Fox Searchlight looks to offer some dramatic counter programming to TheFateoftheFurious this weekend as Gifted is presented in approximately 1000 theaters. Marc Webb, known for (500) Days of Summer and the two Andrew Garfield Spider–Man pics, directs this tale of a super smart kid caught up in a custody fight. The cast includes Chris Evans, Octavia Spencer, Mckenna Grace, Lindsay Duncan, and Jenny Slate.
Gifted has received some decent reviews as it sits at 63% currently on Rotten Tomatoes. It opened in limited release this precious weekend and fared pretty well, collecting $476,000 on only 56 screens.
The pic will be showing on about 1/4 of the screens that Vin Diesel’s blockbuster will be. The best case scenario could be a premiere in the mid single digits and that’s where I have Gifted landing over Easter weekend.
Gifted opening weekend prediction: $4.7 million
For my TheFateoftheFurious prediction, click here:
Michael Keaton can convey so much with an expression. There are scenes in John Lee Hancock’s TheFounder where he doesn’t need dialogue to show what’s going through his head. Luckily, a lot of the writing here is quite good and often gets close to matching the lead’s masterful performance.
The pic has Keaton playing Ray Kroc, the man who started McDonald’s. Well, sort of. We open in 1954 as Kroc is a struggling traveling salesman in Missouri who stumbles upon a restaurant in San Bernardino, California. It’s doing things differently from the endless drive-in joints across the nation. Run by Dick (Nick Offerman) and Mac (John Carroll Lynch) McDonald, McDonald’s makes its food fast in an era the term fast food was yet to be coined. The brothers also take their work seriously and have chosen not to franchise after their first try resulted in poor service and quality. There’s a scene where Dick recalls how the restaurant’s burger making assembly line was perfected that’s an absolute joy to watch.
Ray immediately realizes the cash cow that Dick and Mac are sitting on and his relentless salesmanship gets them to relent on opening more locations. This brings forth a flurry of activity as Ray gets those Golden Arches up while constantly clashing with the actual founders.
Director Hancock’s last effort, SavingMr. Banks, showed another 1950s era titan of industry with an unending drive and ambition in the form of Walt Disney. Kroc is just as much an icon in many ways, though his motives are often far more ruthless. The screenplay by Robert D. Siegel doesn’t exactly make him a villain, but you won’t exactly sympathize with him either. With rare exception, Kroc’s actions are all about his personal gain. He barely speaks to his wife (Laura Dern) and has his eye on a business partner’s wife (Linda Cardellini). Yet at the same time, it was him who had the vision to expand a chain of restaurants that now feeds 1% of the world every day. And it probably took his kind of personality to do it.
The work of Lynch and Offerman is top-notch. Offerman’s Dick sees the writing on the wall with Ray, while Lynch’s Mac can’t quite get there. This is Keaton’s movie, though. Like Michael Douglas’s Gordon Gekko in WallStreet and Daniel Day-Lewis’s Daniel Plainview in ThereWillBeBlood, Keaton gives us another corporate honcho to kind of despise and kind of love. TheFounder may not be as fantastic as those two pictures, but the star is and it’s quite entertaining watching the intrigue unfold.
A good portion of the populace can probably relate to that work holiday gathering we’d rather forget. Maybe one or several drinks too many. Perhaps a comment to a coworker that doesn’t seem wise later in the light of day. There’s a lot of funny directions you can go with the concept of Office Christmas Party, but the film mostly misuses them as it hurls in too many directions. The end result is one we’ll forget quickly after we’ve experienced it.
Director Will Speck and Josh Gordon give us their third major feature. It’s not as good as their first (Blades of Glory) nor as bad as their last (The Switch). The latter featured Jason Bateman and Jennifer Aniston and so does this. Bateman is chief tech officer of Chicago corporation Zenotech, a family business run by Aniston. She’s the unfriendly task master and bottom line efficiency expert that her employees are afraid of. Her brother (T.J. Miller) is the free spirit who runs the day-to-day operations. He’s not great at his job, but his minions adore him.
Tough financial times cause the possibility of the Windy City branch closing. Bateman and Miller decide to throw an all-out Yuletide bash in a last-ditch attempt to woo a big money client (Courtney B. Vance, last seen gloriously chewing scenery as Johnnie Cochran in “The People Vs. O.J. Simpson”). Here, instead of memorably defending America’s most notorious running back, he gets sprayed in the face with a snow machine filled with cocaine.
There’s plenty of R rated comedy as the employees let loose and there’s a lot of them and their subplots to keep up with. We have the single mom (Vanessa Bayer) looking for companionship (it’s one of the more humorous ones). There’s Bateman’s assistant (Olivia Munn) and their romantic tension (it’s one of the more boring ones). And supremely talented comedic actors like Kate McKinnon (who has her moments) and Rob Corddry are in the mix as well. Jillian Bell, who made a hilarious villain in 22 Jump Street, plays a drug dealer here and her inclusion is mostly wasted. The main plot involves the love/hate relationship between siblings Miller and Aniston and it doesn’t provide much (other than a chance to see the former “Friends” star berate a little girl in an airport).
