While The Dark Knight battled The Mummy on the mainstream charts, indie fans enjoyed much cooler movies. In its third week of release, Brad Anderson's Transsiberian continued its strong run, raking in $15,100 per-screen at the two locations where it's playing, according to estimates compiled by Box Office Mojo. The film has grossed $125,000 so far. Also set in a cold clime, Frozen River, Courtney Hunt's "single mother smuggles illegal immigrants" drama, took in $10,471 per screen at seven locations on its opening weekend.

Two other debuting indies had decent results: black and white romantic comedy In Search of a Midnight Kiss made $7,300 at the two theaters where it opened and British comedy Sixty-Six scored $5,700 per-screen at its two engagements. No figures were reported to Box Office Mojo for documentary America the Beautiful or for Japanese melodrama Love and Honor.

indieWIRE highlights the success of holdover Man on Wire, James Marsh's completely charming and suspenseful doc, which earned $12,500 per screen at four locations. They also point to the returns of two films in their second week of release: period drama Brideshead Revisited ($5,284 per screen at 94 theaters) and high school doc American Teen ("a rather disappointing" $4,487 per screen at 39 locations). I saw the former on Sunday afternoon (packed, people lined up for the next screening) and the latter on Saturday afternoon (maybe 15-20 people). Different crowds, definitely, but Brideshead Revisited is much more likely to gain as it opens further.

What's the formula for success? Teens, drugs, Ben Kingsley kisses and 90s nostalgia, evidently. Jonathan Levine's The Wackness scored the best per-screen average of the weekend -- $24,166 -- at six theaters in New York and Los Angeles, according to estimates compiled by Box Office Mojo.

On the other hand, French thriller Tell No One packed them in without any of those elements, earning $20,120 per-screen at eight theaters, according to Leonard Klady's estimates at Movie City News. As somebody once said: C'est la vie.

At the one theater in Los Angeles where it opened, the box office went Kabluey for the film with the same name ($7,900 in receipts) while Alex Gibney's entertaining, if schematic, doc, Gonzo: The Life and Work of Dr. Hunter S. Thompson, made $7,307 per screen at 26 theaters celebrating independence across the nation.

Not as many were interested in Holding Trevor ($3,400 per-screen at 2 theaters) and audiences declined interest in Diminished Capacity ($2,830 per-screen at 4 theaters). You can read more about all these releases in Indie Spotlight, the new column by Eric D. Snider.

Notable holdovers include Trumbo ($4,233 per-screen average, 6 theaters, 2nd week of release); Mongol ($3,490 per-screen, 253 theaters, 5th week); Brick Lane ($3,451 per-screen, 31 theaters, 3rd week); Roman de Gare ($2,400 per-screen, 37 theaters, 11th week), and The Visitor ($2,017 per-screen, 176 theaters, 13th week).

Kit Kittredge: An American Girl broke into the overall top 10, expanding to more than 1,800 theaters and drawing $1,953 per screen -- but that's a very disappointing figure after the gangbusters box office of its very limited first two weeks of release. The film has grossed more than $6.1 million so far.

Genghis Khan rules! Sergei Bodrov's Mongol (Picturehouse), the first installment of a planned trilogy covering the Mongolian military leader, cleaned up at the indie box office, taking in $25,360 per screen, according to estimates compiled by Leonard Klady at Movie City News. Our own Jeffrey M. Anderson didn't even like the battle scenes -- "polite and observant rather than reckless or exciting" -- much less the movie as a whole. Eric D. Snider was more admiring, if not wildly enthusiastic, as were most critics (per Rotten Tomatoes).

Two films that opened at one theater each performed quite well. Take Out (Cavu Pictures) earned $9,900. Directed by Sean Baker and Shih-Ching Tsou, the film depicts a day in the life of an illegal Chinese immigrant who must pay off a large debt to his smugglers or face the consequences. The only way to pay the debt? Get good tips from his wealthy delivery route. Both the New York Times and Village Voice were complimentary.

