Disney/Pixar’s Toy Story franchise has had a storied history at the Oscars and it would be more impressive had the Best Animated Feature category existed prior to 2001. The original from 1995 and its 1999 sequel would have been near certainties for that statue (even with part two facing serious competition from The Iron Giant, South Park: Bigger, Longer & Uncut, and Princess Mononoke). In 2010, Toy Story 3 not only won the animated race, but was up for Best Picture. Nine years later, the fourth feature didn’t nab a BP slot but did take the animation prize.
That brings us to Toy Story 5, out this weekend. Andrew Stanton, who’s already taken Best Animated Feature twice for Finding Nemo and Wall-E, finally takes over directorial duties after co-creating the series over 30 years ago. Tom Hanks and Tim Allen are back voicing the iconic characters of Woody and Buzz along with returnees Joan Cusack, Tony Hale, John Ratzenberger, Wallace Shawn, Blake Clark, Annie Potts, Bonnie Hunt, Melissa Villaseñor, Kristen Schaal, Keanu Reeves, and Ally Maki. Newcomers behind the mic include Greta Lee, Conan O’Brien, Craig Robinson, Ernie Hudson, Bad Bunny, and Alan Cumming.
Unsurprisingly, reviews for Toy Story 5 are just fine… with a caveat. While the Rotten Tomatoes meter is 94%, Metacritic is at 74. That’s easily the lowest of the quintet with second lowest being #4 at 84. For that matter, that RT score is the “lowest” as well with the next being the fourth again at 97%.
Why is this important? I think it tells us that, like #4, a Best Picture nomination isn’t happening. Nor is this in the mix for Adapted Screenplay where #3 competed. It also opens the door to #5 not being a shoo-in to win Animated Feature though we’ll see what competition arises in the months to come. Recent examples of Mouse House sequels not taking that trophy are Incredibles 2, Inside Out 2 and Zootopia 2.
Every previous Toy Story flick has seen an Original Song nominated with Randy Newman’s “We Belong Together” victorious for #3. It’s hard to imagine Taylor Swift’s “I Knew It, I Knew You” not getting one of the five spots. It’s already a radio mainstay and would mark the pop star’s first Oscar nod. This is a golden opportunity for the Academy to have her perform at the 99th ceremony. My Oscar Prediction posts will continue…
Blogger’s Update (06/17): It is being reported that The Death of Robin Hood is only hitting around 1000 screens so I revising my estimate down from $8 million to a mere $3.8 million. That would put it in outside of the top 5
Toy Story 5 should dominate the upcoming weekend as the franchise enters its fourth decade of existence. The other premiere is Michael Sarnoski’s The Death of Robin Hood with Hugh Jackman in the title role. You can peruse my detailed prediction posts on the newcomers here:
In order to set the series record for highest opening, Disney/Pixar’s fifth round of Woody and Buzz needs to top the $120 million earned by part 4 in 2019. I’ve got it doing that with plenty of room to spare. My prediction also gives it 2026’s largest out of the gate haul currently held by The Super Mario Galaxy Movie with $131 million.
I’m not expecting much from Robin Hood and my fourth place forecast could decrease if the screen count is lower than the 2000-2500 venues I’m assuming. The A24 title seemingly hasn’t picked up much buzz though it’ll hope for some Father’s Day traffic.
Disclosure Day from Steven Spielberg got off to a decent if unspectacular beginning (more on that below). The sci-fi adventure hopes for a somewhat meager sophomore frame drop though I’ve got it falling in the low to mid 50s.
Obsession should be third while holdovers Scary Movie and Backrooms should duke it out for fifth place with the latter perhaps having a slight edge.
