Christopher Nolan is one of the few directors whose name can bring in audiences and his box office power will be tested next weekend when Dunkirk lands in theaters. The World War II pic looks to appeal to action fans, as well as adult moviegoers looking for something beyond sequels and reboots. Reviews are embargoed until Monday, but early word of mouth is quite solid. There could be even be Oscar buzz for categories outside of the expected technical nominations it should nab.
The cast is a mix of relative unknowns (Fionn Whitehead, Tom Glynn-Carney, Jack Lowden) and more familiar faces (Tom Hardy, Kenneth Branagh, Cillian Murphy, Mark Rylance). Early forecasts for its opening weekend potential have ranged everywhere from $30 million to possibly $60 million.
My feeling is that it will basically fall between that. Five of Nolan’s last six pictures have made over $45 million out of the gate (the outlier is 2006’s The Prestige). Of course, there’s the Dark Knight trilogy, which doesn’t serve as any sort of fair comparison. The better comps in the director’s filmography are 2010’s Inception and his last effort, 2014’s Interstellar. The former made $62 million and had the benefit of being Nolan’s follow-up to the phenomenon that was 2008’s The Dark Knight. The latter earned $47 million for its start.
I believe Dunkirk will experience a very similar opening to Interstellar with a great chance that it will experience smallish drop-offs in subsequent weekends and play well throughout the month of August.
Dunkirk opening weekend prediction: $44.7 million
For my Valerian and the City of a Thousand Planets prediction, click here:
Today, we continue on with the summer songs were filling our ears two decades ago. Last week, I brought you the top 10 seasonal ditties of 1987. If you missed that post, you can find it here:
As I’ve done with these posts previously, I’m personally rating each of them on a scale of 1 (summer bummer) to 10 (summer fire). I’m also answering the important question as to whether each track is located in my Apple Music catalog.
Before we delve into the top 10, I must say that when I looked up Billboard’s chart I expected to see Will Smith’s “Men in Black”, the theme song to 1997’s highest grossing picture. Surprisingly, it was nowhere to be found but in case you wanted to put on your nostalgia goggles and watch the Fresh Prince groovin’ with an alien, here you are:
Now that we have that out of the way, let’s get to the songs that were constantly playing on our radios and CD players 20 years ago:
10. “Look Into My Eyes” by Bone-Thugs-n-Harmony
While I expected Mr. Smith’s movie hit to be in this list, I had plain forgotten about Cleveland rap group Bone’s track that appeared on the Batman and Robin soundtrack. I guess the movie itself isn’t the only forgettable thing about the fourth Caped Crusader flick. While Bone has had some classics (“Tha Crossroads”, “1st of tha Month”), this isn’t one of them.
My Rating: 5 and a half
Is It On My Apple Music? No
9. “Do You Know (What It Takes)” by Robyn
Swedish pop star Robyn scored her first of two top 10 singles stateside with this uptempo dance hit (her second was “Show Me Love”). The fact that I had to look it up to remind myself of it means it’s a bit of a throwaway, but my head was nodding along to it and it’s got a little Britney Spears vibe pre-Britney. This makes sense because it was co-produced by Max Martin, who went on to make massive hits for Britney, Taylor Swift, Katy Perry, and many many others.
My Rating: 6 and a half
Is It On My Apple Music?: No
8. “Mo Money Mo Problems” by The Notorious B.I.G. featuring Puff Daddy and Mase
The second single from Biggie’s Life After Death album (released just weeks after his murder), “Mo Money” is a Puff Daddy confection that samples the Diana Ross classic “I’m Coming Out”. It would have sounded perfectly at home on Puff’s hit album from that summer, but it hits a high note when Christopher Wallace’s fierce rap closes it out.
My Rating: 8 and a half
Is It On My Apple Music?: Yes
7. “Say You’ll Be There” by Spice Girls
For those who didn’t live through the Spice revolution, the British girl group were a massive sensation and this is on the higher end of their pop hits. They even went the movie route six months after this topped the charts with Spice World, which performed well worldwide despite mostly scathing reviews.
