***While this review doesn’t really spoil any major plot details that don’t take place within the first 10 minutes or so, you may want to wait until post viewing if you wish to go in completely clean***
In Jordan Peele’s Nope, it’s easier for the central characters to monetize a tragedy rather than deal with it. That’s one theme of many in the filmmaker’s third feature which blends more sci-fi with its horror than Get Out or Us. Another theme is that some creatures simply can’t be tamed. Peele too is in kitchen sink mode – willing to throw lots of ideas at the screen and see what sticks. This allows for some incredible sequences and the technical aspects are the most impressive of his filmography (particularly the sound work). I’d also, at least for now, rank it behind those aforementioned pictures. That’s with a caveat as both Get Out and Us grew in my estimation on rewatches.
There’s alien activities happening beyond one character being a tech support worker who actually provides meaningful tech support. OJ (Daniel Kaluuya) helps his father (Keith David) run a ranch that provides horses for Hollywood productions. The patriarch meets a sudden end when a coin falls from the sky and makes deadly impact. Six months later, OJ’s spirited little sister Emerald (Keke Palmer) is helping her brother with the now struggling family business. The siblings soon discover items of an unidentified nature are hovering in the expansive California stratosphere.
They eventually enlist aforementioned electronics clerk Angel (Brandon Perea) and well-known cinematographer and wonderfully named Antlers Holst (Michael Wincott) to capture the UFOs. Not in the sense of capturing or killing, but capturing footage for the world to see. The motive seems less about revenge for what killed Dad and more about getting something on camera that will bring fame and fortune. Or, as Emerald describes it, the Oprah shot. YOU get the definitive proof of aliens! And YOU get the definitive proof of aliens!!
Not far from the ranch is a Western theme park (a triumph of production design) run by former child star Jupe Park (Steven Yeun). An incident from his second sitcom Gordy’s Home in the late 1990s about a domesticated monkey gives us a creepy prologue and a later sequence that is terrifying. Does it fit with the rest of Nope? One could argue it doesn’t. Yet Jupe’s unwillingness to deal with what occurred is similar to OJ and Emerald’s own actions.
This is a gorgeous looking movie made for IMAX. Nope excels at presenting a wholly unique setting in a great wide open space. It may only be a few miles from Hollywood and it may be steeped in niche Hollywood history, but it feels much farther away. Kaluuya and Palmer both give first-rate performances as brother and sister of far different demeanors. I would describe the characters as less compelling than some from Peele’s previous works.
Whether from a simian scare or otherworldly interventions, there are thrilling moments in Nope. There’s also stretches where the electricity goes out and not just literally. Unpacking various concepts presented may be enriched on subsequent viewings. On first watch, I found myself often wowed by the behind the camera beauty of it all if not always by the plot mechanisms.
Five years ago, Jordan Peele’s horror debut Get Out was a critical and commercial phenomenon that won the auteur an Oscar for Original Screenplay. It also nabbed nominations for Picture, Director, and Actor (Daniel Kaluuya). Two years later, Us drew a more mixed reaction (though similar box office numbers) and garnered no attention from the Academy This was despite Lupita Nyong’o getting Critics Choice and SAG nods.
On Friday, Peele’s third feature Nope unveils itself and the review embargo is up. Many critics are saying yep to seeing it with a current Rotten Tomatoes score of 81%. Yet that’s under the 98% bestowed upon Get Out and Us‘s 93%.
A consistent theme in various write-ups is that Nope has the weakest screenplay of the trilogy, but the best technical aspects. You’ll note that all of Get Out‘s nominations were above the line mentions. Nope, if anything, could see the opposite. Best Sound appears to be a real possibility with Cinematography, Production Design and Visual Effects standing more remote chances.
Finally, there’s Keke Palmer. She’s said to be the standout in a cast that includes Kaluuya, Steven Yeun, Michael Wincott, and Brandon Perea. However, if Nyong’o couldn’t get recognized for her participation in Peele’s sophomore effort, it’s hard to imagine Palmer breaking through for this. My Oscar Prediction posts will continue…
Blogger’s Note (07/27): I am revising my estimate down considerably- from $42.6M to $33.6M
Dwayne Johnson and Kevin Hart already share a successful cinematic history via Central Intelligence and the Jumanji franchise. On July 29th, they reunite to respectively provide the voices of Superman and Batman’s canine companions in the animated DC League of Super-Pets. The Warner Animation Group superhero tale (or rather… tail?) is directed by Jared Stern, who did work on the studio’s The Lego Batman Movie and The Lego Ninjago Movie. John Krasinski voices the Man of Steel while Keanu Reeves does so for the Caped Crusader. Other familiar names contributing vocal work are Kate McKinnon, Vanessa Bayer, Natasha Lyonne, Diego Luna, Thomas Middleditch, Ben Schwartz, Marc Maron, and Olivia Wilde.