Eric Guirado's Grocer's Son (Film Movement) made $9,500. The titular character must leave the city to return to the country and care for his sick father's duties. Gradually he finds that the villagers are not so gruff after all, and romance might be blooming too. Slant Magazine and Variety published positive reviews, though noting various flaws.

A poorly-reviewed movie easily fought its way to the top of the weekend box office. That's almost standard practice for big-budget Hollywood studio product, but is quite unusual for an indie film. Joshua Seftel's comedy / drama War, Inc. (First Look) earned $17,650 per screen at two locations, according to estimates compiled by Box Office Mojo, despite receiving mostly negative reviews -- Rotten Tomatoes pegged the critics at only 24% positive. Writing for Cinematical, Joel Keller described it as "an ambitious film that fails miserably at everything it attempts to be." John Cusack co-wrote and stars along with Marisa Tomei, Joan Cusack, Ben Kingsley and Hilary Duff.

Roger Spottiswoode's drama The Children of Huang Shi (Sony Pictures Classics) did not fare any better with our critic, Nick Schager, who felt that the film is "a TV movie in disguise, a handsomely staid affair that prefers skin-deep elegance to psychological or historical substance." Jonathan Rhys Meyers stars as a reporter that helped a school of orphaned children in 1937 China; Chow Yun-Fat plays a rebel and Radha Mitchell a nurse. Opening at seven theaters, The Children of Huang Shi averaged $6,036 per screen.

Good returns were also enjoyed by Joachim Trier's Reprise (Miramax), which expanded to 14 theaters in its second week and took in $6,614 per screen, and Claude Lelouch's Roman de Gare (Samuel Goldwyn), which added 11 more locations in its fifth week and increased nicely to $4,485 per screen.

Two new indie releases fared well, while two others struggled. Hailing from Norway, Reprise (Miramax) earned a very good $15,500 per-screen average at three theaters, according to estimates compiled by Leonard Klady at Movie City News. Our own James Rocchi gushed in his review: "Directed by Joachim Trier, Reprise is one of the most brilliant, heartfelt, exciting and exuberant feature film debuts in recent memory."

Mexican film Sangre de mi Sangre (AKA Padre Nuestro) (IFC Films) nestled into the #2 spot, earning $8,500 at one theater in Manhattan. The film follows two teenagers, one honest, one dishonest, trying to reach their disparate goals (reuniting with family, making money). Eric D. Snider noted: "The trouble is that the film is so bleak as to be almost hopeless ... Its grimness is not matched by its excellence."

Cinematical's Erik Davis raved about German director Christian Petzold's Yella (Cinema Guild) when he saw it at the Berlin film festival last year: "Like a drug, Yella slowly creeps on you long after the end credits roll, takes hold of your body and doesn't let go until you're convinced it was one of the best films this year's Berlinale had to offer." Opening at two theaters, the film made $3,450 per screen.

Despite good reviews (82% positive at Rotten Tomatoes), Georgina Garcia Riedel's How the Garcia Girls Spent Their Summer (Maya Releasing) failed to make an impact, opening at 84 theaters and marshaling just $1,040 per screen, per Mr. Klady's estimate.

Big budget Iron Man racking up big box office? Not a shock. The latest from Harmony Korine (Gummo, Julian Donkey-Boy) topping the indie box office chart? That's a surprise. Mister Lonely (IFC Films) only opened at one theater in Manhattan, but it took in $19,100 for the highest per-screen average among indies this weekend, according to estimates compiled by Box Office Mojo. Diego Luna plays a Michael Jackson impersonator; Samantha Morton, Denis Levant and filmmaker Werner Herzog also star. Our own Jeffrey M. Anderson wrote: "Though Mister Lonely seems sweeter and more mainstream than Korine's other films, it still has that sense of randomness, of pathetic luck and habit and wisdom all combining to make up a life, or a collision of lives."

David Mamet's Redbelt (Sony Classics) pulled in $11,433 per screen at six locations. Chiwitel Ejiofor stars as the honorable owner of a Jiu-jitsu studio who is drawn into the world of "pay-per-view mixed martial arts," as Cinematical's James Rocchi described it. He did not feel the film matched the writer/director's best work; "still, even minor Mamet can be a source of major satisfaction, especially with an actor as compelling as Ejiofor in the lead."

