Blogger’s Note (08/18/18): I am revising my estimate from $17.8 million down to $13.8 million
The Happytime Murders drops in theaters next weekend with a very simple concept to draw moviegoers in: Puppets Gone Wild! The very R-rated comic crime tale imagines a world where humans and puppets coexist. It comes from Brian Henson (son of Jim), who made the more family oriented Muppet pics The Muppet Christmas Carol and Muppet Treasure Island in the 1990s. Melissa McCarthy headlines the human cast along with Elizabeth Banks, Maya Rudolph, and Joel McHale. Bill Barretta is the puppet detective who used to work with McCarthy’s character.
The film’s tagline – “All Sesame, No Street” – resulted in a lawsuit from the makers of the long-running PBS program. As you could correctly guess from the red-band trailers, they had no involvement in this particular project.
Happytime should rise or fall at the box office based on audience curiosity in its gimmick. Finding reasonable comparisons for this is a tricky proposition. Two summers ago, the animated Sausage Party rode a wave of good buzz to a fantastic $34 million debut. However, this doesn’t seem to be generating similar chatter as of yet. If we want to go back in dirty puppet history, Team America: World Police earned just over $12 million in the fall of 2004.
The participation of McCarthy could help, but this is not the type of material her fans may typically rush to see. I’ll say Murders manages a debut in the mid to high teens and its word-of-mouth (positive or negative) will determine what transpires in the weeks following.
The Happytime Murders opening weekend prediction: $14.8 million
Blogger’s Note (08/14/18): On the eve of its opening, I’m upgrading my CrazyRichAsians estimate to low 20s and mid 30s for the three and five-day. That now gives it the #1 spot.
A trio of newcomers attempt to bite into the unexpected huge performance of TheMeg and it keep it from a second frame atop the charts. We have critically acclaimed rom com CrazyRichAsians, Mark Wahlberg’s action thriller Mile22, and Ice Age adventure Alpha. You can peruse my detailed prediction posts on each of them here:
Let’s start with the low hanging fruit. I don’t expect much from Alpha at all and my $5.2 million projection leaves it outside of the top five.
Even if The Meg falls over 50% in its second frame, it could still maintain the top spot with a gross in the low 20s.
However, that’s if Crazy Rich Asians doesn’t manage those numbers. My estimate has steadily risen, but its Wednesday opening could prevent it from hitting #1 (I’ve got it awfully close). Mile 22 should place third in the mid teens for a so-so start.
Mission: Impossible – Fallout should drop to fourth. The five-spot could be interesting as I have Christopher Robin and BlacKkKlansman grossing roughly the same amount.
And with that, here’s my top 6 projections for the weekend ahead:
1. CrazyRichAsians
Predicted Gross: $22.5 million (Friday to Sunday), $33.4 million (Wednesday to Sunday)
2. The Meg
Predicted Gross: $20.3 million
3. Mile 22
Predicted Gross: $16.7 million
4. Mission: Impossible – Fallout
Predicted Gross: $11 million
5. Christopher Robin
Predicted Gross: $7.4 million
6. BlacKkKlansman
Predicted Gross: $7.1 million
Box Office Results (August 10-12)
The Meg turned out to have the quite the mega opening stateside with $45.4 million, doubling (yes DOUBLING) my meager $22.7 million estimate. Never bet against sharks apparently. The shark tale performed well overseas as well, which was needed considering its reported $150 million plus budget.
Mission: Impossible – Fallout was runner-up with $19.3 million (a tad below my $21.3 million prediction) for $161 million in its three weeks of release.
Christopher Robin was third with $12.9 million compared to my $13.8 million estimate. The Disney pic has made $50 million in two weeks.
Critically reviled horror flick Slender Man was fourth, debuting to $11.3 million (a couple notches above my take of $9.1 million). Look for it (with a D- Cinemascore grade) to fade quickly.
Spike Lee’s BlacKkKlansman, with terrific reviews and awards buzz, started out strong on just over 1500 screens in fifth with $10.8 million (I said $9.6 million).