The Legion of Super-Pets from the DC Comics dates all the way to 1962 and their connection to their iconic masters could get plenty of kids to the multiplexes. It might even get their parents slightly interested. The summer of 2022 has been unpredictable when it comes to animated features. Lightyear was a rare disappointment for Disney/Pixar and Paws of Fury: The Legend of Hank outright bombed last weekend. On the other hand, Minions: The Rise of Gru was a massive hit that’s currently rising to a $300 million plus domestic haul. The Bad Guys was also a solid performer in the spring.
So what league will this premiere in? Estimates have it in the $40-50 million range. I see no reason why it would greatly exceed or fall short of expectations. I’m thinking it starts in the low to mid 40s though getting above $50 million is certainly doable.
DC League of Super-Pets opening weekend prediction: $33.6 million
Blogger’s Update (07/21): On the eve of its premiere, I’m revising my Nope prediction slightly from $49.2M to $53.2M
Jordan Peele’s Nope should make it a hat trick for the director’s titles opening at #1. The only newcomer arriving in multiplexes this weekend, you can peruse my detailed prediction post on it here:
Most estimates have the supernatural horror tale debuting between $40-60 million. I’m putting it right in the middle of that range, but reserving the right to revise when the buzz and reviews materialize throughout the week. If anything, I could see it moving up.
As for holdovers, Thor: Love and Thunder should drop to second after two weeks. The MCU fourquel experienced a significant tumble in its sophomore frame (more on that below). It should stabilize some in its third outing with a drop in the late 40s to low 50s.
Minions: The Rise of Gru is likely to fall one slot to third while the 4-5 could be interesting. It’s all about the second weekend percentage dip for Where the Crawdads Sing, which had a solid start. I’m projecting mid 40s and that could allow Top Gun: Maverick to narrowly remain in fourth if it only sees a 20% or lower decrease.
Here’s how I see the top five shaking out:
1. Nope
Predicted Gross: $53.2 million
2. Thor: Love and Thunder
Predicted Gross: $22.4 million
3. Minions: The Rise of Gru
Predicted Gross: $17 million
4. Top Gun: Maverick
Predicted Gross: $9.8 million
5. Where the Crawdads Sing
Predicted Gross: $9.5 million
Box Office Results (July 15-17)
As anticipated, Thor: Love and Thunder remained atop the charts for a second frame. It was hammered a bit with a precipitous sophomore drop. Grossing $46.6 million (under my $50.2 million estimate), that’s a 68% decline and that’s a touch more than the 67% of MCU predecessor Doctor Strange in the Multiverse of Madness. The ten-day earnings are $233 million.
Minions: The Rise of Gru was runner-up with $26.8 million, rising above my $23.1 million prediction. It’s up to an impressive $263 million with north of $300 million easily in its sights and then some.
Where the Crawdads Sing, based on a huge bestseller, satisfied an older and female crowd with $17.2 million out of the gate. While falling shy of my $18.7 million projection, it’s still a commendable start.
Top Gun: Maverick was fourth with $12.2 million (I said $10.9 million) as the phenomenon has reached $618 million in eight weeks.
Elvis was fifth and I incorrectly had it outside of the top five. The biopic added $8 million to its coffers as it passed the century mark with $106 million.
The animated Paws of Fury: The Legend of Hawk couldn’t find its family audience. Placing sixth with a piddly $6.3 million (well below my $10.5 million take), it got lost in the summer shuffle between Minions and the upcoming DC League of Super-Pets.
Finally, critically appreciated Mrs. Harris Goes to Paris (on a low number of 980 screens) made a so-so $1.9 million for ninth place. Paris didn’t quite reach my prediction of $2.3 million.
My third write-up in my Best Picture: Final Five series brings us to 2011. As a reminder, the concept is fairly simple. After 2008, the Academy wanted to broaden the amount of nominees in the big race beyond a set five. For 2009 and 2010, that number was a firm 10.
However, in 2011, the rules changed so that there could be anywhere from 5-10 BP contenders. Until the Academy reverted back to 10 definite hopefuls last year, that number fluctuated between 8-9. For the inaugural year with the changeup, it was 9.
