Author: toddmthatcher

Solo: A Star Wars Letdown

There aren’t a whole lot of films that could open to over $100 million at the box office and legitimately be considered a major disappointment. Those pictures generally belong in the Marvel Cinematic Universe or other massive franchises. For instance, if next month’s Jurassic World: Fallen Kingdom only makes that figure, that would be bad news for Universal Pictures and the series long-term viability.

Of course, there is no franchise bigger than that of Star Wars. Spanning over four decades and now on its 10th feature, there had yet to be a true example of an entry coming in well below expectations. Until now. Solo: A Star Wars Story, just a week ago or so, was projected to set the Memorial Day weekend record by outpacing the $139 million earned in 2007 by another Disney property, Pirates of the Caribbean: At World’s End.

It didn’t. Like… at all. The current four-day estimate (final numbers tomorrow) puts Solo at $103 million. I had pegged it at $151 million. Oops. That actually puts it at just #7 as far as the holiday goes. That’s not only behind Pirates, but after Indiana Jones and the Kingdom of the Crystal Skull, X–Men: The Last Stand, Fast & Furious 6, X–Men: Days of Future Past, and even The Hangover Part II. Ouch.

So the natural question… why? Predicting where the money earned by moviegoers at the box office is a tricky proposition… I try to estimate it every week. Sometimes I’m great at it and sometimes not (this would obviously be a case of the latter). Solo is the second stand-alone effort in the franchise behind 2016’s Rogue One: A Star Wars Story. While they’re not expected to make the coin that the official episodes take in, Rogue debuted to $155 million in three days just a year and a half ago.

This latest entry focuses on an iconic character that has more name recognition than all the people (with a notable exception or two) in Rogue One put together. Sure there’s backlash about an actor other than Harrison Ford playing him, but that wasn’t expected to spark a hugely worrisome backlash as far as box office numbers.

Could it be the reviews? That might be a bit of it. Solo stands at 70% on Rotten Tomatoes and that’s low for this franchise. Yet that rating isn’t terrible or anything. My own review used the word ambivalent for my overall reaction to it:

https://toddmthatcher.com/2018/05/27/solo-a-star-wars-story-movie-review/

And therein could lie the true key. Looking over the lengthy history of the series, Star Wars films have truly been Event Pictures. Ones that are breathlessly awaited and spawn endless speculation prior to their releases. The original trilogy saw three-year gaps between releases. It was then 16 years before the second and considerably less regarded trilogy arrived and they also saw three-year waits between servings. Those like me that remember the buildup to 1999’s The Phantom Menace (no matter how much it disappointed upon release) would argue it rivaled and probably exceeded that of The Force Awakens in 2015.

Since Disney took over the release reigns, we have been guaranteed a Star Wars pic a year. That tremendously dilutes the Event Picture status. Rogue One had the benefit of arriving a year after Force Awakens set every box office record. The Last Jedi didn’t match the grosses of Awakens… to the tune of $316 million less. That said, its $620 million haul is nothing to be too worried about.

Solo arriving only five months later and with so-so buzz left it as the least anticipated Star Wars experience to date. The barely nine figure gross out of the gate showed that audiences were a bit ambivalent about it.

Will that cause the Mouse Factory to rethink the release date pattern? It’s probably a good thing that Episode IX won’t be out until December 2019. The official episodes, by the way, will always have an anticipation factor that the stand-alone variety will not. And Disney might want to consider making those side projects feel a little more special or that ambivalence might continue to grow.

Solo: A Star Wars Story Movie Review

I have an ambivalent feeling about this. And there I am with Solo: A Star Wars Story, which is competently directed and acted, has the impressive battle scenes you expect in this franchise, and manages to be underwhelming at the same time. It is the first occurrence of Disney’s resurgence of the forty-year plus series seeming inconsequential, a feeling that didn’t permeate Rogue One (2016’s first stand-alone entry in the galaxy far far away).

Here is a franchise, more than any other, that elicits strong emotions from its legions of fans both positively and negatively. After all, the original episodes IV-VI trilogy has inspired generations of filmmakers and other blockbusters. Episode I-III sparked a backlash where its multitude of detractors still foam at the mouth speaking of it. Even last year’s The Last Jedi had vigorous supporters and naysayers extolling its virtues or pitfalls.

Solo shouldn’t be picked apart in that manner. Oh, it probably will. Yet my reaction is it doesn’t really deserve that much scrutiny. This is basically a breezy heist flick transplanted into a familiar cinematic universe. The backlash of casting a younger actor to fill the shoes of a role Harrison Ford made iconic? It’s not a disaster by any means, but Alden Ehrenreich isn’t memorable either. No surprise but when you hear the words Han Solo after viewing this, you’ll think of the older one with fondness.