Finally, Dog Days premiered to totally unimpressive numbers in just 12th place with $2.5 million. I gave it way too much credit at $5.1 million. Woof.
1982’s BladeRunner has been reworked and remastered more in the past three decades plus than most classic albums. Along with Alien, director Ridley Scott created a one two punch of science fiction classics in a span of just three years. While the former spawned a series of sequels and offshoots, it’s not until 35 years later that a proper BladeRunner sequel has arrived.
Mr. Scott serves as executive producer because he was busy making the mediocre Alien: Covenant. So it’s Denis Villeneuve handling behind the camera duties one year after his highly rewarding alien pic Arrival. He proves himself as a natural choice to revisit this dystopian future that’s been an incredible influence on many sci-fi experiences that followed.
That influence has mostly been in its bleak look and astonishing production design. 2049, as the title tells us, takes place 30 years after what we saw in the early 1980s. Our central character is K (Ryan Gosling), a replicant who serves the LAPD like Deckard (Harrison Ford) in the original. These days, K’s kind are programmed to be more obedient and their primary function is in slave labor. K’s day job involves hunting down old school replicants. In the ultra stylish night, he invents a relationship with the gorgeous holograph Joi (Ana de Armas).
One of K’s assignments leads to a startling discovery that suggests replicants have the ability to procreate. The existence of a being of that ilk is troubling to K’s boss (Robin Wright), fearing a war will break out between humans and replicants. The revelation also intrigues Wallace (Jared Leto), the blind owner of the corporation that manufactures the product. He envisions this as a considerable financial opportunity and tasks his chief enforcer (Sylvia Hoeks) to find the now grown child.
This all eventually leads back to Deckard, with Ford completing a trifecta of revisiting signature late seventies and early eighties roles. It also involves his romantic interest Sean Young from the original. She returns in the archival footage manner. 2049 expands the BladeRunner universe and also expands the running time, clocking in nearly 45 minutes longer than part 1. In that respect, the sequel takes a bit longer to get its motor running.
Luckily for us, the visuals that were so special 35 years ago are remarkable here as well. There are sequences that are bleakly beautiful. Those expecting a full update on Deckard’s dealings may be surprised to find he doesn’t appear until about two-thirds through the proceedings. This is Gosling’s picture to carry most of the way and he does so with a quiet intensity.
Like Villeneuve’s Arrival, this is a sci-fi venture more steeped in its themes than action sequences. Violence comes in short and sudden bursts and that’s in line with two of the filmmaker’s other efforts Prisoners and Sicario. It’s no accident that I’m comparing 2049 just as much to those three movies as I am with the Scott original. Villeneuve succeeds in making this long gestating follow-up his own while clearly valuing an adoration of the first. That doesn’t happen too often as even Scott has fallen short with his return to Alien world. The legions of admirers of what came 35 years ago should be pleased.
Michael Gracey’s TheGreatestShowman doesn’t burden itself with much historical accuracy or being a full-fledged look at its title subject. Its pleasures are of the surface level variety. At one point, a stuffy critic begrudgingly tells P.T. Barnum that his show has succeeded in bringing joy to people. So does this musical in many moments.
Hugh Jackman is Barnum, an endless promoter who grew up poor and never forgot how he was treated by New York’s elite. He marries his childhood sweetheart Charity (Michelle Williams), who came up with wreath and privilege. After some career misfortune in the 19th century era Big Apple, Barnum develops his greatest idea: a stage experience featuring society’s freaks. This includes a bearded lady (Keala Settle) with a beautifully booming voice and a dwarf (Sam Humphrey) who dresses as a general. He teams up with playwright Phillip Carlyle (Zac Efron), who also hails from the aristocracy but feels more at home among these outcasts. Phillip also finds love of the forbidden kind with the show’s trapeze artist (Zendaya).
While Barnum finally finds the financial success he’s longed for, it doesn’t buy him respect and that’s a consistent through line in the screenplay. Both the wealthy class and hecklers who lurk around the theater believe the freak show atmosphere is a disgrace. Barnum tries to combat this by touring with famed European opera star Jenny Lind (Rebecca Ferguson). Both his family and circus employees feel the neglect.