This post series engages in revisionist and speculative history. What if the rule of five BP nominees had never been altered? What would’ve made the cut? What would wind up on the cutting room floor? In 2011, we know it would’ve included the winner – Michel Havanavicius’s French black and white silent dramedy The Artist.
What else? Let’s consider the other eight one by one…
The Descendants
Alexander Payne’s works had received Academy attention before with 2002’s About Schmidt and 2004’s Sideways. This George Clooney led dramedy nabbed four additional mentions for its star, director, editing, and adapted screenplay – where it won.
Does It Make the Final Five?
Yes. The screenplay victory and inclusion in key races such as directing and editing seal the deal.
Extremely Loud & Incredibly Close
The rare BP nominee that received only one other nod – Max Von Sydow in Supporting Actor. This was, to be kind, a unique and unexpected nod as Stephen Daldry’s 9/11 themed drama with Tom Hanks and Sandra Bullock managed just a 45% Rotten Tomatoes rating as well as subpar box office.
Does It Make the Final Five?
No. The fact that it made the final 9 is still pretty shocking and is widely considered an underserving inclusion.
The Help
Based on a huge bestseller, Tate Taylor’s The Help was beloved by audiences to the tune of $169 million at the box office. Beyond Picture, it received three other nods: Actress (Viola Davis), Supporting Actress (Jessica Chastain), and another Supporting Actress nod and win for Octavia Spencer.
Does It Make the Final Five?
It’s awfully tempting to say yes given its popularity, but no. I’d feel more comfortable putting it in the final five had it nabbed a screenplay or editing or directing nod (even just one of them).
Hugo
Martin Scorsese’s family adventure garnered the most nominations on Oscar night (11), one more than The Artist. That includes Director, Adapted Screenplay, Score, Costume Design, Editing, and wins for its Sound Editing and Mixing, Art Direction, Cinematography, and Costume Design.
Does It Make the Final Five?
Yes and quite easily with that impressive haul.
Midnight in Paris
This was a critical and commercial comeback for Woody Allen and it won Original Screenplay with additional nods for Allen’s direction and the art direction.
Does It Make the Final Five?
Yes. While he’s basically blackballed from Hollywood in 2022, it was a different story 11 years ago for Allen and the Academy would’ve rewarded him for this return to form.
Moneyball
Bennett Miller followed up Capote with this acclaimed baseball drama that received five additional nominations – Actor (Brad Pitt), Supporting Actor (Jonah Hill), Adapted Screenplay, Sound Mixing, and Editing. It ended up going 0 for 6.
Does It Make the Final Five?
Yes. As I’ve explained before, Picture and Director rarely matched 5/5 before 2009. This is my pick for the BP nominee where the filmmaker didn’t make the cut.
The Tree of Life
Terrence Malick’s arty and ambitious saga served as a comeback for the legendary auteur. In addition to BP, Malick was in the quintet for his direction as was the cinematography.
Does It Make the Final Five?
No. It’s not out of the question that it might’ve, but its minimal two other nods cause doubt.
War Horse
Steven Spielberg’s equine related battle flick is one of his least discussed BP contenders, but it did gallop into contention with five other mentions for Score, Sound Editing, Sound Mixing, Art Direction, and Cinematography.
Does It Make the Final Five?
No. Even with the pedigree, missing Editing and Screenplay is a typically dependable telltale sign.
So that means my final five from 2011 consists of:
For my mid-July Oscar predictions, the Picture, Director, Actress, and Actor remain intact (with some ranking maneuvering). Same goes for the Screenplay races. However, there are some significant changes in the supporting fields. In Supporting Actress, I’ve moved Audra McDonald (Rustin) and Vanessa Kirby (The Son) in the final five while taking Hong Chau (The Whale) and Zoe Kazan (She Said) out. For Supporting Actor, I’ve had Robert De Niro (Killers of the Flower Moon) perched in #1 for many weeks. With this update, he drops all the way out of the top 5 with Paul Dano (The Fabelmans) now in first position. This moves Colin Firth (Empire of Light) into the predicted quintet.
As for other news, Taika Waititi’s sports pic Next Goal Wins appears to have pushed to 2023 (it was originally slated for 202o) and that explains it dropping out of contention. And for those who haven’t caught the recently released trailers for She Said and Amsterdam, you can find them below!
