Lionsgate hopes to fill audience lanes with the release of their thriller Traffik next weekend. The pic casts Paula Patton and Omar Epps as a couple on a romantic getaway who come into contact with a group of sex traffickers. Deon Taylor directs and costars include Laz Alonso, Roselyn Sanchez, and Missi Pyle.
Like the Amy Schumer comedy IFeelPretty, this was originally scheduled to debut April 27 until Marvel moved Avengers: InfinityWar to that day. Both Traffik and Pretty accelerated their releases up a week to avoid that behemoth.
The current screen count for this is listed at 1000, which is low. I’ll project there won’t be much congestion in theaters for Traffik.
Arriving over 16 years after its predecessor turned into a cult comedy hit, Super Troopers 2 hits theaters next weekend. Continuing to follow the exploits of a group of inept Vermont law enforcement officials, the sequel brings back the team from the Broken Lizard team. That includes Jay Chandrasekhar (who also directs), Kevin Heffernan, Steve Lemme, Paul Soter, and Erik Stolhanske. Other costars include Brian Cox, Damon Wayans Jr., Sean William Scott, Emmanuelle Chriqui, Jim Gaffigan, Rob Lowe, Paul Walter Hauser, Fred Savage, and original Wonder Woman Lynda Carter.
In February 2002, Super Troopers debuted to $6.2 million with an overall $18 million domestic gross. That doesn’t exactly warrant an immediate sequel, but the pic increased in popularity once released for home viewing. Even with its devoted following, part 2 may have trouble matching the premiere of part 1 from a decade and a half ago. 16 years is a long gap and younger moviegoers may not be familiar with the source material at all. Even some fans of the original may choose to wait until Troopers 2 is available on demand.
For meow, I’ll say this falls about a million bucks short of what the 2002 pic accomplished.
Super Troopers 2 opening weekend prediction: $5.2 million
Nearly three years ago, comedian Amy Schumer broke through on the big screen in a major way with Trainwreck. Last summer, she hit a bit of a sophomore slump with Snatched. Will the third time be a charm or a disappointment with next weekend’s I Feel Pretty?
Schumer stars as an ordinary gal who hits her head and wakes up thinking she’s attained supermodel looks. The pic comes from directors Abby Kohn and Mark Silverstein, making their directorial debut after writing features including Never Been Kissed, The Vow, and How to Be Single. Costars include Michelle Williams, Emily Ratajkowski, Rory Scovel, Aidy Bryant, Busy Philips, and real supermodels Naomi Campbell and Lauren Hutton.
As mentioned, Schumer’s Trainwreck debuted in the summer of 2015 to $30 million and an eventual $110 million domestic gross. Two years later, her collaboration with Goldie Hawn, Snatched, grabbed a lesser $19 million out of the gate and then petered out with just $45 million overall.
I Feel Pretty was originally scheduled to open in June of this year before being pushed up to April 27. It was recently moved up a week due to The Avengers staking claim on that release date. Reviews are not out yet and that could both help or hinder its prospects. For instance, Blockers managed to premiere to over $20 million just last weekend and the positive word-of-mouth helped. Snatched, on the other hand, probably wasn’t assisted by its mediocre reaction.
I’ll say Pretty doesn’t reach the $20 million mark and its prospects are more likely in the mid to high teens teens range.
I Feel Pretty opening weekend prediction: $16.2 million
Dwayne Johnson and Blumhouse Productions are hoping that Friday the 13th is a lucky opening day for them as Rampage and Truth or Dare debut this weekend. The former teams Johnson in an adventure with a host of CG animals and the latter is the latest from the studio that has seen a number of low-budget horror hits. You can peruse my detailed prediction posts on both here:
The battle for #1 got a bit more interesting this weekend due to the incredible debut of A Quiet Place. If Rampage were to not meet expectations (and I have it meeting them), it could create a close race between the two. That said, my mid 30s projection for The Rock and the giant gorillas and wolves puts it in first with Quiet not too far behind.
Underestimating Blumhouse is usually not a wise course of action and I have Truth or Dare in third (even with the considerable competition of A Quiet Place‘s sophomore frame). That means Ready Player One and Blockers (which opened very well itself over the weekend) should be awfully close in the race for fourth. I give Player the slight edge.
There’s also the nationwide expansion of Wes Anderson’s Isle of Dogs, which has been performing splendidly in limited release. I don’t have a theater count for it yet, but I don’t see it reaching the top 5. If it hits around 1500 theaters, I would probably say it gets around $7.5 million to $8 million. We also have the animated Sgt. Stubby: An American Hero and tennis drama Borg vs. McEnroe apparently both opening in wide (or wide-ish) release. Once again, I’ve yet to witness a screen count and there’s really no chance either of them sniff the top 5 anyway.
