Yavp is intended to be as flexible and intuitive validation plugin as possible with vastly reduced learning curve.
$('#registration-form').yavp({ fields : [ { selector : '[name="email"]', //any valid selector will do validators: [ 'required', 'email' ] }, { selector : '[name="secondary_email"]', validators: [ 'optional', //if element's value is empty, further validators won't be processed 'email' ] }, { selector : '[name="year_of_birth"]', validators: [ 'required', /^[0-9]{4}$/ ] }, { selector : '[name="password"]', validators: [ 'required', function () { //make sure the password is strong enough if ($(this).val() != '123') { return true; } else { return false; } } ] } ] });
As you can see, Yavp lets you use previously defined (some are built-in) validators, build them off regular expressions and closures.
All forms are validated solely based on settings passed to Yavp, HTML5 element types such as email or data- attributes will be ignored. Please note that Yavp will disable default browser's validation for forms that stay under its control.
Yavp offers you a possibility to reuse your validation rules in different pages. Imagine that you have a registration form for users, a very similiar form where they can change their account settings and an admin-backend form. Using other jQuery validation plugins, small differences between these forms will make it really difficult to reuse your code. With Yavp's collections, this task will be a piece of cake!
Yavp makes cumbersome things easy so you can now easily make use of async AJAX calls. Also don't worry about validation requests generating heavy load on your server, Yavp implements debouncing and caching to cut down any unneccessary calls.
Although this should be obvious, I think it's important to reiterate that client-side validation should never replace server-side one. Even if we setup secure validation rules with Yavp, you still need to validate the data again once actually sent to the server. A lot of damage can be done should you neglect it.
Depending on the complexity of your project Yavp's built-in validators may suffice, but I'm pretty sure you can think of many unwieldy fields that need to be handled in a very specific way.
| Validator | Params | Description |
|---|---|---|
| optional | n/a | If a field is optional, you should use this validator as the very first one. Otherwise following validators will fail because of empty value. When your field uses optional and has no value, no further validators will be run. |
| required | n/a | Uses $elment.val().length to determine if a field is empty. |
| number | n/a | Number with no decimal places. |
| decimal | n/a | Number than may have decimal places. |
| name | n/a | Very generic name validator, valid may contain only letters and spaces. |
| n/a | Valid email address. | |
| length |
|
Validates value's length, requires at least one of the params. |
| range |
|
Validates if field's value is within range defined by at least one of the params. Works well with decimal and number |
| equals |
|
This validator takes one param selector and compares its value to its own. Validation result is never cached. |
| regexp |
|
Accepts regexp param and matches it against field's value. |
| checked | n/a | Returns true if element is checked. |
| year | n/a | Returns true if user passes a number that fits between 1900 and 2100 range. |
Instead of using regexp validator you can just pass a RegExp object either using regular expression literal i.e. /^[0-9]{1,4}$/
or using a RegExp constructor like this new RegExp('^[0-9]{1,4}$')
.
On many occasions you will need to use your own validators and Yavp does a great job in making it as easy as possible. Not only you can pass validation result immediately by returning either true or false, but you can also make use of async function calls, let it be setTimeout or $.ajax
.
You will also be able to override global caching settings, prevent Yavp from executing following validators or even throw a custom error message.
function (result, params) {}
Closure function will receive two arguments: result and params. Params is just a hash of data that you can specify when defining each validator, so instead of just using validators name like email.
Some validators require params to be passed, i.e.:
{ selector : '[name="percentage"]', validator : 'range', max : 100 }
So in your closure function you access those params like this:
function (result, params) { returun this.val() > params.min; }
Another important detail has been introduced in above example: all closures are executed in currently validated element's context. Using $(this)
will be redundant as you will already get a jQuery object.
Let's focus on the first and slightly more sophisticated param - result.
result.success()
- it's an equivalent of returning true but can be called aynchonously. If you pass true as an argument, no further validators will be processedresult.error()
- call this if validation fails. Accepts a custom error message that will override any other specified for this elementresult.dontCache()
- indicates that the result of validation shouldn't be cachedExample use of "result" object:
function (result, params) { $.post({ url : '/email-exists', data : { email : this.val() }, success: function (response) { if (response.status == 'success') { result.success(); } else { result.error('Email already exists!'); } }, error : function () { //not neccessary, but in case of server error we shouldn't stop user from submitting the form. Server validation should verify this result.success(); } }); }
You can also mix the use of result object with returning true/false:
function (result, params) { if (!/[a-z]/i.test(this.val())) { result.error('Password should contain at least one letter'); } else if (!/[0-9]/.test(this.val())) { result.error('Password should contain at least one digit'); } else { return true; //equivalent to result.success(); } }
In the above example result
object was used to pass custom error message.
Sample situation when you may not want to cache validation value. Imagine it's a validator for #zip
field which relies on #city
field and we want to make sure that entered ZIP code is from the given city.
function (result) { var city = $('#city').val(), zip = this.val(); //since this zip can be valid if city changes, we can't save validation result in the cache. result.dontCache(); $.post({ //our server side function will validate that this zip is within our city url : '/zip-in-city', data : { city : city, zip : zip }, dataType: 'json', success : function (response) { if (response.status == 'success') { /* We can't just "return true" because $.post is an async call. return true could be used if you add "async: false" param to the $.post params. */ result.success(); } else { result.error('Please enter a ZIP code from '+city); } }, //server error occured error : function () { result.success(); } }); }
| Setting | Description |
|---|---|
| success | callback when form is validated successfully. Context: form |
| error | callback when form validation fails. Context: form |
| elementSuccess | callback when form's element is validates successfully. Context: current element |
| elementError | callback when form's element validation fails. Context: current element |
| before | callback before validation starts |
| after | callback after validation is finished no matter what the result is |
| elementBefore | callback before element's validation starts |
| elementAfter | callback after element's validation is finished no matter what the result is |
| triggers | jQuery events such as keydown, keyup, change that will trigger validation of a form's element. Default: keydown and change |
| debounce | thanks to debouncing we can use i.e. keydown events without worrying of user triggering validation too often. Debounce will halt event callback execution until certain interval i.e. 350 miliseconds. If the same event does not fire within 350 milisends (i.e. user doesn't press a key), original callback will be executed. If the same event fires with 350 miliseonds, debounce will wait 350 miliseconds again. Accepts either interval param for debounce or false if you want to disable it. Default = 350 |
| validators | you can pass your custom validators to override Yavp's default ones. If you just want to add some validators, please check Extending section |
| messages | same as above, but concerns messages |
| collections | same as above, but concerns collections |
| fields | an array of either validators or collection references. Fields have been explained in the next section |
| selectorOverwrite | Pass true if you don't want Yavp to add :visible:enabled to any of your selectors. Can by overwritten per each field. |
The're a few different ways of defining what Yavp is supposed to do with certain form element. Let's take a look at what you can pass to fields array:
user.date_of_birth
- simply a string where first part (before the dot) is the collection's name and the other is the field name. Please check Collections section to learn more details.
selector - valid jQuery selector used to match one or more DOM elements, i.e.: [name="last_name"]
, #period_start
or .emails
By default Yavp will append :visible:enabled
to each selector to make sure that only fields that user can interact with will be validated. If you need to prevent Yavp from doing this, just set selectorOverwrite
to true:
fields : [ { selector : '[name="age"]', selectorOverwrite : true, //so that age will be validated even if hidden or disabled validators : [ 'required' ] } ]
validators - an array of validators you want to apply to this field. These can be either just validator names with no details or hashes of data where you can specify some custom params, i.e.:
fields : [ { selector : '[name="age"]', validators : [ 'required', //this one doesn't need any params { validator : 'range', min : 18 } ] } ]
messages - you can override global message settings, i.e.
{ validator : 'email', messages : { format : 'Sorry, not a valid format!' } }
To learn more about messages please check Messages section.
chain - valid jQuery selector of field or fields which should be validated after this element has been validated. Useful for fields which rely on others. For example if you have a #password
and #cofirm_password
fields, you may want to re-validate #confirm_password
in case user changes #password
:
fields : [ { selector : '#password', chain : '#confirm_password', validators : [ 'required', function () { //some custom password validator } ] }, { selector : '#confirm_password', validators : [ { validator : 'equals', selector : '#password' } ] }, ]
Yavp will let you define your error messages on a few various levels. You can change them globally which is covered in the Extending section, per each form, field or per validator.
| Message Type | Description |
|---|---|
| equals | used if validation fails for equals validator |
| required | used when required field is empty |
| checked | used if required checkbox is not checked |
| range | used for range validator |
| format | a default error message if there's no other message specified |
Generally if Yavp doesn't receive an error message from result.error()
function, it will start searching for error message in field definition using validators name:
fields : [ { selector : '#name', validators: [ 'required', /^[a-z]+$/i ] messages : { required : 'Your name is required!', regexp : 'Not a valid name!' } } ]
If you're after dynamically generated error messages, you can use closures instead of static strings. I.e.:
messages : { 'range' : function (params) { if (params.min && params.max) { return 'Please pick a number between ' + params.min + ' and ' + params.max; } else if (params.min) { return 'Please pick a number greater than ' + params.min; } else { return 'Please pick a number smaller than ' + params.max; } } }
Yavp will pass field's param as the first argument and set context to field's jQuery object like in validator functions.
When you need to overwrite all error messages for a certain form, you can just use messages param when initializing Yavp:
$('#custom-form').yavp({ //other settings messages : { format : 'Some message', required: 'Please fill this field' } });
Even if you have similar forms in a few places of your web applications, there're usually small differences between these. This shouldn't be a reason to just copy and paste the validation code though. Let's take a look what Yavp offers here.
A collection is basically a group of fields. Let's consider a "user" example. You know that in a registration form you require users to enter name, email and password. In their account settings you will probably want to split password settings from others.
Let's define all validation fields in a collection under "users" name
$.fn.yavp.collections.users = { //email is just for your reference, you could use anything like 'email-address' email : { selector : '#email', validators : [ 'required', 'email' ] }, password : { selector : '#password', validators: [ 'required' ] }, password_confirm : { selector : '#password_confirm', validators: { 'required', { validator : 'equals', selector : '#password' } } }, name : { selector : '#name', validators: [ 'required' ] } }
Now you can use any of the above in your forms:
$('#registration-form').yavp({ fields : [ //Yavp will search for these rules in "users" collection 'users.email', 'users.password', 'users.password_confirm', 'users.name' ] });
Account settings form, we don't need password here, so we don't include it
$('#account-form').yavp({ fields : [ 'users.email', 'users.name' ] });
Same like you can define your collections, Yavp lets you globally modify each of its settings so that it will be reflected in every form. The key is $.fn.yavp
object which you can extend. Some examples:
$.fn.yavp.elementSuccess = function () { //your code };
$.fn.yavp.elementError = function () { //your code };
If you want to add some validator:
$.fn.yavp.validators.last_name = function () { //some code };
And it's the same as:
$.fn.yavp.validators['last_name'] = function () { };
Should you need to modify a built-in validator, you can use the same method:
$.fn.yavp.validators.email = function () { //some code };
You can also globally set message for validators:
$.fn.yavp.messages.format = 'Incorrect format!';
Some of those are issues I've stumbled upon when working on my projects but majority of issues have been found googling for:
site:stackoverflow.com jquery validation "how to"
Say you want to let your users pick at least one but no more than two checkboxes.
Just wrap all your checkboxes with some container (i.e. span, div), in this case it's just a div#newsletters
function (result) { //how many checkboxes have been checked? var checked = this .parents('#newsletters') //get reference to the wrapping container .find('[type="checkbox"]:checked') //find all checked checkboxes .length; //count them if (checked === 0) { result.error("Hey, pick at least one!"); } else if (checked > 2) { result.error("No more than 2, please!"); } else { return true; } }
If you need a plain list of errors rather than displaying an error message for each invalid field, check this example.
ul#errors
is a container where errors will be displayed.
Instead of using elementError
callbacks we will focus on error
. This one is called when validation fails and receives a list of all errors as a param.
var $error_container = $('ul#errors'); $('#form').yavp({ error: function (errors) { $.each(errors, function (i, error) { $('
'+error.message+'
').appendTo($error_container); }); }, fields: [ //... ] });
This is nice and easy but needs to be adjusted. Yavp is generally designed to display inline error messages which can be more generic, i.e. "This field's incorrect". When you display a list of errors somewhere else, for example above the form, you should probably include field's label in error message, otherwise users won't know where they made a mistake.
There're two approaches to this problem, first one is more flexible and can save you some time if you have many fields. We will basically build error messages dynamically based on field's label
tags. If your labels include some additional text like "Please enter your email", you could define actual field's label in a data- attribute:
Please enter your email address:
Now let's push some changes to build-in validators:
/*You may need to adjust this function depending on your HTML structure. This one uses field's id attribute and seeks label with matching "for" attribute.*/ function findLabel($field) { return $('label[for="'+$field.attr('id')+'"]') .data('label'); //or .text() depending on where you store field's name you want to use } $.fn.yavp.messages.required = function (params) { return findLabel(this)+' is required.'; //message callbacks are executed in field's context } $.fn.yavp.messages.format = function (params) { return findLabel(this)+' is incorrect.'; } //and so on
If you need more control over your error messages, you can specify them explicitly for each field:
$('#form').yavp({ fields: [ { selector : '#name', messages : { required: 'We would love to know your name!' }, validators: [ 'required' ] }, { selector : '#email', messages : { required: "You surely have an email box, don't you?", email : "Our pigeon spotted a typo in your email!" }, validators: [ 'required', 'email' ] } ] });
Sometimes, you may need to modify your form after yavp has been initiated. Since Yavp stores all form element references in a cache, it won't be able to reflect any DOM changes until you refresh its cache:
Add your element(s) first and then call:
$('#your-form').yavp('refresh');
Once this has been called, Yavp will process all form elements again including the ones you may have added or modified. Also remember that one field declaration can match unlimited number of DOM elemnts, just use class select i.e. .name
instead of id or name.
If you for some reason want to use default values instead of placeholders, you can simply override required validator and add some data- attributes to specify default values.
$.fn.yavp.validators.required = function () { if (this.val() == this.data('default-value')) { return false; } return this.val().length === 0 ? false : true; }
Then just don't forget to specify your default values in data-default-value attributes like this:
<input type="text" name="name" value="John Doe" data-default-value="John Doe">
Please follow the Checkbox Range example.
Sometimes you need users to fill at least one field and you don't care which one.
In this case you shouldn't really specify elementError
callback but rather error
and use this validator:
$('#form').yavp({ error : function () { alert('At least one field should be filled!'); }, fields : [ { selector : 'input[type="text"]', //adjust this to match fields user can choose from validators: [ function () { var filled = (function ($fields) { var _filled = 0; $fields.each(function () { if ($(this).val().length > 0) { _filled += 1; } }); return _filled; })(this.parents('form').find('input[type="text"]')); return filled > 0; } ] } ] });
More than often you will need a form sent asynchronously without refreshing the page. It's pretty straightforward:
When you only need to validate a group of fields at once so user can proceed to the next step, please check the Wizard example.