Best Picture
Predicted Nominees:
1. Babylon (Previous Ranking: 1) (E)
2. The Fabelmans (PR: 2) (E)
3. Killers of the Flower Moon (PR: 3) (E)
4. Everything Everywhere All at Once (PR: 4) (E)
5. Women Talking (PR: 5) (E)
6. Bardo (PR: 6) (E)
7. The Son (PR: 7) (E)
8. Empire of Light (PR: 9) (+1)
9. The Whale (PR: 8) (-1)
10. Rustin (PR: 10) (E)
Other Possibilities:
11. She Said (PR: 11) (E)
12. Top Gun: Maverick (PR: 13) (+1)
13. TAR (PR: 14) (+1)
14. White Noise (PR: 12) (-2)
15. Avatar: The Way of Water (PR: 15) (E)
16. Elvis (PR: 17) (+1)
17. Thirteen Lives (PR: 19) (+2)
18. Triangle of Sadness (PR: 21) (+3)
19. Broker (PR: 16) (-3)
20. The Banshees of Inisherin (PR: 22) (+2)
21. Till (PR: 24) (+3)
22. Decision to Leave (PR: 23) (+1)
23. Amsterdam (PR: 20) (-3)
24. The Killer (PR: 25) (+1)
25. Don’t Worry Darling (PR: Not Ranked)
Dropped Out:
Next Goal Wins
Best Director
Predicted Nominees:
1. Damien Chazelle, Babylon (PR: 1) (E)
2. Steven Spielberg, The Fabelmans (PR: 2) (E)
3. Martin Scorsese, Killers of the Flower Moon (PR: 3) (E)
4. Daniels, Everything Everywhere All at Once (PR: 4) (E)
5. Alejandro Gonzalez Inarritu, Bardo (PR: 5) (E)
Other Possibilities:
6. Sarah Polley, Women Talking (PR: 6) (E)
7. Sam Mendes, Empire of Light (PR: 7) (E)
8. Florian Zeller, The Son (PR: 10) (+2)
9. Darren Aronofsky, The Whale (PR: 8) (-1)
10. James Cameron, Avatar: The Way of Water (PR: 9) (-1)
11. Ruben Ostlund, Triangle of Sadness (PR: 15) (+4)
12. Noah Baumbach, White Noise (PR: 11) (-1)
13. Hirokazu Kore-ada, Broker (PR: 12) (-1)
14. Park Chan-wook, Decision to Leave (PR: Not Ranked)
15. Todd Field, TAR (PR: 13) (-2)
Dropped Out:
George C. Wolfe, Rustin
Best Actress
Predicted Nominees:
1. Margot Robbie, Babylon (PR: 1) (E)
2. Michelle Yeoh, Everything Everywhere All at Once (PR: 2) (E)
3. Olivia Colman, Empire of Light (PR: 4) (+1)
4. Regina King, Shirley (PR: 3) (-1)
5. Danielle Deadwyler, Till (PR: 5) (E)
Other Possibilities:
6. Cate Blanchett, TAR (PR: 6) (E)
7. Viola Davis, The Woman King (PR: 10) (+3)
8. Naomi Ackie, I Wanna Dance with Somebody (PR: 7) (-1)
9. Carey Mulligan, She Said (PR: 8) (-1)
10. Ana de Armas, Blonde (PR: 9) (-1)
11. Helen Mirren, Golda (PR: 11) (E)
12. Frances McDormand, Women Talking (PR: Not Ranked)
13. Jessica Chastain, The Good Nurse (PR: 12) (-1)
14. Annette Bening, Nyad (PR: Not Ranked)
15. Florence Pugh, Don’t Worry Darling (PR: Not Ranked)
Dropped Out:
Lesley Manville, Mrs. Harris Goes to Paris
Michelle Williams, Showing Up
Jennifer Lawrence, Red, White, and Water
Best Actor
Predicted Nominees:
1. Hugh Jackman, The Son (PR: 1) (E)
2. Brendan Fraser, The Whale (PR: 2) (E)
3. Colman Domingo, Rustin (PR: 3) (E)
4. Leonardo DiCaprio, Killers of the Flower Moon (PR: 5) (+1)
5. Austin Butler, Elvis (PR: 4) (-1)
Other Possibilities:
6. Adam Driver, White Noise (PR: 6) (E)
7. Daniel Gimenez Cacho, Bardo (PR: 7) (E)
8. Diego Calva, Babylon (PR: 8) (E)
9. Song Kang-Ho, Broker (PR: 13) (+4)
10. Colin Farrell, The Banshees of Inisherin (PR: 10) (E)
11. Tom Cruise, Top Gun: Maverick (PR: 15) (+4)
