It’s not like the $10.65 million made last night by Tom Cruise’s “Edge of Tomorrow” is so bad. But Cruise and company were literally swamped by the melodramatic tearjerker “The Fault in Our Stars.” The latter movie made $26.1 million on its opening night including $8 million from Thursday showings.

“Edge” just barely edged out Angelina Jolie in “Maleficent” which made $10.14 million on Friday night, starting its second weekend. “Maleficent” would have the edge today-Saturday- from a young audience. So it could be that Cruise ends the weekend at number 3.

“Fault” has a built in audience of teenage girls and young women who want to come and cry their eyes out. The first night had to be big big big. Will it sustain? Will any men go? That’s the question now. Estimates are $50 mil for the weekend.

Here’s a weird irony that was unexpected: Tom Cruise has made a good movie but it seems like no one wants to see it.

“Edge of Tomorrow” opens tomorrow, directed by Doug Liman, and it’s pretty good. In fact, it’s the best thing Tom Cruise has been in, in a long time. When you think of “Oblivion” and “Valkyrie” and endless “Mission Impossible” movies– I mean, really, Cruise’s original non franchise films that really worked are “Jerry Maguire”– 1996!–and “Minority Report” (2005).

“Edge” is around 90% on Rotten Tomatoes– getting great reviews. But the early international release appears to be a dud- $26 million so far including the UK. Of course it hasn’t opened yet in South Korea, where Tom is strong, or Russia and China. And “Edge” hasn’t been seen yet in Australia- there are a few Aussie actors in the pic so that may help.

But word is that tracking in the US is soft, and that “Edge” may have a disappointing launch. How funny– well, not haha funny– would that be? Cruise finally comes through and everyone shrugs. I sure hope it doesn’t work out that way. We’ll have to wait and see.

The best documentary I’ve seen in ages opens Friday and it’s directed by Austin Powers. Er, not really, it’s Mike Myers, who turns out to be as thoughtful a filmmaker as he is a comedic actor and writer. He’s made a film called “Supermensch” about Shep Gordon, the legendary manager of Alice Cooper, inventor of the celerity chef, and sort of Zen Jewish Buddhist.

Last week, a group of luminaries met in New York to launch “Supermensch” including Clive Davis, Elvis Costello, Paul Haggis, Jason Sudeikis and Olivia Wilde, Michael Stipe, Julie Panebianco, Anthony Bourdain, and DA Pennebaker and Chris Hegedus. After the screening, the group repaired to the upstairs at the Wayfarer on 57th and 6th, where bodyguards watched Myers as if he were going to be attacked by Brad Pitt’s red carpet nutter.

But before the screening I wandered into the bar at the Modern, next to the MoMA screening room. And there was Shep, having drinks with a bunch of old friends who were not celebrities. They’d all known him forever, like everyone. All the celeb stuff was elsewhere, and you’d have no idea that his movie would include tributes and stories from Michael Douglas, singer Anne Murray, Alice Cooper, Emeril Lagasse, home movies with Mick Fleetwood etc.

Myers was smart in choosing his subject. He says in the film that Shep Gordon is the nicest guy he’s even known, and it’s true. A ladies man with no kids, Gordon wound up unofficially adopting the grandchildren of one of his first loves, an African American model. They are his family now, all grown up, and it shows you “family” can mean all kinds of things. Gordon also has lots of famous “family”; all of them are in this must-see film.

One cool spoiler:

“Supermensch” goes into theatres this weekend and will eventually play on A&E. Expect a lot of awards action on it this fall. For one thing, the more it’s seen, the better its chances. And Shep is the film’s best ambassador. He’s  been in  New York on and off for weeks doing promotion. I must say it’s been a pleasure to have him around. For a very big guy he’s extremely laid back and sweet. (Must be the Dalai Lama connection.)

See this movie– I do think my favorite thing about it is the reveal that he never really cared for Alice Cooper’s heavy metal stuff. He was more of Anne Murray fan! Maybe that’s why Alice finally wrote a great ballad in “Only Women.” Anyway, this is the side of rock and roll nostalgia we don’t see enough.

Have you seen “Edge of Tomorrow” before? Yes, maybe, in some ways. But Doug Liman’s original sci-fi thriller comes off as a hit, with a lot of originality, and Tom Cruise is more appealing than he has been in a long time.

The movie, which opens Friday, has a fresh feel to it also thanks to an excellent screenplay (by Jez and John Henry Butterworth, polished up by Christopher McQuarrie) and solid supporting performances from Emily Blunt, Bill Paxton, and the suddenly ubiquitous Ben Mendelsohn.