The picture shows us a youthful Han wishing to become a pilot and willing to team up with unsavory characters to do so. He has an insubordinate streak that naturally rejects the evil ways of the Empire, but he hardly considers himself a hero. We know better. The love of his current life is Qi’ra (Emilia Clarke), who he’s separated from and makes a vow to rescue from Imperial servitude from villainous Dryden Vos (Paul Bettany). Han needs a ship to make that happen and that costs money. His mission leads him to partner with thief Tobias Beckett (Woody Harrelson) and his crew. Oh and there’s a notable Wookie involved and a swagger filled Lando Calrissian (Donald Glover). And that ship he finds… like you don’t know…

Han’s journeys take him to multiple galaxies with a second half that feels like one continuous action sequence. There are, of course, nods to the franchise lore. Solo, though, feels the most removed from everything we’ve seen before. If it often has the vibe of a cash grab to fill time between traditional episodes, that’s because it kind of is. Ron Howard took over the behind the camera duties after the well-publicized removal of Christopher Miller and Phil Lord months into production. I didn’t have a strange sense of competing visions while viewing it. If anything, Howard certainly seems like the filmmaker here with its workmanlike sensibilities and lack of genuine style.

The cast is filled with familiar faces putting in serviceable performances. Glover gets a couple of moments to shine, but my favorite supporting work came from the more unfamiliar Phoebe Waller-Bridge as the voice of sassy droid L3. Bettany is a decent villain in a series with previous monumental ones. As mentioned, the conventions of the heist genre are all present with double crosses aplenty.

The Star Wars series is one in which the fans rarely forget a detail. Solo: A Star Wars Story is ultimately rather forgettable. Sure it’s an easy watch, but focusing deeply on it seems like giving it too much credit.

**1/2 (out of four)

My Top 25 Maroon 5 Songs

Every once in a while I move away from the movie portion of my blog and go to my love of music and my love of making lists. And seeing Maroon 5 frontman Adam Levine carpool karaoke with James Corden got me thinking – I could totally make a top 25 list of my favorite tracks by the pop/rock group that’s been around since 2002 with hit after hit.

Interestingly, throughout their six albums, their first two make up about half of the songs listed here. Yet their album before the last one produces only one, but it happens to be the track that tops the list. So crank up my playlist of my personal favorite Maroon 5 tracks if you like! Here they are:

25. “Goodnight Goodnight” from It Won’t Be Soon Before Long (2007)

24. “Secret” from Songs About Jane (2002)

23. “Nothing Lasts Forever” from It Won’t Be Soon Before Long (2007)

22. “Who I Am” from Red Pill Blues (2017)

21. “Love Somebody” from Overexposed (2012)

20. “Won’t Go Home Without You” from It Won’t Be Soon Before Long (2007)

19. “If I Never See Your Face Again” from It Won’t Be Soon Before Long (2007)

18. “The Sun” from Songs About Jane (2002)

17. “What Lovers Do” from Red Pill Blues (2017)

16. “Harder to Breathe” from Songs About Jane (2002)

15. “She Will Be Loved” from Songs About Jane (2002)

14. “Wait” from Red Pill Blues (2017)

13. “Wake Up Call” from It Won’t Be Soon Before Long (2007)

12. “Moves Like Jagger” from Hands All Over (2010)

11. “Misery” from Hands All Over (2010)

10. “One More Night” from Overexposed” (2012)

9. “Just a Feeling” from Hands All Over (2010)

8. “Closure” from Red Pill Blues (2017)

7. “Beautiful Goodbye” from Overexposed (2012)

6. “Makes Me Wonder” from Hands All Over (2010)

5. “Back at Your Door” from It Won’t Be Soon Before Long (2007)

4. “This Love” from Songs About Jane (2002)

3. “Sweetest Goodbye” from Songs About Jane (2002)

2. “Sunday Morning” from Songs About Jane (2002)

1. “Sugar” from V (2014)

Upgrade Box Office Prediction

Blumhouse Productions is out with its latest low-budget flick that hopes to generate high dollar figures when Upgrade debuts next weekend. The sci-fi horror revenge pic comes from director Leigh Whannell, best known for his involvement in the Insidious franchise (including directing its third chapter). Logan Marshall-Green, Betty Gabriel (best known as the creepy housekeeper in Get Out), and Harrison Gilbertson are among the cast. Early reviews have been decent as it currently stands at 73% on Rotten Tomatoes.