Here’s how I see the top 6 shaking out:
1. Toy Story 5
Predicted Gross: $166.8 million
2. Disclosure Day
Predicted Gross: $21.5 million
3. Obsession
Predicted Gross: $15.2 million
4. Backrooms
Predicted Gross: $6.6 million
5. Scary Movie
Predicted Gross: $6.1 million
Box Office Results (June 12-14)
In short, everything made less than I projected over the weekend. In more detail, Disclosure Day kicked off in the middle of its anticipated range with $44.5 million. I thought Spielberg’s return to the alien genre would fare better at $51.6 million. The B Cinemascore grade, not encouraging for a blockbuster, suggests a heftier drop than I might’ve originally thought could be coming.
Obsession, in its fifth frame, at last saw it grosses go down. That said, the 25% decline to $19 million gave the horror smash (and now Oscar contender in my view) a total of $188 million thus far.
Scary Movie had a massive 74% fall in weekend #2 with $14.2 million compared to my far more generous $22 million take. The sixth edition in the spoof series sits at $84 million.
Backrooms was fourth with $11.5 million, just under my $12.4 million call. This scary movie has amassed $160 million after three weeks.
Finally, Masters of the Universe solidified placement as a summer flop with a 70% plummet in its sophomore outing with $8.9 million. Once again, my benefit doubting forecast of $13.5 million proved false. The two-week tally is a weak $46 million.
Blogger’s Update (06/17): It is being reported that The Death of Robin Hood is only hitting around 1000 screens so I revising my estimate down from $8 million to a mere $3.8 million
A24, fresh off a studio best opening with Backrooms, aims for respectable grosses with The Death of Robin Hood on June 19th. That could be wishful thinking. Michael Sarnoski, maker of Pig and A Quiet Place: Day One, directs Hugh Jackman in the title role. Supporting players include Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe.
The buzz seems quiet for the umpteenth version of the legendary character’s adventures. Critics aren’t overly impressed with 72% on Rotten Tomatoes and a 64 Metacritic. The last time we saw Robin Hood onscreen was 2018 with Taron Egerton and Jamie Foxx headlining and the result was a highly disappointing $9.1 million debut.
I’ve yet to see a theater count for Jackman’s turn, but I suspect this could fare even worse. Assuming 2000-2500 venues (my projection will change if the number is considerably different), I’ll say it does.
The Death of Robin Hood opening weekend prediction: $3.8 million
It’s been two weeks since my last round of predictions in Best Picture, Director, and the four acting competitions. With mid-June upon us, I am now adding my first takes on the two screenplay derbies.
What’s changed in the last two weeks? In my estimation, Obsession has picked up considerable momentum with its astonishing box office performance. I am now vaulting the low-budget horror smash from #25 all the way into the BP lineup. Additionally, I am now thinking that Focus Features will slot Inde Navarrette and her buzzy performance to Supporting Actress and I’m placing her in my quintet all the way in second position.
While Obsession‘s fortunes have risen, I would say Disclosure Day from Steven Spielberg has taken a slight downturn. The sci-fi saga which debuted this weekend in line with financial expectations (though certainly not over them) will have to battle other blockbusters (Project Hail Mary, The Odyssey, Dune: Part Three) over the next several months for awards viability. It could still get in (and so could Emily Blunt in Actress). However, the non-gushing critical response and mixed audience reaction is a potential roadblock.
Trailers can be deceiving when evaluating a picture’s Oscar chances. Yet I have to admit that I found our first look at The Social Reckoning underwhelming and I dropped it from my BP lineup, putting it just on the outside looking in.
You can read all the movement below!