And with that, my projections for the weekend:
1. Rampage
Predicted Gross: $36.6 million
2. A Quiet Place
Predicted Gross: $31.8 million
3. Truth or Dare
Predicted Gross: $16.7 million
4. Ready Player One
Predicted Gross: $13.9 million
5. Blockers
Predicted Gross: $13.3 million
Box Office Results (April 6-8)
As mentioned, it was a loud and massive opening for John Krasinski’s A Quiet Place as the critically acclaimed horror pic took in $50.2 million (way beyond my $31.2 million estimate). That’s the second largest opening of 2018 behind Black Panther as it nearly tripled its meager $17 million budget in just three days. With great word-of-mouth, expect it to play well over the coming weekends.
Pretty much everything made more than my predictions in this first full April weekend. Ready Player One held solidly in weekend #2 with $24.6 million (ahead of my $21.8 million prediction) for $96 million overall.
Well reviewed comedy Blockers had a sturdy debut in third with $20.5 million, besting my $15.2 million projection. Look for the John Cena/Leslie Mann laugh fest to experience minimal declines in coming weekends, similar to what Game Night recently accomplished.
Black Panther took in $8.7 million for fourth (topping my take of $7.2 million) and it once again made some box office history. The Marvel behemoth became the third largest domestic grosser of all time (surpassing Titanic). It will likely stay at that spot behind Star Wars: The Force Awakens and Avatar. The current gross is $665 million.
Acrimony was fifth with $8.3 million (I said $6.5 million). Its two-week tally is $31 million.
Chappaquiddick didn’t make the top 5, but it did considerably better than what I figured. The Kennedy drama was 7th with $5.7 million. I was much lower at $2.3 million.
The inspirational sports drama The Miracle Season was 11th with $3.9 million, serving up close to my $3.8 million prediction.
Paterno opens during an important football game as the 84-year-old Penn State coaching legend is going for a personal NCAA record in wins. The elderly team leader sits up high in a press box and not on the sidelines, plotting out the victory. He’s removed, but involved. It’s an allegory for what follows. This is the central question of the massive scandal that follows and the rendering of the subject’s legacy in the public view. How removed was Joe Paterno in the Jerry Sandusky saga? Or how involved was he?
The HBO effort marks the second collaboration of director Barry Levinson and leading man Al Pacino for the cable network. Their first was 2010’s YouDon’tKnowJack, in which the Oscar winner played Dr. Kevorkian. Levinson also made last year’s TheWizardofLies, which cast Robert De Niro as Ponzi scheme maker Bernie Madoff. That picture had some issues with its story structure and so does this.
The tale unfolds in November 2011 over a week’s period of time that feels like an eternity for those in Happy Valley. When former assistant coach Jerry Sandusky is charged with multiple accounts of child sexual abuse, the focus soon turns to what the iconic Paterno (Pacino) knew and when. It’s a startling turn of quick events that results in the coach’s dismissal, as well as others involved with the college.
Breaking the explosive story is local reporter Sara Ganim (Riley Keough), whose sordid tale is ignored for a bit. And then everyone in the world pays attention. It’s this work that would result in a Pulitzer for her and the downfall of a living and breathing institution. This journalistic expose is done in a setting where many of the Penn State faithful are in a haze and in denial about what’s happening. Many don’t want to believe Paterno could have done any wrong in failing to report his knowledge of Sandusky’s evil.
This plot line of the bravery of reporters and the victims to shed light on Sandusky’s crimes and the inability of university officials to do the right thing is the fascinating one. However, Paterno the movie spends most of its running time holed up in Paterno the man’s home as he’s in crisis control mode with his family and advisors.
It does provide Pacino an opportunity for a choice role, just as his other HBO projects have in the 21st century (both Jack and 2003’s AngelsinAmerica). He is successful in mimicking the look and mannerisms of the coach. Paterno is played as a man seemingly incapable of understanding the gravity of the unfolding storm around him. The same goes for many in State College.
There’s a remarkable sequence where people take to the streets to protest JoePa’s firing as Sara watches. She knows that she is largely responsible for their vitriol, but also instrumental in putting away a monster. A deeper dive into how that happened could have been intriguing. Paterno largely removes itself from that process while providing a slightly disappointing but well-acted experience from those involved.
Perhaps Emoji decoding will be a term that is looked upon as a dated reference years from now when one views Blockers with fresh eyes. However, it’s one that’s used to humorous effect in 2018 in a comedy that lands more comedic punches than it misses. This is a raunchy confection laced with an often surprising amount of sweetness. Director Kay Cannon, making her directorial debut after writing the PitchPerfect franchise, is careful to mix them well and she’s got a game cast along the way.
