Vin Diesel and a sprawling cast of costars and cars are back in Fast X as the franchise hopes to reverse a downward trend. It is the only wide release this weekend and you can peruse my detailed prediction post on it here:
X hopes to mark a gross higher than the $70 million achieved my predecessor F9 two years ago. I’m projecting it won’t do so and stall slightly under in the mid to high 60s.
The rest of the top five should be holdovers all sliding a spot. Guardians of the Galaxy Vol. 3 may drop in the mid 4os after an encouraging bounce back outing in its sophomore frame (more on that below).
The Super Mario Bros. Movie, Book Club: The Next Chapter (after a soft premiere), and Evil Dead Rise will likely be 3-5 for a top five consisting of 80% sequels.
Here’s how I see it:
1. Fast X
Predicted Gross: $67.8 million
2. Guardians of the Galaxy Vol. 3
Predicted Gross: $33.5 million
3. The Super Mario Bros. Movie
Predicted Gross: $8.3 million
4. Book Club: The Next Chapter
Predicted Gross: $3.2 million
5. Evil Dead Rise
Predicted Gross: $2.4 million
Box Office Results (May 12-14)
The news wasn’t so hot last weekend for the MCU when Guardians of the Galaxy Vol. 3 started with nearly $30 million under what Vol. 2 achieved six summers ago. The narrative improved this weekend as part 3 dipped a scant 48% for $62 million (ahead of my $54.8 million take). That figure puts it just $3 million behind what part 2 made in its second go-round. The ten-day gross is $214 million and it’s up to half a billion worldwide.
The Super Mario Bros. Movie stayed in second with $12.6 million, a tad more than my $11.7 million forecast. The six-week haul is $535 million.
Book Club: The Next Chapter couldn’t get a read on its intended audience as it sputtered with $6.6 million in third. That’s roughly half of what its 2018 predecessor accomplished in its opening and trails my $10.8 million prediction.
Evil Dead Rise was fourth with $3.7 million (I said $3.2 million) for a commendable four-week total of $60 million.
Are You There God? It’s Me, Margaret rounded out the top five with $2.5 million, on target with my $2.4 million call. While it had only a 22% decline over Mother’s Day weekend, the overall earnings are a mere $16 million after three weeks.
Finally, the Ben Affleck thriller Hypnotic was dumped into multiplexes and it showed. The sixth place showing was just $2.4 million. I didn’t even bother to do a projection for the doomed pic.
You can listen to my podcast wherever you like ’em by searching Movies at the Speed of Speculation. That does it for now, folks! Until next time…
There’s one shining moment in Evil Dead Rise due to a bloodily gushing elevator and plenty of moments that are indistinguishable from other gory possession tales. That’s somewhat of a letdown for this franchise that is known for its demonically goofy trilogy that began the careers of Sam Raimi and Bruce Campbell over four decades ago. While some of its boo moments stand out, Rise falls short of its immediate predecessor which “re-imagined” the series a decade ago with Fede Alvarez directing.
The 2013 Dead iteration left a lot of the previous movies humor on the cutting room floor and Rise keeps that up. Lee Cronin takes over the directorial reigns and the mayhem moves from a cabin in the woods to an about to be condemned Los Angeles apartment complex. Ellie (Alyssa Sutherland) is a newly single mom to teenagers Danny (Morgan Davies), Bridget (Gabrielle Echols), and youngest child Kassie (Nell Fisher). They’re among the last denizens of their building slated for demolition. Beth (Lily Sullivan) is Ellie’s sister who is a guitar technician (according to her) or a groupie (according to her more responsible sibling). She drops in to visit to share some news (she’s preggers), but an earthquake shakes up and delays the announcement.
This act of nature also leads to the discovery of a Book of the Dead tome locked away in a vault. As with previous volumes, the reading material causes wicked forces to possess those near it. Ellie is the first to fall prey to its devilish influence.
Besides the Shining elevator material that would not be advisable for those with hemophobia, there’s also the grisliest use of a wood chipper since Fargo. The picture’s connection to its own franchise is mostly in name only and the fact that they all feature chainsaws. Its makeup effects and choreographing of red splatter is first-rate. You could say the work of the technicians behind Evil Dead Rise is just fine. I suspect, due to its lack of originality, it’ll have less groupies than the others.