Best Picture
Predicted Nominees:
1. The Odyssey (Previous Ranking: 1) (Even)
2. Project Hail Mary (PR: 2) (E)
3. The Black Ball (PR: 5) (+2)
4. Digger (PR: 3) (-1)
5. Wild Horse Nine (PR: 4) (-1)
6. Fjord (PR: 6) (E)
7. No One Cares (PR: 8) (+1)
8. Dune: Part Three (PR: 7) (-1)
9. Cry to Heaven (PR: 10) (+1)
10. Obsession (PR: 25) (+15)
Other Possibilities:
11. The Social Reckoning (PR: 9) (-2)
12. All of a Sudden (PR: 12) (E)
13. A Place in Hell (PR: 15) (+2)
14. Disclosure Day (PR: 11) (-2)
15. Sense and Sensibility (PR: 14) (-1)
16. Fatherland (PR: 13) (-3)
17. Behemoth! (PR: 19) (+2)
18. Werwulf (PR: 16) (-2)
19. Jack of Spades (PR: 18) (-1)
20. The Adventures of Cliff Booth (PR: 17) (-3)
21. Josephine (PR: 23) (+2)
22. Saturn Return (PR: 24) (+2)
23. Michael (PR: 22) (-1)
24. Being Heumann (PR: 20) (-4)
25. Club Kid (PR: Not Ranked)
Dropped Out:
The Entertainment System is Down
Best Director
Predicted Nominees:
1. Christopher Nolan, The Odyssey (PR: 1) (E)
2. Javier Ambrossi and Javier Calvo, The Black Ball (PR: 4) (+2)
3. Alejandro G. Iñárritu, Digger (PR: 2) (-1)
4. Martin McDonagh, Wild Horse Nine (PR: 3) (-1)
5. Phil Lord and Christopher Miller, Project Hail Mary (PR: 5) (E)
Other Possibilities:
6. Cristian Mingiu, Fjord (PR: 6) (E)
7. Tom Ford, Cry to Heaven (PR: 7) (E)
8. Denis Villeneuve, Dune: Part Three (PR: 8) (E)
9. Curry Barker, Obsession (PR: Not Ranked)
10. Pawel Pawlikowski, Fatherland (PR: 9) (-1)
11. Jesse Eisenberg, No One Cares (PR: 12) (+1)
12. Ryusuke Hamaguchi, All of a Sudden (PR: 11) (-1)
13. Chloe Domont, A Place in Hell (PR: Not Ranked)
14. Georgia Oakley, Sense and Sensibility (PR: 14) (E)
15. Robert Eggers, Werwulf (PR: 15) (E)
Dropped Out:
Steven Spielberg, Disclosure Day
Aaron Sorkin, The Social Reckoning
Best Actress
Predicted Nominees:
1. Renate Reinsve, Fjord (PR: 1) (E)
2. Julianne Moore, No One Cares (PR: 2) (E)
3. Michelle Williams, A Place in Hell (PR: 4) (+1)
4. Virginie Efira, All of a Sudden (PR: 5) (+1)
5. Mikey Madison, The Social Reckoning (PR: 3) (-2)
Other Possibilities:
6. Sandra Hüller, Fatherland (PR: 6) (E)
7. Emily Blunt, Disclosure Day (PR: 7) (E)
8. Daisy Edgar-Jones, Sense and Sensibility (PR: 11) (+3)
9. Sandra Hüller, Rose (PR: 10) (+1)
10. Cynthia Erivo, Prima Facie (PR: 8) (-2)
11. Ruth Madeley, Being Heumann (PR: 12) (+1)
12. Mason Reeves, Josephine (PR: 14) (+2)
13. Sophie Okonedo, Clarissa (PR: 13) (E)
14. Penélope Cruz, Bunker (PR: Not Ranked)
15. Léa Seydoux, Gentle Monster (PR: Not Ranked)
Dropped Out:
Inde Navarrette, Obsession (moved to Supporting Actress)
Rachel Brosnahan, Saturn Return
Best Actor
Predicted Nominees:
1. Tom Cruise, Digger (PR: 1) (E)
2. Ryan Gosling, Project Hail Mary (PR: 2) (E)
3. Sebastian Stan, Fjord (PR: 3) (E)
4. John Malkovich, Wild Horse Nine (PR: 4) (E)
5. Matt Damon, The Odyssey (PR: 5) (E)
Other Possibilities:
6. John Turturro, The Only Living Pickpocket in New York (PR: 13) (+7)
7. Pedro Pascal, Behemoth! (PR: 9) (+2)
8. Nicholas Hoult, Cry to Heaven (PR: 6) (-2)