12. Viggo Mortensen, Thirteen Lives (PR: 11) (-1)
13. Bill Nighy, Living (PR: Not Ranked)
14. Gabriel LaBelle, The Fabelmans (PR: 14) (E)
15. Christian Bale, The Pale Blue Eye (PR: Not Ranked)
Dropped Out:
Michael Fassbender, Next Goal Wins
Christian Bale, Amsterdam
Best Supporting Actress
Predicted Nominees:
1. Michelle Williams, The Fabelmans (PR: 1) (E)
2. Lily Gladstone, Killers of the Flower Moon (PR: 2) (E)
3. Jessie Buckley, Women Talking (PR: 3) (E)
4. Audra McDonald, Rustin (PR: 7) (+3)
5. Vanessa Kirby, The Son (PR: 12) (+7)
Other Possibilities:
6. Hong Chau, The Whale (PR: 4) (-2)
7. Zoe Kazan, She Said (PR: 5) (-2)
8. Stephanie Hsu, Everything Everywhere All at Once (PR: 9) (+1)
9. Sadie Sink, The Whale (PR: 11) (+2)
10. Laura Dern, The Son (PR: 6) (-4)
11. Jean Smart, Babylon (PR: 8) (-3)
12. Patricia Clarkson, She Said (PR: 10) (-2)
13. Nina Hoss, TAR (PR: 13) (E)
14. Dakota Johnson, Cha Cha Real Smooth (PR: 14) (E)
15. Jodie Foster, Nyad (PR: Not Ranked)
Dropped Out:
Dolly De Leon, Triangle of Sadness
Best Supporting Actor
Predicted Nominees:
1. Paul Dano, The Fabelmans (PR: 2) (+1)
2. Ke Huy Quan, Everything Everywhere All at Once (PR: 3) (+1)
3. Brad Pitt, Babylon (PR: 4) (+1)
4. Jesse Plemons, Killers of the Flower Moon (PR: 5) (+1)
5. Colin Firth, Empire of Light (PR: 6) (+1)
Other Possibilities:
6. Robert De Niro, Killers of the Flower Moon (PR: 1) (-5)
7. Glynn Turman, Rustin (PR: 7) (E)
8. Michael Ward, Empire of Light (PR: Not Ranked)
9. Ben Whishaw, Women Talking (PR: 8) (-1)
10. Woody Harrelson, Triangle of Sadness (PR: 13) (+3)
11. Colin Farrell, Thirteen Lives (PR: 11) (E)
12. Seth Rogen, The Fabelmans (PR: 10) (-2)
13. Brendan Gleeson, The Banshees of Inisherin (PR: 12) (-1)
14. Russell Crowe, The Greatest Beer Run Ever (PR: 15) (+1)
15. Anthony Hopkins, Armageddon Time (PR: 9) (-6)
Dropped Out:
John David Washington, Amsterdam
Best Original Screenplay
Predicted Nominees:
1. Everything Everywhere All at Once (PR: 1) (E)
2. The Fabelmans (PR: 2) (E)
3. Babylon (PR: 3) (E)
4. Empire of Light (PR: 4) (E)
5. Triangle of Sadness (PR: 5) (E)
Other Possibilities:
6. Bardo (PR: 7) (+1)
7. Tar (PR: 10) (+3)
8. The Banshees of Inisherin (PR: 6) (-2)
9. Rustin (PR: 8) (-1)
10. Broker (PR: 9) (-1)
11. Decision to Leave (PR: 13) (+2)
12. Cha Cha Real Smooth (PR: 14) (+2)
13. Amsterdam (PR: 11) (-2)
14. Don’t Worry Darling (PR: Not Ranked)
15. Bros (PR: 15) (E)
Dropped Out:
Aftersun
Best Adapted Screenplay
Predicted Nominees:
1. Killers of the Flower Moon (PR: 1) (E)
2. The Son (PR: 2) (E)
3. Women Talking (PR: 3) (E)
4. The Whale (PR: 4) (E)
5. White Noise (PR: 5) (E)
Other Possibilities:
6. She Said (PR: 6) (E)
7. Thirteen Lives (PR: 8) (+1)
8. Till (PR: 9) (+1)
9. The Greatest Beer Run Ever (PR: 10) (+1)
10. The Good Nurse (PR: 11) (+1)
11. Top Gun: Maverick (PR: 15) (+4)
12. The Woman King (PR: Not Ranked)
13. Bones and All (PR: 13) (E)
14. Close (PR: Not Ranked)
15. The Killer (PR: 12) (-3)
Dropped Out:
Next Goal Wins
The Pale Blue Eye
You can anticipate the next update around the first of August!