My second round of ranked predictions in the six major categories for the 96th Academy Awards comes two days before the 76th Annual Cannes Film Festival gets underway in the south of France. It will conclude on May 27th and you can expect my third round of forecasts shortly thereafter.
At Cannes, we will receive our first reviews and buzz for numerous heavy hitters. Those pictures include Martin Scorsese’s Killers of the Flower Moon, May December from Todd Haynes, Wes Anderson’s Asteroid City, Jonathan Glazer’s The Zone of Interest, Monster from Hirokazu Kore-eda, Firebrand with Alicia Vikander, Pixar’s Elemental, and Indiana Jones and the Dial of Destiny.
Here is my pre-Cannes outlook on Picture, Director, and the four acting derbies and let’s see how this gets shook up in a couple of weeks!
BEST PICTURE
Predicted Nominees:
1. Killers of the Flower Moon (Previous Ranking: 1) (Even)
2. Past Lives (PR: 2) (E)
3. The Color Purple (PR: 3) (E)
4. Dune: Part Two (PR: 4) (E)
5. Oppenheimer (PR: 5) (E)
6. Poor Things (PR: 6) (E)
7. Saltburn (PR: 7) (E)
8. The Holdovers (PR: 12) (+4)
9. Air (PR: 9) (E)
10. May December (PR: 10) (E)
Other Possibilities:
11. Maestro (PR: 11) (E)
12. Barbie (PR: 14) (+2)
13. Blitz (PR: 13) (E)
14. Challengers (PR: 8) (-6)
15. The Zone of Interest (PR: Not Ranked)
16. Bob Marley: One Love (PR: 15) (-1)
17. Flint Strong (PR: 19) (+2)
18. Napoleon (PR: 16) (-2)
19. The Killer (PR: 21) (+2)
20. Rustin (PR: 20) (E)
21. The Nickel Boys (PR: 24) (+3)
22. The Book of Clarence (PR: 17) (-5)
23. Ferrari (PR: 23) (E)
24. Strangers (PR: 18) (-6)
25. Asteroid City (PR: 22) (-3)
Dropped Out:
The Bikeriders
BEST DIRECTOR
Predicted Nominees:
1. Martin Scorsese, Killers of the Flower Moon (PR: 1) (E)
2. Celine Song, Past Lives (PR: 3) (+1)
3. Denis Villeneuve, Dune: Part Two (PR: 2) (-1)
4. Blitz Bazawule, The Color Purple (PR: 5) (+1)
5. Yorgos Lanthimos, Poor Things (PR: 6) (+1)
Other Possibilities:
6. Christopher Nolan, Oppenheimer (PR: 4) (-2)
7. Emerald Fennell, Saltburn (PR: 7) (E)
8. Todd Haynes, May December (PR: 9) (+1)
9. Alexander Payne, The Holdovers (PR: 13) (+4)
10. Greta Gerwig, Barbie (PR: 10) (E)
11. Ben Affleck, Air (PR: 12) (+1)
12. Steve McQueen, Blitz (PR: 11) (-1)
13. Bradley Cooper, Maestro (PR: 14) (+1)
14. Jonathan Glazer, The Zone of Interest (PR: Not Ranked)
15. Ridley Scott, Napoleon (PR: Not Ranked)
Dropped Out:
Luca Guadagnino, Challengers
David Fincher, The Killer
BEST ACTRESS
Predicted Nominees:
1. Fantasia Barrino, The Color Purple (PR: 1) (E)
2. Greta Lee, Past Lives (PR: 2) (E)
3. Emma Stone, Poor Things (PR: 4) (+1)
4. Jessica Lange, Long Day’s Journey Into Night (PR: 7) (+3)
5. Natalie Portman, May December (PR: 5) (E)
Other Possibilities:
6. Margot Robbie, Barbie (PR: 6) (E)
7. Carey Mulligan, Maestro (PR: 9) (+2)
8. Zendaya, Challengers (PR: 3) (-5)
9. Saoirse Ronan, Blitz (PR: 8) (-1)
10. Regina King, Shirley (PR: 11) (+1)
11. Kate Winslet, Lee (PR: 15) (+4)
12. Annette Bening, Nyad (PR: 12) (E)