IDF: At Least 3 Enemy Rocket Crews Eliminated by Israeli Strikes
by JNS News ServiceAt least three rocket crews were eliminated on Wednesday during ongoing Israeli air strikes against Islamic Jihad targets in the Gaza Strip, according to Israeli military sources.
Islamic Jihad released a statement on Wednesday confirming two of its fighters were killed in separate strikes south of Gaza City, Reuters reported.
The death toll since the current round of fighting began on Tuesday stands at 19, Gaza medical officials said according to the report.
Israel killed Islamic Jihad commander Baha Abu al-Ata in Gaza on Tuesday, sparking a barrage of over 200 rockets from the Hamas-controlled enclave that as of Wednesday showed no signs of stopping.
An Islamic Jihad official told Reuters that despite diplomatic efforts to reach a cease-fire, his group had told mediators it plans to continue its attacks.
“Attempts to restore calm did not succeed, the Islamic Jihad see that it is time to respond to the assassination policy which was revived by the Zionist enemy,” the official said according to the report.
“The enemy will pay the price of its foolishness and we are determined to confront this aggression with all our might,” the official added.
So far, the terrorist group Hamas, which controls Gaza, has not joined the attacks.
Meanwhile, Israel has assembled armored vehicles along its border with the Gaza Strip.


Résumé
—Always a tone of surprise. I'm the sixth in our family to go to Hogwarts. You could say I got a lot to live up to. Bill and Charlie have already left — Bill was Head Boy and Charlie was captain of Quidditch. Now Percy's a prefect. Fred and George mess around a lot, but they still get really good marks and everyone thinks they're really funny. Everyone expects me to do as well as the others, but if I do, it's no big deal, because they did it first.
Personal Life
2008
Birth of our son Hugo Granger-Weasley
2006
Birth of our daughter Rose «Rosie» Granger-Weasley
1999
Married Hermione Granger
Experience
2000-now
Co-owner Weasleys' Wizard Wheezes
2017, august
Obtained a Muggle driving license
2014
Attended the final of the 427th Quiddich World Cup
2010
Was featured(with Harry and Hermoine) on Chocolate Frog Cards. My finest hour ;)
1998-2000
Worked as Auror at Ministry of Magic along with Harry Potter and Hermione Granger
1998
Faught in the Battle of Hogwarts1997
Participated in Battle of Hogwarts
1996
Won the Quiddich cup
1996
Won the position of Keeper on the Gryffindor Quiddich team1991
Was honoured with a Special Award for Services to the School(two hundredHouse points for Gryffindor)
1991Was sorted into Gryffindor House
1991
Began attending Hogwarts School of Witchcraft and WizardrySkills
Wizard Chess Dueling Degence against DarkArts Charms Flying
Things I love very much <3
friends Quiddich
FOOD!!!
Things I hate
Poverty, being "second-best" to work a lot
Spiders
My Strength
Leadership Tactical Thinking Loyality Sence of humor
My weaknesses
incredible laziness, swearing


A REVIEW OF "TRUE CRIME" by Ryan Ellis
give me a buzz on the ol' e-lines<EMAIL_ADDRESS>The decade of the '90s has not been infinitely wonderful for Clint Eastwood. The Hollywood icon followed "Unforgiven" with "In The Line Of Fire", then did some sub-par films like "Absolute Power" & "Midnight In The Garden Of Good And Evil". Those first two films are much, much better than the second two or even "A Perfect World". So it's safe to say that Eastwood has slipped in the latter part of the decade after a couple of near-brilliant pictures. The decade ends with his latest, "True Crime", a thriller with plenty of ups & downs. Not quite a top-notch effort, this film is watchable more for Eastwood's fine acting than his acceptable, yet standard, directing.
Eastwood stars as Steve Everett, a crack reporter for the Oakland Tribune who is long in the tooth and living on reputation. To give this movie a nice dose of humanity, Everett is written as a thoroughly flawed character (aren't we all thoroughly flawed characters?). He's a recovering alcoholic who cares only about himself in his quest for self-fulfillment. Despite having a wonderful family--an attractive wife & an adorable daughter--he's a philaderer too.  And he's a person who has his own journalistic standards. After all, Everett resigned from a prestigious newspaper when his bosses wouldn't print some juicy details he digs up about the mayor while working in New York. Eastwood plays this character very well, making us like him even though he's such a selfish rascal.
Everett is rumbling through life in Oakland, carrying on in an affair with his editor's wife and also trying to score with a young female reporter. After that young reporter dies in a car accident, Everett is assigned to fill in for her and do a fluff interview with a young black prisoner, Frank Beachum (Isaiah Washington), in San Quentin. Beachum is scheduled to be put to death by lethal injection that night for the shooting murder of a white pregnant woman in a convenience store. Editor Bob Findley (Denis Leary) phones his own home to discover Everett just dressing after a tryst with Bob's wife. He gives the assignment to the notorious old reporter, partly hoping Everett will screw up and get himself fired. And going against orders by not just writing a low-key human interest piece, the man with the "nose" snoops around to see if young Beachum really is guilty or not.
On his odyssey of fact-finding, Everett has an unfortunate incident with his cute little daughter at the zoo, interviews a key witness who has dubious information about the murder, and struggles through the tense situation at work. Meanwhile, Beachum sits on death row, awaiting a fate he may or may not deserve. He claims he's innocent of the murder, but cannot offer any evidence to clear his name. In fact, only Everett and Beachum's family even care about whether or not this man is innocent since Beachum has been sitting on death row for 6 years. It's old news to most people, including the lawyers and witnesses involved. Everett's snooping reveals surprises and other clues, eventually leading him to believe that maybe Beachum is indeed innocent. His only task is to find some kind of proof. In a bubble-gum, car-chasing, action finale Everett races to try and beat the clock and find that elusive proof.
"True Crime" is a manipulating film. It tugs at the heartstrings by making us like a man who may in fact be a murderer. It makes us like Everett too, even though he's not an upstanding citizen and everything he does is either selfish or rebellious. Even the prison employees are likable since they are not portrayed as typical movie monsters who inhumanely brutalize the criminals. The most obvious heartstring puller, though, has to be the portrayal of both Beachum's daughter and Everett's daughter. Who can resist such innocence and sweetness? These young girls provide a direct contrast to the ominous task of a (legal) murder that is looming at 12:01 that night. So the manipulating is tolerable because it isn't overly sentimental, yet Eastwood dares you to dislike the likable main characters.
The script is solid, if predictable. It provides a good analysis of the whole death penalty process.  James Woods plays the Senior Editor, Alan Mann, in his typically dynamic way. He's got the best lines and gets some good laughs. The only major contrivance is that this one reporter could discover so many clues that no one else could find after 6 years! He may be a good reporter, but if a team of detectives and lawyers can't figure out some of the things that Everett does, maybe we need a brand new justice system! I can't reveal an even bigger contrivance in the picture because it would give away the ending. Still, the script delves pretty deeply into these characters considering that the majority of the movie takes place in a 24-hour period. Call this a day-in-the-life of a scoundrel reporter and a nice guy "murderer".
Eastwood's direction is okay, but to call this a walk in the park would be understating it. It's verrrrry deliberate pace almost undermines the script and its characters before the long-awaited climax. It's a long 2 hours to watch this film, but a fulfilling 2 hours all the same. Perhaps an extra few seconds comes from Eastwood's use of slo-mo a couple of different times. This is notable because he said he didn't like slo-mo during the American Film Institute's "100 Years, 100 Movies" show last year and rarely uses the technique. It's also ironic that this is set in Oakland because Eastwood has set so many films in the city right across the bay--San Francisco.
Since "True Crime" is a quiet thriller with "whodunnit" overtones, it isn't for all tastes. I predicted the final result, but I still had plenty of thinking to do along the way. It's a thinking man's movie. Along with some social commentary about the death penalty, Eastwood has crafted a film that doesn't claim to have all the answers--mostly about marital and work troubles. Eastwood should also be commended for not stereotyping the black "murderer" or Beachum's family. Isaiah Washington is muted and doesn't exactly remind one of Denzel Washington, but he's sympathetic and likable in his role. Ultimately, the final pay-off isn't monumental and that keeps this film from being an instant Eastwood classic. "True Crime" is a solid film with interesting characters--a pretty nice counter to all those teen films out there right now!
USELESS TRIVIA--Clint Eastwood's daughter in "True Crime" is his real daughter as well. The adorable girl's mother is Frances Fisher (who also appears briefly in this film). Mother Fisher appeared in "Unforgiven" with Eastwood. Make the connection...
This film gets an 8/10.

