Opening on July 2nd, The Forever Purge is billed as the final picture in the horror franchise that began in 2013 and has now spawned four sequels. It is a direct sequel to 2016’s The Purge: Election Year and follows the 2018 prequel The First Purge. Everardo Gout directs and James DeMonaco (who made the first three entries) serves as co-producer and screenwriter. The cast includes Ana de la Reguera, Tenoch Huerta, Josh Lucas, Cassidy Freeman, Leven Rambin, Alejandro Edda, and Will Patton.
Forever sports the highest production budget of the quintet at approximately $25 million (the rest were all in single or lower double digits). The series has been a hugely profitable and consistent venture for Universal with all four pics grossing between $64-$79 million domestically. The high mark came with Election Year while the lowest was actually the original.
We are still at a point pandemic wise where releases are not generating what they normally might under traditional summertime circumstances. The lowest three-day start for a Purge is from 2018 with The First Purge. The Friday to Sunday total was $17.3 million. However, the five-day holiday tally was just over $31 million.
While expectations should be tempered, this franchise has shown an ability to attract an audience. A start in the high teens range is feasible. There would be champagne bottles popping if it somehow manages to top $20 million. Yet I’ll project that this final (?) Purge ends up with the lowest premiere of the bloody bunch.
The Forever Purge opening weekend prediction: $16.1 million
For my The Boss Baby: Family Business prediction, click here:
The Boss Baby: Family Business looks to pacify little ones and their parents over the Independence Day weekend. The DreamWorks animated sequel follows up on the March 2017 pic which greatly over performed with its target audience. Alec Baldwin is back voicing the title character alongside James Marsden, Amy Sedaris, Ariana Greenblatt, Eva Longoria, Jimmy Kimmel, Lisa Kudrow, and Jeff Goldblum. Tom McGrath resumes directorial duties.
In the spring of 2017, The Boss Baby was projected to earn around $30 million for its start. However, it blew past those estimates with $50.2 million in its opening frame and eventually took in $175 million domestically. Several factors are likely to complicate that kind of debut for part II.
For one, some of the little viewers who flocked to see it are four years older now. COVID-19 is still somewhat limiting potential. This was originally slated for March before its pandemic related delay. Family Business is also hitting streamer Peacock on the same day and some may simply choose to hold their Baby viewing from the comfort of home. That said, Peacock is not anywhere in the spectator realm of the big boys like Netflix, Amazon, or HBO Max as of yet.
Estimates have this reaching approximately $20 million over the holiday. I’ll give it a slight Baby bump considering its predecessor easily managed to top forecasts.
The Boss Baby: Family Business opening weekend prediction: $21.7 million
The domestic box office should experience its largest debut in the COVID era with F9 as the only newcomer joining the fray this weekend. The ninth pic in the Fast and Furious franchise is poised to score the largest premiere since Star Wars: The Rise of Skywalker all the way back in December 2019. You can peruse my detailed prediction post on it here:
The question is: how big will it be? My mid 60s estimate puts it slightly above what spinoff Hobbs & Shaw accomplished two years ago and not in the high 90s stratosphere of immediate predecessor The Fate of the Furious from 2017.
As for the holdovers that will populate the remainder of the top five, it could be a close race for #2. If current champ Hitman’s Wife’s Bodyguard loses around half of its opening audience and A Quiet Place Part II only falls about a third, the latter could remain in the runner-up slot. Look for family features Peter Rabbit 2: The Runaway and Cruella to populate the remainder of the quintet.
And with that, my take on the weekend ahead:
Predicted Gross: $64.8 million
2. A Quiet Place Part II
Predicted Gross: $6.2 million
3. Hitman’s Wife’s Bodyguard
Predicted Gross: $5.6 million
4. Peter Rabbit 2: The Runaway
Predicted Gross: $4.1 million
Predicted Gross: $3.3 million
Box Office Results (June 18-20)
As anticipated, the trio of Ryan Reynolds/Samuel L. Jackson/Salma Hayek in Hitman’s Wife’s Bodyguard managed to top the charts and pretty much open in line with expectations. The poorly reviewed action sequel took in $11.3 million during the Friday to Sunday frame compared to my $12.6 million estimate. Its $16.7 million five-day take (it started out on Wednesday) is just under my $17.7 million projection.
A Quiet Place Part II dropped to second with $9 million, outpacing my $7.9 million prediction as the horror sequel now stands at $124 million.
Third place belonged to Peter Rabbit 2: The Runaway with $6 million (I said $6.6 million). The ten-day tally is $20 million.
The sequels keep on coming with The Conjuring: The Devil Made Me Do It in fourth at $5 million, falling under my guesstimate of $6.1 million. Total is $53 million.