Joe Hill inherited his father Stephen King’s ability to blend the scary and supernatural with everyday adolescent fears. The Black Phone, based on Hill’s short story, takes place in 1978 when Mr. King was writing his masterpieces. 13-year-old Finney (Mason Thames) and his foul mouthed and tough cookie little sister Gwen (Madeleine McGraw) have their Daddy issues. Played by Jeremy Davies, Terrence is a widower who drinks himself to sleep and can turn aggressive on a dime. He seems haunted by his wife’s death. She had dreams that were psychic visions. These abilities are inherited by Gwen and Terrence wants her to avoid mom’s nightmarish end. Father and daughter have an abusive encounter where McGraw’s utterly convincing terror provides the scariest scene in a film about a child serial killer.
That serial killer is The Grabber (Ethan Hawke), who masquerades as a magician. In the Denver suburb where the action takes place, the villain has snatched five young boys already. Finney becomes the sixth. Captive in a dank basement, a disconnected black phone is mounted on the wall. The Grabber claims it doesn’t work, but it operates as a mouthpiece for past victims. Between the rotary device and Gwen’s insights, Finney hopes to escape with those methods of assistance.
The source material was a brisk 30 pages and The Black Phone does sometime struggle with the considerable expansion. You’re best off not thinking about logic too much. This is a fairly simple concept greatly accentuated by two very effective performances by Thames and McGraw. Hawke, who starred in director Scott Derrickson’s satisfying Sinister, provides some creepy support but it’s the kids who bring the most shine to this dark material. This filmmaker knows how to generate suspense and he gets the combination of paranormal and horrific activities right enough of the time.
Documentarians Julie Cohen and Betsy West specialize in focusing on female historical figures and their efforts have already captured the attention of the Academy. 2018’s RBG about Justice Ginsburg was a Best Documentary Feature nominee. Last year’s Julia, recounting the life of famed chef Julia Child, was in the mix but failed to receive a nod.
The duo’s latest is Gabby Giffords Won’t Back Down, which premiered at South by Southwest in the spring and has hit theaters in limited fashion this week. It will air on CNN later this year. The title subject is, of course, the former Arizona Congresswoman turned advocate following her 2011 assassination attempt.
As far as its awards prospects, history could repeat itself as Gabby sports a 100% Rotten Tomatoes rating. With Second Amendment issues on the forefront of the news cycle, that could contribute to its timeliness and desire for the Academy to recognize it.
Yet when it comes to docs, there’s always the caveat that this branch is notoriously unpredictable and sometimes nominees that seem obvious don’t make the cut. My Oscar Prediction posts will continue…
1989 was unquestionably the Summer of the Bat as Tim Burton’s take on the Caped Crusader broke records. For 1992, it’s a bit more murky but we could call it The Summer of the Cat based on the sequel being the season’s biggest blockbuster.
As I have every season on the blog, I’m recounting the top 10 hits as well as some notable pics and failures from the summers of 30, 20, and 10 years ago. For 1992, it was a time of no crying in baseball, a Best Picture winner being discovered, and audiences refusing a biopic about a discoverer of America.
We begin with the moneymakers from #10 on up before moving to additional hits, misses, and those somewhere in between.
10. Housesitter
Domestic Gross: $58 million
While not the blockbuster he’d had just six months prior with Father of the Bride, Steve Martin had a midsize performer with this rom com costarring Goldie Hawn.
9. Honey, I Blew Up the Kid
Domestic Gross: $58 million
The return of Rick Moranis and plenty of special effects had shrunken grosses compared to the predecessor. The $58 million tally is less than half of what Honey, I Shrunk the Kids made. Nevertheless a direct to video sequel and TV series followed.
8. Far and Away
Domestic Gross: $58 million
Tom Cruise is ruling summer 2022 with Top Gun: Maverick. It was a different story 30 years ago with this rare misfire. Ron Howard directed the epic Western costarring Tom’s ex Nicole Kidman. The domestic take was less than the reported $60 million budget. Cruise would quickly get back in the good graces of moviegoers later in 1992 with A Few Good Men.
