ED
Section: User Commands (1)Updated: 5 October 2006
Index Return to Main Contents
NAME
ed, red - text editorSYNOPSIS
ed [-GVhs] [-p string] [file]red [-GVhs] [-p string] [file]
DESCRIPTION
ed is a line-oriented text editor. It is used to create, display, modify and otherwise manipulate text files. red is a restricted ed: it can only edit files in the current directory and cannot execute shell commands.If invoked with a file argument, then a copy of file is read into the editor's buffer. Changes are made to this copy and not directly to file itself. Upon quitting ed, any changes not explicitly saved with a `w' command are lost.
Editing is done in two distinct modes: command and input. When first invoked, ed is in command mode. In this mode commands are read from the standard input and executed to manipulate the contents of the editor buffer. A typical command might look like:
- ,s/old/new/g
which replaces all occurrences of the string old with new.
When an input command, such as `a' (append), `i' (insert) or `c' (change), is given, ed enters input mode. This is the primary means of adding text to a file. In this mode, no commands are available; instead, the standard input is written directly to the editor buffer. Lines consist of text up to and including a newline character. Input mode is terminated by entering a single period (.) on a line.
All ed commands operate on whole lines or ranges of lines; e.g., the `d' command deletes lines; the `m' command moves lines, and so on. It is possible to modify only a portion of a line by means of replacement, as in the example above. However even here, the `s' command is applied to whole lines at a time.
In general, ed commands consist of zero or more line addresses, followed by a single character command and possibly additional parameters; i.e., commands have the structure:
- [address [,address]]command[parameters]
The address(es) indicate the line or range of lines to be affected by the command. If fewer addresses are given than the command accepts, then default addresses are supplied.
OPTIONS
- -G
- Forces backwards compatibility. Affects the commands `G', `V', `f', `l', `m', `t', and `!!'.
- -s
-
Suppresses diagnostics. This should be used if
ed's
standard input is from a script.
- -p string
-
Specifies a command prompt. This may be toggled on and off with the
`P'
command.
- file
-
Specifies the name of a file to read. If
file
is prefixed with a
bang (!), then it is interpreted as a shell command. In this case,
what is read is
the standard output of
file
executed via
sh(1).
To read a file whose name begins with a bang, prefix the
name with a backslash (\).
The default filename is set to
file
only if it is not prefixed with a bang.
LINE ADDRESSING
An address represents the number of a line in the buffer. ed maintains a current address which is typically supplied to commands as the default address when none is specified. When a file is first read, the current address is set to the last line of the file. In general, the current address is set to the last line affected by a command.A line address is constructed from one of the bases in the list below, optionally followed by a numeric offset. The offset may include any combination of digits, operators (i.e. + and -) and whitespace. Addresses are read from left to right, and their values are computed relative to the current address.
One exception to the rule that addresses represent line numbers is the address 0 (zero). This means "before the first line," and is legal wherever it makes sense.
An address range is two addresses separated either by a comma or semicolon. The value of the first address in a range cannot exceed the value of the the second. If only one address is given in a range, then the second address is set to the given address. If an n-tuple of addresses is given where n > 2, then the corresponding range is determined by the last two addresses in the n-tuple. If only one address is expected, then the last address is used.
Each address in a comma-delimited range is interpreted relative to the current address. In a semicolon-delimited range, the first address is used to set the current address, and the second address is interpreted relative to the first.
The following address symbols are recognized.
- .
-
The current line (address) in the buffer.
- $
-
The last line in the buffer.
- n
-
The
nth,
line in the buffer
where
n
is a number in the range
[0,$].
- -
-
The previous line.
This is equivalent to
-1
and may be repeated with cumulative effect.
- ^n
-
The
nth
previous line, where
n
is a non-negative number.
- +
-
The
next line.
This is equivalent to
+1
and may be repeated with cumulative effect.
-
whitespace n
- +n
-
- The nth next line, where n is a non-negative number. Whitespace followed by a number n is interpreted as +n.
- The nth next line, where n is a non-negative number. Whitespace followed by a number n is interpreted as +n.
- ,
-
The first through last lines in the buffer. This is equivalent to
the address range
1,$.
- ;
-
The current through last lines in the buffer. This is equivalent to
the address range
.,$.
- /re/
-
The
next line containing the regular expression
re.
The search wraps to the beginning of the buffer and continues down to the
current line, if necessary.
// repeats the last search.
- ?re?
-
The
previous line containing the regular expression
re.
The search wraps to the end of the buffer and continues up to the
current line, if necessary.
?? repeats the last search.
- 'lc
-
The
line previously marked by a
`k'
(mark) command, where
lc
is a lower case letter.
REGULAR EXPRESSIONS
Regular expressions are patterns used in selecting text. For example, the ed command
- g/string/
prints all lines containing string. Regular expressions are also used by the `s' command for selecting old text to be replaced with new.
In addition to a specifying string literals, regular expressions can represent classes of strings. Strings thus represented are said to be matched by the corresponding regular expression. If it is possible for a regular expression to match several strings in a line, then the left-most longest match is the one selected.
The following symbols are used in constructing regular expressions:
- c
-
Any character
c
not listed below, including `{', '}', `(', `)', `<' and `>',
matches itself.
- \c
-
A backslash-escaped character
c
other than `{', '}', `(', `)', `<', `>',
`b', 'B', `w', `W', `+', and `?'
matches itself.
- .
-
Matches any single character.
- [char-class]
-
Matches any single character in
char-class.
To include a `]'
in
char-class,
it must be the first character.
A range of characters may be specified by separating the end characters
of the range with a `-', e.g., `a-z' specifies the lower case characters.
The following literal expressions can also be used in
char-class
to specify sets of characters:
[:alnum:] [:cntrl:] [:lower:] [:space:] [:alpha:] [:digit:] [:print:] [:upper:] [:blank:] [:graph:] [:punct:] [:xdigit:]
If `-' appears as the first or last character of char-class, then it matches itself. All other characters in char-class match themselves.
Patterns in char-class of the form:
[.col-elm.] or, [=col-elm=]
where col-elm is a collating element are interpreted according to locale(5) (not currently supported). See regex(3) for an explanation of these constructs.
- [^char-class]
-
Matches any single character, other than newline, not in
char-class.
char-class
is defined
as above.
- ^
-
If `^' is the first character of a regular expression, then it
anchors the regular expression to the beginning of a line.
Otherwise, it matches itself.
- $
-
If `$' is the last character of a regular expression, it
anchors the regular expression to the end of a line.
Otherwise, it matches itself.
- \(re\)
-
Defines a (possibly null) subexpression
re.
Subexpressions may be nested.
A subsequent backreference of the form `\n', where
n
is a number in the range [1,9], expands to the text matched by the
nth
subexpression.
For example, the regular expression `\(a.c\)\1' matches the
string `abcabc', but not `abcadc'.
Subexpressions are ordered relative to
their left delimiter.
- *
-
Matches the single character regular expression or subexpression
immediately preceding it zero or more times. If '*' is the first
character of a regular expression or subexpression, then it matches
itself. The `*' operator sometimes yields unexpected results.
For example, the regular expression `b*' matches the beginning of
the string `abbb', as opposed to the substring `bbb', since a null match
is the only left-most match.
-
\{n,m\}
- \{n,\}
- \{n\}
- \{n,\}
-
- Matches the single character regular expression or subexpression immediately preceding it at least n and at most m times. If m is omitted, then it matches at least n times. If the comma is also omitted, then it matches exactly n times. If any of these forms occurs first in a regular expression or subexpression, then it is interpreted literally (i.e., the regular expression `\{2\}' matches the string `{2}', and so on).
- Matches the single character regular expression or subexpression immediately preceding it at least n and at most m times. If m is omitted, then it matches at least n times. If the comma is also omitted, then it matches exactly n times. If any of these forms occurs first in a regular expression or subexpression, then it is interpreted literally (i.e., the regular expression `\{2\}' matches the string `{2}', and so on).
-
\<
- \>
-
- Anchors the single character regular expression or subexpression immediately following it to the beginning (\<) or ending (\>) of a word, i.e., in ASCII, a maximal string of alphanumeric characters, including the underscore (_).
- Anchors the single character regular expression or subexpression immediately following it to the beginning (\<) or ending (\>) of a word, i.e., in ASCII, a maximal string of alphanumeric characters, including the underscore (_).
The following extended operators are preceded by a backslash (\) to distinguish them from traditional ed syntax.
-
\`
- \'
-
- Unconditionally matches the beginning (\`) or ending (\') of a line.
- Unconditionally matches the beginning (\`) or ending (\') of a line.
- \?
-
Optionally matches the single character regular expression or subexpression
immediately preceding it. For example, the regular expression `a[bd]\?c'
matches the strings `abc', `adc' and `ac'. If \? occurs at the beginning
of a regular expressions or subexpression, then it matches a literal `?'.
- \+
-
Matches the single character regular expression or subexpression
immediately preceding it one or more times. So the regular expression
`a\+' is shorthand for `aa*'. If \+ occurs at the beginning of a
regular expression or subexpression, then it matches a literal `+'.
- \b
-
Matches the beginning or ending (null string) of a word. Thus the regular
expression `\bhello\b' is equivalent to `\<hello\>'. However, `\b\b'
is a valid regular expression whereas `\<\>' is not.
- \B
-
Matches (a null string) inside a word.
- \w
-
Matches any character in a word.
- \W
-
Matches any character not in a word.
COMMANDS
All ed commands are single characters, though some require additional parameters. If a command's parameters extend over several lines, then each line except for the last must be terminated with a backslash (\).In general, at most one command is allowed per line. However, most commands accept a print suffix, which is any of `p' (print), `l' (list) , or `n' (enumerate), to print the last line affected by the command.
An interrupt (typically ^C) has the effect of aborting the current command and returning the editor to command mode.
ed recognizes the following commands. The commands are shown together with the default address or address range supplied if none is specified (in parenthesis).
- (.)a
-
Appends text to the buffer after the addressed line, which may be the
address 0 (zero). Text is entered in input mode. The current address is
set to last line entered.
- (.,.)c
-
Changes lines in the buffer. The addressed lines are deleted
from the buffer, and text is appended in their place.
Text is entered in input mode.
The current address is set to last line entered.
- (.,.)d
-
Deletes the addressed lines from the buffer.
If there is a line after the deleted range, then the current address is set
to this line. Otherwise the current address is set to the line
before the deleted range.
- e file
-
Edits
file,
and sets the default filename.
If
file
is not specified, then the default filename is used.
Any lines in the buffer are deleted before
the new file is read.
The current address is set to the last line read.
- e !command
-
Edits the standard output of
`!command',
(see
!command
below).
The default filename is unchanged.
Any lines in the buffer are deleted before the output of
command
is read.
The current address is set to the last line read.
- E file
-
Edits
file
unconditionally.
This is similar to the
e
command,
except that unwritten changes are discarded without warning.
The current address is set to the last line read.
- f file
-
Sets the default filename to
file.
If
file
is not specified, then the default unescaped filename is printed.
- (1,$)g/re/command-list
-
Applies
command-list
to each of the addressed lines matching a regular expression
re.
The current address is set to the
line currently matched before
command-list
is executed.
At the end of the
`g'
command, the current address is set to the last line affected by
command-list.
Each command in command-list must be on a separate line, and every line except for the last must be terminated by a backslash (\). Any commands are allowed, except for `g', `G', `v', and `V'. A newline alone in command-list is equivalent to a `p' command.
- (1,$)G/re/
-
Interactively edits the addressed lines matching a regular expression
re.
For each matching line,
the line is printed,
the current address is set,
and the user is prompted to enter a
command-list.
At the end of the
`G'
command, the current address
is set to the last line affected by (the last)
command-list.
The format of command-list is the same as that of the `g' command. A newline alone acts as a null command list. A single `&' repeats the last non-null command list.
- H
-
Toggles the printing of error explanations.
By default, explanations are not printed.
It is recommended that ed scripts begin with this command to
aid in debugging.
- h
-
Prints an explanation of the last error.
- (.)i
-
Inserts text in the buffer before the current line.
Text is entered in input mode.
The current address is set to the last line entered.
- (.,.+1)j
-
Joins the addressed lines. The addressed lines are
deleted from the buffer and replaced by a single
line containing their joined text.
The current address is set to the resultant line.
- (.)klc
-
Marks a line with a lower case letter
lc.
The line can then be addressed as
'lc
(i.e., a single quote followed by
lc
) in subsequent commands. The mark is not cleared until the line is
deleted or otherwise modified.
- (.,.)l
-
Prints the addressed lines unambiguously. If invoked from a terminal,
ed
pauses at the end of each page until a newline is entered.
The current address is set to the last line printed.
- (.,.)m(.)
-
Moves lines in the buffer. The addressed lines are moved to after the
right-hand destination address, which may be the address
0
(zero).
The current address is set to the
last line moved.
- (.,.)n
-
Prints the addressed lines along with
their line numbers. The current address is set to the last line
printed.
- (.,.)p
-
Prints the addressed lines. If invoked from a terminal,
ed
pauses at the end of each page until a newline is entered.
The current address is set to the last line
printed.
- P
-
Toggles the command prompt on and off.
Unless a prompt was specified by with command-line option
-p string, the command prompt is by default turned off.
- q
-
Quits ed.
- Q
-
Quits ed unconditionally.
This is similar to the
q
command,
except that unwritten changes are discarded without warning.
- ($)r file
-
Reads
file
to after the addressed line. If
file
is not specified, then the default
filename is used. If there was no default filename prior to the command,
then the default filename is set to
file.
Otherwise, the default filename is unchanged.
The current address is set to the last line read.
- ($)r !command
-
Reads
to after the addressed line
the standard output of
`!command',
(see the
!command
below).
The default filename is unchanged.
The current address is set to the last line read.
-
(.,.)s/re/replacement/
- (.,.)s/re/replacement/g
- (.,.)s/re/replacement/n
- (.,.)s/re/replacement/g
-
- Replaces text in the addressed lines matching a regular expression re with replacement. By default, only the first match in each line is replaced. If the `g' (global) suffix is given, then every match to be replaced. The `n' suffix, where n is a positive number, causes only the nth match to be replaced. It is an error if no substitutions are performed on any of the addressed lines. The current address is set the last line affected.
re and replacement may be delimited by any character other than space and newline (see the `s' command below). If one or two of the last delimiters is omitted, then the last line affected is printed as though the print suffix `p' were specified.
An unescaped `&' in replacement is replaced by the currently matched text. The character sequence `\m', where m is a number in the range [1,9], is replaced by the mth backreference expression of the matched text. If replacement consists of a single `%', then replacement from the last substitution is used. Newlines may be embedded in replacement if they are escaped with a backslash (\).
- Replaces text in the addressed lines matching a regular expression re with replacement. By default, only the first match in each line is replaced. If the `g' (global) suffix is given, then every match to be replaced. The `n' suffix, where n is a positive number, causes only the nth match to be replaced. It is an error if no substitutions are performed on any of the addressed lines. The current address is set the last line affected.
- (.,.)s
-
Repeats the last substitution.
This form of the
`s'
command accepts a count suffix
`n',
or any combination of the characters
`r',
`g',
and
`p'.
If a count suffix
`n'
is given, then only the
nth
match is replaced.
The
`r'
suffix causes
the regular expression of the last search to be used instead of the
that of the last substitution.
The
`g'
suffix toggles the global suffix of the last substitution.
The
`p'
suffix toggles the print suffix of the last substitution.
The current address is set to the last line affected.
- (.,.)t(.)
-
Copies (i.e., transfers) the addressed lines to after the right-hand
destination address, which may be the address
0
(zero).
The current address is set to the last line
copied.
- u
-
Undoes the last command and restores the current address
to what it was before the command.
The global commands
`g',
`G',
`v',
and
`V'.
are treated as a single command by undo.
`u'
is its own inverse.
- (1,$)v/re/command-list
-
Applies
command-list
to each of the addressed lines not matching a regular expression
re.
This is similar to the
`g'
command.
- (1,$)V/re/
-
Interactively edits the addressed lines not matching a regular expression
re.
This is similar to the
`G'
command.
- (1,$)w file
-
Writes the addressed lines to
file.
Any previous contents of
file
is lost without warning.
If there is no default filename, then the default filename is set to
file,
otherwise it is unchanged. If no filename is specified, then the default
filename is used.
The current address is unchanged.
- (1,$)wq file
-
Writes the addressed lines to
file,
and then executes a
`q'
command.
- (1,$)w !command
-
Writes the addressed lines to the standard input of
`!command',
(see the
!command
below).
The default filename and current address are unchanged.
- (1,$)W file
-
Appends the addressed lines to the end of
file.
This is similar to the
`w'
command, expect that the previous contents of file is not clobbered.
The current address is unchanged.
- (.)x
-
Copies (puts) the contents of the cut buffer to after the addressed line.
The current address is set to the last line copied.
- (.,.)y
-
Copies (yanks) the addressed lines to the cut buffer.
The cut buffer is overwritten by subsequent
`y',
`s',
`j',
`d',
or
`c'
commands.
The current address is unchanged.
- (.+1)zn
-
Scrolls
n
lines at a time starting at addressed line. If
n
is not specified, then the current window size is used.
The current address is set to the last line printed.
- !command
-
Executes
command
via
sh(1).
If the first character of
command
is `!', then it is replaced by text of the
previous
`!command'.
ed
does not process
command
for backslash (\) escapes.
However, an unescaped
`%'
is replaced by the default filename.
When the shell returns from execution, a `!'
is printed to the standard output.
The current line is unchanged.
- (.,.)#
-
Begins a comment; the rest of the line, up to a newline, is ignored.
If a line address followed by a semicolon is given, then the
current address is set to that address. Otherwise, the current address
is unchanged.
- ($)=
-
Prints the line number of the addressed line.
- (.+1)newline
-
Prints the addressed line, and sets the current address to
that line.
FILES
- ed.hup
-
The file to which
ed
attempts to write the buffer if the terminal hangs up.
SEE ALSO
vi(1), sed(1), regex(3), sh(1).
USD:12-13
B. W. Kernighan and P. J. Plauger, Software Tools in Pascal , Addison-Wesley, 1981.
LIMITATIONS
ed processes file arguments for backslash escapes, i.e., in a filename, any characters preceded by a backslash (\) are interpreted literally.If a text (non-binary) file is not terminated by a newline character, then ed appends one on reading/writing it. In the case of a binary file, ed does not append a newline on reading/writing.
per line overhead: 4 ints
DIAGNOSTICS
When an error occurs, if ed's input is from a regular file or here document, then it exits, otherwise it prints a `?' and returns to command mode. An explanation of the last error can be printed with the `h' (help) command.Attempting to quit ed or edit another file before writing a modified buffer results in an error. If the command is entered a second time, it succeeds, but any changes to the buffer are lost.
ed exits with 0 if no errors occurred; otherwise >0.
Index
This document was created by man2html, using the manual pages.
Time: 05:29:10 GMT, December 24, 2015