The plot is straightforward: three high school seniors make a pact to lose their virginity on prom night. In the 1980s when these types of flicks were more prevalent, it would usually be just the boys plotting these actions. In Blockers, it’s the girls. Julie (Kathryn Newton) is ready to do the deed with her beau and she’s got ultra clingy single mom Lisa (Leslie Mann) constantly breathing down her neck. Kayla (Geraldine Viswanathan) has overprotective pops Mitchell (John Cena) and a date who amusingly uses his culinary skills for mind expanding purposes. Sam (Gideon Adlon) has a strained relationship with her party boy dad Hunter (Ike Barinholtz) and a fedora clad prom partner that doesn’t match her personal preferences.
When the trio of parents discover their daughters plans, they set out to disrupt the deflowering scheme and go to humiliating lengths to do just that. At one point, that means butt chugging at an after party for a certain wrestler turned thespian. Not exactly high brow stuff, but a funny sight gag nonetheless.
At other junctures, Blockers deftly portrays its teens as both naive due to their age and occasionally more intelligent than their over reactive folks. They’re not bad kids solely focused on sex, even though their elders focus is centered on stopping that for varying reasons. The whole coddling storyline with Mann and Cena’s characters is a well-worn one. However, both performers shine in their sometimes familiar scenarios. Barinholtz’s arch with his daughter is little more unique and a bit fresher – and he winningly avoids making his character one-dimensional. Of the three young women, Viswanathan is an actress to keep an eye on in the future.
There’s sex, drugs, and Hailee Steinfeld songs in Blockers, where sin and sentiment manage to coincide well most of the time. The thumbs up emoji applies.
In a time when much of our popular entertainment is now made by 1980s kids who worshipped at the altar of Steven Spielberg and others, ReadyPlayerOne often feels like a loving homage to the product he made. Except it’s made by Spielberg himself and based on a 2011 Ernest Cline novel that also placed Spielberg’s works among its many cultural references. Such an experience runs the considerable risk of collapsing upon itself in a meta avalanche. Yet there’s a reason Spielberg is considered the best in the blockbuster game and he mostly avoids the potential self congratulating pitfalls here. It doesn’t belong in the same stratosphere as his most delicious popcorn offerings, but it contains enough sweetness and eye-popping visuals to be reasonably filling.
We begin in the dystopian future of 2045 where the majority of the Earth’s populace lives in slum conditions. Wade Watts (Tye Sheridan) is among them. He’s an 18-year-old in Columbus, Ohio with deceased parents and a sad life living with his trashy aunt. Wade’s existence matches that of many and their only refuge from squalor is The OASIS. That’s a virtual reality world created by the late James Halliday (Mark Rylance), an eccentric developer whose nostalgic tastes inform his fantasy universe. Those preferences include a whole slew of 80s flicks and tunes and more. Players can select alternate identities when they slap on the VR goggles. Wade takes on the persona of Parzival and he cruises around in the iconic DeLorean from BacktotheFuture. Wade/Parzival isn’t just a run of the mill player. He’s a good one. And he’s among a small group of high level participants known as Gunters.
Following Halliday’s death, it’s revealed he hid an Easter egg in the OASIS and the first player to find it will inherit control of the whole shebang. Wade has noble intentions should he win. So does Art3mis (Olivia Cooke), an expert gamer who attracts Wade’s admiration and his heart. There’s also those who want control of this trillion-dollar game for more devious purposes. That includes Sorrento (Ben Mendelsohn), corporate overlord of IOI (Innovative Online Industries). That conglomerate envisions total control of this product and go to dangerous lengths to prevent ace players like Parzival and Art3mis from succeeding.
ReadyPlayerOne quickly establishes this dense new world to us without making it seem too complicated. We quickly accept the dual nature of these heroes and villains in the depressed looking capital of Ohio and the shimmering alternate reality of the OASIS. In the latter, players can become whoever they want and the programmers can insert anyone in. That allows a lot of references to characters we’ve seen elsewhere. If you have ever imagined King Kong, The Iron Giant, and the murderous Chucky doll in the same feature, your wish is granted.
Much of this is an excuse for dazzling adventure sequences and many of them truly are. There’s a notable horror pic that is the centerpiece of a key scene. Going much more into it would feel like spoiler territory, but I’ll say it’s a pretty amazing highlight. Some of the battles take on a sameness vibe eventually, but the OASIS is consistently a visual wonder to behold.
Leads Sheridan and Cooke are both stellar. Rylance and Simon Pegg as Halliday’s former business partner are memorable. Mendelsohn (as he did in RogueOne: AStarWarsStory) brings a satisfying sinister turn as the bad guy.
Spielberg’s classics have become so because of their heart. ReadyPlayerOne is not a classic, but there are moments when the beats of them are well replicated. The picture may be best appreciated by an audience whose nostalgia glasses are usually half full. I’m among them. While you might be watching closely for pop culture references, there’s an overall message of balance between adoration of the past and appreciating the present. The director behind the camera here is deservedly revered for his great past, but he can still provide the goods presently.