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Convicts hand over customer’s ‘cash-rich’ bag found at IOC outlet
They are among 25 prisoners engaged as attendants
by Special CorrespondentThe honesty of two convicts, engaged as customer attendants at the Freedom fuel retail outlet exclusively run by prisoners in Pudukottai town, came in for high appreciation on Tuesday.
Pushparaj and Karthik, lodged in Pudukottai prison, are among 25 prisoners employed at the retail fuel outlet in Pudukottai Town opened by the State government with the help of Indian Oil Corporation.
A few days ago, the duo found a bag lying on the ground at the fuel outlet. The bag belonged to a motorcycle rider, who came in for a refill. They found ₹1.75 lakh cash inside the bag and immediately handed it over to the duty prison official at the retail outlet.
The Prison officials and IOC field officer identified the customer through the surveillance camera and handed over the cash to him after verifying his identity.
Appreciating the honesty of the two convicts, IOC Chief Divisional Retail Sales Manager – Tiruchi Divisional Office Babu Narendra visited the outlet on Tuesday and felicitated Pushparaj and Karthik for their noble act and honesty, a release by Indian Oil Corporation said.


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Market Charts > 1998 > Movie Chart
Annual Movie Chart - 1998
Note: This chart ranks movies by the amount they earned during 1998.
It includes movies released in previous years that earned money during 1998.
For example, a movie released over Thanksgiving in 1997 will most likely earn money in 1997 and 1998.
Click on the individual movie to see its total gross over all the years in which it played.
Each box office year ends on the first Sunday of the following year.
The next year starts the following day (Monday).
For example, the "2004 box office year" ended on Sunday, January 2, 2005.
Inflation-adjusted figures are based on ticket sale estimates.
See Top 1998 Movies at the Domestic Box Office for the total domestic box office for the top 100 movies released in 1998, and Movie Index 1998 for an overview of all movies released in 1998.
Top Grossing Movies of 1998
| Rank | Movie | Release Date | Distributor | Genre | 1998 Gross | Tickets Sold |
| 1 |
Titanic |
Dec 19, 1997 |
Paramount Pictures |
Drama |
$443,319,081 |
94,524,324 |
| 2 |
Armageddon |
Jul 1, 1998 |
Walt Disney |
Adventure |
$201,578,182 |
42,980,422 |
| 3 |
Saving Private Ryan |
Jul 24, 1998 |
Dreamworks SKG |
Drama |
$190,588,778 |
40,637,266 |
| 4 |
There's Something About Mary |
Jul 15, 1998 |
20th Century Fox |
Romantic Comedy |
$174,711,965 |
37,252,018 |
| 5 |
The Waterboy |
Nov 6, 1998 |
Walt Disney |
Comedy |
$150,042,308 |
31,991,963 |
| 6 |
Doctor Dolittle |
Jun 26, 1998 |
20th Century Fox |
Adventure |
$144,155,259 |
30,736,728 |
| 7 |
Deep Impact |
May 8, 1998 |
Paramount Pictures |
Adventure |
$140,464,664 |
29,949,821 |
| 8 |
Rush Hour |
Sep 18, 1998 |
New Line |
Action |
$137,567,454 |
29,332,079 |
| 9 |
A Bug's Life |
Nov 20, 1998 |
Walt Disney |
Adventure |
$136,426,334 |
29,088,770 |
| 10 |
Godzilla |
May 19, 1998 |
Sony Pictures |
Action |
$136,314,294 |
29,064,881 |
| 11 |
Good Will Hunting |
Dec 5, 1997 |
Miramax |
Drama |
$130,828,794 |
27,895,265 |
| 12 |
Lethal Weapon 4 |
Jul 10, 1998 |
Warner Bros. |
Action |
$130,444,603 |
27,813,348 |
| 13 |
The Truman Show |
Jun 5, 1998 |
Paramount Pictures |
Drama |
$125,618,201 |
26,784,264 |
| 14 |
Mulan |
Jun 19, 1998 |
Walt Disney |
Adventure |
$120,620,254 |
25,718,604 |
| 15 |
As Good as it Gets |
Dec 24, 1997 |
Sony Pictures |
Romantic Comedy |
$106,914,817 |
22,796,336 |
| 16 |
Enemy of the State |
Nov 20, 1998 |
Walt Disney |
Action |
$96,822,391 |
20,644,433 |
| 17 |
The Mask of Zorro |
Jul 17, 1998 |
Sony Pictures |
Adventure |
$93,828,745 |
20,006,128 |
| 18 |
Antz |
Oct 2, 1998 |
Dreamworks SKG |
Adventure |
$89,325,670 |
19,045,985 |
| 19 |
The Rugrats Movie |
Nov 20, 1998 |
Paramount Pictures |
Adventure |
$89,186,192 |
19,016,245 |
| 20 |
The X Files: Fight the Future |
Jun 19, 1998 |
20th Century Fox |
Action |
$83,898,313 |
17,888,766 |
| 21 |
The Wedding Singer |
Feb 13, 1998 |
New Line |
Romantic Comedy |
$80,245,725 |
17,109,962 |
| 22 |
City of Angels |
Apr 10, 1998 |
Warner Bros. |
Drama |
$78,750,909 |
16,791,238 |
| 23 |
You’ve Got Mail |
Dec 18, 1998 |
Warner Bros. |
Drama |
$78,028,953 |
16,637,303 |
| 24 |
The Horse Whisperer |
May 15, 1998 |
Walt Disney |
Drama |
$75,383,563 |
16,073,254 |
| 25 |
Six Days, Seven Nights |
Jun 12, 1998 |
Walt Disney |
Romantic Comedy |
$74,339,294 |
15,850,595 |
| 26 |
Blade |
Aug 21, 1998 |
New Line |
Action |
$70,141,876 |
14,955,623 |
| 27 |
Lost In Space |
Apr 3, 1998 |
New Line |
Adventure |
$69,117,629 |
14,737,234 |
| 28 |
A Perfect Murder |
Jun 5, 1998 |
Warner Bros. |
Thriller/Suspense |
$67,658,331 |
14,426,083 |
| 29 |
Everest |
Mar 6, 1998 |
MacGillivray Free… |
Documentary |
$66,877,098 |
14,259,509 |
| 30 |
The Prince of Egypt |
Dec 18, 1998 |
Dreamworks SKG |
Adventure |
$66,546,531 |
14,189,025 |
| 31 |
The Parent Trap |
Jul 29, 1998 |
Walt Disney |
Adventure |
$66,308,518 |
14,138,276 |
| 32 |
Ever After: A Cinderella Story |
Jul 31, 1998 |
20th Century Fox |
Drama |
$65,676,965 |
14,003,617 |
| 33 |
Patch Adams |
Dec 25, 1998 |
Universal |
Comedy |
$65,495,000 |
13,964,818 |
| 34 |
Hope Floats |
May 29, 1998 |
20th Century Fox |
Drama |
$60,110,313 |
12,816,697 |
| 35 |
Star Trek: Insurrection |
Dec 11, 1998 |
Paramount Pictures |
Adventure |
$58,654,186 |
12,506,223 |
| 36 |
U.S. Marshals |
Mar 6, 1998 |
Warner Bros. |
Thriller/Suspense |
$57,833,603 |
12,331,258 |
| 37 |
The Man in the Iron Mask |
Mar 13, 1998 |
MGM |
Adventure |
$56,968,169 |
12,146,731 |
| 38 |
Snake Eyes |
Aug 7, 1998 |
Paramount Pictures |
Thriller/Suspense |
$55,591,409 |
11,853,178 |
| 39 |
What Dreams May Come |
Oct 2, 1998 |
Polygram |
Drama |
$55,485,043 |
11,830,499 |
| 40 |
Small Soldiers |
Jul 10, 1998 |
Dreamworks SKG |
Adventure |
$55,143,823 |
11,757,744 |
| 41 |
Halloween: H2O |
Aug 5, 1998 |
Miramax |
Horror |
$55,041,738 |
11,735,978 |
| 42 |
Stepmom |
Dec 25, 1998 |
Sony/TriStar |
Drama |
$50,124,835 |
10,687,598 |
| 43 |
Practical Magic |
Oct 16, 1998 |
Warner Bros. |
Comedy |
$46,850,558 |
9,989,457 |
| 44 |
The Negotiator |
Jul 29, 1998 |
Warner Bros. |
Action |
$44,705,766 |
9,532,146 |
| 45 |
Meet Joe Black |
Nov 13, 1998 |
Universal |
Drama |
$43,585,738 |
9,293,334 |
| 46 |
Wag the Dog |
Dec 25, 1997 |
New Line |
Drama |
$41,595,360 |
8,868,946 |
| 47 |
Ronin |
Sep 25, 1998 |
MGM |
Action |
$41,522,392 |
8,853,388 |
| 48 |
The Siege |
Nov 6, 1998 |
20th Century Fox |
Action |
$40,165,607 |
8,564,095 |
| 49 |
I Still Know What You Did L… |
Nov 13, 1998 |
Sony Pictures |
Horror |
$39,199,514 |
8,358,105 |
| 50 |
Primary Colors |
Mar 20, 1998 |
Universal |
Comedy |
$39,017,984 |
8,319,399 |
| 51 |
Pleasantville |
Oct 23, 1998 |
New Line |
Comedy |
$38,884,514 |
8,290,941 |
| 52 |
Urban Legend |
Sep 25, 1998 |
Sony Pictures |
Horror |
$37,925,412 |
8,086,441 |
| 53 |
How Stella Got Her Groove Back |
Aug 14, 1998 |
20th Century Fox |
Drama |
$37,669,623 |
8,031,902 |
| 54 |
Out of Sight |
Jun 26, 1998 |
Universal |
Comedy |
$37,562,568 |
8,009,076 |
| 55 |
Sphere |
Feb 13, 1998 |
Warner Bros. |
Thriller/Suspense |
$37,068,294 |
7,903,687 |
| 56 |
Mercury Rising |
Apr 3, 1998 |
Universal |
Thriller/Suspense |
$32,983,332 |
7,032,693 |
| 57 |
Tomorrow Never Dies |
Dec 19, 1997 |
MGM |
Action |
$32,871,122 |
7,008,768 |
| 58 |
Bride of Chucky |
Oct 16, 1998 |
Universal |
Horror |
$32,404,188 |
6,909,208 |
| 59 |
Jack Frost |
Dec 11, 1998 |
Warner Bros. |
Comedy |
$31,253,389 |
6,663,835 |
| 60 |
A Night at the Roxbury |
Oct 2, 1998 |
Paramount Pictures |
Comedy |
$30,331,165 |
6,467,199 |
| 61 |
Madeline |
Jul 10, 1998 |
Sony Pictures |
Adventure |
$29,858,048 |
6,366,321 |
| 62 |
Wild Things |
Mar 20, 1998 |
Sony Pictures |
Thriller/Suspense |
$29,795,299 |
6,352,942 |
| 63 |
Spice World |
Jan 23, 1998 |
Sony Pictures |
Comedy |
$29,342,592 |
6,256,416 |
| 64 |
The Object of my Affection |
Apr 17, 1998 |
20th Century Fox |
Romantic Comedy |
$29,145,924 |
6,214,482 |
| 65 |
Grease |
Mar 27, 1998 |
Paramount Pictures |
Musical |
$28,350,476 |
6,044,877 |
| 66 |
Mighty Joe Young |
Dec 25, 1998 |
Walt Disney |
Adventure |
$28,152,133 |
6,002,586 |
| 67 |
Paulie |
Apr 17, 1998 |
Dreamworks SKG |
Adventure |
$27,084,499 |
5,774,946 |
| 68 |
The Big Hit |
Apr 24, 1998 |
Sony Pictures |
Action |
$27,066,941 |
5,771,202 |
| 69 |
Bulworth |
May 15, 1998 |
20th Century Fox |
Comedy |
$26,528,684 |
5,656,435 |
| 70 |
Great Expectations |
Jan 30, 1998 |
20th Century Fox |
Drama |
$26,333,044 |
5,614,721 |
| 71 |
L.A. Confidential |
Sep 19, 1997 |
Warner Bros. |
Drama |
$26,308,657 |
5,609,521 |
| 72 |
The Faculty |
Dec 25, 1998 |
Miramax |
Horror |
$26,113,366 |
5,567,881 |
| 73 |
Can't Hardly Wait |
Jun 12, 1998 |
Sony Pictures |
Comedy |
$25,358,996 |
5,407,035 |
| 74 |
Fallen |
Jan 16, 1998 |
Warner Bros. |
Thriller/Suspense |
$25,310,938 |
5,396,788 |
| 75 |
The Avengers |
Aug 14, 1998 |
Warner Bros. |
Adventure |
$23,385,416 |
4,986,229 |
| 76 |
One True Thing |
Sep 18, 1998 |
Universal |
Drama |
$23,337,196 |
4,975,947 |
| 77 |
The Players Club |
Apr 8, 1998 |
New Line |
Drama |
$23,047,939 |
4,914,272 |
| 78 |
Rounders |
Sep 11, 1998 |
Miramax |
Drama |
$22,921,898 |
4,887,398 |
| 79 |
Quest for Camelot |
May 15, 1998 |
Warner Bros. |
Adventure |
$22,772,500 |
4,855,543 |
| 80 |
Beloved |
Oct 16, 1998 |
Walt Disney |
Drama |
$22,755,961 |
4,852,017 |
| 81 |
The Borrowers |
Feb 13, 1998 |
Polygram |
Adventure |
$22,619,589 |
4,822,940 |
| 82 |
Mouse Hunt |
Dec 19, 1997 |
Dreamworks SKG |
Adventure |
$21,812,687 |
4,650,892 |
| 83 |
He Got Game |
May 1, 1998 |
Walt Disney |
Drama |
$21,567,853 |
4,598,689 |
| 84 |
Psycho |
Dec 4, 1998 |
Universal |
Horror |
$20,937,263 |
4,464,235 |
| 85 |
The Apostle |
