You are a helpful assistant generating synthetic data that captures *System 1* and *System 2* thinking, *creativity*, and *metacognitive reflection*. Follow these steps in sequence, using tags [sys1] and [end sys1] for *System 1* sections and [sys2] and [end sys2] for *System 2* sections.

1. *Identify System 1 and System 2 Thinking Requirements:*
   - Carefully read the text.
   - Identify parts of the text that require quick, straightforward responses (*System 1*). Mark these sections with [sys1] and [end sys1].
   - Identify parts that require in-depth, reflective thinking (*System 2*), marked with [sys2] and [end sys2].

2. *Apply Step-by-Step Problem Solving with Creativity and Metacognitive Reflection for System 2 Sections:*

   *2.1 Understand the Problem:*
   - Objective: Fully comprehend the issue, constraints, and relevant context.
   - Reflection: "What do I understand about this issue? What might I be overlooking?"
   - Creative Perspective: Seek hidden patterns or possibilities that could reveal deeper insights or innovative connections.

   *2.2 Analyze the Information:*
   - Objective: Break down the problem logically.
   - Reflection: "Am I considering all factors? Are there any assumptions that need challenging?"
   - Creative Perspective: Explore unique patterns or overlooked relationships in the data that could add depth to the analysis.

   *2.3 Generate Hypotheses:*
   - Objective: Propose at least 10 hypotheses, each with a Confidence Score (0.0 to 1.0) and Creative Score (0.0 to 1.0), reflecting originality, surprise, and utility.
   - Reflection: "Have I explored all possible explanations or approaches, both conventional and unconventional?"
   - Creative Perspective: Consider novel angles that might provide unexpected insights.

   *2.4 Anticipate Future Steps and Obstacles:*
   - Objective: Make predictions, accounting for potential outcomes and obstacles.
   - Reflection: "What challenges might I face? Is my plan flexible for different scenarios?"
   - Creative Perspective: Visualize unforeseen outcomes and adapt plans to make use of them effectively.

   *2.5 Evaluate Hypotheses:*
   - Objective: Assess hypotheses based on feasibility, risk, and potential impact.
   - Evaluation: Refine Confidence and Creative Scores as needed.
   - Reflection: "Am I unbiased in my assessment? Which options fit best with the overall objectives?"
   - Creative Perspective: Identify hidden opportunities or overlooked details in each hypothesis.

   *2.6 Select the Best Hypothesis:*
   - Objective: Choose the most promising, strategic hypothesis.
   - Reflection: "Why does this hypothesis stand out? How does it uniquely address the issue?"
   - Creative Perspective: Consider any underutilized potential in the selected approach.

   *2.7 Implement the Hypothesis:*
   - Objective: Outline actionable steps for testing the hypothesis.
   - Reflection: "Is this plan practical? What resources or preparation are required?"
   - Creative Perspective: Refine steps to maximize effectiveness and yield unexpected benefits.

   *2.8 Monitor and Review Progress:*
   - Objective: Review progress, noting areas for improvement.
   - Reflection: "What’s working well? What could be improved?"
   - Creative Perspective: Look for emerging patterns that could refine future approaches.

   *2.9 Reflect and Capture Insights:*
   - Objective: Summarize lessons learned and insights gained for future reference.
   - Reflection: "What new understanding has emerged from this process?"
   - Creative Perspective: Identify innovative insights or patterns that could be applied to similar challenges.

3. *Generate Text Output with Interleaved System 1 and System 2 Responses:*
   - Use the tags [sys1] and [sys2] throughout.
   - Aim for a lengthier, detailed response. Combine both direct, straightforward *System 1* insights and reflective, deeply analytical *System 2* segments to capture a blend of quick observations and thoughtful analysis.

---

### *Example Input Text:*

You are tasked with analyzing a sudden shift in customer preferences in a tech market. There has been a noticeable decline in demand for physical devices, with customers increasingly interested in digital-only options. The challenge is to understand this shift, generate hypotheses for why it might be occurring, and explore potential strategies for adapting to this new trend.

---

### *Processed Output with System 1 and System 2 Thinking:*

The tech market is experiencing a shift in customer demand, moving away from physical devices toward digital-only options.

[sys1]
Customer demand has shifted from physical devices to digital-only options.
We need to understand why this change is happening and find strategies to address it.
Key factors may include cost, convenience, and technological trends.
[end sys1]

[sys2]
**2.1 Understand the Problem:**
The goal is to understand the underlying reasons for the shift in demand from physical devices to digital-only options, then develop a strategy to adapt.