The brisk 105 minute running time features 11 song and dance numbers that move the plot along, often in montage fashion. Even a cursory Wiki read of Barnum’s grand life reveals that Jenny Bicks and Bill Condon’s script aren’t making a biopic. Like the man it’s about, this picture is style over substance. The message of inclusion and acceptance is unmistakable and frequently touching. Most importantly, the musical numbers (from the team behind LaLaLand) produce plentiful happy feels.
With his theater background, Jackman is more than well suited to play the man in the top hat. He’s the focal point in many of the song and dance interludes. Yet it’s “Rewrite the Stars”, a gorgeously choreographed sequence with Efron and Zendaya, that proved most memorable for me.
A stuffy critic could gripe that a rewrite should have explored more of Barnum’s real existence. However, the joyous vibe while I was watching is enough to justify admission here.
Opening next week, Crazy Rich Asians has the potential to be a late summer sleeper hit. Based on a bestseller by Kevin Kwan, the romantic comedy is said to be a crowd pleaser. Critics have taken notice. The film stands at 100% currently on Rotten Tomatoes. That’s a far cry from previous directorial efforts from Jon M. Chu, who made G.I. Joe: Retaliation and Jem and the Holograms.
If this picture manages to be a success, could Oscar voters take notice of the first Asian-American led studio effort in a quarter century (since The Joy Luck Club)? That will depend on competition. The only race I see where this could possibly be included is Best Adapted Screenplay.
Last year, the competition in that particular race was lighter than usual. That may not be the case this year with potential contenders like BlacKkKlansman, If Beale Street Could Talk, Widows, First Man, A Star is Born, Beautiful Boy, and Boy, Erased. However, if some of those titles don’t match expectations (which is often the case), Crazy Rich Asians could make a play.
The Academy of Motion Picture Arts and Sciences dropped a rather big bombshell today with some announced changes to their Oscar telecast. First off, they’re claiming the show will now be just three hours (I’ll believe it when I see it). Additionally, some categories (I imagine numerous tech ones) will be announced live during commercial breaks and then edited into the show later. This probably won’t make the individuals in those races happy, but it should speed up the program.
However, the most noticeable and interesting change is the addition of a new category (something the Academy rarely does). The addition is described as “Outstanding Achievement in Popular Film”. No other details have been provided, but this would appear to be an attempt by the Academy to include blockbusters that haven’t made the cut in Best Picture.
So what does that mean? What is the criteria? That was not announced today and it will be fascinating to see what such criteria is. Could it be a particular gross… say over $100 million domestically? Could it be the number of the theaters a movie is released in? Time will tell and hopefully these details will be revealed shortly. It isn’t even immediately clear that these changes will all be in effect for the 2019 telecast, but I imagine they will be.
Even though nothing is totally clear at press time, that won’t stop me from speculating and asking, “What if this category had been in effect in previous years?”
Before that, let’s start with this year. If there is a Best Popular Film category in 2018, that greatly increases the chances of Marvel’s Black Panther and horror smash A Quiet Place getting nods. There’s also Mission: Impossible – Fallout (the most acclaimed entry in the franchise) or perhaps Avengers: Infinity War. Pixar will certainly see Incredibles 2 nominated in Best Animated Feature, but it could make a play here as well. And we still have fall releases like Mary Poppins Returns and A Star Is Born out there.
There will be plenty of speculation as to whether Black Panther will be the first superhero pic to nab a Best Picture nomination. There is little doubt it would be recognized in this new category.
It’s been discussed on this blog previously about the 2008 Oscars which omitted The Dark Knight in the Best Picture derby. That development was likely responsible for the Academy changing its rule of five nominated films to anywhere between five and ten. Yet it would appear the Academy still isn’t satisfied with major hits being included.