Cruella rounded out the top five with $4.8 million and I incorrectly had it on the outside looking in. The Disney live-action remake is up to $64 million.
Finally, In the Heights suffered a hefty decline in its sophomore outing. Despite critical acclaim, the musical plummeted 63% for sixth place and $4.2 million. I was far more generous at $7.7 million. The lackluster tally is just $19 million.
Ten days ago, Jon M. Chu’s In the Heights went into its premiere weekend as the first bonafide Best Picture contender of 2021. Sporting a Rotten Tomatoes rating of 96%, the musical (adapted from a play co-created by Lin-Manuel Miranda) was projected to gross around $20 million in its opening frame. And then reality happened.
The pic was a major box office disappointment and earned just $11.5 million out of the gate (landing at #2 behind the third weekend of A Quiet Place Part II). Even then not all hope was lost. With solid word-of-mouth and awards buzz, perhaps Heights would hold well in subsequent weekends.
And then reality happened again. Heights appears to have dropped to sixth place in its sophomore outing with a drop of over 60%. What a difference a week and a half can make. There’s really no positive spin for its box office performance. It’s simply very underwhelming. Furthermore, the bulk of publicity received for Heights in recent days was either for its disappointing numbers or controversy emerging from its casting choices (something for which Miranda issued an apology for).
At this juncture, it’s a legitimate question whether Heights is still a viable contender at the Oscars. Much of that could depend on if Warner Bros makes a robust effort to campaign for it. I would say its inclusion in the big categories is now iffy at best. This applies to Best Picture, Adapted Screenplay, Anthony Ramos in Actor (which was probably always a long shot), and Olga Merediz in Supporting Actress. Down the line categories such as Sound and Original Song are more questionable as well.
The studio could shift its focus to fall contenders including Denis Villeneuve’s Dune, Sopranos prequel The Many Saints of Newark, and King Richard with Will Smith. Bottom line: Heights isn’t finished in the Oscar derby, but it is hard to say that it’s not wounded.
Remember those Brady Bunch episodes when they went to Hawaii and Bobby found the evil tiki that ruined part of their vacation? Similar happenings occur in The Conjuring: The Devil Made Me Do It to the Warren bunch – our happily married demonologists Ed (Patrick Wilson) and Lorraine (Vera Farmiga). It involves a satanic totem that wreaks even more havoc than Greg wiping out while surfing or Alice throwing her back out during a hula lesson. The latest Conjuring franchise pic delves deeper into the occult than previous entries and it is again based loosely on a true story.
This centers on the 1981 case of Arne Johnson (Ruairi O’Connor), who was the first American to claim demonic possession as a defense during trial. As we learn in the pretty effective opening sequence, his curse was passed like a hot potato from 8-year-old David Glatzel (Julian Hilliard). That little boy is exorcised by the Warrens and church officials in a body twisting procedure, but his malady is transferred to his sister’s boyfriend. That results in Arne returning home from work and his dogs are barking. His feet are fine. Arne works in a boarding kennel and those pups know something is off with him. The rest of Connecticut figures it out shortly after when he brutally stabs his boss.
Ed and Lorraine are naturally sympathetic to Arne’s forthcoming legal proceedings and seek to discover the backstory of how this came to be. Lorraine’s clairvoyant abilities unveils a tale of witchcraft. Meanwhile, Ed is hampered by heart problems. In fact, he experiences more ticker palpitations than you might as a viewer.
In 2013, the original Conjuring emerged as one of the finest horror pics in recent years. None of the official sequels or spinoffs have come too close to matching it and that holds. Michael Chaves takes over directorial duties from James Wan. Like the first two, this is well-made and doesn’t suffer from the cheap knockoff vibe that, say, Annabelle had. To be fair, even the Annabelle follow-ups improved. The last time we saw the Warrens was in 2019’s Annabelle Comes Home and I would say it had more pure entertainment value than this.
That’s not to say Devil is bad. It’s just another so-so example of creaking sound effects and jump scares that intermittently possesses a genuine scare. This even gets a little gooey towards the conclusion with its love conquers all theme. You can’t blame the filmmakers. Ed and Lorraine, in real life apparently and certainly on screen, have been through a lot. It’s too bad they weren’t in Hawaii back in the seventies. Maybe Alice would have had a far more pleasant hula lesson.
2014 was an admittedly sturdy year in the Best Actor category with Eddie Redmayne winning the prize for The Theory of Everything. The other nominees were Steve Carell (Foxcatcher), Bradley Cooper (American Sniper), Benedict Cumberbatch (The Imitation Game), and Michael Keaton (Birdman). However, one could argue that Carell could have fit into the Supporting Actor derby (and he probably would have been nominated over his costar Mark Ruffalo).