Dec 17, 1997 |
October Films |
Drama |
$20,692,516 |
4,412,050 |
| 86 |
Vampires |
Oct 30, 1998 |
Sony Pictures |
Horror |
$19,942,448 |
4,252,121 |
| 87 |
Hard Rain |
Jan 16, 1998 |
Paramount Pictures |
Action |
$19,870,567 |
4,236,794 |
| 88 |
Jane Austen's Mafia |
Jul 24, 1998 |
Walt Disney |
Comedy |
$19,843,795 |
4,231,086 |
| 89 |
Species 2 |
Apr 10, 1998 |
MGM |
Horror |
$19,217,565 |
4,097,561 |
| 90 |
The Replacement Killers |
Feb 6, 1998 |
Sony Pictures |
Action |
$19,035,741 |
4,058,793 |
| 91 |
The Odd Couple II |
Apr 10, 1998 |
Paramount Pictures |
Comedy |
$18,912,328 |
4,032,479 |
| 92 |
Simon Birch |
Sep 11, 1998 |
Walt Disney |
Drama |
$18,253,415 |
3,891,986 |
| 93 |
Disturbing Behavior |
Jul 24, 1998 |
MGM |
Thriller/Suspense |
$17,507,368 |
3,732,914 |
| 94 |
The Big Lebowski |
Mar 6, 1998 |
Gramercy |
Comedy |
$17,498,804 |
3,731,088 |
| 95 |
Amistad |
Dec 12, 1997 |
Dreamworks SKG |
Drama |
$17,461,267 |
3,723,084 |
| 96 |
Half Baked |
Jan 16, 1998 |
Universal |
Comedy |
$17,394,881 |
3,708,929 |
| 97 |
54 |
Aug 28, 1998 |
Miramax |
Drama |
$16,757,163 |
3,572,955 |
| 98 |
Elizabeth |
Nov 6, 1998 |
Gramercy |
Drama |
$16,580,089 |
3,535,200 |
| 99 |
Babe: Pig in the City |
Nov 25, 1998 |
Universal |
Adventure |
$16,134,070 |
3,440,100 |
| 100 |
Dance With Me |
Aug 21, 1998 |
Sony Pictures |
Musical |
$15,923,354 |
3,395,171 |
| 101 |
Scream 2 |
Dec 12, 1997 |
Miramax |
Horror |
$15,842,332 |
3,377,895 |
| 102 |
Dead Man on Campus |
Aug 21, 1998 |
Paramount Pictures |
Black Comedy |
$15,064,948 |
3,212,142 |
| 103 |
Twilight |
Mar 6, 1998 |
Paramount Pictures |
Drama |
$15,055,091 |
3,210,040 |
| 104 |
The Wizard of Oz |
Aug 25, 1939 |
Warner Bros. |
Musical |
$14,792,232 |
3,153,994 |
| 105 |
Soldier |
Oct 23, 1998 |
Warner Bros. |
Action |
$14,623,082 |
3,117,927 |
| 106 |
Dark City |
Feb 27, 1998 |
New Line |
Thriller/Suspense |
$14,435,076 |
3,077,841 |
| 107 |
Blues Brothers 2000 |
Feb 6, 1998 |
Universal |
Comedy |
$14,089,198 |
3,004,093 |
| 108 |
Les Miserables |
May 1, 1998 |
Sony Pictures |
Drama |
$13,887,945 |
2,961,182 |
| 109 |
Desperate Measures |
Jan 30, 1998 |
Sony Pictures |
Action |
$13,678,274 |
2,916,476 |
| 110 |
Hush |
Mar 6, 1998 |
Sony Pictures |
Thriller/Suspense |
$13,587,246 |
2,897,067 |
| 111 |
Senseless |
Feb 20, 1998 |
Miramax |
Comedy |
$13,109,234 |
2,795,145 |
| 112 |
Black Dog |
May 1, 1998 |
Universal |
Action |
$12,857,351 |
2,741,439 |
| 113 |
Mr. Nice Guy |
Mar 20, 1998 |
New Line |
Action |
$12,716,953 |
2,711,503 |
| 114 |
Living Out Loud |
Oct 30, 1998 |
New Line |
Drama |
$12,654,505 |
2,698,188 |
| 115 |
Why Do Fools Fall In Love? |
Aug 28, 1998 |
Warner Bros. |
Drama |
$12,506,676 |
2,666,668 |
| 116 |
Jackie Brown |
Dec 25, 1997 |
Miramax |
Drama |
$12,482,712 |
2,661,559 |
| 117 |
I'll Be Home For Christmas |
Nov 13, 1998 |
Walt Disney |
Comedy |
$12,122,246 |
2,584,700 |
| 118 |
Holy Man |
Oct 9, 1998 |
Walt Disney |
Comedy |
$12,069,719 |
2,573,500 |
| 119 |
Sliding Doors |
Apr 24, 1998 |
Miramax |
Drama |
$11,911,200 |
2,539,701 |
| 120 |
Life Is Beautiful |
Oct 23, 1998 |
Miramax |
Drama |
$11,409,840 |
2,432,801 |
| 121 |
Deep Rising |
Jan 30, 1998 |
Walt Disney |
Action |
$11,203,026 |
2,388,704 |
| 122 |
Barney's Great Adventure |
Apr 3, 1998 |
Polygram |
Adventure |
$11,156,471 |
2,378,778 |
| 123 |
Fear and Loathing in Las Vegas |
May 22, 1998 |
Universal |
Comedy |
$10,680,275 |
2,277,244 |
| 124 |
The Full Monty |
Aug 13, 1997 |
Fox Searchlight |
Comedy |
$10,518,729 |
2,242,799 |
| 125 |
The Newton Boys |
Mar 27, 1998 |
20th Century Fox |
Drama |
$10,341,093 |
2,204,923 |
| 126 |
Knock Off |
Sep 4, 1998 |
Sony Pictures |
Action |
$10,319,915 |
2,200,408 |
| 127 |
I Got the Hook-Up! |
May 27, 1998 |
Miramax |
Comedy |
$10,317,779 |
2,199,952 |
| 128 |
Home Fries |
Nov 25, 1998 |
Warner Bros. |
Black Comedy |
$10,166,403 |
2,167,676 |
| 129 |
The Spanish Prisoner |
Apr 3, 1998 |
Sony Pictures Cla… |
Drama |
$10,162,034 |
2,166,744 |
| 130 |
Air Bud: Golden Receiver |
Aug 14, 1998 |
Miramax |
Adventure |
$10,093,523 |
2,152,137 |
| 131 |
Dirty Work |
Jun 12, 1998 |
MGM |
Comedy |
$10,020,081 |
2,136,477 |
| 132 |
Very Bad Things |
Nov 25, 1998 |
Polygram |
Black Comedy |
$9,949,470 |
2,121,422 |
| 133 |
Flubber |
Nov 26, 1997 |
Walt Disney |
Comedy |
$9,859,711 |
2,102,283 |
| 134 |
Wrongfully Accused |
Aug 21, 1998 |
Warner Bros. |
Comedy |
$9,642,860 |
2,056,046 |
| 135 |
Belly |
Nov 4, 1998 |
Artisan |
Drama |
$9,514,267 |
2,028,628 |
| 136 |
Shakespeare in Love |
Dec 11, 1998 |
Miramax |
Romantic Comedy |
$9,488,472 |
2,023,128 |
| 137 |
Thrill Ride: The Science of… |
Jul 11, 1997 |
Sony Pictures Cla… |
Documentary |
$9,124,115 |
1,945,440 |
| 138 |
Apt Pupil |
Oct 23, 1998 |
Sony/TriStar |
Thriller/Suspense |
$8,863,193 |
1,889,806 |
| 139 |
Jerry Springer: Ringmaster |
Nov 25, 1998 |
Artisan |
Comedy |
$8,761,922 |
1,868,213 |
| 140 |
Return to Paradise |
Aug 14, 1998 |
Universal |
Drama |
$8,352,677 |
1,780,954 |
| 141 |
Firestorm |
Jan 9, 1998 |
20th Century Fox |
Action |
$8,123,860 |
1,732,166 |
| 142 |
Woo |
May 8, 1998 |
New Line |
Romantic Comedy |
$8,064,972 |
1,719,610 |
| 143 |
My Giant |
Apr 10, 1998 |
Sony Pictures |
Comedy |
$7,985,929 |
1,702,756 |
| 144 |
Krippendorf's Tribe |
Feb 27, 1998 |
Walt Disney |
Comedy |
$7,571,115 |
1,614,310 |
| 145 |
For Richer or Poorer |
Dec 12, 1997 |
Universal |
Comedy |
$7,157,310 |
1,526,078 |
| 146 |
BASEketball |
Jul 31, 1998 |
Universal |
Comedy |
$7,042,541 |
1,501,607 |
| 147 |
Star Kid |
Jan 16, 1998 |
Trimark |
Adventure |
$7,015,240 |
1,495,786 |
| 148 |
Waking Ned Devine |
Nov 20, 1998 |
20th Century Fox |
Comedy |
$6,959,064 |
1,483,808 |
| 149 |
Caught Up |
Jan 30, 1998 |
Live Film & Media… |
Drama |
$6,754,958 |
1,440,289 |
| 150 |
Gone with the Wind |
Oct 14, 1967 |
MGM |
Drama |
$6,750,112 |
1,439,256 |
| 151 |
Smoke Signals |
Jun 26, 1998 |
Miramax |
Comedy |
$6,719,300 |
1,432,686 |
| 152 |
An American Werewolf in Paris |
Dec 25, 1997 |
Walt Disney |
Horror |
$6,465,104 |
1,378,486 |
| 153 |
Home Alone III |
Dec 12, 1997 |
20th Century Fox |
Comedy |
$6,420,920 |
1,369,066 |
| 154 |
The Opposite of Sex |
May 22, 1998 |
Sony Pictures Cla… |
Black Comedy |
$6,367,164 |
1,357,604 |
| 155 |
Almost Heroes |
May 29, 1998 |
Warner Bros. |
Comedy |
$6,175,688 |
1,316,777 |
| 156 |
American History X |
Oct 30, 1998 |
New Line |
Drama |
$6,121,789 |
1,305,285 |
| 157 |
Palmetto |
Feb 20, 1998 |
Sony Pictures |
Thriller/Suspense |
$5,846,660 |
1,246,622 |
| 158 |
Mr. Magoo |
Dec 25, 1997 |
Walt Disney |
Comedy |
$5,765,821 |
1,229,386 |
| 159 |
Phantoms |
Jan 23, 1998 |
Miramax |
Horror |
$5,755,333 |
1,227,149 |
| 160 |
The Boxer |
Dec 31, 1997 |
Universal |
Drama |
$5,669,757 |
1,208,903 |
| 161 |
Deconstructing Harry |
Dec 12, 1997 |
Fine Line |
Romantic Comedy |
$5,664,131 |
1,207,703 |
| 162 |
Slums of Beverly Hills |
Aug 14, 1998 |
Fox Searchlight |
Comedy |
$5,502,773 |
1,173,299 |
| 163 |
Ride |
Mar 27, 1998 |
Miramax |
Comedy |
$5,485,295 |
1,169,572 |
| 164 |
Kundun |
Dec 25, 1997 |
Walt Disney |
Drama |
$5,294,886 |
1,128,973 |
| 165 |
Anastasia |
Nov 14, 1997 |
20th Century Fox |
Musical |
$5,255,544 |
1,120,585 |
| 166 |
Celebrity |
Nov 20, 1998 |
Miramax |
Comedy |
$5,078,660 |
1,082,869 |
| 167 |
The Wings of the Dove |
Nov 7, 1997 |
Miramax |
Drama |
$5,020,136 |
1,070,391 |
| 168 |
Your Friends and Neighbors |
Aug 19, 1998 |
Gramercy |
Black Comedy |
$4,714,658 |
1,005,257 |
| 169 |
Dangerous Beauty |
Feb 20, 1998 |
Warner Bros. |
Drama |
$4,553,271 |
970,846 |
| 170 |
Meet the Deedles |
Mar 27, 1998 |
Walt Disney |
Comedy |
$4,356,126 |
928,811 |
| 171 |
Africa's Elephant Kingdom |
May 8, 1998 |
Discovery/IMAX |
Documentary |
$4,119,728 |
878,406 |
| 172 |
Kissing a Fool |
Feb 27, 1998 |
Universal |
Romantic Comedy |
$4,100,505 |
874,308 |
| 173 |
Governess |
Jul 31, 1998 |
Sony Pictures Cla… |
Drama |
$3,794,031 |
808,961 |
| 174 |
Down in the Delta |
Dec 25, 1998 |
Miramax |
Drama |
$3,588,250 |
765,085 |
| 175 |
Major League: Back to the M… |
Apr 17, 1998 |
Warner Bros. |
Comedy |
$3,551,208 |
757,187 |
| 176 |
Next Stop Wonderland |
Aug 21, 1998 |
Miramax |
Romantic Comedy |
$3,395,581 |
724,004 |
| 177 |
The Postman |
Dec 25, 1997 |
Warner Bros. |
Action |
$3,265,763 |
696,324 |
| 178 |
Mrs. Dalloway |
Feb 20, 1998 |
First Look |
Drama |
$3,263,672 |
695,878 |
| 179 |
Pi |
Jul 10, 1998 |
Live Entertainment |
Thriller/Suspense |
$3,221,152 |
686,812 |
| 180 |
The Last Days of Disco |
May 29, 1998 |
Gramercy |
Drama |
$3,024,198 |
644,818 |
| 181 |
The Sweet Hereafter |
Oct 10, 1997 |
|
Drama |
$2,918,731 |
622,330 |
| 182 |
T-Rex: Back to the Cretaceous |
Oct 23, 1998 |
IMAX Films |
Adventure |
$2,872,271 |
612,424 |
| 183 |
Les Boys |
Dec 12, 1997 |
Distributor Unknown |
Comedy |
$2,750,686 |
586,500 |
| 184 |
Freeriders |
Oct 21, 1998 |
Warren Miller Ent… |
Documentary |
$2,750,064 |
586,367 |
| 185 |
The Mighty |
Oct 9, 1998 |
Miramax |
Drama |
$2,652,246 |
565,510 |
| 186 |
Happiness |
Oct 16, 1998 |
Good Machine Rele… |
Comedy |
$2,635,624 |
561,966 |
| 187 |
Boogie Nights |
Oct 10, 1997 |
New Line |
Drama |
$2,568,855 |
547,730 |
| 188 |
Love and Death on Long Island |
Mar 6, 1998 |
Lionsgate |
Drama |
$2,542,264 |
542,060 |
| 189 |
A Simple Plan |
Dec 11, 1998 |
Paramount Pictures |
Drama |
$2,520,500 |
537,420 |
| 190 |
Afterglow |
Dec 26, 1997 |
Sony Pictures Cla… |
Romantic Comedy |
$2,391,590 |
509,933 |
| 191 |
Buffalo '66 |
Jun 26, 1998 |
Lionsgate |
Comedy |
$2,380,606 |
507,591 |
| 192 |
Hav Plenty |
Jun 19, 1998 |
Miramax |
Comedy |
$2,301,777 |
490,784 |
| 193 |
Pecker |
Sep 25, 1998 |
Fine Line |
Comedy |
$2,281,761 |
486,516 |
| 194 |
Chinese Box |
Apr 17, 1998 |
Trimark |
Drama |
$2,265,328 |
483,012 |
| 195 |
Touch of Evil |
May 21, 1958 |
October Films |
Thriller/Suspense |
$2,237,659 |
477,112 |
| 196 |
The Imposters |
Oct 2, 1998 |
Fox Searchlight |
Comedy |
$2,194,875 |
467,990 |
| 197 |
Wilde |