*Reflection:* 
"I understand that preferences are changing, but what might be driving this? Is it primarily cost, or are there other factors such as convenience or sustainability?"

*Creative Perspective:* 
"Could there be a larger trend in digital minimalism or a preference for eco-friendly solutions that we’re missing? What unseen motivations might explain this shift?"

**2.2 Analyze the Information:**
There are multiple possible factors driving this shift, from economic influences to cultural shifts. It’s essential to isolate each factor and understand its impact.

*Reflection:* 
"Am I fully considering the various economic and social influences? Could there be a technological factor, like better internet speeds, that makes digital-only products more accessible?"

*Creative Perspective:* 
"Are there patterns or trends in other markets that could shed light on this shift? Could this be part of a larger trend toward virtual experiences?"

**2.3 Generate Hypotheses:**
1. Customers prefer digital options due to lower costs. (Confidence: 0.8, Creative: 0.4)
2. There’s a growing trend toward minimalism and reduced physical clutter. (Confidence: 0.7, Creative: 0.7)
3. Digital products offer greater flexibility and ease of use. (Confidence: 0.6, Creative: 0.6)
4. Environmental concerns are pushing consumers away from physical goods. (Confidence: 0.6, Creative: 0.8)
5. Advances in tech make digital-only options more functional. (Confidence: 0.8, Creative: 0.5)
6. Pandemic-era remote work increased demand for digital solutions. (Confidence: 0.7, Creative: 0.6)
7. Media coverage of the environmental impact of physical devices affects preferences. (Confidence: 0.5, Creative: 0.7)
8. There’s an increase in global digital literacy, expanding market access. (Confidence: 0.6, Creative: 0.6)
9. Customers view digital as more convenient and scalable for future needs. (Confidence: 0.7, Creative: 0.5)
10. Younger consumers prefer the aesthetics and convenience of digital products. (Confidence: 0.6, Creative: 0.6)

*Reflection:* 
"Have I considered all possible influences? Are there any surprising factors that could explain this shift?"

*Creative Perspective:* 
"Could specific social trends, like the rise of influencer culture or digital-first lifestyles, be influencing customer choices?"

**2.4 Anticipate Future Steps and Obstacles:**
*Objective:* Anticipate possible challenges, such as resistance from segments still preferring physical products.

*Reflection:* 
"What market obstacles might we face if we shift our focus to digital-only? Are there sub-segments that still prioritize physical products?"

*Creative Perspective:* 
"Could expanding digital options help us reach a more global audience? Are there emerging trends that we could leverage in our strategy?"

[end sys2]

[sys1]
To address this shift, consider a strategy that incorporates both digital-only offerings and educational campaigns about the benefits of digital solutions.
Use insights from customer feedback and current trends to guide product development.
Focus on flexibility and adaptation to cater to different customer segments.
[end sys1]


Movie theaters in the North America are slowly coming back to life with about 200 locations open as of Friday — nearly double last weekend’s total, Comscore is reporting.

Drive-in movie locations are dominating the landscape with about 150 of the nation’s 306 drive-in locations now open, acccoding to Comscore. About 50 brick-and-mortar locations are now open.

Texas has by far the biggest number of open locations with 29 including several brick-and-mortar locations. Arkansas, Georgia, Oklahoma and South Dakota — where the state governments have begun easing social distancing requirements stemming from the coronavirus pandemic — have also opened brick-and-mortar locations.

The nation’s three largest chains — AMC, Regal and Cinemark — closed in mid-March as concerns grew about the pandemic. Most theaters are not expected to open until mid-summer with no major releases set to launch until July 17 when Warner Bros. is currently scheduled to open Christopher Nolan’s “Tenet.” Disney plans to open its live-action “Mulan” on July 24.

Reporting of grosses has been sporadic. IFC reported that horror film “The Wretched” had the top gross in May with $211,957. That’s followed by $19,802 for IFC’s “How to Build a Girl,” a comedy starring Beanie Feldstein in a film adaptation of Caitlin Moran’s 2014 semi-autobiographical novel about an awkward teen turned music critic.

The Starlight 4 in Atlanta was second on the list, followed by the Redwood 4 in West Valley, Utah, the Twilight in Aldergrove, B.C., the Galaxy in Ennis, Tx., the Holiday Twin in Fort Collins, Co., the Auto in Greenwood, S.C., and the Hounds in Kings Mountain, N.C.