Let’s consider last year. Of the nine Best Picture nominees, only two grossed over $100 million – Get Out and Dunkirk. If the Popular Film category had existed a year ago, I imagine both features would have achieved double nominations. Assuming this new category contains five nominees (something not revealed yet), what would the other three have been? There’s plenty of blockbusters to choose from: Beauty and the Beast, Wonder Woman, It, Logan, Coco, The Greatest Showman, War for the Planet of the Apes, Wonder, and Baby Driver.
Here’s my best guess of what a Best Popular Film slate would have looked like in 2017:
Dunkirk, Get Out, Logan, War for the Planet of the Apes, Wonder Woman
And I’m thinking Get Out would have won.
In 2016, you might have seen Deadpool and The Jungle Book as Popular picks.
In 2015, there could have been room for Star Wars: The Force Awakens and Straight Outta Compton.
2014? Perhaps Guardians of the Galaxy and Gone Girl.
Heck, let’s go way back. Would Jurassic Park have won Best Popular Film in 1993? I don’t think so. I bet it would have gone to The Fugitive, which nabbed an actual Best Picture nomination.
Of course, there would have been years where Best Picture and Best Popular Film match. 1994 with Forrest Gump. 1997’s Titanic. 2000’s Gladiator. Lord of the Rings: The Return of the King in 2003.
Back to today. I would say this new category seems tailor-made for Black Panther. Does that mean its chances for a Best Picture nod are now diminished because voters figure it runs away with this? Perhaps. And that’s why I’m not too wild about this change at the moment. This has the potential to look like a desperate play by the Academy. At the least, it’s an acknowledgment that audience favorites and Academy favorites don’t often match.
That said, let’s see what the criteria is and I’ll judge from there. It’s a new era at the Oscars… one where Bumblebee stands a shot (however remote) at Oscar glory!
The historical adventure Alpha debuts in theaters next weekend and it could face an uphill battle for eyeballs. The Ice Age set pic doesn’t have the benefit of animated creatures or much buzz at all. Albert Hughes directs and he’s most known for collaborations with his brother Allen including MenaceIISociety, FromHell, and TheBookofEli. Kodi Smit-McPhee, Leonor Varela, Jens Hulten, and a wolf headline the cast.
Alpha has experienced a shifting release date and Columbia Pictures finally settled on the mid August slot. It was originally scheduled for last September, back to March of this year, then September 2018, and lastly the August push-up. That doesn’t inspire much confidence.
I’ll predict this opens well behind its competition Mile22 and CrazyRichAsians and doesn’t manage double digits. In short, Alpha is looking like a dog.
Blogger’s Note II (08/14/18): My estimate is rising once again and I’m going with $22.5 million for the three-day and $33.4 million for the five-day.
Blogger’s Note (08/10/18): I am ramping up my estimate for this based on buzz from $14.2M to $19.4M for the traditional weekend and high 20s for the five-day.
In what could turn out to be some smart counter programming, romantic comedy CrazyRichAsians opens next Wednesday. The Warner Bros release is, rather shockingly, the first stateside studio effort in a quarter century (1993’s TheJoyLuckClub) to feature a predominately Asian-American cast. It’s based on a 2013 bestseller by Kevin Kwan. The cast includes Henry Golding, Constance Wu, Gemma Chan, Lisa Lu, Nico Santos, Ken Jeong, and Michelle Yeoh. Jon M. Chu, who made JustinBieber: NeverSayNever and G.I. Joe: Retaliation, directs.
The film seems to be garnering some positive buzz and it could bring out a female audience, as well as a community clearly underrepresented at multiplexes. Even with that breakout potential, the Wednesday opening probably means it’ll debut behind Mile22 with Mark Wahlberg.
I will estimate a traditional weekend opening in the low teens and that could mean a gross close to $20 million for the five-day total.
CrazyRichAsians opening weekend prediction: $22.5 million (Friday to Sunday), $33.4 million (Wednesday to Sunday)
Mark Wahlberg is back in action mode and reuniting with director Peter Berg next weekend in Mile 22. The action thriller finds the star as the head of an elite CIA unit and the supporting cast includes John Malkovich, Lauren Cohan, Iko Uwais, Ronda Rousey, and Lee Chae Rin.