May 1, 1998 |
Sony Pictures Cla… |
Drama |
$2,157,701 |
460,064 |
| 198 |
Tarzan and the Lost City |
Apr 24, 1998 |
Warner Bros. |
Adventure |
$2,147,114 |
457,806 |
| 199 |
Zero Effect |
Jan 30, 1998 |
Sony Pictures |
Comedy |
$2,080,693 |
443,644 |
| 200 |
Two Girls and a Guy |
Apr 24, 1998 |
Fox Searchlight |
Drama |
$2,057,193 |
438,633 |
| 201 |
Ma Vie en Rose |
Dec 26, 1997 |
Sony Pictures Cla… |
Drama |
$2,035,856 |
434,084 |
| 202 |
Billy's Hollywood Screen Kiss |
Jul 24, 1998 |
Trimark |
Romantic Comedy |
$2,020,700 |
430,852 |
| 203 |
Gods and Monsters |
Nov 6, 1998 |
Lionsgate |
Drama |
$1,984,354 |
423,103 |
| 204 |
Devil’s Advocate |
Oct 17, 1997 |
Warner Bros. |
Horror |
$1,915,297 |
408,378 |
| 205 |
High Art |
Jun 12, 1998 |
October Films |
Drama |
$1,835,565 |
391,378 |
| 206 |
I Know What You Did Last Su… |
Oct 17, 1997 |
Sony Pictures |
Horror |
$1,823,116 |
388,724 |
| 207 |
The Butcher Boy |
Apr 3, 1998 |
Warner Bros. |
Drama |
$1,822,193 |
388,527 |
| 208 |
The Jackal |
Nov 14, 1997 |
Universal |
Thriller/Suspense |
$1,803,275 |
384,493 |
| 209 |
Clay Pigeons |
Sep 25, 1998 |
Gramercy |
Thriller/Suspense |
$1,793,359 |
382,379 |
| 210 |
Across The Sea of Time |
Oct 20, 1995 |
Sony Pictures Cla… |
Drama |
$1,776,489 |
378,782 |
| 211 |
A Soldier's Daughter Never … |
Sep 18, 1998 |
October Films |
Drama |
$1,775,523 |
378,576 |
| 212 |
Suicide Kings |
Apr 17, 1998 |
Artisan |
Drama |
$1,692,872 |
360,953 |
| 213 |
Alien: Resurrection |
Nov 26, 1997 |
20th Century Fox |
Action |
$1,655,832 |
353,055 |
| 214 |
The Gingerbread Man |
Jan 23, 1998 |
Polygram |
Thriller/Suspense |
$1,626,593 |
346,821 |
| 215 |
Two Moon Junction |
May 1, 1998 |
Lorimar Motion Pi… |
Drama |
$1,547,397 |
329,935 |
| 216 |
Live Flesh |
Jan 16, 1998 |
MGM |
Drama |
$1,535,558 |
327,411 |
| 217 |
Midnight in the Garden of G… |
Nov 21, 1997 |
Warner Bros. |
Drama |
$1,462,474 |
311,828 |
| 218 |
The Rainmaker |
Nov 21, 1997 |
Paramount Pictures |
Drama |
$1,439,506 |
306,930 |
| 219 |
In God's Hands |
Apr 24, 1998 |
Sony Pictures |
Action |
$1,431,239 |
305,168 |
| 220 |
Oscar and Lucinda |
Jan 2, 1998 |
Fox Searchlight |
Drama |
$1,371,526 |
292,436 |
| 221 |
Eve's Bayou |
Nov 7, 1997 |
Trimark |
Drama |
$1,346,339 |
287,065 |
| 222 |
Henry Fool |
Jun 19, 1998 |
Sony Pictures Cla… |
Comedy |
$1,334,786 |
284,602 |
| 223 |
One Tough Cop |
Oct 9, 1998 |
Stratosphere Ente… |
Drama |
$1,313,607 |
280,086 |
| 224 |
Nightwatch |
Apr 17, 1998 |
Miramax |
Thriller/Suspense |
$1,278,516 |
272,604 |
| 225 |
The Celebration |
Oct 9, 1998 |
October Films |
Comedy |
$1,250,305 |
266,589 |
| 226 |
Dancing at Lughnasa |
Nov 13, 1998 |
Sony Pictures Cla… |
Drama |
$1,191,089 |
253,963 |
| 227 |
Permanent Midnight |
Sep 16, 1998 |
Artisan |
Drama |
$1,171,001 |
249,680 |
| 228 |
Cousin Bette |
Jun 12, 1998 |
20th Century Fox |
Comedy |
$1,161,063 |
247,561 |
| 229 |
Lolita |
Jul 22, 1998 |
MGM |
Drama |
$1,147,784 |
244,730 |
| 230 |
A Price Above Rubies |
Mar 25, 1998 |
Miramax |
Drama |
$1,118,808 |
238,551 |
| 231 |
The Thief |
Jul 17, 1998 |
Stratosphere Ente… |
Drama |
$1,117,402 |
238,252 |
| 232 |
Velvet Goldmine |
Nov 6, 1998 |
Miramax |
Musical |
$1,053,788 |
224,688 |
| 233 |
C't'a ton tour Laura Cadieux |
Oct 9, 1998 |
Alliance Films |
Comedy |
$1,045,907 |
223,007 |
| 234 |
Mark Twain's America 3D |
Jul 3, 1998 |
Sony Pictures Cla… |
Documentary |
$1,043,228 |
222,436 |
| 235 |
The Thin Red Line |
Dec 23, 1998 |
20th Century Fox |
Drama |
$1,035,166 |
220,717 |
| 236 |
Slam |
Oct 9, 1998 |
Trimark |
Drama |
$1,009,819 |
215,313 |
| 237 |
The Little Mermaid |
Nov 15, 1989 |
Walt Disney |
Adventure |
$999,528 |
213,118 |
| 238 |
Strike |
Aug 21, 1998 |
Miramax |
Comedy |
$968,506 |
206,504 |
| 239 |
Hands on a Hardbody |
Jul 10, 1998 |
Legacy Releasing |
Documentary |
$909,650 |
193,955 |
| 240 |
Little Voice |
Dec 4, 1998 |
Miramax |
Musical |
$880,046 |
187,643 |
| 241 |
Mortal Kombat: Annihilation |
Nov 21, 1997 |
New Line |
Action |
$867,503 |
184,968 |
| 242 |
Deja Vu |
Apr 22, 1998 |
Rainbow Releasing |
Drama |
$821,997 |
175,265 |
| 243 |
Firelight |
Sep 4, 1998 |
Walt Disney |
Drama |
$784,419 |
167,253 |
| 244 |
Without Limits |
Sep 11, 1998 |
Warner Bros. |
Drama |
$780,326 |
166,380 |
| 245 |
Kiss the Girls |
Oct 3, 1997 |
Paramount Pictures |
Thriller/Suspense |
$770,201 |
164,221 |
| 246 |
Mrs. Brown |
Jul 18, 1997 |
Miramax |
Drama |
$766,267 |
163,383 |
| 247 |
The Tango Lesson |
Nov 14, 1997 |
Sony Pictures Cla… |
Drama |
$761,282 |
162,320 |
| 248 |
Nights of Cabiria |
Jul 1, 1998 |
Rialto Pictures |
Drama |
$752,045 |
160,350 |
| 249 |
Men with Guns |
Mar 6, 1998 |
Sony Pictures Cla… |
Action |
$742,032 |
158,215 |
| 250 |
The Big One |
Apr 10, 1998 |
Miramax |
Documentary |
$720,074 |
153,533 |
| 251 |
Character |
Mar 27, 1998 |
Sony Pictures Cla… |
Drama |
$713,413 |
152,113 |
| 252 |
Deceiver |
Jan 30, 1998 |
MGM |
Drama |
$699,062 |
149,053 |
| 253 |
Central Station |
Nov 20, 1998 |
Sony Pictures Cla… |
Drama |
$695,022 |
148,192 |
| 254 |
The Winter Guest |
Dec 24, 1997 |
Fine Line |
Drama |
$688,824 |
146,870 |
| 255 |
Gadjo Dilo |
Aug 7, 1998 |
Lionsgate |
Drama |
$673,153 |
143,529 |
| 256 |
The Nutcracker |
Nov 25, 1998 |
IMAX Films |
Musical |
$653,815 |
139,406 |
| 257 |
Strangeland |
Oct 2, 1998 |
Artisan |
Horror |
$631,221 |
134,588 |
| 258 |
Polish Wedding |
Jul 17, 1998 |
Fox Searchlight |
Comedy |
$608,296 |
129,700 |
| 259 |
The Ice Storm |
Sep 26, 1997 |
Fox Searchlight |
Drama |
$599,581 |
127,842 |
| 260 |
Wings of Courage |
Apr 21, 1995 |
Sony Pictures Cla… |
Drama |
$596,362 |
127,156 |
| 261 |
Orgazmo |
Oct 23, 1998 |
October Films |
Comedy |
$582,024 |
124,098 |
| 262 |
Dancer, Texas Pop. 81 |
May 1, 1998 |
Sony Pictures |
Comedy |
$574,838 |
122,566 |
| 263 |
The Hanging Garden |
Nov 7, 1997 |
Goldwyn Entertain… |
Drama |
$539,406 |
115,011 |
| 264 |
Clockwatchers |
May 15, 1998 |
Artistic License |
Comedy |
$537,948 |
114,701 |
| 265 |
Warners 75th |
Apr 3, 1998 |
Warner Bros. |
|
$498,426 |
106,274 |
| 266 |
The Cube |
Sep 11, 1998 |
|
Thriller/Suspense |
$489,220 |
104,311 |
| 267 |
Wild Man Blues |
Apr 17, 1998 |
New Line |
|
$483,917 |
103,180 |
| 268 |
Air Force One |
Jul 25, 1997 |
Sony Pictures |
Action |
$476,223 |
101,540 |
| 269 |
Hurlyburly |
Dec 25, 1998 |
Fine Line |
Comedy |
$465,832 |
99,324 |
| 270 |
Starship Troopers |
Nov 7, 1997 |
Sony Pictures |
Action |
$448,397 |
95,607 |
| 271 |
Kurt and Courtney |
Feb 27, 1998 |
Roxie Releasing |
|
$441,808 |
94,202 |
| 272 |
Ulee's Gold |
Jun 13, 1997 |
Orion Pictures |
Drama |
$417,709 |
89,063 |
| 273 |
In & Out |
Sep 19, 1997 |
Paramount Pictures |
Comedy |
$409,144 |
87,237 |
| 274 |
I Went Down |
Jun 24, 1998 |
Artisan |
|
$405,297 |
86,417 |
| 275 |
Fireworks |
Mar 20, 1998 |
|
Drama |
$401,540 |
85,616 |
| 276 |
Last Night |
Oct 23, 1998 |
Lionsgate |
Drama |
$399,905 |
85,267 |
| 277 |
The Eel |
Aug 21, 1998 |
New Yorker |
|
$382,975 |
81,657 |
| 278 |
Artemisia |
Apr 3, 1998 |
Miramax |
Drama |
$377,512 |
80,492 |
| 279 |
A Merry War |
Aug 28, 1998 |
First Look |
|
$373,830 |
79,707 |
| 280 |
Let's Talk About Sex |
Sep 11, 1998 |
Fine Line |
Comedy |
$373,615 |
79,662 |
| 281 |
Bugs Bunny Film Fest |
May 4, 1998 |
|
Comedy |
$352,397 |
75,137 |
| 282 |
Seven Years in Tibet |
Oct 8, 1997 |
Sony Pictures |
Drama |
$345,524 |
73,672 |
| 283 |
Hurricane Streets |
Feb 13, 1998 |
MGM |
Drama |
$334,041 |
71,224 |
| 284 |
Monument Ave. |
Sep 25, 1998 |
Lionsgate |
|
$332,388 |
70,871 |
| 285 |
Love is the Devil |
Oct 7, 1998 |
Strand |
|
$320,975 |
68,438 |
| 286 |
Un Air de Famille |
May 2, 1997 |
Leisure Time Feat… |
|
$316,872 |
67,563 |
| 287 |
Taste of Cherry |
Jan 30, 1998 |
New Line |
Drama |
$311,873 |
66,497 |
| 288 |
Four Days in September |
Jan 30, 1998 |
Miramax |
Drama |
$310,724 |
66,252 |
| 289 |
3 Ninjas: High Noon at Mega… |
Apr 10, 1998 |
Sony Pictures |
Action |
$308,082 |
65,689 |
| 290 |
Chairman of the Board |
Mar 13, 1998 |
Trimark |
Comedy |
$306,715 |
65,397 |
| 291 |
Wide Awake |
Mar 20, 1998 |
Miramax |
|
$305,704 |
65,182 |
| 292 |
Shooting Fish |
May 1, 1998 |
Fox Searchlight |
|
$302,204 |
64,435 |
| 293 |
Pippi Longstocking |
Aug 22, 1997 |
Legacy Releasing |
Musical |
$301,087 |
64,197 |
| 294 |
Soul Food |
Sep 26, 1997 |
20th Century Fox |
Comedy |
$291,265 |
62,103 |
| 295 |
Mr. Jealousy |
Jun 5, 1998 |
Lionsgate |
|
$287,752 |
61,354 |
| 296 |
Swept From The Sea |
Jan 23, 1998 |
Sony Pictures |
Drama |
$283,081 |
60,358 |
| 297 |
I Think I Do |
Apr 10, 1998 |
Strand |
|
$278,332 |
59,345 |
| 298 |
Welcome to Sarajevo |
Nov 26, 1997 |
Miramax |
|
$274,747 |
58,581 |
| 299 |
Steam: The Turkish Bath |
Nov 25, 1998 |
Strand |
Drama |
$261,410 |
55,737 |
| 300 |
The Real Blonde |
Feb 27, 1998 |
Paramount Pictures |
|
$247,745 |
52,824 |
| 301 |
Chambermaid on the Titanic |
Aug 14, 1998 |
MGM |
Drama |
$244,465 |
52,124 |
| 302 |
A Civil Action |
Dec 25, 1998 |
Walt Disney |
Drama |
$233,545 |
49,796 |
| 303 |
The Cruise |
Oct 23, 1998 |
Artisan |
|
$231,105 |
49,276 |
| 304 |
Whatever |
Jul 10, 1998 |
Sony Pictures Cla… |
|
$229,750 |
48,987 |
| 305 |
Bean |
Oct 17, 1997 |
Gramercy |
Comedy |
$228,853 |
48,795 |
| 306 |
The General |
Dec 18, 1998 |
Sony Pictures Cla… |
Drama |
$221,816 |
47,295 |
| 307 |
Insomnia |
May 29, 1998 |
First Run Features |
|
$221,173 |
47,158 |
| 308 |
Sour Grapes |
Apr 17, 1998 |
Sony Pictures |
|
$219,932 |
46,893 |
| 309 |
Homegrown |
Apr 17, 1998 |
Sony Pictures |
|
$215,553 |
45,960 |
| 310 |
Still Breathing |
May 1, 1998 |
October Films |
|
$212,267 |
45,259 |
| 311 |
Ayn Rand: A Sense of Life |
Feb 13, 1998 |
Strand |
Documentary |
$204,507 |
43,604 |
| 312 |
I Married a Strange Person |
Aug 28, 1998 |
Lionsgate |
Comedy |
$203,134 |
43,312 |
| 313 |
All the Rage |
Oct 16, 1998 |
|
Comedy |
$198,553 |
42,335 |
| 314 |
Western |
Jul 24, 1998 |
New Yorker |
|
$198,440 |
42,311 |
| 315 |
The Inheritors |
Oct 9, 1998 |
Stratosphere Ente… |
