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Kim Hollis: Jim, I would agree that I like Cohen much better in small doses, though I prefer his supporting acting work to any of his sketch comedy, which just seems to be trying too hard in my estimation. But he's been great in every film where he's a secondary character rather than the main focus. He's a very funny villain in Talladega Nights (which pairs him with another comedian who can occasionally have similar problems to Cohen in Will Ferrell), and he also may be the best part of Sweeney Todd. More recently, he was also goofy but sweetly entertaining in Hugo. I'd love to see him get away from the over-the-top comedy and try focusing on these sorts of roles, maybe even as a lead.

Reagen Sulewski: This appears to me to be the rare case of a Wednesday opening working to its intended effect, as well as a frank acknowledgement by Cohen and company that they had some work to do after Bruno to get back people's trust. Wednesday's $4.1 million should have meant about $12 million on the weekend, but against all odds, people seem to be giving this one positive reviews and good word-of-mouth. $17 million is pretty great in that light.

David Mumpower: This is the breathing definition of mediocrity. Really, the only thing Sacha Baron Cohen has done well since Borat is marry Isla Fisher. Given the fact that Borat was half a dozen years ago, his career is problematic. With The Dictator, he was attempting to prove that he is more than the movie equivalent of a one hit wonder. Instead, all he has accomplished in my estimation is prove yet again that the presence of Sacha Baron Cohen means that the circus is in town. What surprised me about the extended trailer for The Dictator is that the tone changed from uncomfortable "comedy" about the suffering of millions to a strange Coming to America ripoff. The juxtaposition of those two themes is impossible to market effectively. While less of a failure than the other two openers this weekend, The Dictator is by no means a cinematic achievement.

Max Braden: I think even Charlie Chaplin had trouble with it. You can look at the movie and say "ha ha, yeah, we get the joke," but in the end, dictators aren't exactly a laughing matter and you've got an upper limit on your audience from the start.

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