A stunning upset marks The Lion King as a triumph no matter what decade it’s released in, its 3-D release having managed to remove Contagion from its impending temporary position on top of the box office.

Animation always tends to take the box office, but The Lion King’s target demographic belongs to a completely new generation, and its capacity for entertaining would really be put to the test. Fortunately, it happens to be from an era of cinema in which a different audience was being entertained, and this has preserved a particular kind of magic which has ceased to exist for the most part within the past decade. Along with the lure of 3-D, a lightning rod for children viewers these days, The Lion King 3D managed to reclaim its position as the enduring film it is.

Meanwhile, remake Straw Dogs has performed exactly as predicted, suffering from a massive lacking in proper marketing and proper intentions. The biggest problem is that this remake doesn’t actually matter, and shifting location of the plot and the career of the main character doesn’t change the fact that Sam Peckinpah said everything he wanted to say with the original story.

Therefore, the problem with our remake is that the source material had so much substance that an attempt to replicate it has resulted in a similar product as Gus Van Sant’s Psycho remake. Also, that it comes in fourth at the box office.

Typically, the triumphant-sports-drama genre tends to be incredibly redundant, maybe even as much as I Don’t Know How She Does It. Or Drive, for that matter, which was evidently viewed out of pure boredom, or that it happens to not be a reboot or sequel of some sort. However, Moneyball appears to have been relatively well received, and perhaps even in good part to Brad Pitt’s performance, perhaps—supposedly—even surpassing his 2008 Oscar nominated role Benjamin Button in David Fincher’s stunning 2008 film.

Abduction practically physically makes me sick. The story could actually have made for a decent B-movie in the form of Species even, what with the collection of sci-fi star Sigourney Weaver and Alfred Molina of aforementioned film himself. Unfortunately, even in the trailer, it is distinctly clear that Taylor Lautner’s performance reeks of an incapacity to present a believable character, when the tone of the film implies that it takes itself seriously rather than attempting to be deliberately cliché and served up to laugh at. Sadly, it will likely take the box office, because of the terrible lead actor’s legion of fans.

Killer Elite looks quite intriguing, combining talented character actors Jason Statham and Clive Owen with Robert DeNiro, considered one of the greatest actors period—despite his latest endeavors either flopping or being quite, well, bad. However, it’s based on a true story, and is ultimately rather promising.

As does law drama Puncture, which may actually breathe some new life into the courtroom drama genre, which has desperately needed it for some time. Chris Evans in a dramatic role sounds terrifying, but the film appears to have given a remarkable first impression, judging by it 8.2 IMDb rating.