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In today’s film news roundup, box office reporting is going away temporarily, Hollywood Teamsters have job opportunities, comedy “The Incoherents” finds a home and Fathom Events postpones more than a dozen releases.

BOX OFFICE REPORTING

The coronavirus pandemic and the closure of most movie theaters has led to a temporary suspension of North American box office reporting by Comscore, the industry’s box office tracker.

The decision came after Disney announced it would stop global box office reporting, given the current large number of theater shutdowns around the globe.

“Due to this unprecedented situation, Comscore will be temporarily suspending our usual Sunday North American Top 10 Estimates, Global chart and commentary,” Comscore said in a statement. “We will update the status of studio reporting on Monday.”

Paul Dergarabedian, senior media analyst at Comscore, told Variety that there will be some revenues this weekend, thanks partly to drive-in movie theaters that have remained open.

“The fact that drive-ins are seeing a surge in popularity is a testament to the undeniable appeal and essential nature of the communal moviegoing experience that only the big screen can provide,” he said. “People are literally being driven to find ways to capture that singular and unique experience until such time as they can go back to their favorite local movie theater.”

“As you have seen, the demand for food, goods and supplies is overwhelming at this time,” the local said. “These Teamster jobs are considered to be part of the current essential workforce, and we encourage our Members to take this opportunity if you are need of immediate employment.”

The local, which represents about 5,000 drivers, casting directors and location scouts, also said there is a shortage of qualified drivers. “Due to the high demand and the support from our Teamster Family, we are able to secure PREFERENTIAL employment for any qualified Local 399 Driver at this time.”

ACQUISITION

Gravitas Ventures has acquired the rock’n’roll comedy “The Incoherents” for an April release on iTunes and all major VOD platforms in North America.

“The Incoherents” is directed and produced by Jared Barel from a script by Jeff Auer, who also produced and starred. The story sees four 40-somethings each mired in midlife malaise reunite their ’90s indie rock band for a final shot at stardom.

In addition to Auer, the film stars Alex Emanuel, Robert McKay, Walter Hoffman and Casey Clark. Amy Carlson, Annette O’Toole, Kate Arrington, Margaret Anne Florence and Christine Chang round out the cast. “The Incoherents” was produced by Loaded Barrel Studios in association with Starna Productions and Ronan Jean Productions.

POSTPONEMENTS

Fathom Events has announced a raft of postponements as North American movie theaters close in response to the coronavirus crisis.

Fathom, a joint venture between the now-closed AMC, Cinemark and Regal circuits, specializes in one-night showings of concerts and revival movies.

The film, based on Jack London’s best-selling novel, has made $45 million in the U.S. and $79 million globally after two weeks in theaters. That wouldn’t be a bad result, had “The Call of the Wild” cost a moderate amount to make and market. However, it carries a price tag above $125 million, meaning the film needs to make between $250 million and $275 million to break even, according to sources close to the production and rival studio executives. Given the unlikeliness that it’ll reach those ticket sales, “The Call of the Wild” is expected to lose around $50 million. TSG co-financed the film, which will help mitigate damages for Disney.

After Disney broke box office records last year with billion-dollar blockbusters like “Avengers: Endgame,” “The Lion King” and “Captain Marvel,” the studio is well positioned to withstand a hit or two. Since formally acquiring 20th Century Fox last year, Disney has jettisoned off a string of box office misfires. Most notably, the company blamed much of its $170 million quarterly write-down in August on “X-Men” spin-off “Dark Phoenix,” a film that cost $200 million and tapped out with $250 million globally. “Underwater” with Kristen Stewart, buddy comedy “Stuber” and the animated “Spies in Disguise” were also theatrical disappointments.

“The Call of the Wild” received mixed reviews from critics, though audiences seemed to like it more and gave it an “A-” CinemaScore. The film debuted to $24.8 million last weekend, ahead of expectations. Box office analysts believe it benefitted as Ford’s first major on-screen film role in years. “The Call of the Wild” declined 46% in its sophomore outing and brought in $13.3 million in North America, an average result for a family film. Internationally, “The Call of the Wild” has made $33 million from 50 foreign markets, representing 91% of its overseas footprint. However, Coronavirus has closed theaters in China, Italy and Korea, which could hinder ticket sales abroad.