With this cast, there are bound to be some decently humorous bits here and there, but Office Christmas Party might have been more successful with a little more focus among the ribaldry.
Universal Pictures’ billion dollar franchise keeps rolling along as The Fate of the Furious parks into multiplexes on Easter Weekend. The eighth (yes, eighth) street racing action spectacle finds Straight Outta Compton director F. Gary Gray taking over behind the camera. Fate finds the majority of thespians associated with the series returning – Vin Diesel, Dwayne Johnson, Michelle Rodriguez, Tyrese Gibson, Ludacis, Jason Statham, Kurt Russell, and Nathalie Emmanuel. We also have a pair of Oscar winners joining the mix with Charlize Theron and Helen Mirren, as well as Scott Eastwood (whose dad has won some Oscars). Of course, this is the first picture (excluding 2006’s Tokyo Drift) without Paul Walker, who died during the filming of Furious 7.
When Diesel and Walker returned to the franchise in 2009’s Fast and Furious, it sparked a box office resurgence that’s never let up. That fourth entry debuted to $70 million with an overall $155M domestic haul. Follow-up Fast Five in 2011 opened to $86 million ($209M eventual tally). 2013’s Fast & Furious 6 made $97 million out of the gate and $238M eventually. And 2015’s Furious 7 easily set the high mark with a $147 million premiere and $353M overall.
The grosses of Furious 7 were likely (and sadly) expanded due to it being Walker’s last on-screen appearance. Therefore it stands to reason that Fate probably won’t reach the heights of that predecessor. That said, this looks to be a franchise that is still going strong and it would be surprising if it didn’t post the second largest bow thus far.
I’ll predict the fate of this is an opening gross in the low to mid $120M range.
The Fate of the Furious opening weekend prediction: $122.7 million
The first full weekend of April brings us a trio of new releases: family friendly animated three-quel Smurfs: The Lost Village, geriatric comedy Going in Style with Morgan Freeman and Michael Caine, and faith-based drama The Case for Christ. You can peruse my detailed individual prediction posts on them here:
As I see it, the Smurfs should easily be tops among the newbies. Yet it may not earn enough to topple the current #1 and #2 which also appeal to families – The Boss Baby and Beauty in the Beast. In fact, we could a rather close battle between Baby and Beauty this time around.
Going in Style has some sleeper potential, but I’m predicting a low double digits premiere which would put it in fourth place.
Ghost in the Shell had a disappointing opening (more on that below) and should lose a significant chunk of its audience in weekend #2 to round out the top five.
The Case for Christ is debuting on approximately 1100 screens. I’ve got it slated to earn $3.4 million, which would put outside the top five.
And with that, your top 5 estimates for the weekend:
1. The Boss Baby
Predicted Gross: $26.1 million (representing a drop of 48%)
2. Beauty and the Beast
Predicted Gross: $24 million (representing a drop of 47%)
3. Smurfs: The Lost Village
Predicted Gross: $20.4 million
4. Going in Style
Predicted Gross: $11.5 million
5. Ghost in the Shell
Predicted Gross: $7.9 million (representing a drop of 58%)
Box Office Results (March 31-April 2)
In a bit of an upset, Dreamworks animated The Boss Baby topped the charts with a fantastic $50.1 million, blowing past my meager $28.6M prediction. The Alec Baldwin voiced ‘toon proved critic proof (it stands at just 48% on Rotten Tomatoes) and gives its studio a sizable hit.
Beauty and the Beast continued its terrific run, but slipped to second with $45.4 million (just under my $48.8M estimate) for a total gross of $393M.
In a March frame where most pictures exceeded expectations, Ghost in the Shell achieved the opposite with a weak $18.6 million for third. This is well below my $30.3M prediction and it’s clear that casting controversies and mediocre reviews helped contribute to the middling premiere.
Power Rangers took a precipitous tumble in its sophomore frame with $14.2 million for fourth place, considerably under my $20.1M forecast. The severe second weekend drop puts in question any planned sequels.
Kong: Skull Island rounded out the top five at $8.5 million (I said $7.9M) for a $147M overall tally.
Finally, The Zookeeper’s Wife overcame so-so reviews with a pleasing showing in 10th with $3.2 million on only 541 screens. This bested my $2.1M projection and it could show sturdy legs as it expands its theater count this weekend. It’s per screen average was actually higher than that of Ghost in the Shell.
