Deadpool.
Ryan Reynolds' wisecracking hero Deadpool opened on 262 screens and made $14.8 million over the weekend, in keeping with the superhero comedy's boffo opening in the United States.
Aided by a marketing campaign that managed to be arrestingly vulgar but not (quite) obnoxious, Deadpool beat its nearest competition by a country mile.
The closest runner-up was Zoolander 2, which opened on 272 screens and rang up $3.9 million in its first week off the back of scathing reviews.
Brooklyn, starring Saoirse Ronan, was next best, ringing up $1.4 million, and makes an intriguing contrast to Transmission's other New York-set period romance, Carol.
That film was set to be directed by John Crowley (who directed Cate Blanchett onstage in The Present at the Sydney Theatre Company this year) before he left and Todd Haynes stepped in.
Crowley ended up directing Brooklyn instead, and the less-starry film has earnt about the same in a week as Carol made in two.
The Cate Blanchett-Rooney Mara drama has now made $2.8 million in five weeks in Australian cinemas.
Among other holdovers, Dirty Grandpa has rung up almost $5.9 million in three weeks, while The Revenant has pulled in $18.3 million after six.
Spotlight continues to hold strongly, dropping thirty-seven percent over the weekend to bring its total to $2.8 million after three weeks.
Star Wars: The Force Awakens has made $92.5 million in Australian theatres after nine weeks, while The Big Short is sitting on close to $6.6 million after five weeks in release.
The launch of Kanye West's new album in seven cinemas pulled in $54,913, while NT Live's Jane Eyre bowed at twenty locations and rang up $50,569.
Among Australian films, Sue Brooks' Looking for Grace is currently in thirty cinemas, and dropped thirty-five percent in its third week to ring up $44,034 over the weekend. The film, starring Richard Roxburgh and Radha Mitchell, has now made $460,318.
The Dressmaker is in its sixteenth week, still on thirty-eight screens, and dropped thirty-three percent over the weekend to pull in $27,978. Jocelyn Moorhouse's film has now made $20,131,847.