|
$189,846 |
40,478 |
| 316 |
The Ride |
Dec 15, 1997 |
RS Entertainment |
Drama |
$189,635 |
40,433 |
| 317 |
Passion in the Desert |
Jun 12, 1998 |
Fine Line |
|
$181,083 |
38,610 |
| 318 |
Beyond Silence |
Jun 5, 1998 |
Miramax |
Drama |
$171,334 |
36,531 |
| 319 |
Niagara, Niagara |
Mar 20, 1998 |
Live Entertainment |
Drama |
$168,462 |
35,919 |
| 320 |
The Education of Little Tree |
Dec 25, 1997 |
Paramount Pictures |
|
$161,831 |
34,505 |
| 321 |
Shall We Dance? |
Jul 11, 1997 |
Miramax |
Romantic Comedy |
$159,056 |
33,913 |
| 322 |
A Friend of Deceased |
May 1, 1998 |
Sony Pictures Cla… |
|
$157,437 |
33,568 |
| 323 |
Red Corner |
Oct 31, 1997 |
MGM |
Thriller/Suspense |
$152,380 |
32,490 |
| 324 |
The Saltmen of Tibet |
Jul 22, 1998 |
Zeitgeist |
|
$146,437 |
31,223 |
| 325 |
The Land Girls |
Jun 12, 1998 |
Gramercy |
|
$146,083 |
31,147 |
| 326 |
Couloirs du temps: Les visi… |
Mar 27, 1998 |
|
Comedy |
$146,072 |
31,145 |
| 327 |
No Looking Back |
Mar 27, 1998 |
Gramercy |
|
$143,273 |
30,548 |
| 328 |
Marius et Jeannette |
Dec 5, 1997 |
New Yorker |
Romantic Comedy |
$140,334 |
29,921 |
| 329 |
Hilary and Jackie |
Dec 30, 1998 |
October Films |
Drama |
$134,929 |
28,769 |
| 330 |
Modulations |
Sep 4, 1998 |
Strand |
|
$133,821 |
28,533 |
| 331 |
Six-String Samurai |
Sep 18, 1998 |
Palm Pictures |
|
$126,722 |
27,019 |
| 332 |
The Beyond |
Jan 1, 1983 |
|
Horror |
$126,387 |
26,948 |
| 333 |
The Man Who Knew Too Little |
Nov 14, 1997 |
Warner Bros. |
Comedy |
$123,329 |
26,296 |
| 334 |
The Proposition |
Mar 27, 1998 |
Polygram |
Drama |
$121,875 |
25,986 |
| 335 |
Rudolph the Red-Nosed Reindeer |
Oct 16, 1998 |
|
|
$113,484 |
24,197 |
| 336 |
Post Coitum, Animal Triste |
Feb 13, 1998 |
New Yorker |
Drama |
$109,596 |
23,368 |
| 337 |
Lawn Dogs |
May 15, 1998 |
Strand |
|
$106,292 |
22,663 |
| 338 |
Guantanamera |
Jul 4, 1997 |
Lionsgate |
Comedy |
$104,101 |
22,196 |
| 339 |
The Bicycle Thief |
Oct 2, 1998 |
|
Drama |
$101,034 |
21,542 |
| 340 |
Fire |
Aug 22, 1997 |
Zeitgeist |
|
$98,784 |
21,062 |
| 341 |
Latin Boys Go to Hell |
Sep 5, 1997 |
Strand |
|
$92,257 |
19,671 |
| 342 |
Affliction |
Dec 30, 1998 |
Lionsgate |
Drama |
$91,879 |
19,590 |
| 343 |
Washington Square |
Oct 5, 1997 |
Walt Disney |
Drama |
$91,818 |
19,577 |
| 344 |
The Night Flier |
Feb 6, 1998 |
New Line |
Horror |
$91,549 |
19,520 |
| 345 |
Shattered Image |
Dec 4, 1998 |
Lionsgate |
|
$88,355 |
18,839 |
| 346 |
Fast, Cheap & Out of Control |
Oct 3, 1997 |
Sony Pictures Cla… |
Documentary |
$88,329 |
18,833 |
| 347 |
Picnic at Hanging Rock |
Jun 26, 1998 |
Atlantic |
Drama |
$84,744 |
18,069 |
| 348 |
Sick |
Nov 7, 1997 |
|
|
$75,027 |
15,997 |
| 349 |
24 7: Twenty Four Seven |
Apr 15, 1998 |
October Films |
Comedy |
$72,544 |
15,467 |
| 350 |
The Emperor's Shadow |
Dec 18, 1998 |
|
|
$71,906 |
15,331 |
| 351 |
The Truce |
Apr 24, 1998 |
Miramax |
|
$71,448 |
15,234 |
| 352 |
Like It Is |
Aug 28, 1998 |
First Run Features |
|
$69,426 |
14,802 |
| 353 |
Illtown |
Jan 16, 1998 |
Artisan |
Drama |
$68,955 |
14,702 |
| 354 |
Gattaca |
Oct 24, 1997 |
Sony Pictures |
Drama |
$64,361 |
13,723 |
| 355 |
The Separation |
Oct 2, 1998 |
Phaedra Cinema |
|
$62,626 |
13,353 |
| 356 |
Fallen Angels (1998) |
Jan 21, 1998 |
Kino International |
Thriller/Suspense |
$58,318 |
12,434 |
| 357 |
On Guard |
Mar 20, 1998 |
Empire Pictures |
|
$56,158 |
11,973 |
| 358 |
The Alarmist |
Oct 16, 1998 |
Lionsgate |
Comedy |
$55,986 |
11,937 |
| 359 |
Happy Together |
Oct 12, 1997 |
|
Drama |
$52,934 |
11,286 |
| 360 |
Rushmore |
Dec 11, 1998 |
Walt Disney |
Black Comedy |
$52,832 |
11,264 |
| 361 |
See the Sea |
Aug 28, 1998 |
Zeitgeist |
|
$49,983 |
10,657 |
| 362 |
Arguing the World |
Jan 9, 1998 |
First Run Features |
Documentary |
$47,044 |
10,030 |
| 363 |
The Theory of Flight |
Dec 23, 1998 |
Fine Line |
|
$46,931 |
10,006 |
| 364 |
An Alan Smithee Film: Burn … |
Feb 27, 1998 |
Walt Disney |
Comedy |
$45,779 |
9,760 |
| 365 |
The Swindle |
Oct 24, 1997 |
New Yorker |
Comedy |
$45,001 |
9,595 |
| 366 |
U-Turn |
Oct 3, 1997 |
Sony Pictures |
Drama |
$44,849 |
9,562 |
| 367 |
Fairytale: A True Story |
Oct 24, 1997 |
Paramount Pictures |
Drama |
$44,421 |
9,471 |
| 368 |
The Brandon Teena Story |
Sep 25, 1998 |
Zeitgeist |
Documentary |
$43,506 |
9,276 |
| 369 |
East Palace West Palace |
Jul 24, 1998 |
Strand |
|
$43,200 |
9,211 |
| 370 |
Men in Black |
Jul 1, 1997 |
Sony Pictures |
Adventure |
$40,487 |
8,632 |
| 371 |
Plump Fiction |
May 15, 1998 |
Legacy Releasing |
Comedy |
$37,260 |
7,944 |
| 372 |
Mad City |
Nov 7, 1997 |
Warner Bros. |
Drama |
$37,173 |
7,926 |
| 373 |
Playing by Heart |
Dec 30, 1998 |
Miramax |
Drama |
$36,934 |
7,875 |
| 374 |
My Best Friend's Wedding |
Jun 20, 1997 |
Sony Pictures |
Comedy |
$36,863 |
7,859 |
| 375 |
Welcome to Woop-Woop |
Nov 13, 1998 |
Goldwyn Entertain… |
|
$35,471 |
7,563 |
| 376 |
Slappy and the Stinkers |
Jan 23, 1998 |
Sony Pictures |
Comedy |
$34,488 |
7,353 |
| 377 |
A Rat's Tale |
Mar 20, 1998 |
Legacy Releasing |
|
$33,768 |
7,199 |
| 378 |
I Love You … Don't Touch Me! |
Feb 20, 1998 |
MGM |
|
$33,598 |
7,163 |
| 379 |
Bent |
Nov 26, 1997 |
MGM |
Drama |
$33,068 |
7,050 |
| 380 |
Digging to China |
Sep 11, 1998 |
Legacy Releasing |
Drama |
$33,000 |
7,036 |
| 381 |
Mean Streets |
Oct 2, 1973 |
Warner Bros. |
Drama |
$32,645 |
6,960 |
| 382 |
Another Day in Paradise |
Dec 30, 1998 |
Trimark |
Drama |
$31,333 |
6,680 |
| 383 |
Bob Dylan Don't Look Back (… |
Jan 16, 1998 |
|
Documentary |
$27,158 |
5,790 |
| 384 |
The Hi-Lo Country |
Dec 30, 1998 |
Gramercy |
|
$25,997 |
5,543 |
| 385 |
Summer of the Monkeys |
Oct 30, 1998 |
|
|
$22,500 |
4,797 |
| 386 |
The Last Big Thing |
Sep 25, 1998 |
Stratosphere Ente… |
|
$22,180 |
4,729 |
| 387 |
Safe Men |
Aug 7, 1998 |
October Films |
|
$21,210 |
4,522 |
| 388 |
Shadrach |
Sep 23, 1998 |
Sony Pictures |
|
$20,167 |
4,300 |
| 389 |
Regeneration |
Aug 14, 1998 |
Alliance Films |
|
$19,273 |
4,109 |
| 390 |
The Dress |
Jan 16, 1998 |
Attitude Films |
Drama |
$16,556 |
3,530 |
| 391 |
Dear Jesse |
Oct 2, 1998 |
Cowboy Pictures |
|
$15,631 |
3,332 |
| 392 |
Talk of Angels |
Oct 30, 1998 |
Miramax |
|
$15,546 |
3,314 |
| 393 |
The Day of the Beast |
Dec 23, 1998 |
Trimark |
Action |
$15,324 |
3,267 |
| 394 |
The Only Thrill |
Feb 13, 1998 |
|
|
$15,093 |
3,218 |
| 395 |
Hard Core Logo |
Nov 13, 1998 |
Miramax |
Comedy |
$14,540 |
3,100 |
| 396 |
Savior |
Nov 20, 1998 |
Lionsgate |
|
$12,903 |
2,751 |
| 397 |
Killing Time |
Jan 30, 1998 |
Lionsgate |
Action |
$12,154 |
2,591 |
| 398 |
The Mirror |
Nov 25, 1998 |
|
|
$11,417 |
2,434 |
| 399 |
First Love, Last Rites |
Aug 7, 1998 |
Strand |
Drama |
$10,876 |
2,318 |
| 400 |
Didn't Do It For Love |
Dec 11, 1998 |
First Run Features |
|
$10,525 |
2,244 |
| 401 |
Unmade Beds |
Aug 7, 1998 |
New Yorker |
Black Comedy |
$9,615 |
2,050 |
| 402 |
Ten Benny |
Nov 13, 1998 |
Artistic License |
|
$9,003 |
1,919 |
| 403 |
Out of the Past |
Sep 11, 1998 |
|
|
$8,688 |
1,852 |
| 404 |
The Kingdom, Part II |
May 8, 1998 |
October Films |
|
$8,294 |
1,768 |
| 405 |
Hi-Life |
Dec 4, 1998 |
Lionsgate |
|
$7,957 |
1,696 |
| 406 |
Outside Ozona |
Dec 18, 1998 |
Sony Pictures |
|
$7,394 |
1,576 |
| 407 |
Somewhere in the City |
Sep 18, 1998 |
Artistic License |
|
$7,016 |
1,495 |
| 408 |
Madadayo |
Mar 20, 1998 |
WinStar Cinema |
Drama |
$5,951 |
1,268 |
| 409 |
Sue |
Nov 20, 1998 |
Castle Hill Produ… |
|
$5,376 |
1,146 |
| 410 |
Music From Another Room |
Apr 24, 1998 |
Orion Pictures |
|
$5,000 |
1,066 |
| 411 |
The Leading Man |
Mar 6, 1998 |
Northern Arts Ent… |
Drama |
$5,000 |
1,066 |
| 412 |
Heaven's Burning |
Apr 3, 1998 |
|
|
$5,000 |
1,066 |
| 413 |
Love Walked In |
Feb 20, 1998 |
Sony/TriStar |
|
$5,000 |
1,066 |
| 414 |
This is the Sea |
Dec 28, 1998 |
|
|
$5,000 |
1,066 |
| 415 |
Phoenix |
Sep 4, 1998 |
Trimark |
Drama |
$5,000 |
1,066 |
| 416 |
Dream for an Insomniac |
Jun 19, 1998 |
Avalanche Releasing |
|
$5,000 |
1,066 |
| 417 |
Notes from Underground |
Mar 6, 1998 |
Northern Arts Ent… |
Drama |
$5,000 |
1,066 |
| 418 |
Chicago Cab |
Sep 11, 1998 |
Castle Hill Produ… |
Comedy |
$5,000 |
1,066 |
| 419 |
Vig |
Dec 4, 1998 |
|
|
$5,000 |
1,066 |
| 420 |
Ambushed |
Jun 20, 1998 |
|
Action |
$5,000 |
1,066 |
| 421 |
Reach the Rock |
Oct 16, 1998 |
Gramercy |
|
$4,960 |
1,057 |
| 422 |
Louisa May Alcott's Little Men |
May 8, 1998 |
Legacy Releasing |
|
$4,092 |
872 |
| 423 |
Go Now! |
May 1, 1998 |
Gramercy |
|
$3,657 |
779 |
| 424 |
Little Boy Blue |
May 29, 1998 |
Castle Hill Produ… |
|
$3,526 |
751 |
| 425 |
The Ogre |
Dec 11, 1998 |
Kino International |
|
$3,500 |
746 |
| 426 |
Hit Me |
Oct 2, 1998 |
Castle Hill Produ… |
|
$3,348 |
713 |
| 427 |
Storefront Hitchcock |
Nov 20, 1998 |
MGM |
|
$3,073 |
655 |
| 428 |
The Last of the High Kings |
Apr 10, 1998 |
Miramax |
|
$2,647 |
564 |
| 429 |
River Red |
Nov 13, 1998 |
Castle Hill Produ… |
|
$2,197 |
468 |
| 430 |
Shopping for Fangs |
May 8, 1998 |
Margin Films |
|
$2,194 |
467 |
| 431 |
Thursday |
Nov 13, 1998 |
Legacy Releasing |
Action |
$1,971 |
420 |
| 432 |
Vietnam Long Time Coming |
Nov 25, 1998 |
|
|
$951 |
202 |
| 433 |
Port Djema |
|
|
|
$783 |
166 |
| 434 |
Hallelujah! Ron Athey: A St… |
Dec 4, 1998 |
Artistic License |
|
$719 |
153 |
| 435 |
Seventh Heaven |
Jul 31, 1998 |
Zeitgeist |
|
$45 |
9 |
| Total Gross of All Movies | $6,771,549,637 | |
| Total Tickets Sold | 1,443,827,003 |
Our Theatrical Market pages are based on the Domestic Theatrical Market performance only. The Domestic Market is defined as the North American movie territory (consisting of the United States, Canada, Puerto Rico and Guam).
The yearly amounts on our Theatrical Market pages are based on box office years. Each box office year starts on the first Monday of the year, so the previous year ends on the Sunday before the first Monday. For example, the "2017 box office year" started on January 2, 2017 so the "2016 box office year" ended on Sunday, January 1, 2017.


