Cue of 2006 for "The Great Eatlon" "Prologue" "The Party" "Charades" "Ripples in the Pool" "The Blue World" "Giving the Kii" "Walkie Talkie" "Cereal Boxes" "Officer Jimbo" "The Healing" "The Great Eatlon" "End Titles" "The Times They Are a-Changin'" – A Whisper in the Noise "Every Grain of Sand" – Amanda Ghost "It Ain't Me Babe" – Silvertide "Maggie's Farm" – Silvertide Reception Box office In its opening weekend (July 21–23, 2006), the film grossed a total of $18.2 million, placing third in the U.S behind Pirates of the Caribbean: Dead Man's Chest and Monster House. It was Shyamalan's lowest opening for any of his five major films. As a result of the negative reviews and poor word-of-mouth, its second week fell sharply to $7.1 million, pushing its total to only $32.2 million. Its third weekend was no better, falling another 62.1% to $2.7 million. As of 2011, its total was $42.285 million. In addition, the film made only $30.5 million in other territories, bringing its tally to approximately $72.785 million internationally. Critical reaction Lady in the Water was panned around the time of its release. On review aggregation website Rotten Tomatoes, the film has an approval rating of 25% based on 212 reviews, with an average rating of 4.30/10. The site's critical consensus reads, "A far-fetched story with little suspense and unconvincing scenarios, Lady in the Water feels contrived, pretentious, and rather silly." On Metacritic, the film has a weighted average score of 36 out of 100 based on reviews from 36 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade B− on scale of A to F. Brian Lowry of Variety magazine wrote a scathing advance review that appeared on July 16, 2006. Common complaints about the film were that little effort was put into getting the viewer to believe in the world, that few moments of the film could be taken seriously, and that Shyamalan was using the film as a form of self-indulgence; instead of having a minor cameo, as in most of his films, Shyamalan cast himself as a visionary whose writing changes the world, and another character included a film critic—portrayed by actor Bob Balaban as arrogant, self-assured, and passive—who comes to a violent end. Many reviewers attacked this perceived self-indulgence: Manohla Dargis of The New York Times wrote of the story, "Apparently those who live in the water