7. Boomerang
Domestic Gross: $70 million
While not approaching the earnings of his largest hits, Eddie Murphy’s first foray into romantic leading man territory did decent business. A string of flops would follow before a plus sized comeback four years later in The Nutty Professor.
6. Patriot Games
Domestic Gross: $83 million
Harrison Ford stepped into the role of Jack Ryan after Alec Baldwin (who played the role in The Hunt for Red October) didn’t return. The result didn’t quite reach the financial or critical levels of its predecessor, but it easily made enough to warrant Clear and Present Danger two summers later.
5. Unforgiven
Domestic Gross: $101 million
Clint Eastwood’s tale of an aging cowboy out for revenge took the August box office by storm and eventually was an awards favorite – winning Picture, Director, and Supporting Actor for the villainous Gene Hackman. Unforgiven is the rare BP winner to release in the summer season and kickstarted an impressive second act for the legendary filmmaker.
4. A League of Their Own
Domestic Gross: $107 million
Penny Marshall’s World War II era baseball comedy was celebrated for its interplay between players like Geena Davis, Madonna, and Rosie O’Donnell in addition to one of cinema’s longest urination sequences from Tom Hanks.
3. Sister Act
Domestic Gross: $139 million
Coming on the heels of her Ghost Oscar, Whoopi Goldberg hit the jackpot with this fish out of water pic putting the comedienne in a convent. A less regarded sequel would follow in December 1993 as well as a Broadway musical.
2. Lethal Weapon 3
Domestic Gross: $144 million
Mel Gibson and Danny Glover’s third go-round in their buddy cop franchise didn’t generate the reviews of its two predecessors, but it had no trouble raking in the bucks. Rene Russo joined the party this time as Gibson’s love interest and fellow officer. Part 4 would come six years later and a fifth is in development right now.
1. Batman Returns
Domestic Gross: $162 million
Breathlessly anticipated and then received with mixed reaction due to its dark tone, Batman Returns is now seen by many as an improvement over the 1989 original. One thing that’s generally agreed upon is Michelle Pfeiffer nailing the role of Catwoman. This would be Burton’s last time helming the series with Joel Schumacher taking the franchise in a far more cartoonish direction for 1995’s Batman Forever.
And now for some other noteworthy selections outside of the top ten:
Unlawful Entry
Domestic Gross: $57 million
Coming on the heels of the Rodney King verdict and the L.A. Riots, this thriller starring the late Ray Liotta as a dirty cop tormenting Kurt Russell felt timely.
Single White Female
Domestic Gross: $48 million
Liotta was the Cop From Hell while Jennifer Jason Leigh was the Roommate From Hell terrorizing Bridget Fonda in this memorable psychological thriller.
Encino Man
Domestic Gross: $40 million
The cinematic era of MTV personality Pauly Shore (as well as Brendan Fraser) began with this caveman comedy that grossed several times its meager $7 million budget.
Universal Soldier
Domestic Gross: $36 million
Action lunkheads Jean-Claude Van Damme and Dolph Lundgren teamed up for this futuristic sci-fi pic that turned a nifty profit and spawned numerous sequels. Four summers later, director Roland Emmerich would dominate the season with Independence Day.
Honeymoon in Vegas
Domestic Gross: $35 million
With a plot similar to Indecent Proposal that would follow a few months later, Honeymoon in Vegas took the more comedic route and earned decent grosses in the cast led by Nicolas Cage, Sarah Jessica Parker, and the just departed James Caan. Plus… Flying Elvis impersonators!
Buffy the Vampire Slayer
Domestic Gross: $16 million
It did manage to double its meager budget, but this vampire comedy likely wouldn’t be remembered had it not led to a critically acclaimed WB series starring Sarah Michelle Gellar. The title role in the film version belonged to Kristy Swanson with a supporting cast including Luke Perry, Paul Reubens (aka Pee-Wee Herman), and pre double Oscar winner Hilary Swank.
My final section of the summer 1992 recap gets to the under performers and downright flops…
Death Becomes Her
Domestic Gross: $58 million
This star studded satire from Robert Zemeckis boasted Meryl Streep, Goldie Hawn, and Bruce Willis above the title and some innovative special effects. While it just missed the top ten, the $58 million take barely surpassed the $55 million budget. Audiences and critics were mixed though Death has become a cult favorite in subsequent years.