TEST MODE
You are playing in test mode. None of your actions will result in debit/credit. Have fun!
{% else %}
Hello, stranger!
Your balance is {{ amount_out }}.
If this is your first try, kindly read the instructions down bellow. If you are familiar with, jump right to the game
{% endif %}
This website doesn't apply any kind of trick to steal from you. If you are skeptical, and you always should be, please go to the skeptical section. For any assistance/question/suggestion e-mail us<EMAIL_ADDRESS>{{ card }}
Prize
{% else %}{{ card }}
{% if card == selected %}
Selected card
{% endif %} {% endif %}Game has started
You need to point which card do you think the prize is hidden in. You can do this by clicking on any SELECT button.
Keep it or change it
You have selected a card and now need either keep your choice or change to another card. We flipped a card showing where the prize IS NOT.
Well done!
Kindly note we process payments manually and can take 2 days. Please bear with us.
{% if test_mode %}I forgot, you are playing in test mode. Sorry, but no bitcoins for you.
{% endif %}{% if test_mode %} Play again {% endif %} Data
Not this time
If you are skeptical, you can download the used game data for this session and compare the content with the SHA1 hash, available at bottom page.
{% if test_mode %} Play again {% endif %} Data
How can you be sure we didn't change the game while you were playing?
When you start a game, we generate game data, which contains since from begining which card hides the prize. This game data file can be downloaded after your current game finishes. We extract a SHA1 hash from file content, which you can find down below. Each card has its visible card id, which you can compare with game data prize card.
You can use online tools to generate SHA1 hashes such as Password Generator or Online MD5
SHA1: {{ checksum }}