So while all five contenders above turned in fine performances, I still cannot fathom how Jake Gyllenhaal’s work in Dan Gilroy’s Nightcrawler was left out. As a demented Los Angeles photojournalist, the actor (whose only Academy nod is for supporting in 2005’s Brokeback Mountain) turned in a career best performance. In fact, Nightcrawler itself is my favorite movie of its year and should’ve certainly been a Best Picture nominee too.
This was the second year in a row where I feel an obviously worthy turn was ignored. In 2013, it was Tom Hanks as Captain Phillips. Gyllenhaal’s exclusion is just as baffling and that’s especially true because he was nominated at the Critics Choice, Golden Globe, and SAG Awards.
Two days ahead of its streaming debut on Disney Plus, Pixar’s latest comedic fantasy Luca has seen its review embargo lifted. It marks the feature-length directorial debut of Enrico Casarosa (who’s done story artist work on some of the studio’s pics) and has a cast voice cast that includes Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, and Jim Gaffigan.
Set in the Italian Riviera, the coming-of-age tale is taking the same distribution route as last year’s Soul by passing multiplexes for home viewing. In 2020, Soul was seen as the sturdy frontrunner for Best Animated Feature and that narrative never changed. That Pixar effort sported a 95% Rotten Tomatoes score and ended up winning gold at the Oscars. The path for Luca could be trickier.
Its Tomato meter currently sits at 89% and while that’s quite good, many critics are saying Luca is not in the upper echelon of Pixar fare. I would say the question is not whether Luca gets nominated (it will), but whether it wins. The score by Dan Romer also has a shot in that race. Disney already has another entry from this spring that could make the final five in Animated Feature (Raya and the Last Dragon), but Luca would have an edge. However, there’s also The Mitchells vs. the Machines from Netflix and it should serve as major competition for the top prize. This is in addition to films slated for the second half of 2021 (remember the names Flee and the Mouse Factory’s own Encanto).
Bottom line: You can never count out Pixar. Luca will likely hear its name included when the Animated Features contenders are named. Its victory presents a more challenging path than Soul experienced. My Oscar Watch posts will continue…
F9 is widely expected to drive traffic into theaters in a way we have not witnessed since late 2019 – before anyone knew what COVID-19 was. The ninth official entry in The Fast and the Furious franchise appears poised to have the largest domestic opening since Star Wars: The Rise of Skywalker a year and a half ago. It opens June 25th after a series of pandemic related delays. Justin Lin returns in the director’s chair for his fifth Fast flick and first since Fast & Furious 6. Long time and newer series regulars returning include Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Jordana Brewster, Nathalie Emmanuel, Helen Mirren (reprising her role from spinoff Hobbs & Shaw), Kurt Russell, and Charlize Theron. Newcomers to the mix are John Cena, Michael Rooker, and Cardi B.
Sporting a budget of at least $200 million, F9 has already made a fortune overseas at $270 million and counting. In 2015, Furious 7 nabbed the largest opening of all the pics (by far) at $147 million ($353 million overall). Tragically, part of that can be attributed to audience curiosity as it dealt with the final appearance of Paul Walker following his passing. 2017’s follow-up The Fate of the Furious debuted to $98 million and an eventual $225 million domestic haul (good for third overall in the ennead). Hobbs & Shaw, meanwhile, made $60 million for its start in 2019 with a $173 million final tally.
With capacity issues mostly having fallen by the wayside, F9 will be a test as to just how high first weekends can go in this market. A Quiet Place Part II set the initial benchmark at $57 million over the four-day Memorial Weekend frame. This is anticipated to zoom beyond that. Furious 7 set a mark that any sequel is unlikely to come close to. A debut in the neighborhood of Fast Five ($86 million) is certainly achievable. Yet I still think some multiplex resistance could stall that possibility. I’ll project $60-$70 million is the more likely range. My estimate puts this a few million under the $70 million made by Fast & Furious in 2009.
F9 is likely to give us the biggest box office premiere since late 2019 and Star Wars: The Rise of Skywalker… but that’s not coming until late next week. For this weekend, we could see another frame like this latest one where no picture reaches the teens. We have one newcomer and that’s action comedy sequel Hitman’s Wife’s Bodyguard with Ryan Reynolds, Samuel L. Jackson, and Salma Hayek reprising their roles from the 2017 original. You can peruse my detailed prediction post on it here:
Bodyguard opens on Wednesday and I’m projecting its five-day count gets it high teens. That likely means low double digits for the traditional Friday to Sunday frame. That should be enough for it to open at #1 due to the disappointing returns for In the Heights this past weekend (more on that below).