This is the fourth Wahlberg/Berg collaboration and it’s the first not based on real life events after Lone Survivor, Deepwater Horizon, and Patriots Day. Distributor STXfilms is hoping this will be the start of a new franchise with a TV series and sequel reportedly in development.
That, of course, could all depend on how this performs. The budget is only $35 million, which is quite low for a summer action release. Looking at other similar material from Wahlberg, Mile 22 would love to achieve the $24 million earned by something like 2012’s Contraband. Yet it could debut with something closer to the $14 million made by 2007’s Shooter. The $27 million made out of the gate five summers ago by 2 Guns is a reach in my opinion… that had the Denzel factor.
I’ll say a mid to high teens gross is the most likely scenario, meaning Mile won’t achieve the marker contained in its title.
***Blogger’s Note II (08/09/18): A big change has happened. I am revising my estimate for The Meg up to $22.7 million, therefore giving it the #1 spot. I am also increasing my BlacKkKlansman estimate once again from $7.6M to $9.6M
**Blogger’s Note (08/08/18): I have revised my BlacKkKlansman estimate from $5.6M to $7.6M, which gives it the #5 spot and drops The Spy Who Dumped Me outside the top five.
A quartet of newbies attempt to dethrone Tom Cruise this weekend as shark tale TheMeg, Internet meme based horror pic SlenderMan, canine tale DogDays, and Spike Lee’s awards hopeful BlacKkKlansman all open. You can peruse my detailed prediction posts on each here:
Of the four newcomers, TheMeg appears poised to earn the most. Audiences have proven they dig their shark flicks and the upside here is real. However, my high teens projection leaves it behind Mission: Impossible – Fallout and that would give Cruise and company a third weekend atop the charts.
Slender Man is a real question mark. Its studio doesn’t seem to have much faith in it, but horror titles can often surprise. I’m definitely at the lower end of expectations currently with a forecast in the high single digits. That would leave it lurking in fourth place behind Christopher Robin.
The five-spot depends on how the other two newcomers perform. Dog Days is opening on Wednesday and my $5.1 million estimate for its Friday to Sunday performance leaves it behind the $5.6 million I’m predicting for BlacKkKlansman (which certainly could go higher). That leaves both of them behind the second frame of The Spy Who Dumped Me, which should drop in the mid 40s range.
It’s an unpredictable weekend we have before us, but here’s how I have the top 5 looking:
1. The Meg
Predicted Gross: $22.7 million
2. Mission: Impossible – Fallout
Predicted Gross: $21.3 million
3. Christopher Robin
Predicted Gross:$13.8 million
4. BlacKkKlansman
Predicted Gross: $9.6 million
5. Slender Man
Predicted Gross: $9.1 million
***If these numbers change throughout the week, I’ll post updates!
Box Office Results (August 3-5)
Mission: Impossible – Fallout had a terrific hold in weekend #2, dropping just 42% to gross $35.3 million (above my $32 million projection) and remain #1. The sixth installment of Tom Cruise’s franchise has amassed $124 million so far.
Disney’s Christopher Robin came in on the bottom end of expectations in the runner-up position with $24.5 million compared to my more generous $29.6 million estimate. Winnie the Pooh and company will hope for small declines in coming weekends.
The Mila Kunis/Kate McKinnon comedy The Spy Who Dumped Me also debuted on the low-end of the expected scale in third with just $12.1 million, under my $15.3 million forecast.
Mamma Mia! Here We Go Again was fourth with $9 million (I said $8.3 million) for $91 million in three weeks.
I mistakenly left The Equalizer 2 out of the top five, but it was fifth with $8.7 million. The Denzel Washington sequel has made $79 million and looks to potentially top the $101 million earned by its predecessor.
Hotel Transylvania 3 was sixth with $8 million (I was lower at $6.9 million) and it’s earned $136 million overall. The franchise has shown remarkable consistency and I’d look for a fourth installment in about three years.
Finally, YA adaptation The Darkest Minds suffered a bad opening in 8th place with $5.8 million, in line with my $6.3 million prediction.
All My Life... I Wanted To Be A Blogster 