13. Sandra Hüller, The Zone of Interest (PR: Not Ranked)
14. Ryan Destiny, Flint Strong (PR: 14) (E)
15. Amy Adams, Nightbitch (PR: 10) (-5)
Dropped Out:
Aunjanue Ellis, The Nickel Boys (moved to Supporting)
BEST ACTOR
Predicted Nominees:
1 . Colman Domingo, Rustin (PR: 1) (E)
2. Leonardo DiCaprio, Killers of the Flower Moon (PR: 2) (E)
3. Barry Keoghan, Saltburn (PR: 3) (E)
4. Paul Giamatti, The Holdovers (PR: 9) (+5)
5. Bradley Cooper, Maestro (PR: 6) (+1)
Other Possibilities:
6. Cillian Murphy, Oppenheimer (PR: 7) (+1)
7. Teo Yoo, Past Lives (PR: 4) (-3)
8. Kingsley Ben-Adir, Bob Marley: One Love (PR: 8) (E)
9. Matt Damon, Air (PR: 14) (+5)
10. Joaquin Phoenix, Napoleon (PR: 10) (E)
11. Anthony Hopkins, Freud’s Last Session (PR: 11) (E)
12. Mike Faist, Challengers (PR: 5) (-7)
13. Ed Harris, Long Day’s Journey Into Night (PR: Not Ranked)
14. John David Washington, The Piano Lesson (PR: Not Ranked)
15. Andrew Scott, Strangers (PR: Not Ranked)
Dropped Out:
Andre Holland, The Actor
Paul Mescal, Strangers (moved to Supporting)
Adam Driver, Ferrari
BEST SUPPORTING ACTRESS
Predicted Nominees:
1. Lily Gladstone, Killers of the Flower Moon (PR: 1) (E)
2. Danielle Brooks, The Color Purple (PR: 2) (E)
3. Taraji P. Henson, The Color Purple (PR: 4) (+1)
4. Da’Vine Joy Randolph, The Holdovers (PR: 7) (+3)
5. Viola Davis, Air (PR: 6) (+1)
Other Possibilities:
6. Julianne Moore, May December (PR: 3) (-3)
7. Rosamund Pike, Saltburn (PR: 5) (-2)
8. Audra McDonald, Rustin (PR: 8) (E)
9. Lashana Lynch, Bob Marley: One Love (PR: 9) (E)
10. Tilda Swinton, The Killer (PR: 13) (+3)
11. Aunjanue Ellis, The Nickel Boys (PR: Not Ranked, moved from lead)
12. Claire Foy, Strangers (PR: 11) (-1)
13. Danielle Deadwyler, The Piano Lesson (PR: 10) (-3)
14. Jodie Foster, Nyad (PR: 15) (+1)
15. Rebecca Ferguson, Dune: Part Two (PR: Not Ranked)
Dropped Out:
Jodie Comer, The Bikeriders
Moon Seung-ah, Past Lives
BEST SUPPORTING ACTOR
Predicted Nominees:
1. Jesse Plemons, Killers of the Flower Moon (PR: 1) (E)
2. Willem Dafoe, Poor Things (PR: 2) (E)
3. John Magaro, Past Lives (PR: 5) (+2)
4. Robert De Niro, Killers of the Flower Moon (PR: 3) (-1)
5. Samuel L. Jackson, The Piano Lesson (PR: 4) (-1)
Other Possibilities:
6. Ryan Gosling, Barbie (PR: 7) (+1)
7. Ben Affleck, Air (PR: 12) (+5)
8. Charles Melton, May December (PR: 6) (-2)
9. Mark Ruffalo, Poor Things (PR: 11) (+2)
10. Colman Domingo, The Color Purple (PR: Not Ranked)
11. Richard E. Grant, Saltburn (PR: 8) (-3)
12. Jeremy Strong, Maestro (PR: Not Ranked)
13. Brian Tyree Henry, Flint Strong (PR: 10) (-3)
14. Ben Foster, Long Day’s Journey Into Night (PR: Not Ranked)
The corporate intrigue in the muted boardrooms of Ben Affleck’s Air unfolds in Beaverton, Oregon. That’s the headquarters of Nike as a select few proceeded to break the dam of sports marketing and fit it to what it is today. It happened during the loud (fashion and otherwise) decade of the 1980s as a 3rd pick rookie out of North Carolina sought a shoe deal.