For once, Cruise isn’t a martyr with a know-it-all grin. His character, Bill Cage, wants nothing to do with combating aliens from other worlds who are destroying Europe. He’s happy just to film the whole thing as an army major with a public relations mandate. He doesn’t know how to fire any gadgets or blow things up. He’s a coward.

That’s a nice twist, so that when Cage is sent to the front lines, and knocked down to Private, he has to learn everything new. Liman uses Cruise to great advantage. There’s no preening. He’s not an insta-hero. Or any hero, really. He just “is.” And Liman doesn’t force any romance on Cruise. He and Blunt kiss once, but there’s nothing more than camaraderie.

The story is your basic War of the Worlds, only this time it involves a “Groundhog Day” like concept. Cruise has to keep re-starting the same day, getting a little further each time, until he can get to the ultimate goal of eliminating the aliens’ source of power. The plot plays like a video game, where in each journey you reach a new level.

Luckily, Liman keeps it human throughout. Even though the movie is expensive, with lots of CGI and 3D effects, “Edge” feels grounded. The good news is: no sequel. When it’s done, it’s done. Everyone comes out a winner, starting with the audience.

So it’s all good. But do we really need to see Tom Cruise do this thing again and again? After this. he’s got to find some actual films. He almost, dare I say it, acts in this movie. It would be nice to see more of that.

First Justin Bieber, now someone named John Green. I know, he’s the beloved author of the teen swoon melodrama “The Fault is in Our Stars.” But just as the Beebs hoped Anne Frank would have been a Belieber, Green picks the Anne Frank house in Amsterdam as the spot where his romantic (and cancer stricken) teen couple can make out. This is followed by slow clapping from the other tourists visiting the most famous spot in the world where Jews hid from the Nazis. Why not?

The fault is with the writing and directing. But nothing I say can take away the experience of Josh Boone’s ham-fisted weeper from teenage girls. Last night at the Ziegfeld, there were oodles of them. I myself brought two. They all cried, wept, screamed, shrieked, through the length of this rather interminable film. These girls have not seen “Love Story” or “Brian’s Song.” They don’t know from tragic star crossed romance. They know nothing of “Romeo and Juliet.”

Whose fault is that?

Bottom line for Fox: my nieces loved it. They will see it again. You know, ice cold water runs through Uncle Roger’s veins. But you knew that.

There is a marketing and sales phenomenon around “Fault,” the novel, by Mr. Green. All the fangirls know it. They want to indulge the most morbid fantasy of having your one great love attend your funeral, read a eulogy, and throw themselves on the casket. I don’t know what Green’s book is like. I do know the movie is beyond insufferably hokey. Boone has no directing style, but then again, he’s not working with much. Think of some recent teen movies that really hit home. I kept recalling another Fox movie, “Juno,” and another, “Napoleon Dynamite,” while “Fault” played. They were authentic and organic.

“Fault” is a glorified TV movie, an afterschool special that intermittently rises to the occasion. That’s because Shailene Woodley, Oscar nominee for “The Descendants,” literally carries the film on her back. Ansel Elgort (son of fashon photog Arthur) starts out wobbly as her teen lover. He loves to mumble. But every once in a while he gets Woodley’s rhythm. Nat Wolff (son of “thirtysomething” star Polly Draper and musician Michael Wolff) is the capable self-deprecating sidekick.

The movie has great lapses of reality. Elgort’s character, Augustus, seems to live in a void. He has terminal cancer and his leg has been removed. But his parents are one dimensional cardboard cutouts. They look like they were found in a stock photo in a West Elm frame. The talented Laura Dern tries to make something out of Woodley’s mother. She tries so hard. But she’s also just window dressing in Boone’s world. When she takes the kids to Amsterdam, for example, they go out to a fancy dinner, meet a famous author, and have moonlit walks. She stays in the room, maybe carving wooden shoes.

But this is this generation’s dumbed down “Love Story” (and that’s saying a lot since “Love Story” was no Mensa meeting). It’s not about the parents. It’s about the kids. It’s about love being “always.”  Young girls clutch this book to their bosoms and sob. Now they’ll do it in the movie. Will it be a big hit? Sure. This weekend, cineplexes will swell with 14 year old girls carrying Kleenex boxes. I doubt a male, straight or gay, will find much use for it.

And the quote? It doesn’t matter to Boone since he left it out of the movie. ‘The fault is not in our stars.’ That’s the quote. ‘The fault is not in our stars, Dear Brutus. It’s in ourselves.’ This is from “Julius Caesar” by William Shakespeare. No one mentions it in the movie. Maybe Shakespeare wouldn’t license it to the producers. Smart man.

PS A note to the fan girls: please read “The Diary of Anne Frank.” Everyone from that house except her for Anne’s father was taken out and killed. There was no making out. John Green, get a grip.