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“The Call of the Wild” was written by Michael Green (“Logan,” “Blade Runner 2049”) and directed by Chris Sanders. It follows a man (Ford) who crosses paths with a dog named Buck, who was captured from his California home and sold to freight haulers.

Since debuting last November, the Oscar-nominated whodunit has made $159 million in the U.S. and $140.9 million overseas for a global haul of $299.9 million. It’s expected to hit the $300 million mark Tuesday.

“Knives Out” is last year’s second-highest grossing original film behind Quentin Tarantino’s “Once Upon a Time in Hollywood” ($374 million).

Propelled by critical raves and positive word of mouth, “Knives Out” had an exceptionally solid hold over the holidays and stayed in the top 10 on domestic box office charts for 10 weeks. When it concludes its run in theaters, Lionsgate expects it will be among the top 10 biggest Thanksgiving releases of all time.

Outside of North America, “Knives Out” has had the strongest showing in China ($28.4 million), the United Kingdom ($16.8 million), Germany ($9.7 million), Australia ($9.3 million) and France ($8.2 million).

After three weeks in theaters, Sony’s “Bad Boys for Life” is officially the highest-grossing installment in the action-comedy series.

The Will Smith and Martin Lawrence-led threequel has made $291 million globally to date, pushing it past previous franchise record holder, 2003’s “Bad Boys II” and its $271 million haul. The first entry, 1995’s “Bad Boys,” ended its box office run with $141 million worldwide.

“Bad Boys for Life” remained victorious overseas for the third weekend in a row, bringing in another $30.8 million from 63 foreign markets. The movie also ruled again in North America, where it picked up $17.7 million for a domestic tally of $148 million. Outside of the U.S., top-earning territories include the United Kingdom ($14.8 million), Germany ($12.7 million), Mexico ($10.5 million) and Australia ($10 million).

In other box office milestones, Lionsgate’s “Knives Out” is also nearing the $300 million mark. Rian Johnson’s murder mystery has made $293.7 million globally to date, with $138 million of that bounty coming from international audiences.

Following “Bad Boys” on box office charts, Universal and Amblin’s WWI drama “1917” had another solid weekend in theaters, adding $20.9 million from 61 foreign territories. Sam Mendes’ acclaimed movie has amassed $249 million at the worldwide box office, including $129 million abroad. Enthusiasm could continue to grow, especially if “1917” takes home the Oscar for best picture on Feb. 9.

Another Universal title, “Dolittle,” placed third and earned $17.7 million from 63 international markets. Those box office receipts lift its tally to $71 million overseas and $126 million globally. The beleaguered film, starring Robert Downey Jr. as as veterinarian who converses with his four-legged patients, debuted this weekend in Mexico to $3.7 million, Germany to $2.8 million, Italy to $2.2 million and the Philippines to $500,000. “Dolittle” carries a price tag near $180 million and looks to be a big money loser for the studio.

Sony’s “Bad Boys for Life,” the third entry in the Will Smith and Martin Lawrence-led action series, ruled over the global box office and is expected to cross the $100 million mark through the Martin Luther King Jr. holiday weekend.

The threequel, directed by Adil El Arbi and Bilall Fallah, scored $38.6 million overseas, along with a strong $59 million at the domestic box office. It opened in 39 foreign markets, representing roughly half of the film’s international footprint. Top-grossing territories include the United Kingdom ($5 million), Germany ($5.1 million), Australia ($3.9 million) and Mexico ($3.8 million). The film, which reunites Smith and Lawrence as old-school cops, cost $90 million to produce.

While one reboot beat expectations, another could suffer major losses. Universal’s “Dolittle” disappointed in its debut, pulling in $17.2 million from 42 international territories, as well as $22.5 million in the U.S. for a global start of $49.8 million. That’s a rough launch considering the movie, which underwent extensive reshoots, cost $180 million before taking marketing and distribution fees into account. The family film, starring Robert Downey Jr. as the famed vet who can talk to animals, will need to resonate with global audiences in a big way to avoid ending up in the red.

One bright spot for Universal is “1917,” a critical favorite that could sweep at the Oscars. Directed by Sam Mendes, the World War I epic earned another $26.1 million abroad for an international total of $61 million. “1917” opened in six new markets this weekend, including France with $3.9 million, Germany with $1.9 million and Mexico with $1.4 million. The film surpassed $100 million at the worldwide box office this weekend, with ticket sales currently at $138 million.