Michael Jordan was that draftee in 1984 and his sneaker endorsement selection is assumed to be Adidas (Converse is the other market leader at the time). Nike, while pacing first in the market for running shoes, is third in hoops apparel. Sonny Vaccaro (Matt Damon) is the marketing exec who sees the future in MJ and shoots for a deal that his colleagues have understandable skepticism about. They include CEO Phil Knight (Affleck), who ironically spends many a conversation sans footwear, VP Rob Strasser (Jason Bateman) and Howard White (Chris Tucker), who’s still with the company today. There’s also the matter of convincing the Jordan family and mom Deloris (Viola Davis) is a fierce yet fair negotiator. Sonny’s deliberations with Jordan’s agent David Falk (Chris Messina) are far more profane and a frequent highlight.
Of course we all know how this turns out whether you’ve laced up Air Jordans or not. Yet the story behind the shoe, complete with frequent needle drops from classic music of the era, is worth putting on. Affleck and screenwriter Alex Convery provide a sturdy structure for this goodwill tale of the hunt for Jordan’s contract signature.
The script’s most surprising decision is to sideline #23 himself. There is no actor cast as Jordan and he is seen only from behind or in archival footage. It turns out to be a wise play. For starters, he may simply be too iconic and someone playing him might’ve been a distraction. Most importantly, Air is about the eventual business of MJ and not the man himself. There’s a ten-part ESPN Films documentary, with its subject seemingly in control of that material, that still does an impressive job covering him. Keeping Jordan at arms length and as an enigma makes sense in the confines of the film’s aims.
The actors provide worthy assists. Standouts including Bateman (he’s got a great scene where he explains why he doesn’t want to lose his job if negotiations go south), Messina, and of course Davis. Close buddies Damon and Affleck, as we witnessed a quarter century ago, continue to have a snappy chemistry.
Air rises above being a trivial pursuit of a corporation fattening its bottom line. Yes, one could argue that’s the eventual outcome, but this deal also gave future athletes more skin in the game. It’s all packaged in a winning formula featuring the aura of the ultimate competitor.
Heroes from the MCU and DCEU join the large Furious family when Fast X speeds into multiplexes on May 19th. The tenth official feature in the franchise (11th counting spin-off Hobbs & Shaw) arrives less than two years behind F9. Those newcomers to the fold are Captain Marvel Brie Larson and Aquaman Jason Momoa. Another fresh face to the series is director Louis Letterier, best known for The Transporter and Now You See Me. The many returnees include Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Jordana Brewster, John Cena, Jason Statham, Sung Kang, Scott Eastwood, and Charlize Theron. Rita Moreno also joins the party.
Fast X is the penultimate pic with the (allegedly) final installment hitting in 2025. In 2015, Furious 7 had the high dollar peak when it premiered with $147 million and an eventual $353 domestic gross. Part of that franchise best performance was because it paid tribute to the late Paul Walker (who co-headlined with Diesel in four previous entries). In 2017, The Fate of the Furious started with $98 million and ended with $225 million. Predecessor F9 from 2021 managed $70 million out of the gate and $173 million overall.
One could argue that F9 was hindered two summers ago by the COVID pandemic. That could be proven if X is marked by a larger opening. My hunch is that it’ll kick off on pace with it and maybe even a little behind. That would give it the lowest series beginning (excluding the $60 million from Hobbs & Shaw) since 2006’s The Fast and the Furious: Toyko Drift.
Blogger’s Update (05/10): With reports that Knights of the Zodiac is only opening on 750 screens, I’m revising my prediction from $2.2M to $1.2M.
Book Club: The Next Chapter hopes to blossom on Mother’s Day weekend while Knights of the Zodiac (based on a Japanese manga) also touches down. You can peruse my detailed prediction posts on the newcomers here:
There’s no doubt that Guardians of the Galaxy Vol. 3 will hold the #1 spot. Yet it will do so after a disappointing start (more on that below). The big question is how far it falls in the sophomore frame. Vol. 2 in 2017 eased a reasonable 55% after a strong $146 million start. With an A Cinemascore grade, the third iteration could see a similar drop. A low to mid 50s decline would put it in the mid 50s.
