere.

Anna Faris's The House Bunny has turned into a minor hit; it took a 22% drop from last weekend, and has passed the $40 million mark. Not bad for a late-August release with no real star power. Bangkok Dangerous is dead in the water, dropping from 4th to 8th place; it will top out at around $15 million.

And I can't resist noting what happened to Proud American, the patriotic half-doc that was dumped into 750 screens this weekend by Slowhand Cinema. It landed below the top 25, with $135,000 and a $180 per-screen average. That's for the whole weekend. If you take $6.50 as an average ticket price (a bit below the actual average, but probably reasonable given that the interest for this film was probably not in major metropolitan markets), that's comes out to an awesome 28 people per theater, and around 2 people per show. Whoo!

The full estimates after the jump.

In the last few years, Nicole Kidman has starred in a number of movies that underperformed at the box office, but last year's disappointing grosses for The Interpreter The Invasion, The Golden Compass and even Margot at the Wedding likely contributed to her being named the least bankable actor in Hollywood by Forbes magazine. Apparently, given her exorbitant asking price, Forbes estimates her movies only earn, on average, as much from ticket sales as she earns for appearing in them. This is a major drop compared to last year, when Kidman's films were estimated to gross $8 for every $1 she's paid.

After Kidman, Forbes names Jennifer Garner, whose '07 films The Kingdom and Catch and Release did poorly enough that the runaway success of Juno couldn't help her ranking. On average her films grossed $3.60 for every $1 she took home. In third place, not surprisingly, is Kidman's ex, Tom Cruise, who bombed big time with Lions for Lambs last year. Others making the list of most overpaid actors include Nicolas Cage, Drew Barrymore, Cameron Diaz, Jim Carrey, Cate Blanchett and Will Ferrell. Meanwhile, Russell Crowe, who topped the list last year, is considered more fairly paid this year thanks to the success of American Gangster.

Such fluctuations in actors' bankability only continues the debate regarding the importance of movie stars these days. Certainly all the names on Forbes' list are big names who occasionally headline blockbuster hits, but are they actually significant to moviegoers' attraction to a movie? Apparently not.

So, which actor do you think is most in need of a major reality check before his or her next major paycheck?

In a combined effort to boost its box office receipts enough to become the highest-grossing film of all time (which it won't) and boost its awards profile enough to garner some Oscars (which it might), That Juggernaut Which We Call The Dark Knight will be re-released this coming January, according to The Hollywood Reporter.

It's the month when the awards rush is high and the mainstream competition is low, and any chance to see it in the IMAX format (had ye missed it, for shame) should be relished regardless of the DVD's December arrival.

And no, even if it doesn't best Titanic, director Christopher Nolan and the Brothers Warner are still looking at the cusp of a billion bucks worldwide. Yeah, so far as consolation prizes go, I've actually heard of worse. Hell, with numbers like that, maybe they could still sway Phillip Seymour Hoffman to climb aboard -- or at least help Michael Caine get his story straightened out...

Fox has not had a good year -- and as with most drama-filled issues, they really have only themselves to blame. Variety points out that they were the only studio this summer that didn't have a $100 million domestic earner. What they did have was a lot of widely-derided flops like The Happening, Space Chimps, and Meet Dave. They also had films that might have done well, had they chosen to actually sell them, like The X-Files: I Want to Believe. They were also dealt a bit of bad luck when it came to X-Men Origins: Wolverine, which was supposed to come out this summer, making it the greatest superhero year ever, but was delayed due to Hugh Jackman's commitment to Australia. (A film which the studio is really hoping bails them out come fall, along with Marley and Me.)

Faced with so much failure and drama, what is a studio to do? Well, turn to superheroes, of course! As you read this, they're holding strategy meetings to dust off or create some new franchises off their comic book properties. They're looking at more X-Men spinoffs, including a young X-Men project that might just be X-Men First Class. They're also looking at giving Deadpool his own movie -- which seems a no-brainer when you have Ryan Reynolds playing him in Wolverine. Why, they're even looking at reviving Daredevil. (Frank Miller and Jason Statham, call on line two.) It's enough to wind up any Marvel fan.

Continued after the jump...

Is everyone in Toronto for the festival? Has everyone caught up with everything they want to see? Are arthouse movie lovers football fans too? I'm not sure how else to explain the downturn in the indie box office this weekend, in which Takashi Miike's Sukiyaki Western Django continued its stay at the top, per estimates compiled by Box Office Mojo. Sukiyaki made $5,100 at its single Gotham engagement; now let's see what happens when it expands beyond New York City.

Also holding up decently in its second weekend was I Served the King of England, which increased to 17 theaters and earned $4,241 per location. Everyone Wants to Be Italian was the only debuting indie to crack the Top 10, but its tepid $2,224 per-screen average at 98 locations indicates that not everyone wants be Italian. No word on what happened with The Pool (which I loved), August Evening, Ping Pong Playa, Mister Foe, or the other new indies.

Speaking of poor performances, Hamlet 2 earned just $520 per screen at 1,575 theaters. Yikes! That's a lot of empty auditoriums. The film's cumulative total is $4.3 million, though, so perhaps it can break even on the DVD release.

Among the holdovers, Frozen River and Transsiberian pushed past $1 million dollars in earnings, Elegy broke past $2 million dollars total, Tell No One reached $4.7 million dollars, and Vicky Cristina Barcelona soared past $16 million in its fourth week.