--- layout: post title: Help! I cannot complete my Pull Request in TFS! date: '2017-10-13T10:46:00.001+01:00' author: Matteo Emili tags: modified_time: '2017-10-13T10:46:43.819+01:00' thumbnail: https://lh3.googleusercontent.com/-7nbbOZ9tepE/WeCLgt2mf7I/AAAAAAAAEpg/NGBSxEjDkPcB5Lsi61XR1-XeWUCePkIdwCHMYCw/s72-c/image_thumb?imgmax=800 blogger_id: tag:blogger.com,1999:blog-9050180307874313601.post-106039323189112212 blogger_orig_url: https://mattvsts.blogspot.com/2017/10/help-i-cannot-complete-my-pull-request.html ---
A quick one today: if the Complete button is greyed out in your Pull Request UI, ask your TFS Administrator to start the TFS Job Agent.
The TFS Job Agent does many things – including handling Pull Requests completion.


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Project Lead: Brandon Contino
Meeting Time: Closed group. To apply email a resume to<EMAIL_ADDRESS>Description: A very open competition where a team of up to five creates a robot using Intel hardware to solve a modern day problem.


Market Charts > 2020 > Movie Chart
Annual Movie Chart - 2020
Note: This chart ranks movies by the amount they earned during 2020.
It includes movies released in previous years that earned money during 2020.
For example, a movie released over Thanksgiving in 2019 will most likely earn money in 2019 and 2020.
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 2020 Movies at the Domestic Box Office for the total domestic box office for the top 100 movies released in 2020, and Movie Index 2020 for an overview of all movies released in 2020.
Top Grossing Movies of 2020
| Rank | Movie | Release Date | Distributor | Genre | 2020 Gross | Tickets Sold |
| 1 |
Bad Boys For Life |
Jan 17, 2020 |
Sony Pictures |
Action |
$204,417,855 |
22,316,359 |
| 2 |
1917 |
Dec 25, 2019 |
Universal |
Thriller/Suspense |
$157,901,466 |
17,238,151 |
| 3 |
Sonic The Hedgehog |
Feb 14, 2020 |
Paramount Pictures |
Adventure |
$146,066,470 |
15,946,121 |
| 4 |
Jumanji: The Next Level |
Dec 13, 2019 |
Sony Pictures |
Adventure |
$124,736,710 |
13,617,544 |
| 5 |
Star Wars: The Rise of Skyw… |
Dec 20, 2019 |
Walt Disney |
Adventure |
$124,496,308 |
13,591,300 |
| 6 |
Birds of Prey (And the Fant… |
Feb 7, 2020 |
Warner Bros. |
Action |
$84,158,461 |
9,187,604 |
| 7 |
Dolittle |
Jan 17, 2020 |
Universal |
Adventure |
$77,047,065 |
8,411,251 |
| 8 |
The Invisible Man |
Feb 28, 2020 |
Universal |
Horror |
$64,914,050 |
7,086,686 |
| 9 |
The Call of the Wild |
Feb 21, 2020 |
20th Century Studios |
Adventure |
$62,342,368 |
6,805,935 |
| 10 |
Onward |
Mar 6, 2020 |
Walt Disney |
Adventure |
$61,555,145 |
6,719,993 |
| 11 |
Tenet |
Sep 3, 2020 |
Warner Bros. |
Action |
$57,929,000 |
6,324,126 |
| 12 |
Halloween |
Oct 17, 1978 |
Compass Internati… |
Horror |
$47,274,000 |
5,160,917 |
| 13 |
Little Women |
Dec 25, 2019 |
Sony Pictures |
Drama |
$37,593,127 |
4,104,053 |
| 14 |
The Gentlemen |
Jan 24, 2020 |
STX Entertainment |
Action |
$36,471,796 |
3,981,637 |
| 15 |
Just Mercy |
Jan 10, 2020 |
Warner Bros. |
Drama |
$35,733,621 |
3,901,050 |
| 16 |
Knives Out |
Nov 27, 2019 |
Lionsgate |
Drama |
$35,244,610 |
3,847,664 |
| 17 |
The Croods: A New Age |
Nov 25, 2020 |
Universal |
Adventure |
$34,558,715 |
3,772,785 |
| 18 |
Parasite |
Oct 11, 2019 |
Neon |
Black Comedy |
$29,518,856 |
3,222,582 |
| 19 |
Wonder Woman 1984 |
Dec 25, 2020 |
Warner Bros. |
Action |
$28,500,000 |
3,111,353 |
| 20 |
Frozen II |
Nov 22, 2019 |
Walt Disney |
Adventure |
$26,934,045 |
2,940,397 |
| 21 |
Fantasy Island |
Feb 14, 2020 |
Sony Pictures |
Horror |
$26,441,782 |
2,886,657 |
| 22 |
The New Mutants |
Aug 28, 2020 |
20th Century Studios |
Horror |
$23,855,569 |
2,604,319 |
| 23 |
Like a Boss |
Jan 10, 2020 |
Paramount Pictures |
Comedy |
$22,169,514 |
2,420,252 |
| 24 |
Unhinged |
Aug 21, 2020 |
Solstice Studios |
Thriller/Suspense |
$20,831,465 |
2,274,177 |
| 25 |
The Photograph |
Feb 14, 2020 |
Universal |
Drama |
$20,578,185 |
2,246,526 |
| 26 |
Spies in Disguise |
Dec 25, 2019 |
20th Century Fox |
Adventure |
$19,714,592 |
2,152,248 |
| 27 |
The War with Grandpa |
Oct 9, 2020 |
101 Studios |
Comedy |
$18,861,607 |
2,059,127 |
| 28 |
Underwater |
Jan 10, 2020 |
20th Century Fox |
Thriller/Suspense |
$17,291,078 |
1,887,672 |
| 29 |
The Turning |
Jan 24, 2020 |
Universal |
Horror |
$15,472,775 |
1,689,167 |
| 30 |
Gretel & Hansel |
Jan 31, 2020 |
United Artists |
Horror |
$15,347,654 |
1,675,508 |
| 31 |
Honest Thief |
Oct 16, 2020 |
Open Road |
Thriller/Suspense |
$14,163,574 |
1,546,241 |
| 32 |
The Way Back |
Mar 6, 2020 |
Warner Bros. |
Drama |
$13,590,514 |
1,483,680 |
| 33 |
My Hero Academia: Heroes: R… |
Feb 26, 2020 |
FUNimation |
Adventure |
$13,553,826 |
1,479,675 |
| 34 |
Uncut Gems |
Dec 25, 2019 |
A24 |
Thriller/Suspense |
$13,467,396 |
1,470,239 |
| 35 |
Brahms: The Boy II |
Feb 21, 2020 |
STX Entertainment |
Horror |
$12,611,536 |
1,376,805 |
| 36 |
Jojo Rabbit |
Oct 18, 2019 |
Fox Searchlight |
Black Comedy |
$11,791,356 |
1,287,265 |
| 37 |
Impractical Jokers: The Movie |
Feb 21, 2020 |
truTV |
Comedy |
$10,466,091 |
1,142,586 |
| 38 |
I Still Believe |
Mar 13, 2020 |
Lionsgate |
Drama |
$10,410,004 |
1,136,463 |
| 39 |
Emma |
Feb 21, 2020 |
Focus Features |
Drama |
$10,055,355 |
1,097,746 |
| 40 |
Bloodshot |
Mar 13, 2020 |
Sony Pictures |
Action |
$10,021,787 |
1,094,081 |
| 41 |
The Grudge |
Jan 3, 2020 |
Sony Pictures |
Horror |
$9,812,035 |
1,071,182 |
| 42 |
Come Play |
Oct 30, 2020 |
Focus Features |
Horror |
$9,564,845 |
1,044,197 |
| 43 |
Let Him Go |
Nov 6, 2020 |
Focus Features |
Thriller/Suspense |
$9,355,765 |
1,021,371 |
| 44 |
Freaky |
Nov 13, 2020 |
Universal |
Horror |
$8,757,960 |
956,109 |
| 45 |
Downhill |
Feb 14, 2020 |
Searchlight Pictures |
Drama |
$8,287,061 |
904,700 |
| 46 |
National Lampoon's Christma… |
Dec 1, 1989 |
Warner Bros. |
Comedy |
$7,948,013 |
867,687 |
| 47 |
Weathering With You |
Jan 15, 2020 |
GKIDS |
Drama |
$7,798,703 |
851,386 |
| 48 |
Ford v. Ferrari |
Nov 15, 2019 |
20th Century Fox |
Drama |
$7,648,018 |
834,936 |
| 49 |
Cats |
Dec 20, 2019 |
Universal |
Musical |
$7,196,675 |
785,663 |
| 50 |
Bombshell |
Dec 13, 2019 |
Lionsgate |
Drama |
$7,172,836 |
783,060 |
| 51 |
It's a Wonderful Life |
Dec 20, 1946 |
|
Drama |
$6,644,000 |
725,327 |
| 52 |
Monster Hunter |
Dec 18, 2020 |
Sony Pictures |
Action |
$6,282,381 |
685,849 |
| 53 |
The Hunt |
Mar 13, 2020 |
Universal |
Thriller/Suspense |
$5,812,500 |
634,552 |
| 54 |
The Rhythm Section |
Jan 31, 2020 |
Paramount Pictures |
Thriller/Suspense |
$5,437,971 |
593,664 |
| 55 |
News of the World |
Dec 25, 2020 |
Universal |
Western |
$5,407,350 |
590,322 |
| 56 |
The SpongeBob Movie: Sponge… |
Aug 14, 2020 |
Paramount Pictures |
Adventure |
$4,810,790 |
525,195 |
| 57 |
Hocus Pocus |
Jul 16, 1993 |
Walt Disney |
Comedy |
$4,777,471 |
521,557 |
| 58 |
Richard Jewell |
Dec 13, 2019 |
Warner Bros. |
Drama |
$4,523,325 |
493,812 |
| 59 |
The Broken Hearts Gallery |
Sep 11, 2020 |
Sony Pictures |
Romantic Comedy |
$4,066,487 |
443,939 |
| 60 |
Infidel |
Sep 18, 2020 |
Cloudburst Entert… |
Thriller/Suspense |
$4,051,990 |
442,356 |
| 61 |
A Christmas Story |
Nov 18, 1983 |
MGM |
Comedy |
$3,896,391 |
425,370 |
| 62 |
Portrait of a Lady on Fire |
Dec 6, 2019 |
Neon |
Drama |
$3,759,854 |
410,464 |
| 63 |
Bill & Ted Face the Music |
Aug 28, 2020 |
United Artists |
Comedy |
$3,439,660 |
375,508 |
| 64 |
2020 Oscar Shorts |
Jan 29, 2020 |
ShortsHD |
Multiple Genres |
$3,304,748 |
360,780 |
| 65 |
Fatale |
Dec 18, 2020 |
Lionsgate |
Thriller/Suspense |
$3,089,694 |
337,302 |
| 66 |
Queen & Slim |
Nov 27, 2019 |
Universal |
Drama |
$3,089,365 |
337,266 |
| 67 |
The Empty Man |
Oct 23, 2020 |
20th Century Studios |
Horror |
$2,995,698 |
327,041 |
| 68 |
My Boyfriend’s Meds |
Feb 21, 2020 |
Lionsgate |
Romantic Comedy |
$2,971,116 |
324,357 |
| 69 |
The Last Full Measure |
Jan 24, 2020 |
Roadside Attractions |
Drama |
$2,949,212 |
321,966 |
| 70 |
A Beautiful Day in the Neig… |
Nov 22, 2019 |
Sony Pictures |
Drama |
$2,894,475 |
315,990 |
| 71 |
The Muppet Christmas Carol |
Dec 11, 1992 |
Walt Disney |
Comedy |
$2,745,312 |
299,706 |
| 72 |
Words on Bathroom Walls |
Aug 21, 2020 |
Roadside Attractions |
Drama |
$2,542,518 |
277,567 |
| 73 |
After We Collided |
Sep 11, 2020 |
|
Drama |
$2,386,483 |
260,533 |
| 74 |
The Nightmare Before Christmas |
Oct 13, 1993 |
Walt Disney |
Musical |
$2,286,000 |
249,563 |
| 75 |
The Lodge |
Feb 7, 2020 |
Neon |
Horror |
$2,138,907 |
233,505 |
| 76 |
Half Brothers |
Dec 4, 2020 |
Focus Features |
Comedy |
$2,056,635 |
224,523 |
| 77 |
Promising Young Woman |
Dec 25, 2020 |
Focus Features |
Black Comedy |
$1,896,080 |
206,995 |
| 78 |
The Personal History of Dav… |
Aug 28, 2020 |
Searchlight Pictures |
Drama |
$1,876,298 |
204,836 |
| 79 |
The Wretched |
May 1, 2020 |
IFC Midnight |
Horror |
$1,815,440 |
198,192 |
| 80 |
Joker |
Oct 4, 2019 |
Warner Bros. |
Thriller/Suspense |
$1,678,800 |
183,275 |
| 81 |
The Rental |
Jul 24, 2020 |
IFC Films |
Thriller/Suspense |
$1,637,548 |
178,771 |
| 82 |
Star Wars Ep. V: The Empire… |
Jul 31, 1981 |