Finance Calc
Your repayment amount is
10000
You have an admin fee of
1000
You will have paid full in
1 week


Mayaa Package Test Page
Mayaa engine suspended.
Java Runtime:
[javaVersion]
Servlet Version:
[servletVresion]
Mayaa Version:
[mayaaVresion]
Integration Tests
test pages


Demo of MathJax support for Slides
Mirco Meiners
Hochschule Bremen - City University of Applied Sciences
May 29, 2016
Demonstrate how well various LaTeX equation environments work with MathJax in DocOnce slide mode.
DocOnce source
LaTeX/Beamer
HTML Reveal
Sphinx
HTML Remark
Jupyter Notebook
Plain HTML


Version 1.0.0
Razor Reports is a visualizer for the DotNetNuke Reports Module. It is a spezialized extension, though it is installable like any other DotNetNuke extension.
Requirements:
Razor Reports is my entry for the DotNetNuke Razor Hackathon. It integrates the Razor Host Module as visualizer for the DNN Reports module and resuses its Script Editor and Settings controls. It only introduces one single extension Dnn.ReportResults() to the DnnHelper Object to allow access to the Report data as a System.Data.DataTable. The included script _RazorReports_PlainTable.cshtml is a good sarting place for own scripts.
I can imagine that Razor is going to play an important part within DotNetNuke as it provides a powerfull and easy to learn template engine. I can imagine future Razor support within the Form and List or the Xml module, as an alternatice to XSLT.
Stefan Cullmann
Berlin, 12.12.2010


jQuery Date/Time Selectors: Any+Time
time:
date and time:
Notes
Extensively customisable and scriptable
Supports jQuery UI themes
Cannot edit the bound field while the widget is active
Can also work with prototype instead of jQuery
References
Any+Time
.. back to the jQuery Date/Time Selector survey


Export filterAn export filter is evaluated during the export phase. The column values will be replaced by the result of the expression when the export file is written. ${old-value} is a synonym for the filtered column.With the filter EMPLOYEE.NAME := lower(${old-value}) The employee names will be exported with all letters lowercase: Literal filterA literal filter is also evaluated during the export phase. The result will be written literally into the export file. During the import phase, it will be evaluated as a SQL expression. To define a literal filter, add the prefix "literal:" to the filter expression. The filter:replaces employee names with numbers from a sequence in the target database. Import filterAn import filter is evaluated during the import phase. Import filters are especially useful for filtering primary key columns. Filters on primary key columns are automatically applied to the corresponding foreign key columns. With an import filter, it’s guaranteed that a “null”-value remains null and that a foreign key value is mapped to the same value as the primary key even if the filter expression is not a deterministic function.This filter uses a sequence to generate new EMPNOs during the import phase: Filter templatesTemplates allow defining filters based on a condition on a column. |


|
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| PREV CLASS NEXT CLASS | FRAMES NO FRAMES | ||||||||
| SUMMARY: NESTED | FIELD | CONSTR | METHOD | DETAIL: FIELD | CONSTR | METHOD |
java.lang.Object apollo.dataadapter.TransactionOutputAdapter
public abstract class TransactionOutputAdapter
A class used to handle Transaction objects output.
| Field Summary | |
|---|---|
protected java.lang.String |
mapID
|
protected java.lang.String |
mapType
|
protected java.lang.Object |
target
|
protected TransactionTransformer |
transformer
|
| Constructor Summary | |
|---|---|
TransactionOutputAdapter()
|
| Method Summary | |
|---|---|
void |
commitTransactions(TransactionManager transManager)
The client to this class should call this method to commit (save or write changes to the database) transactions. |
protected abstract void |
commitTransformedTransactions(java.util.List transformedTn)
A subclass to this class should implement this method to provide its own behaviors. |
java.lang.String |
getMapID()
|
java.lang.String |
getMapType()
|
java.lang.Object |
getTarget()
|
TransactionTransformer |
getTransformer()
|
void |
setMapID(java.lang.String mapID)
Set the id for map_position. |
void |
setMapType(java.lang.String type)
Set the type used for map_position. |
void |
setTarget(java.lang.Object target)
Set the output target for Transaction objects. |
void |
setTransformer(TransactionTransformer transformer)
Set the TransactionTransformer to be used to transform Apollo Transaction objects. |
| Methods inherited from class java.lang.Object |
|---|
clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait |
| Field Detail |
|---|
protected TransactionTransformer transformer
protected java.lang.Object target
protected java.lang.String mapID
protected java.lang.String mapType
| Constructor Detail |
|---|
public TransactionOutputAdapter()
| Method Detail |
|---|
public java.lang.String getMapID()
public void setMapID(java.lang.String mapID)
mapID
- The mapID to set.public java.lang.String getMapType()
public void setMapType(java.lang.String type)
type
- The type to set.public void setTransformer(TransactionTransformer transformer)
transformer
- public TransactionTransformer getTransformer()
public void setTarget(java.lang.Object target)
target
- public java.lang.Object getTarget()
public void commitTransactions(TransactionManager transManager) throws java.lang.Exception
transctions
-
java.lang.Exception
protected abstract void commitTransformedTransactions(java.util.List transformedTn) throws java.lang.Exception
transformedTn
- a list of Transaction objects transformed by transactions.
These are no longer apollo.editor.Transactions, but transactions that are specific
to the data adapter (eg ChadoTransactions)
I would argue this should be a HASA just like the transaction transformer. so
the transaction output adapter is just a generic object that gets a transformer &
a writer and just calls both - its the old HASA vs ISA i guess.
java.lang.Exception
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This is a paragraph using the bold and italic tags.
Quote for the day
A designer knows he has achieved perfection not when there is nothing left to add, but when there is nothing left to take away.
Image present in a div tag


--- title: Our Story hero:
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We are creatives. Our interests are varied. We enjoy working on new projects with different materials. We hope our passion for quality shows through in our work.
We enjoy snark and hope you do, too. Get in touch with your sarcasm. It feels good... and it funny, too.
We like to keep designs fresh, which often means keeping things plain and simple.


Start a Jupyter notebook on PySpark.
Stop the cluster.
Leave the cluster.
A Jupyter notebook server is now running at http://{{ip.value}}:8888.
Stop the notebook server.


Click squares to create sounds.
The Unison drum machine is only available on desktop. Switch to a computer to make sounds.


The American Statistical Association is the world’s largest community of statisticians, the “Big Tent for Statistics.” It is the second-oldest, continuously operating professional association in the country. Since it was founded in Boston in 1839, the ASA has supported excellence in the development, application, and dissemination of statistical science through meetings, publications, membership services, education, accreditation, and advocacy.
Learn MoreOctober 13, 12pm-2pm
October 27
Our templates are updated regularly so they don't break.
You can use this theme as is, or you can make changes!
We update dependencies to keep things fresh.
You have to make your websites with love these days!
You have to make your websites with love these days!
You have to make your websites with love these days!
You have to make your websites with love these days!
You have to make your websites with love these days!
You have to make your websites with love these days!
Blurb ab Chitturi
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| Class | Atom::Text |
| In: |
lib/atom/text.rb
|
| Parent: | Atom::Element |
An Atom::Element representing a text construct. It has a single attribute, "type", which specifies how to interpret the element‘s content. Different types are:
| text: | a plain string, without any markup (default) |
| html: | a chunk of HTML |
| xhtml: | a chunk of *well-formed* XHTML |
You should set this attribute appropriately after you set a Text element (entry.content, entry.title or entry.summary).
This content of this element can be retrieved in different formats, see html and xml
# File lib/atom/text.rb, line 73 def initialize value = nil super() @content = if value.respond_to? :to_xml value.to_xml[0] elsif value value else '' end end
returns a string suitable for dumping into an HTML document.
(or nil if that's impossible)
if you‘re storing the content of a Text construct, you probably want this representation.
# File lib/atom/text.rb, line 102 def html if self["type"] == "xhtml" or self["type"] == "html" to_s elsif self["type"] == "text" REXML::Text.new(to_s).to_s end end
# File lib/atom/text.rb, line 89 def to_s if type == 'xhtml' and @content and @content.name == 'div' @content.children.to_s else @content.to_s end end
# File lib/atom/text.rb, line 143 def type= value unless valid_type? value raise Atom::ParseError, "atomTextConstruct type '#{value}' is meaningless" end @type = value if @type == "xhtml" begin parse_xhtml_content rescue REXML::ParseException raise Atom::ParseError<EMAIL_ADDRESS>can't be parsed as XML" end end end
attempts to parse the content of this element as XML and return it as an array of REXML::Elements.
If self["type"] is "html" and Hpricot is installed, it will be converted to XHTML first.
# File lib/atom/text.rb, line 115 def xml xml = REXML::Element.new 'div' if self["type"] == "xhtml" @content.children.each { |child| xml << child } elsif self["type"] == "text" xml.text = self.to_s elsif self["type"] == "html" begin require "hpricot" rescue raise "Turning HTML content into XML requires Hpricot." end fixed = Hpricot(self.to_s, :xhtml_strict => true) xml = REXML::Document.new("<div>#{fixed}</div>").root else # Not XHTML, HTML, or text - return the REXML::Element, leave it up to the user to parse the content xml = @content end xml end