Book Club: The Next Chapter, a sequel to the 2018 rom com, looks to reach $12-14 million. That would be in range with its predecessor and the recent 80 for Brady. This particular holiday could it get there, but I’ll go a tad under. That could put it in a photo finish with the sixth weekend of The Super Mario Bros. Movie.
As for Zodiac, it’ll hope to make some coin overseas and it’ll need to with a reported $60 million budget. The domestic prospects appear dim and it may not even reach the top 5.
**A quick note about the sci-fi thriller Hypnotic with Ben Affleck. Apparently it’s out this weekend and there’s been approximately zero promotion or buzz. This appears to be getting dumped. I haven’t done an official prediction and it might be fortunate to make $1 million (I’m curious to see a screen count).
Here’s how I see it playing out:
1 . Guardians of the Galaxy Vol. 3
Predicted Gross: $54.8 million
2. The Super Mario Bros. Movie
Predicted Gross: $11.7 million
3. Book Club: The Next Chapter
Predicted Gross: $10.8 million
4. Evil Dead Rise
Predicted Gross: $3.2 million
5. Are You There God? It’s Me, Margaret
Predicted Gross: $2.4 million
Box Office Results (May 5-7)
It wasn’t exactly a festive start to summer for Disney as Guardians of the Galaxy Vol. 3 got off to a shaky start. With $118.4 million, it came in a bit under my $125.3 million take and significantly below the $146 million from Vol. 2. This is the second under performer of 2023 as Ant-Man and the Wasp: Quantumania also failed to match overall expectations.
After spending April in the top spot, The Super Mario Bros. Movie finally dropped to second with $18.5 million, a steeper plunge than my projection of $23.8 million. Nevertheless its five-week total is an astonishing $518 million.
Evil Dead Rise was third in weekend 3 with $5.8 million, in line with my $6.2 million forecast. It’s up to a solid $54 million.
Are You There God? It’s Me, Margaret was fourth with $3.2 million (I said $4 million). Despite laudatory reviews, the coming-of-age dramedy isn’t reaching audiences and the ten-day tally is a mere $12 million.
Rom com fans tuned out Love Again which began with only $2.3 million, not even matching my $3.2 million call.
Finally, John Wick: Chapter 4 was sixth in its seventh frame with $2.3 million. I said $3.5 million and the fourth shoot-em-up saga has amassed $180 million.
That does it for now, folks! You can listen to me talk all things box office via Movies at the Speed of Speculation wherever you catch your podcasts. Until next time…
Blogger’s Update (05/10): With reports that Knights of the Zodiac is only opening on 750 screens, I’m revising my prediction from $2.2M to $1.2M.
Based on a Japanese manga series that began in the mid 1980s, Knights of the Zodiac hits theaters this Friday. The fantasy adventure is directed by Tomek Bagiński and stars Mackenyu, son of martial arts legend Sonny Chiba. Costars include Famke Janssen, Madison Iseman, Diego Tinoco, Mark Dacascos, Nick Stahl, and Sean Bean.
With a reported budget of $60 million, Zodiac hopes to make its mark overseas. Its domestic prospects look dim. I haven’t seen an official screen count (and that could alter my projection), but I’d be surprised if this topped $5 million. In fact, it might be lucky to take in half of that.
Knight of the Zodiac opening weekend prediction: $1.2 million
For my Book Club: The Next Chapter prediction, click here:
When it comes to the quality of humor in Renfield, the ska’s the limit. There are lame jokes about how ska music sucks. The impression I get from this horror comedy is they could’ve let Nicolas Cage vamp as Dracula for an hour and a half and it would’ve been better. It wouldn’t take much as this is a mighty, mighty letdown.
Renfield (Nicholas Hoult) has been the servant to Cage’s Dracula for over 100 years and he’s finally ready to hang it up. The decades old duo now reside in subterranean New Orleans. The famed vampire depends on his employee for victims to gorge on. The more innocent they are (he requests a busload of cheerleaders or group of nuns), the more power he has. Renfield, meanwhile, stays nourished by feasting on bugs. His emotional nourishment comes from a 12-step group focused on co-dependency.