We could see a showdown for the runner-up slot between A Quiet Place Part II and Heights. Both should experience declines in 30s range (there’s certainly the chance that the latter doesn’t fall that far due to solid word-of-mouth). Peter Rabbit 2: The Runaway may stay in fourth position after its lackluster start and that would put The Conjuring: The Devil Made Me Do It in fifth.
So as we await the return of Vin Diesel and his space bound vehicles, here’s how I have the top five shaking out:
1. The Hitman’s Wife’s Bodyguard
Predicted Gross: $12.6 million (Friday to Sunday); $17.7 million (Wednesday to Sunday)
2. A Quiet Place Part II
Predicted Gross: $7.9 million
3. In the Heights
Predicted Gross: $7.7 million
4. Peter Rabbit 2: The Runaway
Predicted Gross: $6.6 million
5. The Conjuring: The Devil Made Me Do It
Predicted Gross: $6.1 million
Box Office Results (June 11-13)
In a surprise development, A Quiet Place Part II returned to the top spot in its third frame with $12 million (ahead of my $9.4 million forecast). I had it pegged for third and the soft debuts of the newbies prevented that. The critically acclaimed horror sequel made some history along the way by becoming the first feature in the COVID era to reach $100 million. Its current total is $109 million.
Back to those disappointing newcomers as In the Heights came in on the very lowest end of expectations with $11.5 million… or not even half of my $26.8 million projection. Despite mostly glowing reviews and awards buzz, Heights simply didn’t come close to maximizing its potential. There’s plenty of theories as to why (including the fact that its streaming on HBO Max and the challenge of audiences going to theaters for non-sequels), but it’s tricky for Warner Bros to spin this. As mentioned, its best hope is for sturdy legs in the weekends ahead.
The Conjuring: The Devil Made Me Do It dropped from 1st to 3rd with $10.3 million compared to my $8.7 million prediction. The 57% drop isn’t too shabby for its genre and it’s taken in $44 million during the first ten days of release.
Family audiences didn’t hop to the multiplexes for Peter Rabbit 2: The Runaway. It placed fourth with $10.1 million. I was far generous at $15.9 million. Considering the 2018 original took in $25 million out of the gate, this is another hard one for its studio to explain away.
Lastly, Cruella rounded out the top five with $6.7 million (I said $6.3 million) for an overall tally of $55 million.
The deeply troubled agoraphobic Anna Fox (Amy Adams) has a habit of avoiding reality in The Woman in the Window by chugging a bottle of wine and distracting herself with classic old movies. This is her way of not dealing with the story unfolding around her. There are times where I could relate as those vintage pictures would provide a better escape than what happens here for the most part.
Directed by Joe Wright (Atonement, Darkest Hour),Window is based on a 2018 novel by A.J. Finn. It features quite a list of Oscar winners (Gary Oldman, Julianne Moore) and actors you may think have won them (Adams, Jennifer Jason Leigh). The screenwriter Tracy Letts is a Pulitzer winning playwright. With that level of talent involved, one would think Window would rise above the histrionic Hitchcockian “homage” that it is. Mentioning Mr. Hitchcock might be too complimentary. This shares many similar plot points to 2016’s The Girl on the Train, which was also based on a book meant to be read on an airplane or the beach you rush to after the flight. You could easily call this The Girl on the Painkillers.
Dr. Fox is a child psychologist whose condition has kept her confined to her Manhattan apartment. In addition to her binge drinking/movie watching, she spends most of her day spying on neighbors. The new ones across the street are the Russell family – businessman Alistair (Oldman), wife Jane (Moore), and teen son Ethan (Fred Hechinger). Or maybe not. After the wife and boy visit her, Anna suspects some abuse is occurring in the household. The mystery deepens when Jennifer Jason Leigh shows up as Alistair’s spouse. Maybe the abundance of Anna’s medication is causing hallucinations. Our voyeur tries to enlist the NYPD, led by Brian Tyree’s Henry detective, and her basement tenant (Wyatt Russell) to assist with her amateur sleuthing. There’s also the matter of Anna’s only family. She’s separated from her husband (Anthony Mackie) and they have a young daughter. They turn up in flashback form and saying much more would enter spoiler territory.
The Woman in the Window contains plenty of twists that might have worked in paperback form. The treatment by Wright and Letts is a tonally frantic one. This is primarily a melodrama that begs to be taken seriously from time to time. Some of the performers seem in on it as Oldman, Moore, and Hechinger got the memo to overact wildly. Yet this never reaches its apparent goal of being a genuine guilty pleasure. That’s too bad because the behind the camera personnel and cast in front of it deserved better. Many of those examples are contained in Anna’s cinematic collection in her brownstone where less spellbinding developments are transpiring.