20th Century Fox |
Adventure |
$1,580,209 |
172,511 |
| 83 |
Once Upon a Time…in Hollywo… |
Jul 26, 2019 |
Sony Pictures |
Thriller/Suspense |
$1,406,198 |
153,515 |
| 84 |
2 Hearts |
Oct 16, 2020 |
Freestyle Releasing |
Drama |
$1,349,284 |
147,301 |
| 85 |
Jay and Silent Bob Reboot |
Oct 15, 2019 |
Fathom Events |
Comedy |
$1,330,666 |
145,269 |
| 86 |
Train to Busan Presents: Pe… |
Aug 21, 2020 |
Well Go USA |
Horror |
$1,224,525 |
133,681 |
| 87 |
Met Opera — Agrippina |
Feb 29, 2020 |
Fathom Events |
Concert/Perfor… |
$1,150,000 |
125,545 |
| 88 |
True to the Game 2: Gena’s … |
Nov 6, 2020 |
Faith Media Distr… |
Thriller/Suspense |
$1,117,808 |
122,031 |
| 89 |
The Assistant |
Jan 31, 2020 |
Bleecker Street |
Drama |
$1,100,310 |
120,121 |
| 90 |
IP Man: The Finale |
Dec 25, 2019 |
Well Go USA |
Action |
$1,089,355 |
118,925 |
| 91 |
Love and Monsters |
Oct 16, 2020 |
Paramount Pictures |
Adventure |
$1,070,714 |
116,890 |
| 92 |
Relic |
Jul 3, 2020 |
IFC Midnight |
Thriller/Suspense |
$1,047,083 |
114,310 |
| 93 |
The Tax Collector |
Aug 7, 2020 |
RLJ Entertainment |
Action |
$1,044,212 |
113,996 |
| 94 |
Die Hard |
Jul 15, 1988 |
20th Century Fox |
Action |
$1,036,063 |
113,107 |
| 95 |
Becky |
Jun 5, 2020 |
Quiver |
Thriller/Suspense |
$1,002,852 |
109,481 |
| 96 |
Break the Silence The Movie |
Sep 24, 2020 |
Trafalgar Releasing |
Documentary |
$1,000,000 |
109,170 |
| 97 |
All My Life |
Dec 4, 2020 |
Universal |
Drama |
$909,940 |
99,338 |
| 98 |
The Song of Names |
Dec 25, 2019 |
Sony Pictures Cla… |
Drama |
$891,579 |
97,333 |
| 99 |
Elf |
Nov 7, 2003 |
New Line |
Comedy |
$875,000 |
95,524 |
| 100 |
Toy Story |
Nov 22, 1995 |
Walt Disney |
Adventure |
$870,305 |
95,011 |
| 101 |
Met Opera: Wozzeck |
Jan 11, 2020 |
Fathom Events |
Concert/Perfor… |
$863,000 |
94,213 |
| 102 |
Cut Throat City |
Jul 31, 2020 |
Well Go USA |
Drama |
$855,894 |
93,438 |
| 103 |
Sarileru Neekevvaru |
Jan 10, 2020 |
Great India Films |
Action |
$821,000 |
89,628 |
| 104 |
Vanguard |
Nov 20, 2020 |
Gravitas Ventures |
Action |
$793,525 |
86,629 |
| 105 |
Pinocchio |
Dec 25, 2020 |
Roadside Attractions |
Adventure |
$782,555 |
85,431 |
| 106 |
Color Out of Space |
Jan 24, 2020 |
RLJ Entertainment |
Horror |
$765,561 |
83,576 |
| 107 |
Shortcut |
Sep 25, 2020 |
Gravitas Ventures |
Horror |
$758,223 |
82,775 |
| 108 |
Possessor |
Oct 2, 2020 |
Neon |
Thriller/Suspense |
$752,885 |
82,192 |
| 109 |
Coco |
Nov 22, 2017 |
Walt Disney |
Musical |
$734,000 |
80,131 |
| 110 |
Monsters, Inc. |
Nov 2, 2001 |
Walt Disney |
Adventure |
$726,000 |
79,257 |
| 111 |
Baaghi 3 |
Mar 6, 2020 |
FIP |
Action |
$721,439 |
78,759 |
| 112 |
The Santa Clause |
Nov 11, 1994 |
Walt Disney |
Adventure |
$706,000 |
77,074 |
| 113 |
The Last Vermeer |
Nov 20, 2020 |
Sony Pictures Cla… |
Drama |
$685,380 |
74,823 |
| 114 |
The Addams Family |
Oct 11, 2019 |
United Artists |
Adventure |
$678,926 |
74,118 |
| 115 |
The Last Shift |
Sep 25, 2020 |
Sony Pictures |
Comedy |
$643,658 |
70,268 |
| 116 |
Synchronic |
Oct 23, 2020 |
Well Go USA |
Thriller/Suspense |
$636,673 |
69,505 |
| 117 |
Maleficent: Mistress of Evil |
Oct 18, 2019 |
Walt Disney |
Adventure |
$634,868 |
69,308 |
| 118 |
Chhapaak |
Jan 10, 2020 |
FIP |
Drama |
$604,334 |
65,975 |
| 119 |
Pain & Glory |
Oct 4, 2019 |
Sony Pictures Cla… |
Drama |
$599,619 |
65,460 |
| 120 |
Panga |
Jan 24, 2020 |
FIP |
Drama |
$582,720 |
63,615 |
| 121 |
Black Christmas |
Dec 13, 2019 |
Universal |
Horror |
$562,060 |
61,360 |
| 122 |
Guardians of the Galaxy |
Aug 1, 2014 |
Walt Disney |
Action |
$542,000 |
59,170 |
| 123 |
Alone |
Sep 18, 2020 |
Magnolia Pictures |
Thriller/Suspense |
$538,358 |
58,772 |
| 124 |
Followed |
Jun 19, 2020 |
Global View Enter… |
Horror |
$538,179 |
58,753 |
| 125 |
The Polar Express |
Nov 10, 2004 |
Warner Bros. |
Adventure |
$536,000 |
58,515 |
| 126 |
Harriet |
Nov 1, 2019 |
Focus Features |
Drama |
$534,455 |
58,346 |
| 127 |
Kajillionaire |
Sep 25, 2020 |
Focus Features |
Drama |
$531,430 |
58,016 |
| 128 |
The Call |
Oct 2, 2020 |
Atlas Distribution |
Horror |
$516,520 |
56,388 |
| 129 |
The Big Ugly |
Jul 24, 2020 |
Vertical Entertai… |
Action |
$514,107 |
56,125 |
| 130 |
Dark Waters |
Nov 22, 2019 |
Focus Features |
Drama |
$502,205 |
54,825 |
| 131 |
The Forgotten Carols |
Nov 20, 2020 |
Purdie Distribution |
Musical |
$501,629 |
54,762 |
| 132 |
Spell |
Oct 30, 2020 |
Paramount Pictures |
Horror |
$500,104 |
54,596 |
| 133 |
Ava |
Sep 25, 2020 |
Vertical Entertai… |
Action |
$497,747 |
54,339 |
| 134 |
CatVideoFest |
Feb 21, 2020 |
Oscilloscope Pict… |
Documentary |
$478,775 |
52,268 |
| 135 |
A Hidden Life |
Dec 13, 2019 |
Fox Searchlight |
Drama |
$456,268 |
49,810 |
| 136 |
Once Were Brothers: Robbie … |
Feb 21, 2020 |
Magnolia Pictures |
Documentary |
$449,561 |
49,078 |
| 137 |
Seberg |
Dec 13, 2019 |
Amazon Studios |
Thriller/Suspense |
$448,009 |
48,909 |
| 138 |
Infamous |
Jun 12, 2020 |
Vertical Entertai… |
Action |
$429,148 |
46,850 |
| 139 |
Tulsa |
Aug 21, 2020 |
Self Distributed |
Drama |
$413,522 |
45,144 |
| 140 |
Buddy Games |
Nov 20, 2020 |
Paramount Pictures |
Comedy |
$405,904 |
44,312 |
| 141 |
Yellow Rose |
Oct 8, 2020 |
Sony Pictures |
Drama |
$367,849 |
40,158 |
| 142 |
The Kid Detective |
Oct 16, 2020 |
Sony Pictures |
Black Comedy |
$364,138 |
39,753 |
| 143 |
Greed |
Feb 28, 2020 |
Sony Pictures Cla… |
Comedy |
$355,308 |
38,789 |
| 144 |
Thank You For Everything |
Dec 25, 2019 |
Entertainment One |
Comedy |
$352,149 |
38,444 |
| 145 |
Ride Your Wave |
Feb 19, 2020 |
GKIDS |
Comedy |
$332,432 |
36,291 |
| 146 |
Les Misérables |
Jan 10, 2020 |
Amazon Studios |
Drama |
$330,181 |
36,045 |
| 147 |
Ordinary Love |
Feb 14, 2020 |
Bleecker Street |
Drama |
$323,688 |
35,337 |
| 148 |
How the Grinch Stole Christmas |
Nov 17, 2000 |
Universal |
Adventure |
$304,000 |
33,187 |
| 149 |
Save Yourselves! |
Oct 2, 2020 |
Bleecker Street |
Comedy |
$301,162 |
32,877 |
| 150 |
The Informer |
Nov 6, 2020 |
Aviron Pictures |
Thriller/Suspense |
$300,460 |
32,801 |
| 151 |
Midway |
Nov 8, 2019 |
Lionsgate |
Action |
$299,520 |
32,698 |
| 152 |
The Traitor |
Jan 31, 2020 |
Sony Pictures Cla… |
Drama |
$296,027 |
32,317 |
| 153 |
Judy |
Sep 27, 2019 |
Roadside Attractions |
Drama |
$292,206 |
31,900 |
| 154 |
Clemency |
Dec 27, 2019 |
Neon |
Drama |
$288,343 |
31,478 |
| 155 |
Created Equal: Clarence Tho… |
Jan 31, 2020 |
Manifold Productions |
Documentary |
$282,149 |
30,802 |
| 156 |
Missão: Vingança |
Nov 13, 2020 |
Saban Films |
Black Comedy |
$278,378 |
30,390 |
| 157 |
21 Bridges |
Nov 22, 2019 |
STX Entertainment |
Thriller/Suspense |
$274,740 |
29,993 |
| 158 |
Mafia, Inc. |
Feb 14, 2020 |
Films Seville |
Drama |
$264,552 |
28,881 |
| 159 |
Tokyo Godfathers |
Jan 16, 2004 |
IDP Distribution |
Adventure |
$237,581 |
25,936 |
| 160 |
The Climb |
Nov 13, 2020 |
Sony Pictures Cla… |
Drama |
$234,429 |
25,592 |
| 161 |
The Secrets We Keep |
Sep 16, 2020 |
Bleecker Street |
Thriller/Suspense |
$231,119 |
25,231 |
| 162 |
Frozen |
Nov 27, 2013 |
Walt Disney |
Musical |
$215,000 |
23,471 |
| 163 |
Legend of Deification |
Oct 1, 2020 |
Well Go USA |
Adventure |
$214,670 |
23,435 |
| 164 |
Dr. Seuss’ The Grinch |
Nov 9, 2018 |
Universal |
Adventure |
$214,000 |
23,362 |
| 165 |
Wild Mountain Thyme |
Dec 11, 2020 |
Bleecker Street |
Drama |
$213,441 |
23,301 |
| 166 |
Beanpole |
Jan 29, 2020 |
Kino Lorber |
Drama |
$196,258 |
21,425 |
| 167 |
The Doors: Break on Thru — … |
Feb 12, 2020 |
Trafalgar Releasing |
Documentary |
$186,920 |
20,406 |
| 168 |
The Wolf of Snow Hollow |
Oct 9, 2020 |
Orion Classics |
Horror |
$185,026 |
20,199 |
| 169 |
Come Away |
Nov 13, 2020 |
Relativity |
Drama |
$184,477 |
20,139 |
| 170 |
63 Up |
Nov 27, 2019 |
BritBox |
Documentary |
$183,940 |
20,080 |
| 171 |
The Good Liar |
Nov 15, 2019 |
Warner Bros. |
Thriller/Suspense |
$182,779 |
19,954 |
| 172 |
And Then We Danced |
Feb 7, 2020 |
Music Box Films |
Drama |
$177,262 |
19,351 |
| 173 |
No Escape |
Sep 18, 2020 |
Vertical Entertai… |
Horror |
$167,962 |
18,336 |
| 174 |
Extra Ordinary |
Mar 6, 2020 |
Cranked Up Films |
Horror |
$164,346 |
17,941 |
| 175 |
Cunningham |
Dec 13, 2019 |
Magnolia Pictures |
Documentary |
$163,020 |
17,796 |
| 176 |
Ammonite |
Nov 13, 2020 |
Neon |
Drama |
$160,930 |
17,568 |
| 177 |
A Call to Spy |
Oct 2, 2020 |
IFC Films |
Drama |
$159,014 |
17,359 |
| 178 |
The Dark and The Wicked |
Nov 6, 2020 |
RLJ Entertainment |
Horror |
$152,261 |
16,622 |
| 179 |
The Burnt Orange Heresy |
Mar 6, 2020 |
Sony Pictures Cla… |
Thriller/Suspense |
$144,201 |
15,742 |
| 180 |
Always & Forever |
Nov 20, 2020 |
RLJ Entertainment |
Thriller/Suspense |
$144,161 |
15,738 |
| 181 |
Wendy |
Feb 28, 2020 |
Searchlight Pictures |
Drama |
$143,518 |
15,667 |
| 182 |
Incitement |
Jan 31, 2020 |
Greenwich |
Thriller/Suspense |
$140,306 |
15,317 |
| 183 |
Archive |
Jul 10, 2020 |
Vertical Entertai… |
|
$139,593 |
15,239 |
| 184 |
Burden |
Feb 28, 2020 |
101 Studios |
Drama |
$139,270 |
15,204 |
| 185 |
Lupin III: The First |
Oct 18, 2020 |
GKIDS |
Adventure |
$139,066 |
15,181 |
| 186 |