Blumhouse Productions and Universal Pictures are hopeful horror fans will be game for TruthorDare next weekend. Debuting on Friday the 13th, the film puts a scary spin on the time honored contest that we all familiarized ourselves with in our teens. That’s the target audience that it wishes to reach. Jeff Wadlow, who directed Kick–Ass2, is behind the camera with a cast including Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, and Landon Liboiron.
Originally scheduled to premiere on April 27, the pic wisely moved off that weekend when Iron Man, Black Panther, and other Avengers claimed it. However, the current release date poses its own problems as fellow genre title AQuietPlace will be in its sophomore frame and likely still making noise.
That said, Blumhouse has a knack for turning low-budget fright fests into hits. They’ve just come off a banner 2017 that included Split, GetOut, and HappyDeathDay. I don’t, however, feel TruthorDare will manage that trio’s grosses. I’ll estimate a debut in the mid teens range.
TruthorDare opening weekend prediction: $16.7 million
Pairing Dwayne “The Rock” Johnson with a bunch of CG animals in an adventure flick? If that sounds like a recipe for box office success, that’s because Jumanji: Welcome to the Jungle became Sony’s biggest hit at the end of 2017. And next weekend’s Rampage (while it won’t approach the numbers of that franchise follow-up) looks poised to bring in generous earnings.
The Warner Bros release is based loosely on the 1980s video game. It marks Johnson’s third collaboration with director Brad Peyton following Journey: The Mysterious Island and San Andreas. Both of those titles managed to top the century mark ($103 million and $155 million respectively) and this should do the same. Costars include Naomie Harris, Malin Ackerman, Joe Manganiello, Jake Lacy, and Jeffrey Dean Morgan. Perhaps more importantly, other costars are giant gorillas, wolf’s, and alligators.
The question is whether Rampage falls more in line with $27 million debut of Journey 2 or the $54 million accomplished by Andreas. The former seems a bit low to me while the latter is high. I’ll project a mid to possibly high 30s opening is more the ticket.
A quartet of newcomers roll into the marketplace this weekend looking to make some noise at the box office. We have the critically acclaimed horror pic A Quiet Place, critically acclaimed raunchy comedy Blockers, true-life sports drama The Miracle Season, and true-life political drama Chappaquiddick. You can peruse my detailed prediction posts on each of them here:
A Quiet Place seems primed for a healthy debut and my plus $30 million estimate places it firmly in first place. Blockers certainly has breakout potential with its positive word-of-mouth and it could manage to climb higher than my low to mid teens projection. That would put it in third place behind the second weekend of Ready Player One, which I’m thinking will lose close to half its audience in its sophomore frame.
As for The Miracle Season and Chappaquiddick, my respective estimates of $3.8 million and $2.3 million put both of them outside the top 5.
Acrimony (which was 2nd over the Easter holiday) is likely to suffer a hefty decline in weekend #2 and that could leave it battling Black Panther for the five-spot. I’ll give Marvel’s superhero the edge. In fact, it’s not outside the realm of possibility that I Could Only Imagine could place fifth, pushing Acrimony to sixth.
And with that, my top 5 projections for the weekend ahead:
1. A Quiet Place
Predicted Gross: $31.2 million
2. Ready Player One
Predicted Gross: $21.8 million
3. Blockers
Predicted Gross: $15.2 million
4. Black Panther
Predicted Gross: $7.2 million
5. Acrimony
Predicted Gross: $6.5 million
Box Office Results (March 30-April 1)
Ready Player One easily ruled the charts over Easter weekend. It met expectations and delivered Steven Spielberg his largest opener in a decade since 2008’s Indiana Jones and the Kingdom of the Crystal Skull (and fifth largest ever not adjusted for inflation). The sci-fi adventure grossed $41.7 million over the traditional Friday to Sunday portion of the weekend, topping my $36.7 million estimate and $53.7 million since its Wednesday evening roll out (just ahead of my $50.8 million projection).
The Tyler Perry directed psychological thriller Acrimony exceeded my expectations, opening in second with a solid $17.1 million compared to my $13.2 million projection. As mentioned, a large second weekend dip is probable.
Black Panther placed third with $11.4 million to bring its jaw dropping total to $650 million. My prediction? $11.4 million!!
Surprise hit I Can Only Imagine was fourth with $10.4 million, just under my $11.2 million prediction for $55 million overall.
Last week’s #1 Pacific Rim Uprising fell to fifth with a massive 67% drop and $9.3 million, under my $11.7 million estimate. The sequel has made $45 million in two weeks.
Finally, faith-based sequel God’s Not Dead: A Light in Darkness stumbled out of the gate with a meager $2.6 million debut in 12th place, just over half of my $5.1 million forecast.
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