9. Jaafar Jackson, Michael (PR: 7) (-2)
10. Dominic Sessa, Tony (PR: 8) (-2)
11. Robert Pattinson, Primetime (PR: 11) (E)
12. Timothée Chalamet, Dune: Part Three (PR: 12) (E)
13. Hanns Zischler, Fatherland (PR: 14) (+1)
14. Rami Malek, The Man I Love (PR: 10 (-4)
15. Jordan Firstman, Club Kid (PR: Not Ranked)
Dropped Out:
Javier Bardem, The Beloved
Best Supporting Actress
Predicted Nominees:
1. Mariana Di Girolamo, Wild Horse Nine (PR: 1) (E)
2. Inde Navarrette, Obsession (PR: Not Ranked – moved from lead Actress)
3. Sandra Hüller, Digger (PR: 2) (-1)
4. Penélope Cruz, The Black Ball (PR: 5) (+1)
5. Tao Okamoto, All of a Sudden (PR: 4) (-1)
Other Possibilities:
6. Anne Hathaway, The Odyssey (PR: 3) (-3)
7. Parker Posey, Wild Horse Nine (PR: 6) (-1)
8. Sandra Hüller, Project Hail Mary (PR: 7) (-1)
9. Daisy Edgar-Jones, A Place in Hell (PR: 8) (-1)
10. Esmé Creed-Miles, Sense and Sensibility (PR: 10) (E)
11. Penélope Cruz, The Invite (PR: 13) (+2)
12. Halle Bailey, No One Cares (PR: 9) (-3)
13. Scarlet Johansson, Paper Tiger (PR: 15) (+2)
14. Elizabeth Debicki, The Adventures of Cliff Booth (PR: 11) (-3)
15. Lesley Manville, Jack of Spades (PR: 14) (-1)
Dropped Out:
Adele, Cry to Heaven
Best Supporting Actor
Predicted Nominees:
1. Paul Giamatti, No One Cares (PR: 1) (E)
2. John Goodman, Digger (PR: 2) (E)
3. Sam Rockwell, Wild Horse Nine (PR: 3) (E)
4. Robert Pattinson, The Odyssey (PR: 4) (E)
5. Steve Buscemi, Wild Horse Nine (PR: 5) (E)
Other Possibilities:
6. Jeremy Strong, The Social Reckoning (PR: 6) (E)
7. Jesse Plemons, Digger (PR: 8) (+1)
8. Colman Domingo, Michael (PR: 9) (+1)
9. Andrew Scott, A Place in Hell (PR: 13) (+4)
10. Riz Ahmed, Digger (PR: Not Ranked)
11. Channing Tatum, Josephine (PR: 12) (+1)
12. James Ortiz, Project Hail Mary (PR: Not Ranked)
13. Tom Holland, The Odyssey (PR: 10) (-3)
14. Aaron Taylor-Johnson, Cry to Heaven (PR: 7) (-7)
At last month’s Cannes Film Festival, Jordan Firstman’s feature length directorial debut Club Kid was a crowd favorite that sparked a bidding war won by A24. Firstman, known best for his Instagram posts, also penned the screenplay and stars as a party promoter unexpectedly forced to grow up. The dramedy’s supporting cast includes Cara Delevingne, Diego Calva, and Reggie Absolom.
With 100% on Rotten Tomatoes and 85 on Metacritic, A24 shelled out $17 million for distribution rights with a release expected in the fall. This could be a sleeper hit with the right promotion by the parties involved. I would expect an awards campaign with the likeliest shot being Original Screenplay and Best Picture and Firstman’s lead performance as longer shots. My Oscar Prediction posts will continue…
A dark interpretation of a folkloric character portrayed many times on film, Hugh Jackman has title role status in The Death of Robin Hood. Out June 19th, costars include Jodie Comer, Bill Skarsgård, Murray Bartlett, and Noah Jupe. Michael Sarnoski, maker of Pig and A Quiet Place: Day One, directs.