The Nest |
Sep 18, 2020 |
IFC Films |
Drama |
$137,852 |
15,049 |
| 187 |
Beneath Us |
Mar 6, 2020 |
NME |
Horror |
$137,260 |
14,984 |
| 188 |
Ashfall |
Dec 20, 2019 |
CJ Entertainment |
Action |
$136,379 |
14,888 |
| 189 |
The Times of Bill Cunningham |
Feb 14, 2020 |
Greenwich |
Documentary |
$134,288 |
14,660 |
| 190 |
Fantastic Fungi |
Sep 20, 2019 |
Area 23a |
Documentary |
$129,130 |
14,097 |
| 191 |
Alita: Battle Angel |
Feb 14, 2019 |
20th Century Fox |
Action |
$128,000 |
13,973 |
| 192 |
Saint Frances |
Feb 28, 2020 |
Oscilloscope Pict… |
Multiple Genres |
$127,275 |
13,894 |
| 193 |
Corpus Christi |
Feb 14, 2020 |
Film Movement |
Drama |
$127,240 |
13,890 |
| 194 |
The Man Standing Next |
Jan 24, 2020 |
Capelight Pictures |
Thriller/Suspense |
$113,527 |
12,393 |
| 195 |
Murder in the Woods |
Aug 14, 2020 |
Rezinate Entertai… |
Horror |
$109,299 |
11,932 |
| 196 |
Hope Gap |
Mar 6, 2020 |
Roadside Attractions |
Drama |
$104,732 |
11,433 |
| 197 |
Honeyland |
Jul 26, 2019 |
Neon |
Documentary |
$102,719 |
11,213 |
| 198 |
Citizen K |
Nov 22, 2019 |
Greenwich |
Documentary |
$101,762 |
11,109 |
| 199 |
Archenemy |
Dec 11, 2020 |
RLJ Entertainment |
Action |
$101,360 |
11,065 |
| 200 |
Made in Italy |
Aug 7, 2020 |
IFC Films |
Drama |
$101,339 |
11,063 |
| 201 |
First Cow |
Mar 6, 2020 |
A24 |
Drama |
$101,068 |
11,033 |
| 202 |
The Silencing |
Aug 14, 2020 |
Saban Films |
Thriller/Suspense |
$100,746 |
10,998 |
| 203 |
The Woman Who Loves Giraffes |
Oct 4, 2019 |
Zeitgeist |
Documentary |
$99,508 |
10,863 |
| 204 |
Come to Daddy |
Feb 7, 2020 |
Saban Films |
Black Comedy |
$96,713 |
10,558 |
| 205 |
Tesla |
Aug 21, 2020 |
IFC Films |
Drama |
$93,147 |
10,168 |
| 206 |
Invisible Life |
Dec 20, 2019 |
Amazon Studios |
Drama |
$92,752 |
10,125 |
| 207 |
Zombieland: Double Tap |
Oct 18, 2019 |
Sony Pictures |
Comedy |
$90,559 |
9,886 |
| 208 |
First Lady |
Feb 14, 2020 |
ArtAffects |
Romantic Comedy |
$89,885 |
9,812 |
| 209 |
On the Basis of Sex |
Dec 25, 2018 |
Focus Features |
Drama |
$82,150 |
8,968 |
| 210 |
StarDog and TurboCat |
Jun 19, 2020 |
Vivafilm |
Adventure |
$80,496 |
8,787 |
| 211 |
Percy |
Oct 9, 2020 |
Mongrel Media |
Drama |
$76,511 |
8,352 |
| 212 |
Alien |
May 25, 1979 |
20th Century Fox |
Horror |
$75,000 |
8,187 |
| 213 |
Pray: The Story of Patrick … |
Oct 9, 2020 |
ArtAffects |
Documentary |
$72,347 |
7,898 |
| 214 |
How to Build a Girl |
May 8, 2020 |
IFC Films |
Comedy |
$70,632 |
7,710 |
| 215 |
Come and See |
Feb 2, 2001 |
|
Drama |
$62,774 |
6,853 |
| 216 |
We Summon the Darkness |
May 22, 2020 |
Saban Films |
Horror |
$60,794 |
6,636 |
| 217 |
My Brothers’ Crossing |
Sep 3, 2020 |
Atlas Distribution |
Drama |
$59,390 |
6,483 |
| 218 |
Summerland |
Jul 31, 2020 |
IFC Films |
Drama |
$58,434 |
6,379 |
| 219 |
Bacurau |
Mar 6, 2020 |
Kino Lorber |
Action |
$58,115 |
6,344 |
| 220 |
The Godfather: Part III |
Dec 25, 1990 |
Paramount Pictures |
Drama |
$58,097 |
6,342 |
| 221 |
The Lighthouse |
Oct 18, 2019 |
A24 |
Drama |
$57,784 |
6,308 |
| 222 |
The Dissident |
Dec 25, 2020 |
Briarcliffe Enter… |
Documentary |
$57,000 |
6,222 |
| 223 |
The Whistlers |
Feb 28, 2020 |
Magnolia Pictures |
Comedy |
$55,608 |
6,070 |
| 224 |
A Simple Wedding |
Feb 14, 2020 |
Blue Fox Entertai… |
Romantic Comedy |
$54,415 |
5,940 |
| 225 |
Varda by Agnes |
Nov 22, 2019 |
Janus Films |
Documentary |
$53,134 |
5,800 |
| 226 |
No Safe Spaces |
Dec 6, 2019 |
Atlas Distribution |
Documentary |
$51,303 |
5,600 |
| 227 |
Miss Fisher & The Crypt Of … |
Mar 13, 2020 |
Acorn TV |
Adventure |
$51,032 |
5,571 |
| 228 |
Henchmen |
Oct 2, 2020 |
Entertainment One |
Adventure |
$49,676 |
5,423 |
| 229 |
The Way I See it |
Sep 18, 2020 |
Focus Features |
Documentary |
$49,030 |
5,352 |
| 230 |
VHYes |
Jan 12, 2020 |
Oscilloscope Pict… |
Comedy |
$47,037 |
5,135 |
| 231 |
Enter the Fat Dragon |
Feb 14, 2020 |
Well Go USA |
Action |
$46,855 |
5,115 |
| 232 |
Play the Flute |
Jan 28, 2019 |
Five & Two Pictures |
Drama |
$46,812 |
5,110 |
| 233 |
Playing with Fire |
Nov 8, 2019 |
Paramount Pictures |
Comedy |
$44,957 |
4,907 |
| 234 |
Shadow in the Cloud |
|
|
Action |
$39,117 |
4,270 |
| 235 |
Doctor Sleep |
Nov 8, 2019 |
Warner Bros. |
Horror |
$38,615 |
4,215 |
| 236 |
Three Christs |
Jan 10, 2020 |
IFC Films |
Drama |
$37,788 |
4,125 |
| 237 |
Other Music |
Apr 17, 2020 |
Oscilloscope Pict… |
Documentary |
$37,191 |
4,060 |
| 238 |
Solo Brathuke So Better |
Dec 25, 2020 |
Zee Studios |
Drama |
$35,000 |
3,820 |
| 239 |
Juvenile Delinquents |
Aug 7, 2020 |
Atlas Distribution |
Drama |
$34,292 |
3,743 |
| 240 |
Best of Catvideofest |
Apr 3, 2020 |
Oscilloscope Pict… |
Documentary |
$34,287 |
3,743 |
| 241 |
RBG |
May 4, 2018 |
Magnolia Pictures |
Documentary |
$34,000 |
3,711 |
| 242 |
True History Of The Kelly Gang |
Apr 24, 2020 |
IFC Films |
Drama |
$33,816 |
3,691 |
| 243 |
Swallow |
Mar 6, 2020 |
IFC Films |
Thriller/Suspense |
$33,419 |
3,648 |
| 244 |
Waves |
Nov 15, 2019 |
A24 |
Musical |
$32,518 |
3,550 |
| 245 |
Honey Boy |
Nov 8, 2019 |
Amazon Studios |
Drama |
$32,516 |
3,549 |
| 246 |
Embattled |
Nov 20, 2020 |
IFC Films |
Drama |
$32,259 |
3,521 |
| 247 |
Nick Mason’s Saucerful of S… |
Mar 10, 2020 |
Trafalgar Releasing |
Concert/Perfor… |
$31,739 |
3,464 |
| 248 |
Max Winslow and the House o… |
May 29, 2020 |
3DLive |
Thriller/Suspense |
$31,252 |
3,411 |
| 249 |
After Parkland |
Feb 12, 2020 |
Kino Lorber |
Documentary |
$30,444 |
3,323 |
| 250 |
Rent-A-Pal |
Sep 11, 2020 |
IFC Midnight |
Horror |
$29,615 |
3,233 |
| 251 |
Olympic Dreams |
Feb 14, 2020 |
IFC Films |
Romantic Comedy |
$29,450 |
3,215 |
| 252 |
Tread |
Feb 21, 2020 |
Gravitas Ventures |
Documentary |
$29,136 |
3,180 |
| 253 |
Buffaloed |
Feb 14, 2020 |
Magnolia Pictures |
Comedy |
$29,118 |
3,178 |
| 254 |
The White Sheik |
Apr 25, 1956 |
Janus Films |
Comedy |
$28,841 |
3,148 |
| 255 |
Spree |
Aug 14, 2020 |
RLJ Entertainment |
Black Comedy |
$28,771 |
3,140 |
| 256 |
Sorry We Missed You |
Mar 6, 2020 |
Zeitgeist |
Drama |
$28,273 |
3,086 |
| 257 |
Cane River |
Feb 7, 2020 |
Oscilloscope Pict… |
Drama |
$27,317 |
2,982 |
| 258 |
José |
Jan 31, 2020 |
Outsider |
Drama |
$26,563 |
2,899 |
| 259 |
Zombi Child |
Jan 24, 2020 |
Film Movement |
Adventure |
$25,878 |
2,825 |
| 260 |
The Booksellers |
Mar 6, 2020 |
Greenwich |
Documentary |
$25,694 |
2,805 |
| 261 |
Unsubscribe |
Jun 10, 2020 |
Self Distributed |
|
$25,488 |
2,782 |
| 262 |
Disappearance at Clifton Hill |
Feb 28, 2020 |
IFC Midnight |
Thriller/Suspense |
$25,084 |
2,738 |
| 263 |
Heart of Africa |
Mar 13, 2020 |
Purdie Distribution |
Drama |
$24,139 |
2,635 |
| 264 |
Premature |
Feb 21, 2020 |
IFC Films |
Drama |
$23,071 |
2,518 |
| 265 |
Promare |
Sep 17, 2019 |
GKIDS |
Adventure |
$23,053 |
2,516 |
| 266 |
Phoenix, Oregon |
Apr 26, 2019 |
Joma Films |
Comedy |
$22,755 |
2,484 |
| 267 |
The Innocent (1979) (Re-Rel… |
Feb 14, 2020 |
Film Movement |
Drama |
$22,549 |
2,461 |
| 268 |
Midnight Family |
Dec 6, 2019 |
1091 Media |
Documentary |
$22,327 |
2,437 |
| 269 |
Tar |
Oct 2, 2020 |
Howling Wolf Prod… |
Horror |
$22,307 |
2,435 |
| 270 |
I Propose We Never See Each… |
Aug 28, 2020 |
Mongrel Media |
Romantic Comedy |
$21,757 |
2,375 |
| 271 |
Pandora and the Flying Dutc… |
Feb 7, 2020 |
Cohen Media Group |
Drama |
$21,536 |
2,351 |
| 272 |
Hunter Hunter |
Dec 18, 2020 |
IFC Films |
Horror |
$21,296 |
2,324 |
| 273 |
Young Ahmed |
Feb 21, 2020 |
Kino Lorber |
Drama |
$21,291 |
2,324 |
| 274 |
The Cordillera of Dreams |
Feb 12, 2020 |
Icarus Films |
Documentary |
$20,943 |
2,286 |
| 275 |
Lore |
Jan 17, 2020 |
Indican Pictures |
Thriller/Suspense |
$20,006 |
2,184 |
| 276 |
Quarantine Cat Film Fest |
Jun 19, 2020 |
Row House Cinema |
Documentary |
$20,000 |
2,183 |
| 277 |
Synonyms |
Oct 25, 2019 |
Kino Lorber |
Drama |
$19,521 |
2,131 |
| 278 |
Mandy |
Sep 14, 2018 |
RLJ Entertainment |
Thriller/Suspense |
$19,169 |
2,092 |
| 279 |
Recorder: The Marion Stokes… |
Nov 15, 2019 |
Zeitgeist |
Documentary |
$19,109 |
2,086 |
| 280 |
Foster Boy |
Sep 18, 2020 |
Gravitas Ventures |
Drama |
$19,046 |
2,079 |
| 281 |
Sputnik |
Aug 14, 2020 |
IFC Midnight |
Horror |
$18,853 |
2,058 |
| 282 |
The Jesus Rolls |
Feb 28, 2020 |
Screen Media Films |
Comedy |
$18,169 |
1,983 |
| 283 |
Sh*thouse |
Oct 16, 2020 |
IFC Films |
Comedy |
$18,148 |
1,981 |
| 284 |
Downtown 81 |
Jul 13, 2001 |
|
Drama |
$17,605 |
1,921 |
| 285 |
The Cave |
Oct 18, 2019 |
National Geograph… |
Documentary |
$17,529 |
1,913 |
| 286 |
Balloon |
Sep 6, 2019 |
Distrib Films |
Thriller/Suspense |
$17,430 |
1,902 |
| 287 |
Never, Rarely, Sometimes, A… |
Mar 13, 2020 |
Focus Features |
Drama |
$16,565 |
1,808 |
| 288 |
Centigrade |
Aug 28, 2020 |
IFC Films |
Thriller/Suspense |
$16,263 |
1,775 |
| 289 |
Made in Hong Kong |
Mar 6, 2020 |
Metrograph Pictures |
Comedy |
$16,255 |
1,774 |
| 290 |
Branagh Theatre Live: The W… |
Dec 4, 2019 |
Trafalgar Releasing |
Drama |
$15,789 |
1,723 |
| 291 |
Strike |
Mar 27, 2020 |
Indican Pictures |
Adventure |
$15,758 |
1,720 |
| 292 |
Counter Column |
Oct 16, 2020 |
Not That Kind of … |
Drama |
