The big news on Friday was that Seth Rogen’s “Sausage Party” might cook “Suicide Squad” for the weekend. But in the end, the talking deli meats fell to the super heroes, even though they still registered on hot coals.

“Suicide Squad” took $43.7 mil for a US total so far of $222 million. The saucissons scored a record for an R rated animated movie opening in August with spicy mustard for $33.6 million.

Meanwhile, back among movies that aren’t animated or feature comic book characters: “Florence Foster Jenkins” with Meryl Streep and Hugh Grant is in semi-wide release and took in $6.8 million. That’s a solid beginning, because it’s almost impossible now to get adults to theaters even if something is well reviewed. Look at “Cafe Society,” which took off strong but is slowing down considerably. How about second rounds of publicity for these films, or some new ads?

In this category there’s also “Captain Fantastic,” which may not hit $5 million and should have done twice as much. Are these distributors simply going to cede ground to Netflix and Amazon, et al? And then there’s Steven Spielberg’s badly handled “The BFG,” which will end its run at $53 million US and worldwide total $127 million. Spielberg must be fuming.

PS It’s August 14th, and only one of the movies in this week’s top 10– “Florence Foster Jenkins”– will register any mention at the Oscars this year, maybe. Keep that in mind.

Nate Parker was the toast of the Sundance Film Festival with his breakout movie “The Birth of a Nation” last January. The movie won the Grand Jury and Audience Award prizes, Parker was dubbed a hero, the movie set a record at auction when Fox Searchlight bought it for $17 million.

Most people said, Who’s Nate Parker? I met him in 2007 when he co-starred in Denzel Washington’s “The Great Debaters.” After that he went on to several other films including the George Lucas project “Red Tails” and Gina Prince-Blythewood’s romantic drama “Beyond the Lights.”

From 2007 through yesterday, almost no one ever mentioned that Parker had been acquitted in a 2001 trial for rape while he was a student at Penn State in 1999. A friend, Jean Celestin (the co-writer of “Birth of a Nation”), was found guilty of one count of sexual assault.

Celestin’s conviction was overturned by an appeals court. Prosecutors couldn’t proceed to a new trial because the victim refused to participate. (Both Parker and Celestin claimed they had consensual sex with the woman. Parker was acquitted because it turned out they had had consensual sex the night before.)

Imagine that– nine years, several movies, and lots of interviews, later, the story is back. The subject came up rarely in all this time, and when it did, Parker addressed it and moved on. Until yesterday I’d never heard of it, and no one had mentioned it.

Then yesterday, first came a piece on Deadline.com that included graphic court testimony about the trial, which also involved Parker’s friend and “Birth of a Nation” co-writer Jean Celestin. A couple of hours later, Variety filed its own story, in which reporter Ramin Setoodeh revealed he’d interviewed Parker first, only to be undercut by Deadline. The two publications are owned by Penske Media.

Somebody really wanted Nate Parker’s history to come to light. Why? We are two weeks from the commencement of Oscar season, and “Birth of a Nation” is considered a de facto nominee, a leader in the race to the gold. Undercutting it now, and making the rape story one that sticks, could clear the field for any number of contenders.

Oscar season 2017 has begun with dirty campaigning and we haven’t even started yet.

I haven’t seen “Birth of a Nation” yet, and I don’t know anything about the case in 1999. I can’t comment on either. But I do know this: Parker was acquitted. And 17 years later, we are judging his film, not what happened to him in college. When I met him in 2007, he was one of the nicest young people ever, and he’s grown into a husband and father. It would be reckless of everyone to let this episode stand against “Birth of A Nation” or give anyone a reason not to see it and judge it independently.

But I’m too cynical to think this forest fire started on its own. Two publications (forget about their intra-company squabble) going after Parker in one day? Someone lit that match, you better believe it.

Robert Redford has an Academy Award for directing the great film, “Ordinary People.”

Now, in the Disney remake of “Pete’s Dragon,” Redford could be up for Best Supporting Actor. And wouldn’t that be something if Warren Beatty and Robert DeNiro are also in the group? Yikes! That could be a movie in itself!

Here’s Leah Sydney’s review:
“Pete’s Dragon,” Disney’s latest live action/animation hybrid, director David Lowery, (he also co-wrote the screenplay) and company keep this charming, beguiling film wisely simple. By sticking to Lowery’s skilled take, the film completely captures a magical, mystical and enchanting tone throughout.

Loosely based on the 1977 film, the movie opens with the classic Disney calamity, a car crash that kills 4-year-old Pete’s doting parents which then strands him in the foreboding forest. Along comes a green furry dragon, whom Pete names Elliot from his beloved book he carries that survived the crash along with him. Loyal Elliot takes the boy under his wing, literally, and proceeds to protect and care for him for the next six years.

The now wild Pete, played beautifully by Oakes Fegley, is discovered by the sweetest Park Ranger ever, Grace, played with luminous kindness by the gifted Bryce Dallas Howard. Complications arise when her fiancée, their town Millhaven’s saw mill-owning Jack (Wes Bentley,) becomes intent on chopping down swathes of the rich forest. Combine that with Jack’s redneck brother, Karl Urban, who has his sights on capturing beloved Elliot, and compelling drama ensues.

Robert Redford gives one of his most appealing performances of his career as Grace’s introspective, reflective and loving father Meachum, who has his own precious history with Pete. The visuals are lush and welcoming, Weta Digital’s Eric Saindon and Mike Cozens spectacularly created the totally lovable Elliot, and many of the real life shots were shot in New Zealand where Weta is based. Combine all of the above for an old fashioned feel and a sincerely moving and powerful final act. This fantasy adventure captures all of the best of Disney’s irresistible magic and is an experience no one should miss.