In this task, you are given a text of many news articles seperated by special token "|||||". Your task is to summarize them.

20th Century Fox 
  
 A $17 million debut for a $69m-budgeted drama, especially one with mixed word of mouth, mixed-negative reviews and iffy post-debut legs, isn't exactly the bee's knees. But when you consider that Red Sparrow was a 2.25-hour, R-rated, very violent and quite sexual spy drama that had little to sell beyond its top-billed star, well, that’s not bad for this era of Netflix-and-Chill. In a time when adult-skewing multiplex fare is struggling due to an adult audience that consumes their adult entertainment at home and goes to the theaters for the same four-quadrant tentpoles as their kids, I’m going to argue that, yes, Red Sparrow’s solid opening shows that Jennifer Lawrence is a “butts-in-the-seat” movie star. 
  
 There was a time when a frankly sexual and unapologetically adult spy drama starring one of the more famous actresses in the world would have been a relatively easy bet. But It wasn’t so long ago (6.5 years, to be exact) that Salt, a PG-13 and more action-ish spy flick opened with $35 million on a $110m budget courtesy of its star Angelina Jolie. That we never saw more ripoffs of that $293m-grossing actioner is more evidence of how often Hollywood ignores the hits that don’t fit into conventional wisdom. That’s one reason why I’m holding my breath and hoping against hope that Black Panther’s box office blowout makes a lasting difference. 
  
 Even with Lawrence in the “when they don’t (need you), they’ll cast you out, like a leper” stage of media-driven backlash, general audiences still showed up in relatively okay numbers. A $17 million debut for a $69m female-led action drama is about on par with the inflation-adjusted opening of Jodie Foster’s The Brave One back in late 2007. Red Sparrow has a lot more overseas upside that that (underrated) Neil Jordan vigilante drama, and we must acknowledge the decreased expectations for the change in moviegoing patterns over the last 2.5 years. That this commercially challenging adult flick opened as well as it did is evidence that Lawrence is an opener even outside of The Hunger Games. 
  
 Kudos to Lawrence’s stature throwing herself into a violence and nudity-filled movie that she had to know would be feasted upon by the think piece-driven media. When you consider Passengers (“Problematic!!”) and mother! (“Controversial!”, but with rave initial reviews that time out), you’d almost think Lawrence is intentionally taking major leading roles that contrast with the stereotypical version of “strong female character.” That’s ironic when you consider that The Hunger Games was about the media-created versions of Katniss versus the more complicated (and arguably less fantastic) real person. They also deal with the loss of agency or consent. What’s the point of being a world-famous actress if you only get to play conventionally “strong” heroines? 
  
 I mostly enjoyed Francis Lawrence’s long and sprawling spy vs. spy story. Lawrence now has two “all by myself” openers between Red Sparrow and Joy, and she gets at least 50% of the credit for the original flick Passengers which she and Chris Pratt powered past $300 million worldwide (on a $110m budget) in 2016 and 2017. Sure, mother! tanked, but that was never going to be a commercial play and frankly is just sort of “one for me” offering that we want to see from our biggest actors and actresses. Love her, hate her, have no strong feelings about her, at this juncture she still brings people into the theaters without world-famous IP. 
  
 The film snagged a solid 2.8x weekend multiplier. A domestic run like Charlize Theron’s Atomic Blonde ($51 million domestic from an $18m opening) gets Red Sparrow to over/under $50m. That’s not great, but again Fox has a long and strong track record of adult movies breaking overseas well-and-above their domestic totals and this one has $43m worldwide thus far. And if the film eventually ends up not quite justifying its $69m budget (at least prior to its post-theatrical lifespan), then I would argue that it’s the $69m budget that’s somewhat to blame. The money is on the screen and I was happy to see a movie like this that looked this expensive, but that’s not always the best call in this trickier and riskier theatrical environment. ||||| Disney-Marvel’s “Black Panther” is continuing its super-heroic run, grossing a stunning $501.1 million in North America in only 17 days and becoming the 10th highest grosser of all time. 
  
 “Black Panther,” starring Chadwick Boseman, dominated domestic moviegoing in its third weekend with $65.7 million at 4,084 locations — the third-highest weekend of all time after “Star Wars: The Force Awakens” at $90.2 million and “Avatar” at $68.5 million. 
  
 “Black Panther” is now the second-highest grossing Marvel movie of all time at the domestic box office, surpassing “Avengers: Age of Ultron” this weekend at $459 million and trailing only “The Avengers” at $623.4 million. “Black Panther” has a realistic shot at reaching that level in the coming weeks and may eventually top “Jurassic World” at $652 million and “Titanic” at $659 million for the third highest domestic total of all time. 
  
 Two new titles opened with moderate results that might have been higher without a must-see title like “Black Panther” in multiplexes. Jennifer Lawrence’s spy thriller “Red Sparrow” launched with $17 million at 3,056 sites for Fox and Bruce Willis’ “Death Wish” debuted with $13 million at 2,847 venues for MGM. 
  
 Related Gaspar Noe Walked Out of 'Black Panther' 'Black Panther's' Sterling K. Brown on Popular Film Oscars Category: 'I Go Back and Forth' 
  
 “Red Sparrow,” directed by Francis Lawrence, received mixed reviews with a 51% rating on Rotten Tomatoes and generated a B CinemaScore. Its audience was 53% female. “Death Wish” was poorly reviewed with a 15% score on Rotten Tomatoes. 
  
 Warner Bros.’ second weekend of comedy thriller “Game Night” followed in fourth with $10.7 million from 3,502 sites, declining 37% to edge Sony’s fourth weekend of CGI-live action “Peter Rabbit” with $10 million at 3,607 locations. “Peter Rabbit” slid only 21% and has connected with family audiences for $84 million in its first 24 days. 
  
 Paramount’s second weekend of “Annihilation” finished in sixth with $5.7 million at 2,112 venues, followed by Sony’s 11th weekend of its sturdy action comedy “Jumanji: Welcome to the Jungle” with $4.5 million at 2,313 sites. “Jumanji” has now grossed $393.2 million in 75 days. 
  
 Thanks to “Black Panther” and “Jumanji,” overall domestic box office for 2018 is up an impressive 10.9% to $2.12 billion, according to comScore. 
  
 Universal’s fourth weekend of “50 Shades Freed” finished eighth with $3.3 million at 2,614 sites to lift its 24-day total past $95 million. Fox’s 11th weekend of “The Greatest Showman” came in ninth with $2.7 million at 1,407 venues for a 75-day total of nearly $165 million. 
  
 Orion’s second weekend of low-cost teen romancer “Every Day” rounded out the top 10 with $1.6 million at 1,669 locations for a 10-day gross of $5.3 million. |||||
Black Panther continued to tear up the box office with a heroic $65.7 million in its third weekend—which is the third-best weekend gross of all time next to Star Wars: The Force Awakens with $90.2 million and Avatar with $68.5 million, Variety reports. Jennifer Lawrence's Red Sparrow debuted at $17 million (proving she is a "butts-in-the-seat movie star," says Forbes) while Death Wish starring Bruce Willis launched at $17 million. Filling out the top five were Game Night at $10.7 million and Peter Rabbit with $10 million. Annihilation came in sixth with $5.7 million.