“Cloudy With A Chance of Meatballs” has held its number one spot for two weekends in a row, though it only raked in $24 million this weekend as opposed to a whopping $30 million last weekend.

At a distant second, we have “Surrogates” which brought in $15 million.

And somehow, “Fame” beat out “The Informant!” for third place with $10 million. Maybe people were just curious.

I think it’s worth mentioning that “9″ came in in…yep, you guessed it. 9th.

Here’s how it went down.

1. Cloudy With A Chance Of Meatballs: $24,600,000
2. Surrogates: $15,000,000
3. Fame: $10,033,000
4. The Informant!: $6,915,000
5. Tyler Perry’s I Can Do Bad All By Myself: $4,750,000
6. Pandorum: $4,408,000
7. Love Happens: $4,327,440
8. Jennifer’s Body: $3,500,000
9. 9: $2,832,053
10. Inglourious Basterds: $2,722,000
11. All About Steve: $2,300,000
12. Julie & Julia: $1,200,000

Source: Rentrak Corporation

“Cloudy With A Chance of Meatballs” tripled the second place finisher this weekend, raking in more than $30 million on its opening weekend.

Matt Damon’s performance in “The Informant!” placed second, with $10.5 million, while Tyler Perry remained strong with $10 million of its own.

Here are the top films for the past weekend:

1. Cloudy With A Chance Of Meatballs: $30,100,000
2. The Informant: $10,545,000
3. Tyler Perry’s I Can Do Bad All By Myself: $10,060,000
4. Love Happens: $8,455,590
5. Jennifer’s Body: $6,800,000
6. 9: $5,547,959
7. Inglourious Basterds: $3,603,000
8. All About Steve: $3,400,000
9. Sorority Row: $2,489,000
10. Whiteout: $2,060,000
11. Julie & Julia: $1,900,000
12. District 9: $1,850,000

Source: Rentrak Corporation

“New Moon,” the sequel to the teenage vampire love drama that’s swept the world with its undying popularity, is selling more tickets on Fandango than any other movie, including all of the currently released films.

In a recent study, Fandango found that “New Moon,” which doesn’t open until November 20, accounted for 37 percent of its recent ticket sales, beating out “Cloudy with a Chance of Meatballs,” which had 36 percent and “The Informant!,” which only had 9 percent. “Jennifer’s Body,” raked in 4 percent of sales.

Speaking of “Jennifer’s Body,” Fandango polled users, asking “Which role would you most like to see Megan Fox play?” Thirty-two percent of responders said they want to see the sexy star play Wonder Woman, while 30 percent said Catwoman. But what’s most astonishing is that 13 percent answered “Bella in ‘Breaking Dawn.’” Thirteen percent of polled moviegoers want to see Kristen Stewart get the boot.

Back in 2007, sci-fi master Joss Whedon wrote a scathing indictment of “torture porn” film-making, notably the film “Captivity.” Whedon said the genre, made mainstream by the work of Eli Roth and others, is simply an excuse to vent violent rage at women, to punish the female form for … whatever it’s guilty of. It’s a rage that’s been brewing since Janet Leigh jumped into that fateful shower in 1960, and it’s only grown more vengeful and exploitative since.

Ladies and gentlemen, I give you “Jennifer’s Body“ Diablo Cody‘s campy, hilarious and incredibly flawed feminist response.

At first glance, this would be the perfect transgressive film: Jennifer (Megan Fox) is a mega-hottie who uses men as sexual play things and (after nearly being killed in a very funny satanic ritual) uses them as tasty snacks. She’s found out by her sweet, nerdy childhood friend with the horrible name of Needy (the wonderful Amanda Seyfried), who tries to stop the carnage.

I like Megan Fox probably more than I should. She may come off as dumb as a box of rocks in interviews, but her acting always seems to have a glimmer of wry self-awareness woven into her brainless hot girl act. In this, Fox’s glazed, plastic look perfectly demonstrates Jennifer’s mindless hunger. It’s just far too apt to be an accident. In one moment, she also scared the crap out of me when she appears in Needy’s kitchen covered in blood and grins at her horrifically. It’s without a doubt the most terrifying moment in the film.

“Juno” scribe Diablo Cody wrote the film, and just like “Juno” it’s chockablock with quirky little tidbits that vary from hysterically funny to just annoying. Among other things, J.K. Simmons makes an appearance as a teacher with a hook for a hand and a Canadian accent. In anyone else’s hands it would be irritating, but Simmons has the keen power to make anything funny. On the other hand, if I ever hear the phrase “freak-tarded” or hear men referred to as “salty morsels” again, I will be forced to hit Cody with a copy of the Oxford English Dictionary.

Let us take a moment now and reflect on the much-talked-of make-out session between Fox and Seyfried. The scene is pretty sexy. It’s also exploitative (and not in the good way), occurs in a vacuum, and then lays there in the middle of the film, begging for meaning when there’s none to be had.

Then again, I’m not a straight teenage boy, so what do I know?

Possibly one of the most interesting things about this film is its total focus on the female characters. There’s a lack of any real male input, right down to the fact that neither Needy nor Jennifer appear to have fathers. In a film industry where 28 percent of speaking roles go to women, that’s no small thing. But for all the bloody prom dresses and man-evisceration, I hesitate to truly call this a feminist film, or even a really transgressive one. First of all, none of Jennifer’s victims are bad guys — in fact all of them seem to be sweet, good-hearted boys, the kind you could bring home to mom. It robs us of the sweet satisfaction of watching girl-power in action. What kind of fun is it watching Jennifer kill nice guys? By contrast, Quentin Tarantino, in the vastly underrated “Death Proof” vindicated females by letting us watch stuntwoman Zoe Bell kick the shit out of bad boy Kurt Russell. “Carrie” let us watch the soft, nerdy girl electrocute her male and female high school aggressors.

And, in the end, Jennifer’s violent sexual dominion is her own undoing. In the end she’s punished for her sins, just like in every other male-centric horror film ever created.

To its credit, however, the end of the film partially rescues what I think Cody is trying to say. Out of the climactic bloodbath, Needy rises as our real heroine. She’s not a sexual succubus, but neither is she a weak virginal sacrifice. And by the time the credits roll, the real villain has been vanquished and we learn that chick with the stupid name can kick some serious ass.

SAN DIEGO — “Jennifer’s Body” is in theaters September 18.

When small-town high school hottie Jennifer (Megan Fox) is possessed by a hungry demon, guys who never stood a chance with her, take on new luster in the light of Jennifer’s insatiable appetite. From the Oscar-winning screenwriter of “Juno,” Diablo Cody.