Son of Rambow (Paramount Vantage) averaged $10,500 each at five theaters. Garth Jennings' delightful kids' adventure follows two boys as they create their own action movie epic featuring John Rambo. James Rocchi called it "a brilliant celebration of the exuberance and thrill of bad storytelling, of making art, of having dreams."

A French master topped an American actress' directorial debut this weekend. Claude Lelouch's Roman de Gare (Samuel Goldwyn) opened at two theaters in Manhattan and grossed $25,500, for a very nice $12,750 per-screen average, according to estimates compiled by Box Office Mojo. The French-language thriller scored 73% positive at Rotten Tomatoes, though a number of critics had reservations about its twisty, playful nature.

Helen Hunt's comedy/drama Then She Found Me (ThinkFilm) hauled in $8,266 per-screen at nine locations. Hunt plays a teacher who must deal with an unlikely fiancee (Matthew Broderick), a volatile love interest (Colin Firth), and the unexpected appearance of her mother (Bette Midler). Ryan Stewart felt that the story is "as old as the hills," but that it was "still executed with style."

Standard Operating Procedure (Sony Classics), the latest doc by Errol Morris, has generated controversy not only because of its subject matter -- the story behind the notorious Abu Gharib prison photos -- but because Morris has admitted to paying some of the interviewees. Reviews were mostly positive (79%, according to Rotten Tomatoes). Opening at two theaters in Manhattan, the film averaged $7,450 per screen.

Two holdovers continued to perform well. Tom McCarthy's excellent The Visitor (Overture) expanded into 76 theaters nationwide and averaged $6,684 per screen in its third week of release. Stephen Walker's heartwarming music doc Young @ Heart (Fox Searchlight) expanded from 23 to 56 locations and grossed an average of $4,017 per screen.

"A damn fine film with a good heart and some really excellent performances" finished atop the indie weekend box office charts. The quote is from our own Scott Weinberg's review of Tom McCarthy's The Visitor (Overture), and I agree wholeheartedly. The film earned $22,000 per-screen at four theaters, according to estimates compiled by Box Office Mojo. Richard Jenkins stars as a college professor who strikes up a friendship with an immigrant couple he finds living in his NYC apartment. It's even better -- and deeper -- than that description might sound.

An elderly chorus sings a repertoire of modern pop and rock songs in Stephen Walker's documentary Young @ Heart (Fox Searchlight); audiences responded to the tune of $13,075 per screen at four locations. Cinematical's James Rocchi wrote: "Even for all its flaws and failures it still succeeds in showing us friends who -- through song and art and community and, yes, love -- are doing their best to face it with everything that they've got."

David Ayer's Street Kings (Fox Searchlight) should be included, I suppose, because it's distributed by an studio specialty division known for its indie releases, though not much about the police drama screams "indie." By the per-screen numbers, it finished third, earning an average of $4,864 at each of 2,467 engagements. "As yet another tale of dirty criminals and even dirtier cops," Scott Weinberg opined, "Street Kings works well enough, albeit strictly in a 'been there, seen that' sort of way."

Faced with the prospect of checking out several new releases or luxuriating in a new print of Jean-Luc Godard's Contempt, audiences overwhelmingly chose Godard's 1963 classic. Playing at a single location (Film Forum in New York City), Contempt earned $13,100 over the weekend, according to estimates compiled by Leonard Klady of Movie City News. Distributor Rialto Pictures has the film booked at Film Forum until March 27, and then perhaps will tour the print, though no details are provided on their site.

Indie holdovers also did better than the newest offerings. David Gordon Green's Snow Angels (Warner Independent) made $8,666 per screen at three theaters in its second week out, per Box Office Mojo, while Oscar winner The Counterfeiters (Sony Pictures Classics) pulled in $6,263 per-screen at 72 locations in its fourth week. Ira Sachs' Married Life (Sony Pictures Classics), Gus Van Sant's Paranoid Park (IFC) and Jacques Rivette's The Duchess of Langeais (IFC) also performed well; the first two in their second week of release, and the latter in its fourth week.