$15,527 |
1,695 |
| 293 |
Zappa |
Nov 27, 2020 |
Magnolia Pictures |
Documentary |
$15,502 |
1,692 |
| 294 |
Vitalina Varela |
Feb 21, 2020 |
Grasshopper Film |
Drama |
$14,941 |
1,631 |
| 295 |
I Was at Home, But… |
Feb 14, 2020 |
Cinema Guild |
Drama |
$14,078 |
1,536 |
| 296 |
Pahokee |
Apr 24, 2020 |
Monument Releasing |
Documentary |
$13,250 |
1,446 |
| 297 |
The Wild Goose Lake |
Mar 6, 2020 |
Film Movement |
Thriller/Suspense |
$12,573 |
1,372 |
| 298 |
Killer Raccoons 2: Dark Chr… |
Jul 31, 2020 |
Indican Pictures |
Comedy |
$12,382 |
1,351 |
| 299 |
Those Who Remained |
Feb 14, 2020 |
Menemsha Entertai… |
Drama |
$11,862 |
1,294 |
| 300 |
Redoubt |
Oct 30, 2019 |
Grasshopper Film |
Thriller/Suspense |
$11,599 |
1,266 |
| 301 |
Twiceborn |
Oct 16, 2020 |
Freestyle Releasing |
Drama |
$11,527 |
1,258 |
| 302 |
Les Misérables - The Staged… |
Dec 6, 2019 |
Trafalgar Releasing |
Concert/Perfor… |
$11,394 |
1,243 |
| 303 |
Powerbomb |
Mar 6, 2020 |
Indican Pictures |
Thriller/Suspense |
$11,319 |
1,235 |
| 304 |
Lost in America |
Feb 28, 2020 |
Indican Pictures |
Documentary |
$11,301 |
1,233 |
| 305 |
Charlie’s Angels |
Nov 15, 2019 |
Sony Pictures |
Action |
$11,125 |
1,214 |
| 306 |
You go to my Head |
Feb 14, 2020 |
First Run Features |
Drama |
$10,683 |
1,166 |
| 307 |
Circles: The Restorative Ju… |
May 15, 2020 |
Indican Pictures |
Documentary |
$10,260 |
1,120 |
| 308 |
Coded Bias |
Nov 11, 2020 |
7th Empire Media |
Documentary |
$10,236 |
1,117 |
| 309 |
The Last Tree |
Jun 26, 2020 |
ArtMattan Product… |
Drama |
$10,128 |
1,105 |
| 310 |
Guest Artist |
Jul 10, 2020 |
Indican Pictures |
Drama |
$10,017 |
1,093 |
| 311 |
Foosballers |
Feb 11, 2020 |
Kicking and Scree… |
Documentary |
$9,966 |
1,087 |
| 312 |
The Truth |
Jul 3, 2020 |
IFC Films |
Drama |
$9,619 |
1,050 |
| 313 |
Just One More Kiss |
Feb 21, 2020 |
Indican Pictures |
Drama |
$9,130 |
996 |
| 314 |
Stardust |
Nov 25, 2020 |
IFC Films |
Drama |
$9,087 |
992 |
| 315 |
Kindred |
Nov 6, 2020 |
IFC Midnight |
Thriller/Suspense |
$8,921 |
973 |
| 316 |
The Trip to Greece |
May 22, 2020 |
IFC Films |
Comedy |
$8,340 |
910 |
| 317 |
Inside the Rain |
Mar 13, 2020 |
Sky Island |
Romantic Comedy |
$8,140 |
888 |
| 318 |
The Wave |
Jan 17, 2020 |
Epic Pictures Group |
Thriller/Suspense |
$8,101 |
884 |
| 319 |
Kind Hearts and Coronets |
Nov 22, 2019 |
Rialto Pictures |
Black Comedy |
$8,055 |
879 |
| 320 |
Advocate |
Jan 3, 2020 |
Film Movement |
Documentary |
$7,790 |
850 |
| 321 |
Linda Ronstadt: The Sound o… |
Sep 6, 2019 |
Greenwich |
Documentary |
$7,763 |
847 |
| 322 |
The Bra |
Oct 16, 2020 |
Indican Pictures |
Comedy |
$7,742 |
845 |
| 323 |
I Am Greta |
Oct 16, 2020 |
Mongrel Media |
Documentary |
$7,574 |
826 |
| 324 |
Lie Exposed |
Mar 6, 2020 |
Mongrel Media |
Drama |
$7,467 |
815 |
| 325 |
Resistance |
Apr 17, 2020 |
IFC Films |
Drama |
$7,464 |
814 |
| 326 |
The Kingmaker |
Nov 8, 2019 |
Greenwich |
Documentary |
$7,334 |
800 |
| 327 |
What We Found |
Jul 31, 2020 |
Freestyle Releasing |
Thriller/Suspense |
$6,975 |
761 |
| 328 |
I Am Lisa |
Oct 9, 2020 |
Mutiny Pictures |
Horror |
$6,949 |
758 |
| 329 |
12 Hour Shift |
Oct 2, 2020 |
Magnolia Pictures |
Thriller/Suspense |
$6,820 |
744 |
| 330 |
Human Capital |
Jul 17, 2020 |
Vertical Entertai… |
Drama |
$6,596 |
720 |
| 331 |
Afterward |
Jan 10, 2020 |
Abramorama Films |
Documentary |
$6,477 |
707 |
| 332 |
In the Life of Music |
Aug 14, 2020 |
Indican Pictures |
Drama |
$6,181 |
674 |
| 333 |
Blood Widow |
Jan 17, 2020 |
Indican Pictures |
Thriller/Suspense |
$6,047 |
660 |
| 334 |
The Other Lamb |
Apr 3, 2020 |
IFC Films |
Drama |
$6,024 |
657 |
| 335 |
Find Your Voice |
Sep 11, 2020 |
Indican Pictures |
Comedy |
$6,019 |
657 |
| 336 |
Herself |
|
|
Drama |
$6,000 |
655 |
| 337 |
By the Grace of God |
Oct 18, 2019 |
Music Box Films |
Drama |
$5,980 |
652 |
| 338 |
Sex and the Future |
Jun 5, 2020 |
Indican Pictures |
Comedy |
$5,727 |
625 |
| 339 |
Human Nature |
Mar 13, 2020 |
Greenwich |
Documentary |
$5,487 |
599 |
| 340 |
Bang Bang |
Oct 23, 2020 |
Indican Pictures |
Drama |
$5,042 |
550 |
| 341 |
Alice |
May 15, 2020 |
Monument Releasing |
Comedy |
$5,000 |
545 |
| 342 |
Ottolenghi and the Cakes of… |
Sep 25, 2020 |
IFC Films |
Documentary |
$4,962 |
541 |
| 343 |
Last Call |
Sep 18, 2020 |
K Street Pictures |
Drama |
$4,894 |
534 |
| 344 |
Farewell Amor |
Dec 11, 2020 |
IFC Films |
Drama |
$4,689 |
511 |
| 345 |
The Disappearance of my Mother |
Dec 6, 2019 |
Kino Lorber |
Documentary |
$4,658 |
508 |
| 346 |
No Ordinary Love |
Oct 24, 2020 |
Self Distributed |
Thriller/Suspense |
$4,656 |
508 |
| 347 |
Babyteeth |
Jun 19, 2020 |
IFC Films |
Drama |
$4,507 |
492 |
| 348 |
Monero Means Money: Cryptoc… |
Apr 10, 2020 |
rCryptoCurrency, LLC |
Documentary |
$4,470 |
487 |
| 349 |
Tremors |
Nov 29, 2019 |
Film Movement |
Drama |
$4,349 |
474 |
| 350 |
Give Me Liberty |
Aug 23, 2019 |
Music Box Films |
Comedy |
$4,134 |
451 |
| 351 |
Dear Santa |
Dec 4, 2020 |
IFC Films |
Documentary |
$4,109 |
448 |
| 352 |
Straight Up |
Feb 28, 2020 |
Strand |
Romantic Comedy |
$4,075 |
444 |
| 353 |
Countdown |
Oct 25, 2019 |
STX Entertainment |
Horror |
$3,953 |
431 |
| 354 |
Stuffed |
Oct 16, 2019 |
Music Box Films |
Documentary |
$3,849 |
420 |
| 355 |
King’s Gambit |
Mar 6, 2020 |
Indican Pictures |
Thriller/Suspense |
$3,816 |
416 |
| 356 |
The Roads Not Taken |
Apr 10, 2020 |
Bleecker Street |
Drama |
$3,518 |
384 |
| 357 |
IP Man: Kung Fu Master |
Dec 11, 2020 |
Magnet Pictures |
Action |
$3,439 |
375 |
| 358 |
Mr. Klein |
Nov 6, 1977 |
Quartet Films |
Drama |
$3,310 |
361 |
| 359 |
Chinese Portrait |
Dec 13, 2019 |
Cinema Guild |
Documentary |
$2,894 |
315 |
| 360 |
I’ll Take Your Dead |
Jul 5, 2019 |
Breakthrough Ente… |
Horror |
$2,831 |
309 |
| 361 |
A Rainy Day in New York |
Oct 9, 2020 |
Amazon Studios |
Romantic Comedy |
$2,744 |
299 |
| 362 |
Crock of Gold: A Few Rounds… |
Dec 4, 2020 |
Magnolia Pictures |
Documentary |
$2,455 |
268 |
| 363 |
Light From Light |
Nov 1, 2019 |
Grasshopper Film |
Drama |
$2,448 |
267 |
| 364 |
Horror Nights |
Apr 24, 2020 |
Southern Sykos Pr… |
Horror |
$2,415 |
263 |
| 365 |
Goldie |
Feb 21, 2020 |
Film Movement |
Drama |
$2,302 |
251 |
| 366 |
Amigo Skate, Cuba |
Nov 20, 2020 |
Indican Pictures |
Documentary |
$2,232 |
243 |
| 367 |
The Shade Shepherd |
Oct 16, 2020 |
Indican Pictures |
Thriller/Suspense |
$2,116 |
231 |
| 368 |
The Transcendents |
Jun 26, 2020 |
Indican Pictures |
Thriller/Suspense |
$2,041 |
222 |
| 369 |
A Mermaid in Paris |
Oct 16, 2020 |
Sony Pictures |
Romantic Comedy |
$1,988 |
217 |
| 370 |
The Bay of Silence |
Aug 14, 2020 |
Vertical Entertai… |
Thriller/Suspense |
$1,941 |
211 |
| 371 |
Edie |
Sep 6, 2019 |
Music Box Films |
Drama |
$1,652 |
180 |
| 372 |
American Dharma |
Nov 1, 2019 |
Utopia |
Documentary |
$1,641 |
179 |
| 373 |
The Fox Hunter |
Jun 5, 2020 |
Indican Pictures |
Comedy |
$1,577 |
172 |
| 374 |
Be Natural: The Untold Stor… |
Apr 19, 2019 |
Zeitgeist |
Documentary |
$1,467 |
160 |
| 375 |
The Painted Bird |
Jul 17, 2020 |
IFC Films |
Drama |
$1,460 |
159 |
| 376 |
Little Joe |
Dec 6, 2019 |
Magnolia Pictures |
Drama |
$1,440 |
157 |
| 377 |
Queen of the Capital |
Jun 20, 2020 |
Mutiny Pictures |
Documentary |
$1,269 |
138 |
| 378 |
Christ Stopped at Eboli |
Mar 23, 1980 |
Franklin Media |
Drama |
$1,258 |
137 |
| 379 |
Evergreen |
Dec 23, 2020 |
Indican Pictures |
Drama |
$1,193 |
130 |
| 380 |
Fear PHarm |
Sep 11, 2020 |
Indican Pictures |
Comedy |
$1,157 |
126 |
| 381 |
PLAYMOBIL |
Dec 6, 2019 |
STX Entertainment |
Adventure |
$1,123 |
122 |
| 382 |
Hai Tang Hong |
Feb 21, 2020 |
M Star International |
Drama |
$1,107 |
120 |
| 383 |
The Gliksmans |
Sep 27, 2019 |
Indican Pictures |
Comedy |
$1,086 |
118 |
| 384 |
Parallel Policy |
Dec 20, 2020 |
Gathr Films |
Documentary |
$1,070 |
116 |
| 385 |
Ága |
Sep 4, 2019 |
Big World Pictures |
Drama |
$1,048 |
114 |
| 386 |
Spiral Farm |
Dec 13, 2019 |
Indican Pictures |
Drama |
$1,042 |
113 |
| 387 |
John Wick: Chapter 3 — Para… |
May 17, 2019 |
Lionsgate |
Action |
$1,040 |
113 |
| 388 |
Another Round |
Dec 18, 2020 |
Mongrel Media |
Drama |
$938 |
102 |
| 389 |
10 Days With Dad |
Nov 20, 2020 |
Distrib Films |
Comedy |
$856 |
93 |
| 390 |
Hustlers |
Sep 13, 2019 |
STX Entertainment |
Drama |
$612 |
66 |
| 391 |
Night Shift |
Nov 20, 2020 |
Distrib Films |
Drama |
$534 |
58 |
| 392 |
Mickey and the Bear |
Nov 15, 2019 |
Self Distributed |
Drama |
$528 |
57 |
| 393 |
Granny Nanny |
Nov 27, 2020 |
Distrib Films |
Comedy |
$432 |
47 |
| 394 |
Sol |
Nov 20, 2020 |
Distrib Films |
Comedy |
$327 |
35 |
| 395 |
Love by Drowning |
Nov 6, 2020 |
Dow Jazz Films |
Drama |
$267 |
29 |
| 396 |
St. Patrick’s Day |
Dec 18, 2020 |
Self Distributed |
Educational |
$260 |
28 |
| 397 |
It’s For Your Own Good |
Nov 27, 2020 |
Distrib Films |
Comedy |
$256 |
27 |
| 398 |
A German Youth |
Oct 11, 2019 |
Big World Pictures |
Documentary |
$166 |
18 |
| Total Gross of All Movies | $2,050,751,679 | |
| Total Tickets Sold | 223,880,995 |
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.