If this concept sounds like a clever angle on this oft told story, it is. Director Chris McKay and screenwriter Ryan Ridley can’t figure out how to make it enjoyable. Much of the runtime takes the light away from Cage, whose performance is easily the strongest. Instead we get a yawn inducing main plot teaming Renfield up with Awkwafina’s determined bayou cop Rebecca. She’s trying to bring down the Lobo crime family led by matriarch Bellafrancesca (Shohreh Aghdashloo) and hotshot son Teddy (Ben Schwartz). That storyline is filled with wretched overacting (not the glorious kind that Cage brings) with the Lobo’s as the worst offenders. There are shades of Eddie Murphy’s middling (but better) Vampire in Brooklyn in the Mob business. Awkwafina, on the other hand, underplays her part. It’s almost as if she’s not there. The script barely attempts romantic sparks between her and Renfield and there’s a family dynamic involving her FBI agent sister that is completely tacked on. I suspect her sibling might have had a larger role in the original draft and was cut. Hoult is a talented performer in need of a sharper role.
The action sequences are sloppily shot and edited though if it’s spurting blood you want, your thirst might be occasionally quenched. Cage is game and provides some laughs, but he’s trapped in the rubbish. Does this come off as a giant missed opportunity? No doubt.
As the fourth day of May is upon us, it occurred to me that I’ve never done an official ranking of the 11 Star Wars movies that kicked off 46 years ago today.
I’m not going to go into detail beyond the actual numbers other than to say the following:
My #1 is the one most would pick so no points for originality there.
I do not, however, hold the first trilogy at 1-2-3. Yes, rewatches of Return of the Jedi through the years have lowered my opinion (especially compared to its predecessors).
I do not look at The Force Awakens as a disappointing retread of the 1977 original as its reputation has increasingly become. And I’m a pretty big admirer of its follow-up The Last Jedi. Not so much for The Rise of Skywalker.
Here’s my personal list (from weakest to strongest) of the series!
11. Star Wars: Episode II – Attack of the Clones (2002)
10. Solo: A Star Wars Story (2018)
9. Star Wars: The Rise of Skywalker (2019)
8. Star Wars: Episode I – The Phantom Menace (1999)
7. Star Wars: Episode III – Revenge of the Sith (2005)
There’s a moment in the third act of The Pope’s Exorcist where we hear the internal monologue of a main character in the throws of their demonic experience. It got me thinking that might make for a compelling and fresh angle in a genre made famous 50 years ago with Regan and her backwards turning head. I have accurately described it as a moment. It’s over before we know it and reminded me a little of what Tom Hardy hears in Venom after his symbiotic takeover. With Russell Crowe having a ball in Julius Avery’s horror thriller, Exorcist has a few quirky moments that I appreciated before it reverts to the tropes we’re familiar with.
The screenplay’s peculiar nature is evident in the first scene. We are introduced to Father Gabriele Amorth (Crowe), who served as the Pope’s go-to exorcism guy for decades beginning in the 1970s. That’s in real life, folks! You can look it up on Wiki and it’s a fascinating read. I’m sure Amorth’s books are as well. He claims to have performed 100k+ of the purification rituals. The opening sequence finds Amorth in 1987 transferring the evil vibes to a pig, who is then violently transferred to breakfast.
Crowe proceeds to ham it up around the nuns and his superiors in Vatican City as he awaits the next assignment. Many of his fellow priests think he needs a demotion. The head pontiff (Franco Nero) believes otherwise and he’s soon riding his Vespa to an abandoned abbey in Spain.
That’s where American widow Julia (Alex Essoe), teenage daughter Amy (Laurel Marsden), and preteen Henry (Peter DeSouza-Feighoney) are residing after their departed patriarch willed them the property. The monastery holds centuries old secrets under its rickety structure and a nasty spirit soon overtakes Henry. A local Father (Daniel Zovatto) can’t figure out the invader so Amorth is assigned. The young boy’s demon proves canny at using his would-be exorcist’s previous sins against him.
One could claim that The Pope’s Exorcist offers nothing new to the frequently explored material. I could argue the opposite. After all, I hadn’t seen the pig angle and there’s also papal projectile vomiting. Avery, Crowe, and screenwriters Michael Petroni and Evan Spiliotopoulos are to be commended for its campy B-movie spirit. Amorth has a habit of exclaiming “CUCKOO!” at passersby during unexpected times. The cuckoo bits work often enough that I had little trouble putting up with the expected sections of traditional possession.
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