This Friday, The Case for Christ will attempt to capitalize on the upcoming Easter holiday by bringing in faith-based audiences. Pictures in this genre have over performed in the past. Christ focuses on proving the existence of Jesus with a cast that includes Mike Vogel, Erika Christensen, Robert Forster, and Faye Dunaway (last seen accidentally proclaiming La La Land as Best Picture instead of Moonlight).
The pic comes from Pure Flix Entertainment and they specialize in these Christian themed dramas. Their biggest success was 2014’s God’s Not Dead, which surprised prognosticators with a $9 million opening and $60 million eventual domestic gross. Christ is slated to premiere on around 1100 screens, which isn’t a huge number.
I don’t believe this will enter the territory of the studio’s largest success. Instead, I could see a gross similar to their 2015 effort Do You Believe?, which made $3.5 million out of the gate on a similar (1320 screens) number of venues.
The Case for Christ opening weekend prediction: $3.4 million
For my Smurfs: The Lost Village prediction, click here:
PatriotsDay marks the third collaboration between director Peter Berg and star Mark Wahlberg recounting recent tragedies. After LoneSurvivor and DeepwaterHorizon, their latest continues their work of solidly crafted dramas that fall far short of greatness. Yet there’s enough powerful material to make it recommendation worthy.
The picture recounts the Boston Marathon bombing and its manhunt for the two suspects that carried it out. It was that April 2013 day that marked the largest domestic terror attack since 9/11. Wahlberg is police sergeant Tommy Saunders, who’s on duty near the blast sites at the finish line. He’s witness to the horrific loss of lives and limbs and determined to see the attackers brought to justice.
Berg’s film tells not only the tale of law enforcement response, but also shows us the Tsarnaev brothers as they attempt to flee to enact more destruction in New York City. Older brother Tamerlan (Themo Melikidze) is the mastermind while younger brother Dzhokhar (Alex Wolff) is portrayed as a more Westernized stoner college kid who still believes strongly in their cause. It is in the time spent with them that provide a number of chilling moments, including their abduction of a college student as their make their escape. An interrogation scene with Tamerlan’s wife is also a dramatic highlight.
PatriotsDay does a commendable job of showing many of the parties whose lives became intertwined by the day’s events. This includes some of the bombing victims as well as individuals calling the shots. John Goodman portrays city police commissioner Ed Davis, Kevin Bacon is the FBI special agent in charge, and J.K. Simmons is a sergeant in the suburb of Watertown where the manhunt culminates. They are all real life characters while Wahlberg’s is not. The lead actor is solid enough in the part, even though the pic may have more effective if the screenwriters had just stuck to the actual players.
Those with decent knowledge of these events may feel a lack of suspense, especially as we build toward the conclusion. The prologue spends some time with people the actors are playing and it made me ready to watch a documentary about their lives since. Overall, it’s worth the time to see this version which sticks mostly to the facts and reminds us of a city’s strength that gave way to an earned slogan.
HiddenFigures is a good film about a great story. It’s a picture about racial discrimination that isn’t looking to make any waves, but rather tell its tale in an audience pleasing style. Director Theodore Melfi and the top-notch cast manage to achieve their mission, while moviegoers looking for something deeper about similar subject matter have plenty of other quality material to select from.
Figures is set in the early 1960s and focuses on three African American women who were instrumental to the nation’s space race. Katherine (Taraji P. Henson) is a math whiz who does the work that computers would later accomplish. Dorothy (Octavia Spencer) is a capable supervisor whose chances at career advancement are hindered by her race. Same goes for Mary (Janelle Monae), a talented engineer who must fight to attend a whites only school to further her opportunities.
Each woman is presented with unique challenges based on their being in a foreign world in Langley. Even as Katherine is elevated to more important work in her field, she must run half a mile to a building with a colored only restroom as her new digs don’t have one. Dorothy’s supervisor (Kirsten Dunst) has a tough time envisioning her employee doing a similar job. Mary must be creative with the judicial system to achieve her goals.
The screenplay focuses most prominently on Katherine and her interactions with sympathetic Al Harrison (Kevin Costner), director of the Space Task Group. He enlists her help in the furious space race with the Russians as they try to get John Glenn to orbit the Earth.
HiddenFigures serves as a nifty history lesson to younger viewers and those who’ve forgotten their lessons when it comes to that race. And it’s the race of the three leads and their true stories that probably should’ve been told before now. The screenplay has apparently taken some liberties here and there with certain facts, but the contributions of Katherine, Dorothy, and Mary is not in question.
The subject’s personal lives aren’t explored in major detail, save for Katherine’s romance with a military officer (Mahershala Ali). Figures is more concerned with their work and the dynamic between Katherine and Harrison is the most interesting. It helps that both Henson and Costner do fine work here.
While the pic isn’t necessarily told in a new way as it builds toward triumphant moments for the principles, I’m glad I got to know about their previously unheralded contributions.
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