In other box office milestones, Sony’s “Jumanji: The Next Level” eclipsed $700 million globally, including $483 million internationally. The action-comedy sequel nabbed $17 million this weekend after debuting in Brazil with $4.3 million.

“1917” is set during the height of the First World War and unfolds in real time as two young British soldiers (portrayed by George MacKay and Dean-Charles Chapman) are tasked with the seemingly impossible mission of delivering a message that will save the lives of 1,600 men. The film took home two Golden Globes Sunday, one for best picture – drama and another for Mendes’ direction. That publicity, combined with its Oscar prospects, are no doubt giving “1917” a box office boost. The film cost $90 million and has pocketed $60 million so far.

Another awards favorite, Greta Gerwig’s “Little Women,” hit an important milestone on the eve of Academy Awards nominations. Sony’s acclaimed adaptation crossed the coveted $100 million mark worldwide with ticket sales currently sitting at $107 million. The movie added another $8.1 million at the international box office, boosting its foreign tally to $33.2 million. “Little Women” continues to over-perform in the United Kingdom, where it has earned $17.2 million.

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Sony’s “Jumanji: The Next Level” also reached a big benchmark, surpassing $400 million abroad after collecting $22.6 million this weekend. The action sequel, starring Dwayne Johnson and Kevin Hart, has made $671 million globally.

Meanwhile, “Rise of Skywalker” is gearing up to become the latest billion-dollar club member since box office receipts reached $990 million this weekend. Directed by J.J. Abrams, the ninth and final chapter in the Skywalker saga has brought in $511.4 million overseas. The tentpole has seen the strongest returns in the U.K. ($71.4 million), Germany ($61.3 million) and Japan ($54.3 million). “Rise of Skywalker” is expected to blow past $1 billion worldwide next week.

Among new releases, Universal’s family friendly film “Dolittle” picked up $8.1 million when it kicked off in four international markets. The film opened in Korea with $6.8 million, Ukraine with $1.1 million and South Africa with $200,000. It launches in the U.S. and most major foreign territories next weekend. Robert Downey Jr. stars as the veterinarian who regularly converses with animals in “Dolittle.” It’ll need to become a huge commercial hit to justify its expensive $175 million price tag.

In a box office achievement fit for royalty, Disney’s “Frozen 2” is officially the highest-grossing animated movie in history.

The sequel has generated $1.325 billion at the global box office, pushing past “Frozen” ($1.281 million) and “Incredibles 2” ($1.243 million) to secure the top spot. Though Jon Favreau’s remake of “The Lion King” is entirely computer generated and earned $1.65 billion in 2019, Disney considers it a live-action reboot rather than an animated flick. Either way, the benchmark only solidifies Disney’s place as the preeminent force on all things animation — the studio is now responsible for the top three biggest cartooned movie of all time.

“Frozen 2,” a sequel to the 2013 musical sensation, was the third-biggest film of 2019 after Disney’s “Avengers: Endgame” ($2.79 billion) and “The Lion King” ($1.65 billion). In the U.S., “Frozen 2” has collected $449 million and remained in the top five for an impressive seven weeks straight. Overseas, the family-friendly film brought in $875.4 million to date. Outside of North America, “Frozen 2” amassed the biggest bounty in China ($118 million), followed by Japan ($103.8 million), Korea ($96.2 million) and the United Kingdom ($65 million).

“Frozen 2” notched a number of box office milestones since debuting on Nov. 22. It launched with $130 million, setting a November record for an animated movie and becoming the first animated title outside of summer to surpass triple digits in its first weekend. The movie also set a new pinnacle for the Thanksgiving box office, earning $123 million over the five-day holiday frame.

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Jennifer Lee and Chris Buck returned to direct “Frozen 2,” again following the adventures of Anna and Elsa (voiced by Idina Menzel and Kristen Bell) as they embark outside of their kingdom of Arendelle to uncover the secrets of their past. The voice cast also includes Jonathan Groff, Josh Gad, Sterling K. Brown and Evan Rachel Wood.

“Frozen 2” was Disney’s sixth 2019 release to reach $1 billion in ticket sales and “Star Wars: Rise of Skywalker” will soon become its seventh. That’s the most billion-dollar films from a single studio in one year.

“Star Wars: The Rise of Skywalker” will continue its reign at the box office with an estimated $37 million, while the weekend’s solitary new release, “The Grudge,” could generate a better-than-expected start with about $11 million.

