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New York — Francis Ford Coppola’s decades-in-the-making, self-financed epic “Megalopolis” flopped with moviegoers, while the acclaimed DreamWorks Animation family film “The Wild Robot” soared to No. 1 at the weekend box office.

“The Wild Robot,” Chris Sanders’ adaptation of Peter Brown’s bestseller, outperformed expectations to launch with $35 million in ticket sales in U.S. and Canada theaters, according to studio estimates Sunday. “Wild Robot” was poised to do well after critics raved about the story of a shipwrecked robot who raises an orphan gosling. Audiences agreed, giving the film an A CinemaScore. “Wild Robot” is likely to set up a long and lucrative run for the Universal Pictures release.

Paul Dergarabedian, senior media analyst for Comscore, predicts “The Wild Robot” “may take a page from the ‘Elemental’ playbook by opening to respectable box office and then looking toward long-term playability.” Pixar’s “Elemental,” which like “The Wild Robot” wasn’t a sequel, debuted with a modest $30 million but went on to gross nearly $500 million worldwide.

Family movies, led by the year’s biggest hit “Inside Out 2,” have particularly powered the box office this year. David A. Gross, a film consultant who publishes a newsletter for Franchise Entertainment, said the genre should reach $6 billion worldwide in 2024 — which, he noted, “is back to pre-pandemic levels.”

“Megalopolis,” Coppola’s vision of a Roman epic set in modern-day New York, was never expected to perform close to that level. But the film’s $4 million debut was still sobering for a movie that Coppola bankrolled himself for $120 million. Following its premiere at the Cannes Film Festival, critics have been mixed on Coppola’s first film in 13 years. Audiences gave it a D+ CinemaScore.

By any financial measure, “Megalopolis” was a mega-flop. But from the start, the 85-year-old Coppola maintained money wasn’t his concern. Coppola fashioned the film, which he first began developing in the late 1970s, as a grand personal statement about human possibility. 

“Everyone’s so worried about money,” Coppola told The Associated Press in an interview ahead of the film’s release. “I say: Give me less money and give me more friends.”

Studios passed on “Megalopolis” after Cannes. Lionsgate ultimately stepped forward to distribute it, for a fee. Coppola also picked up the tab for most of its $15 million in marketing costs. The film, which stars Adam Driver, Nathalie Emmanuel and Aubrey Plaza, also played in about 200 IMAX locations, which accounted for $1.8 million of its ticket sales.

After three weeks atop the box office, Tim Burton’s “Beetlejuice Beetlejuice” slid to second place with $16 million in its fourth weekend of release. The Warner Bros. sequel to the 1988 “Beetlejuice,” starring Michael Keaton and Winona Ryder, has amassed $250 million domestically in a month of release.

Third place went to “Transformers One,” the Transformers prequel starring Chris Hemsworth and Brian Tyree Henry. After its lower-than expected debut last weekend, the Paramount release collected $9.3 million on its second weekend.

“Megalopolis” was even bested by the Indian Telugu-language action film “Devara: Part 1.” It grossed $5.1 million in its opening weekend, good enough for fourth place.

Also debuting in theaters was Jason Reitman’s “Saturday Night,” an affectionate dramatization of the sketch-comedy institution on the night it first aired in 1975. On the same weekend the NBC series began its 50th season, Reitman’s movie launched in five New York and Los Angeles theaters and collected $265,000, good for a strong $53,000 per-theater average. “Saturday Night” goes nationwide in two weeks. 

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday. 

1. “The Wild Robot,” $35 million. 

2. “Beetlejuice Beetlejuice,” $16 million. 

3. “Transformers One,” $9.3 million. 

4. “Devara: Part 1,” $5.1 million. 

5. “Speak No Evil,” $4.3 million. 

6. “Megalopolis,” $4 million. 

7. “Deadpool & Wolverine,” $2.7 million. 

8. “My Old Ass,” $2.2 million. 

9. “Never Let Go,” $2.2 million. 

10. “The Substance,” $1.8 million. 
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MUNICH — The head brewmaster for Weihenstephan, the world’s oldest brewery, has a secret: He really likes alcohol-free beer.

Even though he’s quick to say he obviously enjoys real beer more, Tobias Zollo says he savors alcohol-free beer when he’s working or eating lunch. It has the same taste but fewer calories than a soft drink, he said, thanks to the brewery’s process of evaporating the alcohol.

“You can’t drink beer every day — unfortunately,” he joked last week at the Bavarian state brewery in the German town of Freising, about 30 kilometers north of Munich.

Zollo isn’t alone in his appreciation for the sober beverage. Alcohol-free beer has been gaining popularity in recent years as beer consumption shrinks.

At Weihenstephan, which was founded as a brewery in 1040 by Benedictine monks, non-alcoholic wheat beer and lager now make up 10% of the volume. The increase over the last few years, since they started making alcohol-free drinks in the 1990s, mirrors the statistics for the rest of Germany’s beer industry.

“The people are unfortunately — I have to say that as a brewer — unfortunately drinking less beer,” Zollo said Friday, the day before Oktoberfest officially started. “If there’s an alternative to have the crisp and fresh taste from a typical Weihenstephan beer, but just as a non-alcoholic version, we want to do that.”

Even at Oktoberfest — arguably the world’s most famous ode to alcohol — alcohol-free beer is on the menu.

All but two of the 18 large tents at the festival offer the drink through the celebration’s 16 days. The sober beverage will cost drinkers the same as an alcoholic beer — between 13.60 and 15.30 euros ($15.12 and $17.01) for a 1-liter mug — but save them from a hangover.

“For people who don’t like to drink alcohol and want to enjoy the Oktoberfest as well, I think it’s a good option,” Mikael Caselitz, 24, of Munich said Saturday inside one of the tents. “Sometimes people feel like they have more fun with alcohol, which is not a good thing because you can also have fun without alcohol.”

He added: “If you want to come and drink alcohol-free beer, nobody will judge you.”

This year marked the first time an alcohol-free beer garden opened in Munich. “Die Null,” which means “the zero” in German, served non-alcoholic beer, mocktails and other alcohol-free drinks near the city’s main train station this summer but was scheduled to close a few day before Oktoberfest opened.

Walter König, managing director of the Society of Hop Research north of Munich, said researchers have had to breed special hops varieties for alcohol-free beer. If brewers use the typical hops for alcohol-free beer, the distinct aroma gets lost when the alcohol is reduced during the brewing process.

But customers don’t care about that, König said Friday as he prepared for Oktoberfest.

“They only want to know that what they are tasting is as good as traditional beers with alcohol,” he said.
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After Russia invaded Ukraine, Yuliia Lebedynska moved to Brussels with her daughter and granddaughter. She was an entrepreneur in Ukraine but in Belgium, she found herself in a Ukrainian women’s choir.  Valentina Vasileva has the story, narrated by Anna Rice. Camera: David Gogokhia  
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