Mr. Jackman is generally being appreciated for his downbeat take on the part. Reviews are varied with 67% on Rotten Tomatoes and a 62 Metacritic. That’s more than 2010’s Robin Hood from Ridley Scott and starring Jackman’s Les Miserables singing partner Russell Crowe. It’s far better than 2018’s version with Taron Egerton, but the critical reaction does not indicate the A24 release will play in awards season. I doubt its distributor will prioritize it. My Oscar Prediction posts will continue…
30 plus years after kicking off the Pixar craze for parent company Disney, Woody and Buzz are back in theaters with Toy Story 5 on June 19th. The beloved franchise arrives seven years after the fourth entry which set a series best in terms of domestic earnings at $434 million. Andrew Stanton, maker of Pixar smashes Finding Nemo and Wall-E, directs his first Toy tale (he had screenwriter or story credit on the previous ones). Tom Hanks and Tim Allen are back voicing their iconic characters as are Joan Cusack, Tony Hale, John Ratzenberger, Wallace Shawn, Blake Clark, Annie Potts, Bonnie Hunt, Melissa Villaseñor, Kristen Schaal, Keanu Reeves, and Ally Maki. Newcomers behind the mic include Greta Lee, Conan O’Brien, Craig Robinson, Bad Bunny, Ernie Hudson, and Alan Cumming.
Each Story since 1995 has topped the grosses of its predecessor (non adjusted for inflation). Toy Story 4 also had the largest opening of the quartet at $120 million (the third did $110 million). Early word-of-mouth suggests this is an improvement over part 4. That should mean this has no trouble setting a new series debut record. It it doesn’t, that would be considered a letdown.
I think the floor is $130 million. While not out of the question that this could surpass it, Pixar’s all-time largest premiere held by Incredibles 2 at $182 million should stay intact. Toy Story 5 should, however, challenge Inside Out 2 at #2 and its $154 million. I’ll say it gets beyond that for the highest 2026 start, besting The Super Mario Galaxy Movie‘s $131 million.
Toy Story 5 opening weekend prediction: $166.8 million
For my The Death of Robin Hood prediction, click here:
Disclosure Day, which returns Steven Spielberg to the extraterrestrial genre, marks the 34th feature from the iconic filmmaker. Of the previous 33, only five failed to receive at least Oscar nomination: 1974’s The Sugarland Express, 1989’s Always, 2004’s The Terminal, 2008’s Indiana Jones and the Kingdom of the Crystal Skull, and 2016’s The BFG. That’s one heckuva percentage with the Academy and it’s highly unlikely that Disclosure Day will become the sixth to blank with voters.
Out this weekend, the sci-fi tale reunites the director with his frequent screenwriter David Koepp. Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, Wyatt Russell, and Colman Domingo headline the cast. The review embargo is up with an encouraging 88% on Rotten Tomatoes and 74 on Metacritic.
Finding Spielberg back in the blockbuster territory for the first time since 2018’s Ready Player One, this is not as Oscar baity as his last two projects (West Side Story and The Fabelmans). As far as Disclosure‘s Best Picture prospects, the possibility is there under a best case scenario. However, other mass appeal pics like Project Hail Mary (which has probably punched its BP ticket) and the upcoming The Odyssey and Dune: Part Three loom. If it manages to get into BP, Spielberg could follow suit in director. Original Screenplay might be more of a challenge.
It’s no surprise that the film’s strongest chances lie below the line, particularly in Sound and Visual Effects. Then there’s John Williams. Spielberg’s most frequent collaborator could manage an Original Score mention. He would be 95 when the 99th ceremony airs and it would mark his 55th (!) nomination with five victories to his legendary name.
