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Jim Van Nest: How big of a draw IS Johnny Depp...really? Jack Sparrow is a HUGE draw. Johnny Depp in a Tim Burton film...also pretty big. But when Depp steps outside of that comfort zone, this is pretty much where he lands. People don't want to see him in a thriller, they want to see him in a fantasy. All the Johnny Depp fans will wait for Jack Sparrow to come back before they care again. The surprise here, for me anyway, is that Angie didn't bring in a few more dollars.

Michael Lynderey: I feel it's because we've seen this premise just so many times already this year - The Bounty Hunter, Killers, and Knight and Day come to mind. Hapless know-nothing meets well-trained professional action star, and both are then subjected to rounds of gunfire, none of which ever hit their mark. It's important to remember that a $17 million opening in December is unlike a $17 million opening at any other time of year, and I wouldn't be surprised to see this movie hit as much as $80 million by the time the Golden Globes roll around. Does that live up to Depp's and Jolie's recent films? No, but considering the familiarity and some of the critical reception, I think it's strong.

Ballet is more exciting than you realize.

Kim Hollis: Black Swan, the girls-kissing-girlsiest film of the 2010 Oscars contenders, finished in sixth place with $3.3 million in only 90 venues. That's a scintillating per location average of $36,726. How impressed are you by this result? Do you see the film as a legitimate threat for Best Picture or more of a star piece, like The Wrestler?

Brett Beach: I am very impressed with this, especially as it is a second weekend. Fox Searchlight is handling this rollout perfectly, much as they did the infinitely more accessible and likable Juno. They have a film with a) good reviews; b) Oscar buzz thanks to a towering performance; c) a mysterious/mindfuck storyline with ambiguity (but not too too much) to play up in the ads d) a solid look inside the life of a professional ballet dancer for those with interest in that and yes e) one hot girl going down on another hot girl for several minutes as the hook for those who are on the fence about "ballet thrillers." From what I gather they will be fairly wide in two weeks, which seems like just the right amount of time considering how the must-see factor continues to build at the moment. Having seen it, I would say it will not and should not compete for Best Picture/director/screenplay. It is a star piece, first and foremost, but nominations for sound design, makeup, and editing would not be undeserved. The ballsiest thing about it is Portman's refusal to make her character all that likable. In the parlance of the film, she nails the part of the white swan so well, you wonder if she also has the black swan in her. She does.

Josh Spiegel: The number is very impressive, and it stands next to a few other indie films that have come out this fall to truly phenomenal small openings, including The King's Speech and The Fighter. I think what makes this movie do so well (especially against the stigma of people thinking it's - snore - a ballet movie) is the Natalie Portman factor, along with Darren Aronofsky's name. And, sure, the lesbian scene helps bring in the young men, I'm sure. Having also seen the film, I agree that the most immediately notable element is Portman's performance - she is truly excellent and should be the automatic frontrunner now - but I hope Aronofsky and the film are acknowledged as well. I didn't have many issues with the screenplay, but Aronofsky does such a great job of bringing the story to life, with such striking visuals (the cinematography, in particular, deserves a nomination) and great all-around performances.

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