Upgrade is slated to open on a rather low 1400 screens and that will limit its potential. I would not anticipate this coming anywhere near the massive successes that Jason Blum and his studio have achieved with titles like the aforementioned Get Out, Split, or Happy Death Day. Instead it appears destined to premiere similar to BH Tilt’s lesser offerings like The Belko Experiment, The Green Inferno, or Incarnate – none of which managed to clear $5 million for their starts.

Upgrade opening weekend prediction: $2.8 million

For my Action Point prediction, click here:

https://toddmthatcher.com/2018/05/23/action-point-box-office-prediction/

For my Adrift prediction, click here:

https://toddmthatcher.com/2018/05/24/adrift-box-office-prediction/

Adrift Box Office Prediction

Two stars known for their appearances in YA franchises team up for the romantic drama Adrift, setting sail in theaters next weekend. The pic stars Shailene Woodley (of The Fault in Our Stars and Divergent fame) and Sam Claflin (of The Hunger Games series) as sailors caught up in a perfect storm. Set in 1983 and based on a true story, the feature comes from Icelandic director Baltasar Kormakur – who made 2 Guns and Everest.

Adrift will attempt to bring in a female audience familiar with the two leads, but I believe it may face a rough forecast reaching them. There seems to be minimal buzz regarding the project. In my view, reaching low teens would be a high water mark and I have a feeling low double digits could be more likely.

Adrift opening weekend prediction: $11.7 million

For my Action Point prediction, click here:

Action Point Box Office Prediction

For my Upgrade prediction, click here:

Upgrade Box Office Prediction

Action Point Box Office Prediction

America’s foremost jackass is back in theaters next weekend when Johnny Knoxville headlines Action Point. The comedy casts him as the owner of a low-grade amusement park. Expect many of the patented stunts that the man has become synonymous with. Chris Pontius costars with Tim Kirkby directing.

It’s been nearly five years since Knoxville was featured in a starring vehicle – 2013’s Bad Grandpa. That was a huge hit with a $32 million debut and $102 million overall domestic haul. And of course, the Jackass franchise brought in big grosses for Paramount (this film’s distributor) as well.

That said, it’s been quite a while since Mr. Knoxville’s brand of humor was printing money. One wonders if the audience for it has grown up a bit and moved on. I also have a feeling that Action Point doesn’t quite have the selling point marketability that Grandpa possessed.

Add all that up and I believe this may struggle to even reach double digits out of the gate by not bringing in the teenage crowd it wishes to cater to.

Action Point opening weekend prediction: $6.6 million

For my Adrift prediction, click here:

Adrift Box Office Prediction

For my Upgrade prediction, click here:

Upgrade Box Office Prediction

Oscar Watch: Mary Shelley

At the Toronto Film Festival last fall, Saudi Arabian director Haifaa al-Mansour premiered Mary Shelley with the hope of generating some solid critical buzz. The period drama casts Elle Fanning in the title role of the English author who brought Frankenstein to life in 1818. Costars include Douglas Booth, Maisie Williams, Ben Hardy, Bel Powley, and Stephen Dillane.

The picture largely landed with a thud. Scheduled for limited release in domestic theaters this Friday, Shelley is currently at just 33% on Rotten Tomatoes. Ms. Fanning is certainly an up and comer who could get her share of awards worthy roles in the future.

However, Mary Shelley isn’t it. Once it screened up north, the reaction assured its Oscar chances aren’t alive.

My Oscar Watch posts will continue…

Box Office Predictions: May 25-28

It’s Memorial Day weekend at the box office and Solo: A Star Wars Story is the solo new release as it looks to dominate the holiday charts. You can peruse my detailed prediction post on it here:

https://toddmthatcher.com/2018/05/15/solo-a-star-wars-story-box-office-prediction/

I believe Solo will manage to just top $150 million for the four-day frame and that would make it the largest Memorial Day opening of all time (topping the $139 million earned by Pirates of the Caribbean: At World’s End in 2007).

The holiday weekend often means small declines for holdovers and I believe that will hold true such titles as Avengers: Infinity War, Book Club, and Life of the Party. That may not apply to Deadpool 2, which will certainly be in second place. The Ryan Reynolds sequel seems likely to lose over 50% of its opening crowd – perhaps even 55% or so.

And with that, my take on the weekend’s top five (keep in mind these are Friday to Monday estimates):

1. Solo: A Star Wars Story

Predicted Gross: $151.3 million

2. Deadpool 2

Predicted Gross: $55.2 million

3. Avengers: Infinity War

Predicted Gross: $22.5 million

4. Book Club

Predicted Gross: $11.7 million

5. Life of the Party

Predicted Gross: $5.3 million

Box Office Results (May 18-20)

Deadpool 2 easily dominated the weekend, but did so with a little less dollars than most projections include mine. The superhero sequel earned $125.5 million, under my $137.4 million prediction. That’s good for the second biggest R rated debut of all time behind… Deadpool from 2016. Considering its reported $110 million budget, that’s still a hefty haul even though many figured it might manage to just top the original.