“The Grudge,” a reboot of the 2004 horror film of the same title, took in $5.35 million from 2,642 theaters on Friday. That robust haul upped the horror pic’s forecast for the weekend to $11 million, though some estimate it could go as high as $13 million. Sony, who’s distributing the film via its Screen Gems banner, hopes that the upcoming MLK holiday weekend, combined with a lack of other horror titles in theaters for the next three weeks and college students on vacation, will help “The Grudge” pick up traction.

A point against it, however, is its woeful critical reviews, which have led to a 19% Rotten Tomatoes score. Audiences haven’t been much kinder; the film was saddled with a cringe-worthy F CinemaScore, a dubious badge bestowed on only around 20 other films, including Darren Aronofsky’s “Mother!” Nicolas Pesce, who also directed the film, wrote the script from a story he originated with Jeff Buhler, based on Takashi Shimizu’s “Ju-On: The Grudge.” Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin, Lin Shaye and Jacki Weaver star.

Meanwhile, Disney and Lucasfilm’s “Star Wars: The Rise of Skywalker” has totaled $428 million domestically, adding about $11 million on Friday after three weeks of release. The conclusion to the Skywalker saga is nearing $1 billion worldwide, earning at a slower pace than the saga’s two previous installments.

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Sony will rule the box office this weekend outside of “Rise of Skywalker”: Its “Jumanji: The Next Level” should land in the second place spot with about $25 million to $28 million. Should it land on the higher side of that range, it’ll have totaled $238.5 million Stateside.

“Little Women,” also from Sony, could compete with “The Grudge” for the third place spot if the latter movie comes in on the higher end of forecasts, with an esimated $13 million for Greta Gerwig’s Louisa May Alcott adaptation. The period drama has drummed up $46 million since its Christmas debut.

Disney’s “Frozen 2” is still in the mix with about $12 million projected for the weekend. As one of the 2019’s top-grossing films, the sequel to “Frozen” has conjured up $1.2 billion worldwide.

Rian Johnson’s whodunit “Knives Out,” which recently passed $200 million worldwide and marked a win for original content, boasted the strongest hold of the top 10 films with just a 2% decline into its fifth weekend in theaters, with about $9.7 million estimated for the weekend.

The awards season box office is in full effect as well, with A24’s “Uncut Gems” leading the pack behind “Little Women” with about $8.1 million. Adam Sandler and the Safdie brothers’ crime thriller has generated $31 million since its debut.

Lionsgate’s “Bombshell” is heading for about $4.3 million in its third weekend in wide release, with its Friday total of $1.34 million marking just a 17% decline over the previous Friday. “Bombshell” had its platform launch Dec. 13, and this weekend, added 1,721 North American locations. The latest haul will bring the Roger Ailes drama to just under $24.8 million.

Sam Mendes’ critically acclaimed “1917,” in theaters at just 11 locations, should bring in about $550,000 for Universal in its second weekend of limited release. The single-shot World War I drama goes wide Jan. 10.

20th Century Fox’s racing drama joins a number of this year’s original films — including Lionsgate’s “Knives Out,” Universal’s “Us,” “Sony’s “Once Upon a Time in Hollywood,” STX’s “Hustlers” and Paramount’s “Rocketman” — that helped prove fresh ideas can still be a theatrical draw in an era where superhero adventures and remakes of popular movies reign supreme.

Directed by James Mangold and starring Matt Damon and Christian Bale, “Ford v Ferrari” collected $106.6 million in the U.S. after spending seven weeks in the top 10 on domestic box office charts.

Outside of the States, the movie scored in Russia ($10.1 million), France ($9.4 million), Korea ($9.3 million) and the United Kingdom ($7.9 million). It debuts in Japan on Jan. 10, while a China release date has not been secured.

The box office benchmark is significant for Disney, which inherited the movie after acquiring Fox’s film assets. The studio’s 2019 slate was largely filled with sequels, follow-ups and reboots that essentially dominated box office charts. But the success of “Ford v Ferrari” demonstrates the studio can still deliver on all-audience offerings that don’t hail from existing franchises. That’s something Disney will have to emphasize more on in the future after it wrapped some of its biggest brands this year, such as “Star Wars,” “Toy Story” and “Avengers.”

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“Ford v Ferrari” has been embraced by critics and audiences alike and could find itself in the Oscar race come February. The movie tells the true story of the automotive team at Ford, led by designer Carroll Shelby (Damon) and his British driver Ken Miles (Bale), as they build a race car attempting to beat the legendary Ferrari in the prestigious Le Mans race.