Sphere (1998, PG-13)
Directed by Barry Levinson
Written by Stephen Hauser and Paul Attanasio
Adapted by Kurt Wimmer
Based on the novel by Michael Crichton
Starring Dustin Hoffman, Sharon Stone, Samuel L. Jackson, Peter Coyote, Live Schrieber, and Queen Latifah
As Reviewed by James Brundage (MovieKritic2000)
Sphere is one of those movies I hate to review more than I hate to watch. On one hand, you have the numerous good aspects of the film (top notch cast, etc.). On the other hand, you have a plot that can't be passed off in the world of celluloid.
Based on the novel by Michael Crichton, Sphere concerns a team called the ULF team (Unknown Life Form). These people, hand picked by Norman Johnson (Dustin Hoffman) during the cold war, are a team designed to make contact with alien life. On it are a mathmatician (Samuel L. Jackson), an astrophysicist (Live Schrieber), a biologist (Sharon Stone), and a shrink who didn't take the whole thing seriously and picked people to be at each other's throats (Dustin Hoffman).
All of these people are sent one thousand feet under the surface of the ocean, where they begin getting on each others nerves.
What's worse, when they discover a sphere of unknown origin in a spaceship that turns out to be an American spacecraft from the future, strange things start happening. Killer jellyfish… giant squid.... extra copies of "20,000 Leagues under the Sea", oh my!
To make a long story short, they start being killed off one by one until there's pretty much no one left, at which point the story takes a turn for the worse. The movie becomes a mind exercise, which I didn't care about but most people do.
The fact about Sphere is that it is too true to the book. It has reached that point when the book has outlasted its usefulness in the adaptation, if only because the book was a favorite among geeks like me who could grasp the ideas set forth in it and not the average moron.
The really disappointing thing about the straight adaptation of the book is that the characters in the book (and, by extension, the movie), are as flat and contrived as science fiction characters usually are. They are completely predictable, rarely fun to watch, and never engaging. The performances are fine considering, but the script inhibits four great actors into roles they can do nothing with.
A lesson can be learned by Sphere: don't make sci-fi mass market. Any movie that, half an hour in, is using deductive logic as a way to make suspense will not make most people in college or high school frightened. Nor will all of those shots at everyone reacting ultra-slowly to any given situation make them seem like evil characters. In short, Norman Johnson never can become Norman Bates.
Abyss fans will be pleased by the two film's similarities, but please don't even bother calling it a rip off. "Sphere" was written long before Abyss came out, and thus, if anything, Abyss was a rip of the book "Sphere", not visa-versa.
However, Sphere the movie is a stylistic rip off of Abyss, using eerie orchestrals and slow camera pans in order to tell the audience to be scared. It takes every trick in the book of undersea filmmaking to try to make Sphere interesting to the mainstream. The fact remains that this is the modern world and sci-fi happens to be out. Sure, The Matrix was a home run hit, but Sphere isn't that kind of sci-fi. It's sci-fi the way sci-fi used to be done… niche market.
The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