Michael Haneke's remake of his own Funny Games (Warner Independent) did very little business, grabbing just $1,800 per screen at 289 engagements, which is disappointing since our own James Rocchi called it "a great film ... it's hard to say which Funny Games stirs up more -- your guts, or your brain." Meanwhile, Bill Maher's Sleepwalking (Overture) was right behind at $1,640 per screen at 30 locations. In the review by Cinematical's Jeffrey M. Anderson, he concluded: "Worst of all is that title, which is exactly the kind of title that filmmakers should stay away from if they want to avoid a fairly obvious one-word film review."

Finally opening in the US after receiving rapturous reviews at Cannes last May and landing atop many critics' top ten lists for the year, 4 Months, 3 Weeks, 2 Days easily led the field this weekend, according to estimates compiled by Box Office Mojo. Shut out of the Academy Award nominations for Best Foreign Language Film, the Romanian abortion drama nevertheless drew big crowds to the two theaters where it opened, averaging $24,100 per screen for distributor IFC.

Playing on 61 screens, U2 3D scored an impressive $15,508 per screen average. Opinion has been divided as to whether the possibilities of 3D were effectively used, with our own Christopher Campbell arguing that the film is important to experience, while Nick Schager was more critical. And for anyone concerned about the higher ticket prices charged for the 3D experience, Bono told USA Today: "I'm hoping that all the people in high school or who are college-age and don't have the cash to go see us can go see us for a low price with this film."

Reveling in its Academy Award nominations, Juno soared just past the $100 million mark, increasing its weekly take 3.5% while dropping 108 theaters. It's still playing at more than 2,400 locations in its eighth week of release for distributor Fox Searchlight.

Fellow Best Picture nominee There Will Be Blood fared well as Paramount Vantage continued its roll-out. Now playing in 885 locations, its per-screen average was a healthy $5,522. Best Picture nominee Atonement was down a bit ($2,832 per-screen at 1,400 engagements) and No Country for Old Men was up ($2,261 per-screen at 1,107 locations). Playing on just 58 screens, Best Animated Film nominee Persepolis had the fifth-best per-screen average of the weekend ($6,034) for Sony Pictures Classics.

Among other limited releases, Teeth performed quite well, averaging $4,212 at 16 theaters in its second week out.

It didn't win any Golden Globes, but Juno still reigns supreme. Jason Reitman's likable teen comedy made another $10.25 million for distributor Fox Searchlight, according to estimates compiled by Box Office Mojo. That works out to a per-screen average of $5,197 at 2,915 engagements. The box office take is down 24.7% from the previous week, which indicates continued good word of mouth; the film's cumulative gross in seven weeks of release now stands at more than $85 million.

Forget about 27 Dresses; the real perpetual bridesmaid is Joe Wright's Atonement. The period romantic drama expanded by more than 300 theaters and maintained its solid performance for Focus Features. The film's weekend gross swung upward by 12.7%, resulting in a per-screen average of $3,686 and a cumulative total of $31.8 million.

Demonstrating that nobody in the general moviegoing public really cares about the Academy's best foreign film shortlist, audiences still flocked to Persepolis, giving it the highest per-screen average of the weekend: $9,366, in 30 theaters.

Paramount Vantage expanded Paul Thomas Anderson's magnificent There Will Be Blood from 129 to 389 locations with good results; the film demonstrated surprising strength, averaging $8,023 per screen for a four-week total of $8.1 million. I say "surprising" only because of its subject matter and the length of its running time.

Poor Woody Allen. I generally agree with Jeffrey M. Anderson that Cassandra's Dream is better than you might have heard, though I think it nearly falls apart completely at one point. There were barely 20 people at the 10:00 pm screening I attended on Friday night at its only Dallas engagement, but in other cities the reaction must have been better, as the film pulled in $4,682 per screen at 107 theaters in key cities nationwide for The Weinstein Co.