As far as the cast, Firth is getting good ink. Yet it’s Blunt who could make the cut in Best Actress. Competition will clearly be key, but she is being heralded in what some critics are calling career-best work. She is nowhere near as guaranteed to get in as her The Fall Guy costar Ryan Gosling is for Hail Mary, but Blunt definitely has a prayer. If so, it would mark only her second attempt at Academy gold after being up in Supporting Actress for 2023’s Oppenheimer.
Bottom line: Disclosure Day will keep its maker’s popularity with the Academy intact. The number of nominations is the real mystery. My Oscar Prediction posts will continue…
Steven Spielberg’s latest alien tale Disclosure Day looks to open impressively as the only new release in the top 5. You can peruse my detailed prediction post on the legendary filmmaker’s latest here:
With solid reviews and a robust marketing campaign, Spielberg’s return to the extraterrestrial genre will have no trouble topping the charts. I do not, however, think it’ll surpass the anticipated premiere range in the mid 40s to mid 50s. I’m putting it smack dab in the middle of those figures.
The last three Scary Movie flicks have all fallen in the high 50s during their sophomore outings. After a terrific opening (more on that below), I don’t see why the sixth installment wouldn’t do the same and it might even approach 60%.
That could mean Obsession, the little horror movie that could, rises from 4th to 2nd in its fifth weekend assuming it only drops around 10% with current champ Scary Movie dropping to third. I’m estimating that Masters of the Universe and Backrooms see declines in the mid 50s and place fourth and fifth.
Here’s how I see it shaking out:
1. Disclosure Day
Predicted Gross: $51.6 million
2. Obsession
Predicted Gross: $22.8 million
3. Scary Movie
Predicted Gross: $22 million
4. Masters of the Universe
Predicted Gross: $13.5 million
4. Backrooms
Predicted Gross: $12.4 million
Box Office Results (June 5-7)
Scary Movie reenergized a franchise that had been dormant for 13 years and set a series best start with $54.3 million, besting my $47.5 million projection. The spoof flicks that have been around since the beginning of the 21st century looks good to go for an eventual seventh entry and I doubt a decade plus wait will occur.
Masters of the Universe did not have the power of box office potency in second with $29.4 million, on target with my $29.8 million call. Considering the reported budget approaching $200 million, that’s a weak debut for the second big screen adaptation of the 80s Saturday morning animated show.
Backrooms was third with a considerable but understandable 68% sophomore slide. The low-budget horror hit took in $26.2 million compared to my $30.6 million forecast. The two-week tally is a fantastic $135 million.
Obsession continued its historic run in weekend #4 in fourth with $25.3 million, surpassing my $23.4 million estimate. The really low-budget horror hit grew to $151 million.
The Amazing Digital Circus: The Last Act, featuring episodes of the hit web series, rounded out the top five with $12.3 million, in line with my $13.1 million take. Since its Thursday start, the gross is $20.2 million.
The Mandalorian and Grogu, the summer’s most notable disappointment (more than He-Man), was sixth with $9.6 million (I said $11 million). The three-week earnings of $155 million is low for its storied franchise.
Finally, Power Ballad with Paul Rudd and Nick Jonas (despite decent critical reaction) bombed in 12th with only $1.2 million. I thought it might strike a higher chord at $4.2 million.
Some reviews indicate that Claire Foy and Richard E. Grant might be having more fun than the audience will in Savage House. The 18th century set British black comedy is from writer/director Peter Glanz with a supporting cast including Kila Lord Cassidy, Bel Powley, and Jack Farthing. Out this weekend in limited fashion, the Paramount release was originally slated for late 2024.
With 62% on Rotten Tomatoes, most of the praise is going to Foy (never nominated for an Oscar) and Grant (a 2018 supporting contender for Can You Ever Forgive Me?). Yet the mixed reaction means the Academy is likely to ignore it unless the studio can manage noms that can greet this genre like Costume Design (more likely) and Production Design (less). I wouldn’t bet on it and I doubt the Globes or BAFTAs take notice either. My Oscar Prediction posts will continue…
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