Avengers: Infinity War dropped to second after three weeks at #1 with $29.4 million (in line with my $30.8 million projection) for $595 million overall.

Book Club experienced a nice debut in third with $13.5 million, ahead of my $10.3 million estimate. I look for this to have perhaps the smallest drop of any feature over Memorial Day.

Life of the Party was fourth with $7.6 million (I said $8.4 million) for $30 million total.

Breaking In rounded out the top five at $6.8 million (I said $7.2 million) for $29 million in its two weeks.

Finally, family feature Show Dogs failed to bring in its audience with just $6 million. I was higher at $7.9 million.

And that does it for now, folks! Until next time…

 

Deadpool 2 Movie Review

Two years ago, Deadpool was a breath of filthy fresh air in the superhero genre with Ryan Reynolds triumphing in bringing the title character to the big screen (as we forget X–Men: Wolverine ever existed… sort of). No one was sure whether a very R rated comic book protagonist could succeed with audiences, but he did and then some. The inevitable sequel risks the chance of having a been there, done that vibe. For a while, Deadpool 2 comes dangerously close to being that. The self referential  jokes and carefree energy threatens to make part II nothing more than a featherweight viewing with a few clever gags thrown in. Luckily, Deadpool gets his groove back in time to make it something a little more. Does it match the quality of its predecessor? No, but there’s certainly moments (especially in the second half) that work very well.

We open with Wade Wilson, aka Mr. Pool, having a demented ball fighting sex traffickers and other baddies while in his blissful romance with soul mate Vanessa (Morena Baccarin). Some complications interrupt his happy-go-lucky routine and he soon finds himself in a bad way. He finds teenage mutant Russell (Julian Dennison) with flames for fists that he struggles to protect from future traveling soldier Cable (Josh Brolin, summer 2018’s villain du jour). Deadpool also assembles a motley crew of a team known as X-Force (which even he knows is a derivative monicker). For those who’ve witnessed our hero in action before, we know that none of this is exactly pulled off with expert precision. It is a joy to welcome back some of his unconventional crime fighting partners, particularly Karan Soni’s taxi driving sidekick.

The first half of Deadpool 2 is equipped with some humorous cameos and quips galore. And so is the second half. The difference is that for the first hour or so, the pic seems a bit unfocused and content to coast on its meta merits. It isn’t until some of the new characters motivations are explained that the follow-up gathers that needed focus. Once that happens, the gags work better. It also helps that the action sequences seem to jump up a notch towards the end.

One item that doesn’t change is the commitment that Reynolds brings to his beloved character. He clearly loves playing the part and it shows. Brolin, like his Thanos In Avengers: Infinity War, plays an antagonist with some actually understandable motivation for the second time in a month. He’s no Thanos, but he’s a reasonably interesting dude. Part II delves more into Deadpool’s connection with the X-Men and occasionally in ways that induce well-earned laughter.

The originality factor that made Deadpool such a welcome addition to an always growing genre over can’t be replicated here. However, enough of the winking dirty charms we experienced in 2016 are present.

*** (out of four)

Oscar Watch – Solo: A Star Wars Story

Since Disney took over the Star Wars franchise, the three released pictures have combined for 11 Oscar nominations in the past three ceremonies. Let’s break them down, shall we?

Star Wars: The Force Awakens (2015)

Nominations: Original Score, Sound Editing, Sound Mixing, Film Editing, Visual Effects

Rogue One: A Star Wars Story (2016)

Nominations: Sound Mixing, Visual Effects

Star Wars: The Last Jedi (2017)

Nominations: Original Score, Sound Editing, Sound Mixing, Visual Effects

You will note 11 nods, but no wins for the multi-billion dollar series and that all recognition has been in technical races. This Memorial Day weekend, Solo: A Star Wars Story flies into theaters. So the question must be asked: will it manage to score some Academy love as well?

Solo has the lowest Rotten Tomatoes rating (71%) of the bunch. That could serve as a hindrance for even tech nods, especially with MCU heavy hitters like Black Panther and Avengers: Infinity War in the mix, among others.

Perhaps it could play in the Sound races and perhaps Visual Effects, but competition could potentially leave Solo as the solo entry in the franchise with no Oscar attention.

My Oscar Watch posts will continue…