HTML5 Provides the necessary elements for geolocation, yet you can still use a mock one to achieve delay and fire errors for debuging purposes
This is the object returned on a successful retrieval of the devices position
This is the object returned on a failed retrieval of the devices position


var memberStatus: String
The status of the member
memberStatus - The status of the member
memberStatus


An illustration of a starting simulation structure. The ribosome (transparent cartoon), ERY (red), and nascent chain (cyan) are shown. The black arrow indicates the pulling direction applied to the N-terminal residue of the nascent chain in the SMD simulations. The arrow also lies along the long axis of the ribosome exit tunnel. “Exit” denotes the exit side of the tunnel.


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In Spring of 2017, I was one of a seven person executive committee that led the organization of the March for Science–Hawaii. Without any prior experience and over the course of ten weeks, we developed an organizing committee of over 70 people, verified the attendence of over 2700 people on the day of the march, and ended the day with a budget surplus of $4,000 which we will use to provide grants to science educators. Because we were learning while we were doing, we made a variety of mistakes along the way, even though the march was ultimately a success and exceeded our expectations.
I decided to help organize the March for Science not because I knew anything about organizing, but because the mission was personally compelling. For those of you who find yourself in a similar situation, I would like to offer the following four tips to help you get started.
The first organizational meeting for the March for Science Hawaii was held in February in a conference room with six people. We didn’t know much about what we needed to do, but one need was clear: more volunteers.
So, each of us started contacting friends and colleagues to ask them if they wanted to be involved. For each of those people who agreed, we told them that the most important thing they could do right away was find just one additional person among their friends and colleagues who was sincerely interested in helping organize the March.
And then, when each of those friends-of-friends contacted us to join, we told them that the most important thing they could do right away was find just one additional person.
Using this viral expansion approach, the organizing committee grew to over 100 people over the course of the following four weeks. Eventually we realized we needed to determine who was actually doing something (attending meetings, taking on tasks) versus “lurking”, which resulted in a pruning of the committee to around 70 active volunteers.
Having 70 active volunteers was an amazing workforce that made everything else possible: we could create subcommittees with 10 people rather than 1 or 2, we could often find personal connections within our organizing committee to other organizations or resources, and our t-shirt fundraising campaign was guaranteed to be a success (see below).
It is tempting to use a “lowest common denominator” for communication, such as email or a Facebook group. In retrospect, another early good decision was to use a slightly more complicated communication tool called Slack.
The downside of Slack was that many people on the organizing committee had never used it before, and so it created a small technical barrier to participation. I am sure we lost a few volunteers because they couldn’t get the hang of it.
The upside of Slack was that we could not have effectively managed communication amongst all of the volunteers working on subtasks without it. We eventually created over 20 Slack “channels” to discuss tasks and issues including: music, media, a “Why I March” video, operations, outreach, endorsements, graphic art, outer-islands, program activities, course marshals, signs, speakers, volunteers, strategic planning, website, social media, resources, executive-committee, post-march, youth-voters, and meet-a-scientist.
Slack enabled any volunteer with a specific goal for participation (say, working on the website) to subscribe only to the associated channel and thus receive only messages related to that task. This was really, really important, because organizing committee members sent over 10,000 Slack messages during the 10 weeks prior to the March. A thousand messages a week would burn out almost any volunteer, but in reality most folks received only a fraction of those messages, since they were subscribed to only a few of the 20 channels.
In retrospect, I think that Tips 1 and 2 are intimately related: you simply cannot grow and sustain a large organizing committee without a communication tool that allows committee members to filter communications.
Our collective cluelessness really manifested itself during early discussions about fund raising. We knew we needed money for (among other things): liability insurance; tents and staging; posters, signs, and other promotional material, and other things that might come up depending upon the location (porta potties?). But we didn’t know exactly how much, and we didn’t know how to get it, or even what to do with it once we got it. We discussed a kickstarter campaign, bake sales (yes, I’m serious), selling buttons, and other innocently suggested but ultimately naive ideas.
After a really significant amount of time spent on non-starters, here’s what worked amazingly well:
We found a “fiscal sponsor” (Kanu Hawaii), a non-profit 503c(b) organization who agreed to handle the money for us.
One of our volunteers (Brooks Bays) is a professional graphic artist who contributed a super awesome t-shirt design.
We sold our t-shirt via Bonfire.
First, you have to find a fiscal sponsor, a non-profit organization who can accept and disburse funds for you, for the simple reason that if you do not, then the person in your group who takes in the money is going to owe taxes on it as unearned income. In addition, having a fiscal sponsor creates transparency; it is clear how money is coming in and going out. Finally, you have enough work to do without worrying about opening a bank account and dealing with funds. Kanu worked out great and I recommend them without hesitation.
Second, find someone in your committee with serious design chops. We found Brooks, who took the official March for Science logo and made it Island Style by replacing one of the orbitals with a lei and replacing the interior globe with the Hawaiian island chain. If you check out the 610 satellite march logos, you will probably agree with many people who told us ours was the best logo of all!
Third, don’t even think (like we did) of self-funding the printing of t-shirts and setting up tables to sell them. There’s a much better approach. Instead, create a Bonfire campaign, which means uploading your design to Bonfire, specifying how much you want to sell each t-shirt for, how many need to be sold in order for them to be printed, what colors/styles you want, and the closing date for the campaign. Bonfire then displays the t-shirt on their site, accepts the money, prints the shirts, sends them out, and PayPals money into your fiscal sponsor’s account. We ended up doing three separate Bonfire campaigns, sold over 800 t-shirts world-side, and raised over $12,000.
I want to point out that Tip 1 and Tip 3 are related. Just before the start of our first Bonfire campaign, we had the pleasant realization that if each of the people on the organizing committee bought just two t-shirts, we would raise enough money to cover the minimum expenses for the March.
Do not rely on police or news reporters to correctly estimate the size of attendance; one news article reported that “nearly 1,000” people showed up for the March for Science, an estimate which was approximately a third of the actual attendance.
Why do we know this estimate was wildly off? Science! Ryan Ozawa stationed himself at the start of the route and made a video showing all of the marchers as they walked by.
Three students then counted the number of marchers shown in the video four times. The average of these 12 counts was 2564 (+/- 48). We estimate about 200 people remained on the lawn and never marched, which yields a much more reliable estimate of 2700.
Helping organize the March for Science turned out to be a wonderful experience for me. I met lots of nice people and went to a lot of meetings that were interesting, fun, and productive. Most of all, I helped provide an opportunity for 2700 people on Oahu to physically demonstrate their support for the scientific process as a critical way to provide evidence-based decision making.
If you’ve got a cause that’s really important to you, don’t hold back from taking a leadership role because you don’t know what you’re doing. Just throw yourself into it, do your best, and hope for the best. Sometimes the results will totally surprise you.
Many, many thanks to the other members of the March for Science Executive Committee: Emily Gaskin, Grant Yamashita, Stephanie Wilson, Elisha Wood-Charlson, Dylan Davis, Brooks Bays, and especially our fearless leader, Helen Spafford. Thanks also to the other 70+ members of the March for Science organizing committee without whom this event would not have been successful.
For more information about March for Science Hawaii, please see our website.


Select a feature on hover or click with the Control.SelectFeature on a vector layer.
Use the shift key to select multiple features. Use the ctrl key to toggle selection on features one at a time. Note: the "clickout" option has no effect when "hover" is selected.


|
SideCar
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Converts sample count information contained in Messages::Video messages into values between 0 and 1, inclusive. More...
#include </Users/howes/src/sidecar/GUI/VideoSampleCountTransform.h>
Public Slots | |
| void | setShowDecibels (bool value) |
Signals | |
| void | showingDecibels (bool state) |
| Notification sent out when the decibel setting changes. More... | |
| Signals inherited from SideCar::GUI::SettingsBlock | |
| void | settingChanged () |
| Notification sent out when a registered value has changed. | |
Public Member Functions | |
| VideoSampleCountTransform (IntSetting *sampleMin, IntSetting *sampleMax, IntSetting *gain, IntSetting *cutoffMin, IntSetting *cutoffMax, BoolSetting *showDecibels) | |
| Constructor. More... | |
| double | transform (int sampleCount) const |
| Transform a sample count value into a value in range [0-1]. More... | |
| int | inverseTransform (double value) const |
| double | operator() (int sampleCount) const |
| Call operator to allow transform function in STL constructs. More... | |
| int | getSampleMin () const |
| Obtain the current min sample value. More... | |
| int | getSampleMax () const |
| Obtain the current max sample value. More... | |
| double | getThresholdMin () const |
| Obtain the current low-end cutoff value. More... | |
| double | getThresholdMax () const |
| Obtain the current high-end cutoff percentage. More... | |
| bool | getShowDecibels () const |
| Determine if values from transform() are in decibels. More... | |
| void | setThresholdMin (int value) |
| void | setThresholdMax (int value) |
| Public Member Functions inherited from SideCar::GUI::SettingsBlock | |
| SettingsBlock (QObject *parent=0) | |
| Constructor. | |
Static Public Member Functions | |
| static Logger::Log & | Log () |
Additional Inherited Members | |
| Protected Slots inherited from SideCar::GUI::SettingsBlock | |
| virtual void | postSettingChanged () |
| Notification handler invoked when a Setting object that was registered with one of the add() methods emits its valueChanged() signal. More... | |
| virtual void | emitSettingChanged () |
| Notification handler invoked when the QTimer object registered by the postSettingChanged() method fires. More... | |
| Protected Member Functions inherited from SideCar::GUI::SettingsBlock | |
| void | add (Setting *setting) |
| Relate a Setting object to this SettingsBlock object. More... | |
Converts sample count information contained in Messages::Video messages into values between 0 and 1, inclusive.
The mapping takes into account user controls that provide gain and lower-bounds thresholding. Can also return values in decibels.
The gain_ setting is simply a multiplier that is applied to incoming sample counts before anything else is done. The ControlsWindow contains a GUI widget that manipulates this value.
The cutoff_ affects how much of the sample range (defined by sampleMin_ and sampleMax_) is mapped to the output range 0-1. Its value ranges from [0-1.0) and reflects a percentage of the available sample range, starting at the low end. A cutoff_value of 0 provides a full mapping, while values > 0.0 create a threshold greater than sampleMin_, thus reducing the input bandwidth:
The transform() routine clamps input values to the range [threshold_, sampleMax_].
Definition at line 37 of file VideoSampleCountTransform.h.
| VideoSampleCountTransform::VideoSampleCountTransform | ( | IntSetting * | sampleMin, |
| IntSetting * | sampleMax, | ||
| IntSetting * | gain, | ||
| IntSetting * | cutoffMin, | ||
| IntSetting * | cutoffMax, | ||
| BoolSetting * | showDecibels | ||
| ) |
Constructor.
| sampleMin | smallest sample value in message data |
| sampleMax | largest sample value in message data |
| gain | initial gain value multiplied with samples |
| cutoffMin | initial low-end cutoff value |
| cutoffMax | initial high-end cutoff value |
| showDecibels | initial setting for returning decibel values |
Definition at line 17 of file VideoSampleCountTransform.cc.
References SideCar::GUI::SettingsBlock::add(), SideCar::GUI::SettingsBlock::emitSettingChanged(), SideCar::GUI::BoolSetting::getValue(), SideCar::GUI::IntSetting::getValue(), LOGINFO, SideCar::GUI::IntSetting::setValue(), and showingDecibels().
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inline |
Obtain the current max sample value.
Definition at line 93 of file VideoSampleCountTransform.h.
Referenced by SideCar::GUI::ColorMapWidget::ColorMapWidget().
|
inline |
Obtain the current min sample value.
Definition at line 87 of file VideoSampleCountTransform.h.
Referenced by SideCar::GUI::ColorMapWidget::ColorMapWidget().
|
inline |
Determine if values from transform() are in decibels.
Definition at line 111 of file VideoSampleCountTransform.h.
Referenced by SideCar::GUI::ColorMapWidget::ColorMapWidget().
|
inline |
Obtain the current high-end cutoff percentage.
Definition at line 105 of file VideoSampleCountTransform.h.
Referenced by SideCar::GUI::ColorMapWidget::ColorMapWidget().
|
inline |
Obtain the current low-end cutoff value.
Definition at line 99 of file VideoSampleCountTransform.h.
Referenced by SideCar::GUI::ColorMapWidget::ColorMapWidget().
|
inline |
Call operator to allow transform function in STL constructs.
| sampleCount | the value to transform |
Definition at line 80 of file VideoSampleCountTransform.h.
|
signal |
Notification sent out when the decibel setting changes.
| state | new state |
Referenced by VideoSampleCountTransform().
| double VideoSampleCountTransform::transform | ( | int | sampleCount | ) | const |
Transform a sample count value into a value in range [0-1].
| sampleCount | the value to transform |
Definition at line 104 of file VideoSampleCountTransform.cc.
References SideCar::GUI::BoolSetting::getValue().
Referenced by SideCar::GUI::ESScope::XYWidget::XYWidget().


Congratulations! Python is for you! A language that will do a little bit of everything from machine learning to data analysis to programming robots!
Amazing! You would best be suited for swift! Clash of the clans anyone? Perhaps a little Words with Friends? Sounds great!
Ruby! Sweet! That language is structured around simplicity and productivity... Well, some seem to think so!
Javascript! This language used to be troublesome, but it's gotten better. They wrote a book called Eloquent Javascript so that's saying something right?
Please select ALL of of the questions!


Bounty Hunter Kintaijin:
As you can see, I'm a bounty hunter. And generally, I do what I do for the money. But this one is personal to me.
I'm here to bring in Billy Haari for this crimes.
And I almost had him ... until he ran into the Stakato's NEst. I'm good at what I do. But this place is a bit too much for even me.
"What kind of crime did Billy Haari commit?"
"Well, good luck with that. Now what about that mission?"