Alien 3
Domestic Gross: $55 million
Despite marking the directorial debut of David Fincher and featuring a memorably bald Sigourney Weaver, Alien 3 is considered to be a step-down from its iconic predecessors Alien and Aliens. In spite of the backlash, the franchise has continued and, of course, Fincher went onto brighter (albeit even darker) pastures.
Cool World
Domestic Gross: $14 million
Animator Ralph Bakshi is best known for his X-rated 1972 feature Fritz the Cat. After Cool World, he was still mostly known for Fritz the Cat. This hybrid of live-action and cartoon fantasy starred Kim Basinger and Brad Pitt. Yet it bombed with reviewers and crowds alike and only earned half its budget back stateside.
Christopher Columbus: The Discovery
Domestic Gross: $8 million
No one had interest in discovering this critically drubbed Columbus biopic that had Marlon Brando and Tom Selleck in the cast. Later in the fall, Ridley Scott’s 1492: Conquest of Paradise about the title character would also bomb.
Twin Peaks: Fire Walk with Me
Domestic Gross: $4 million
In 1990, David Lynch’s bizarre TV series was a cultural phenomenon… at least for a season. The movie version arrived after the second and final season and audiences had tuned out.
And that’s your look at the cinematic summer from 30 years ago! My recap of 2002 will be available in short order…
When the predecessor to Jurassic World: Dominion was unveiled in the summer of 2018, it proved the franchise had indeed fallen to a new level of mediocrity. Fallen Kingdom was a huge disappointment. As much as I wanted to give it credit for trying some new things, the execution failed. Despite a couple of cool set pieces and the dinosaurs still looking cool, I found Kingdom to be the worst of the five in the series.
Dominion challenges that status. Colin Trevorrow made 2015’s Jurassic World. While many of the complaints about it were valid, I still found it to be satisfactory even if did lean hard on the nostalgia angle. After J.A. Bayona handled directorial duties for #2, Trevorrow is back behind the camera here and the nostalgic leanings are in full force. So much so that the three stars of 1993’s iconic Jurassic Park – Sam Neill’s Dr. Alan Grant, Laura Dern’s Dr. Ellie Sattler, Jeff Goldblum’s Dr. Ian Malcolm – are mixing it up with Chris Pratt, Bryce Dallas Howard, and their sort of daughter who may or may not be a clone.
In case you forgot (and I wouldn’t blame you if you did), Fallen Kingdom thrust human cloning upon us as a plot point. Isabella Sermon’s Maisie was revealed to be the recipient of such experimentation and now she’s a young teen living with Pratt’s Owen and Howard’s Claire deep in the woods. She’s not allowed to go anywhere because many would like to continue experimenting on her. Her isolation is wearing on her as she seeks to break out of her small radius. As you may also recall, dinosaurs are now roaming freely across parts of the world (including Maisie’s backyard).
There’s one corporation who’d like to snatch Maisie and her Dino friends. Biosyn Genetics is run by Dr. Lewis Dodgson (Campbell Scott). Located in the Italian mountains, the futuristic company has its greedy hands in all kinds of pots. The main one involves locusts. Yes, a significant portion of Dominion‘s plot involves these crop eating creatures and Biosyn’s plans to control the world’s food supply. If that seems like an out of nowhere storyline that has little to do with dinosaurs, you’d be correct.
However, these CG locusts do give an excuse to bring back Neill and Dern’s characters when they travel to Italy to investigate (Goldblum is already working for the company). When Maisie is snatched up, Owen and Claire find themselves trekking overseas as well for what we know will eventually be a melding of the stars of both trilogies.
There’s some new characters including DeWanda Wise’s cocky Air Force pilot and Mamoudou Athie as Dodgson’s morally conflicted right hand man. The real thrill is meant to be the return of the OG players from three decades ago. Here’s the rub – despite Jurassic Park being amazing, its one minor flaw was its human characters (with the exception of Goldblum) being a bit dull. Seeing Neill and Dern reignite their unrequited passion isn’t exactly Han showing up on the Millennium Falcon with Chewie after 30 years. I’ve already discussed the lack of passion between Owen and Claire in my review of the predecessor.
Where Dominion manages to be a very slight improvement over Kingdom is a couple of expertly constructed action sequences. A car chase involving the prehistoric creatures in Malta is legitimately thrilling. These brief moments of excitement are too often interrupted by humdrum fan service, cloning, and attacks of the locusts. In other words, there’s a couple of cool set pieces and the dinosaurs still look cool. It’s not enough. The Jurassic series veered off course with Kingdom and it doesn’t regain much footing in Dominion.
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