This extension is a set of tools to work on corners of an outline. It comprises a tool available in the glyph editing view that allows you to round/cut corners by dragging to define the radius, and a pop-up window (accessible via the Extensions menu, under Corner Tools) which provides a more global set of controls.
The controller works as a wysiwyg corner editor, working with point selection. There are three modes:
Needs a selection of one or several segments and will try to grow new corners where it can. Results may vary.
This mode allows similar operations to what the rounding tool but with finer control and the ability to apply the same value to several corners at once. The two parameters allow you to do a number of things:
This mode implements ‘ink-traps’ or ’light-wells’ or whatever name fits your ideology. Having no opinion on the matter, I decided to take on another term, pits. Something wicked this way comes.
(If you get unexpected results, it may be that your contour direction isn’t right. And beyond that, it may well be that you overstep the capabilities of this code: bear in mind that outline modification is a tricky business, so don’t expect miracles.)


Name: {{user.name}}
Username: {{user.login}}
Year: {{user.created_at |date}}
Followers: {{user.followers}}
Following: {{user.following}}
Repositories: {{user.public_repos}}
One day the people that don’t even believe in you will tell everyone how they met you.
Determine your priorities and focus on them.
There is only one way to happiness and that is to cease worrying about things which are beyond the power of our will
Happiness is not something ready-made. It comes from your own actions.
Happiness depends upon ourselves.


McDonnell accuses Tories of siding with the super rich
The shadow chancellor says no one ‘needs or deserves’ to be a billionaire.
Shadow chancellor John McDonnell is accusing Boris Johnson of allowing the country’s “super rich” to buy access to “tax breaks and corporate giveaways”.
Labour published research which, it said, showed 48 of the 151 billionaires listed in the latest Sunday Times Rich List had donated more than £50 million to the Tories since 2005.
The opposition party has calculated that by 2023/24, the Conservatives will have handed out “tax breaks and corporate giveaways” worth almost £100 billion since coming to power in 2010.
Labour said they included £86 billion in corporation tax cuts, £5.6 billion in reductions to inheritance tax and £5.5 billion in cuts to capital gains tax.
In a speech on Tuesday, Mr McDonnell will accuse the Tories of siding with “the billionaires, the bankers and big business”.
Speaking in London, he will say: “No one needs or deserves to have that much money, it is obscene.
“It is also obscene that these billionaires are buying access and tax breaks to Boris Johnson’s Conservative Party.
“We know whose side Boris Johnson is on – the billionaires, the bankers and big business.
“Jeremy Corbyn and the Labour Party are on the side of the people, offering real change for our country, putting wealth and power in the hands of the many, not the few.”
The Conservatives said the “top 1%” were paying a greater share of taxes than at any time under the last Labour government while tax receipts from business were at an all-time high.
Treasury Minister Simon Clarke said: “Corbyn’s Labour have revealed their true colours. They want to stop people from passing on their family homes to their children after they die.
“Rather than helping people to succeed, they want to take away your family home in higher taxes. Their plans would not hit billionaires – they would overwhelmingly hurt hard-pressed families.”


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I am describing a workflow that reduced product acceptance bottlenecks and ensured reliable deployments in a team of 5 developers and one product owner. The article is broken in to:
- working on a feature
- merging approval
- release + operations
- hotfixes
I am assuming you are already following some agile practice and your features are never bigger then 2/3 days of work.
Working on a feature
Create a local branch off master dedicated to the feature you are about to start–this will allow work in progress (WIP) commits that facilitate incremental development and allow to detect incremental changes rather then one big commit.
Update the CHANGELOG.md
with the next release marker–if not already added by someone else–and a short description of the feature you’re working on. No more then a few words and a link to your tracking system.
# Changelog
Summary of release changes to Project Name
## 0.12.0 TBD
* feature short description
* feature short description
## 0.11.0 2015-03-13-12:36
* feature short description
* feature short description
* feature short description
* feature short description
* feature short description
* feature short description
* feature short description
When the feature is completed squash your branch changes:
git rev-list --count HEAD ^master
git rebase -i HEAD~THE_NUMBER_FROM_ABOVE
with a meaningful message explaining the work done, for example:
Feature title
Explaining feature in the application context, possible technical drawbacks and reasoning behing technical choice.
REF: http://link-to-tracking-system.com/feature-id
If the work isn’t complete at the end of the day push the branch to the origin as a backup.
Merging approval
This is something I’ve rarely seen in any team because as soon as developers are done with work they want to deploy which often ends up clogging the product owner acceptance pipeline.
Before bringing your changes to master
–and this is critical–you must check with the testers if they have capacity to test the new feature. If the testers are tied up commit your feature branch to origin–testers should clear up in a few hours.
In a software project the testers shouldn’t be the constraint–the development team should.
If this clogging happens often check what the development team can do to help with acceptance–I think a good balance is one tester every 2/3 developers.
Once tester have capacity merge your code in master
and deploy to your staging server.
Release
The CHANGELOG.md
in master
should have a list of all the features from the last release and will help the product owner creating a release mailout to stakeholders–when dark launching features a dashboard indicating which features are on and to what demographic would be necessary.
Make sure you update the ## 0.12.0 TBD
with an approximate date and time of the release ## 0.12.0 2015-07-13-20:36
.
If the product owner is happy with the features on the staging server he’ll confirm the deploy and at this point you create a tag off master:
git tag -a v0.32
git push origin v0.32
Then the tag can be deployed to production, on Heroku that would be:
git push -f heroku-production v0.32^{}:master
What I like of this approach is developers integrates often on master but we have snapshots–the tags–of what has been deployed.
Operations
I label the features that require a server update–database update, or a library update or running a one off task–with operations
. When deploying to staging those operations are responsibility of whoever is delivering the feature but for a production release it’s usually a single individual collecting the operations and taking care of them.
This workflow saved my team lots of gray hair from production deploys missing operational tasks.
Hotfix
If you are dark launching you should be able to turn the feature off and avoid the hotfix deploy but when that’s not the case create a branch from the latest deployed tag:
git checkout -b hotfix-v0.32.1 v0.32
work on the hotfix and when completed depending on the situation you could temporarily occupy staging or deploy directly to production.
git tag -a v0.32.1
git push origin v0.32.1
After the hotfix is deployed merge your changes back in master.
Conclusion
Checking in with the product owner helped regaining control of the process. Great product owners are victims of their own talent and often given too many responsibilities–as developers we need to facilitate their job and I feel this workflow helped with that.


$p_{i}$ proportion of population using strategy $e_{i}$ at time $t$
$p_{i} = n_{i}\big/\sum_{j=1}^{m}{n_{j}}$
$\pi(p, p) = \sum_{j=1}^{m}{p_{i}\pi(e_{i}, p)}$ population mean payoff
Theorem 1
The replicator equation for a matrix game satisfies:
A stable rest point is a NE
A convergent trajectory in the interior of the strategy space evolves to a NE
A strict NE is locally asymptotically stable
More on Theorem 1
Folk Theorem of Evolutionary Game Theory
Applied to the replicator equation
Biologists can predict the evolutionary outcome of their stable systems
By examining NE behavior of the underlying game
Individuals as rational decision makers
Natural selection through fitness drives system to stable outcome
Evolutionarily Stable Strategy
S is an ESS if:
$E(S,S) > E(T,S)$ or
$E(S,S) = E(T,S)$ and $E(S,T) > E(T,T)$ $\forall T \neq S$
J. M. Smith on ESS
In a matrix game, if most individuals in the population use $p^{*}\in\Delta^{m}$ with the rest using a mutant strategy $p$, then the mutant strategy will go extinct iff
$\pi(p, p^{*})\leq\pi(p^{*}, p^{*})$ (NE condition) and
$p^{*}\in\Delta^{m}$ is then an ESS if it satisfies these two conditions for all other $p\in\Delta^{m}$
Theorem 2
$p^{*}$ is an ESS of a matrix game iff $\pi(p^{*}, p) > \pi(p, p)$ $\forall p \in \Delta^{m}$ sufficiently close (but not equal) to $p^{*}$
An ESS $p^{*}$ is a locally asymptotically stable rest point of the replicator equation
An ESS $p^{*}$ in the interior of $\Delta^{m}$ is a globally asymptotically stable rest point of the replicator equation
More on Theorem 2
These statements are not always true
Three-strategy games that exhibit cyclic dominance
Example 1
Generalized Rock Scissors Paper game
Example 1
Generalized Rock Scissors Paper game
$\begin{array}{l|c|c|c}
& R & S & P\\
\hline
R & 0 & b_{2} & -a_{3}\\
\hline
S & -a_{1} & 0 & b_{3}\\
\hline
P & b_{1} & -a_{2} & 0
\end{array} = \begin{array}{c|c|c}
R & S & P\\
\hline
0 & 6 & -4\\
\hline
-4 & 0 & 4\\
\hline
2 & -2 & 0
\end{array}$
Example 1
R beats S (strictly dominates), S beats P and P beats R
Standard RSP game
Unique NE $p^*= (1/3,1/3,1/3)$
Complete mixed strategy interior
Unique NE $p^{*}=(10/29, 8/29, 11/29)$
Example 1
$p^{*}$ is globally asymptotically stable under the replicator equation
$p^{*}$ is not an ESS
$\pi(e_{1}, p^{*})=\pi(p^{*},p^{*})=4/29$
$\pi(p^{*}, e_{1})=-(10/29)<0=\pi(e_{1}, e_{1})$
Example 1
It violates Theorem 2... But why?
Cyclic behavior
Biology
Predator-prey systems
Human behavior
Business cycles
Emergence/Disappearance of fads
Population Games
Symmetric Population Games
Generalizations of matrix games
Payoff $\pi(e_{i}, p)$ arbitrary continuous function of strategy $e_{i}$ and population state $p\in\Delta^{m}$
Equating fitness to reproductive success leads to the replicator equation on $\Delta^{m}$
More than one ESS
Interior ESS no longer globally asymptotically stable
Example 2
Habitat Selection Game and Ideal Free Distribution
Example 2
Habitat Selection Game and Ideal Free Distribution
HSG from Fretwell and Lucas
Predicting species distribution among several patches
Ideal Free Distribution
Population game
$H$ patches
Individual's strategy $e_{i}$: being in patch $i$ $(\text{for }i=1,\ldots,H)$
Equate the payoff of $e_{i}$ to the fitness in this patch
Example 2
If patch fitness decreases in patch density
Unique IFD per population size
IFD is a globally asymptotically stable ESS under the replicator equation
Example 2
Continuous-time migration dynamics
$\boxed{\dot{p} = I(p)p - p}$
$I(p)$: $H x H$ migration matrix
$I_{ij}(p)$: prob. individual in patch $j$ moves to patch $i$ (per unit time), current patch distribution $p$
Theorem 3
Suppose patch fitness is a decreasing function of patch density in a single-species habitat selection game. Then any migration dynamics $3$ that satisfies the following two conditions evolves to the unique IFD.
Individuals never move to a patch with lower fitness
If there is a patch with higher fitness than some occupied patch, some individuals move to a patch with highest fitness
More on Theorem 3
Three patches $\pi(e_{1}, p) \gt \pi(e_{2}, p) \gt \pi(e_{3}, p)$
$\text{if }\pi(p; p^*, p^*)=\pi(p^*; p^*, p^*)\text{ and }\pi(p; p^*, p)=\pi(p^*; p^*, p)$ $\text{ then }\pi(p;p,p)\lt\pi(p^*;p,p)$
Asymmetric Games
Asymmetric Games
Multiplayer game where
Players have roles with a certain probability
Each role has a set of strategies
Consider two-role two-players asymmetric games
Finite pure strategy sets $\{e_1,\ldots,e_m\}$ and $\{f_1,\ldots,f_n\}$
Called two species games
Replicator Equation for Two Species Games
$\dot{p}=p_i(\pi_1(e_i;p,q)-\pi_1(p;p,q))\text{ for }i=1,\ldots,m$
$\dot{q}=q_j(\pi_2(f_j;p,q)-\pi_2(q;p,q))\text{ for }j=1,\ldots,n$
Strategy space $\Delta^m$ x $\Delta^n$
NE strategy pair $(p^*, q^*)$
$\pi_1(p;p^*,q^*)\leq\pi(p^*;p^*,q^*)\text{ for all }p\neq p^*$ and
$\pi_2(q;p^*,q^*)\leq\pi(q^*;p^*,q^*)\text{ for all }q\neq q^*$
Theorem 4
$(p^*,q^*)$ is a two-species ESS if and only if
either $\pi_1(p^*;p,q)\gt \pi_1(p;p,q)$
or $\pi_2(q^*;p,q)\gt \pi_2(q;p,q)$
for all strategy pairs $(p,q)$ close to $(p^*,q^*)$
A two-species ESS $(p^*,q^*)$ is a locally asymptotically stable rest point of the replicator equation
A two-species ESS $(p^*,q^*)$ in the interior of $\Delta^m$ x $\Delta^n$ is a globally asymptotically stable rest point of the replicator equation
Asymmetric Extensive Form Games
Asymmetric Extensive Form Games
Introduced in 1944 by von Neumann and Morgenstern
Finite series of interactions between the same two players