My Rating: 7 and a half
Is It On My Apple Music? No
6. “Semi-Charmed Life” by Third Eye Blind
This cut from San Francisco rockers Third Eye Blind was inescapable two decades ago. It may be a perfectly sounding pop concoction, but it’s actually about crystal meth addiction. Woo hoo! Truthfully, I found this song rather grating back then and still do. It was featured prominently in American Pie two summers later.
My Rating: 5
It Is On My Apple Music? No
5. “Return of the Mack” by Mark Morrison
British hip hop artist Morrison had his one hit wonder with this anthem and it’s a darn catchy one that still resonates today. It was even recently featured in a Burger King commercial!
My Rating: 9
It Is On My Apple Music?: Yes
4. “Quit Playing Games (With My Heart)” by Backstreet Boys
Also produced by the aforementioned Max Martin, this is Backstreet’s first chart topper in the United States. Is it their best? No, that easily belongs to “I Want It That Way”, but it’s a good pop tune.
My Rating: 7
Is It On My Apple Music?: No
3. “MMMBop” by Hanson
The Oklahoma brothers had an absolute smash with the ubiquitous “MMMBop”. It received critical raves as well. I’ll fully admit this a song I would turn off today, but I liked it too back in the day.
My Rating: 7 and a half
Is It On My Apple Music? No
2. “Bitch” by Meredith Brooks
This female empowerment track by Oregon songstress Brooks was inescapable as well. It doesn’t touch top tier Alanis as far as I’m concerned, but it’s easy to belt out the chorus. It would be prominently featured three years later in the Mel Gibson rom com What Women Want.
My Rating: 6 and a half
Is It On My Apple Music? No
1. “I’ll Be Missing You” by Puff Daddy and Faith Evans featuring 112
Puff Daddy’s tribute to the Notorious B.I.G. with an assist from his widow and Bad Boy label mates 112 was an absolute juggernaut that spent 11 weeks at #1. Sampling The Police’s “Every Breath You Take”, it was a powerful track coming so soon after Biggie’s demise. Truth be told, it’s also rather mawkish and doesn’t hold up nearly as well today but I sure dug it then.
My Rating: 7
Is It On My Apple Music?: No
And there you have it, folks! I’ll be bringing you the 2007 list very soon…
War for the Planet of the Apes attempts to knock Spider-Man off his perch from the #1 spot at the box office this weekend as the horror pic Wish Upon also debuts. You can find my detailed prediction posts on both here:
As I see it, Spider-Man: Homecoming (coming off a fine debut and more on that below) should lose a bit over 50% of its opening crowd. That means my mid 60s forecast for Planet should put it fairly comfortably at #1.
Despicable Me 3 should drop to third. The wild card this weekend could be critically acclaimed rom com The Big Sick, which has been performing extremely well in limited release. It’s set to expand nationwide on Friday and could easily contend with Baby Driver for the four spot. I’ll put it just below Baby for now, but could revise my estimate depending on the official theater count arriving later this week.
As far as Wish Upon, horror flicks are always capable of over performing, yet I’m not expecting much for it. It could find itself in a battle for sixth with Wonder Woman.
And with that, I’ll do a top 7 projections for this particular weekend:
1. War for the Planet of the Apes
Predicted Gross: $63.4 million
2. Spider-Man: Homecoming
Predicted Gross: $55.2 million (representing a drop of 52%)
3. Despicable Me 3
Predicted Gross: $17 million (representing a drop of 49%)
4. Baby Driver
Predicted Gross: $7.8 million (representing a drop of 40%)
5. The Big Sick
Predicted Gross: $7.5 million
6. Wonder Woman
Predicted Gross: $6.1 million (representing a drop of 38%)
7. Wish Upon
Predicted Gross: $5.9 million
Box Office Results (July 7-9)
Marvel and Sony had much to celebrate this weekend as Spider-Man: Homecoming swung into theaters with a solid $117 million, right on pace with my $117.8M projection. Stellar reviews and Spidey’s entrance into the Marvel Cinematic Universe certainly helped.
Despicable Me 3 dropped to second in its sophomore frame to $33.5 million, a bit shy of my $36.3M estimate for a ten-day total of $148M.
At third, Baby Driver help up well in weekend #2 with $13 million, in line with my $13.6M estimate. It’s made $57M thus far.
Wonder Woman was fourth with $9.8 million (I said $9.9M) for a haul of $368M.
Transformers: The Last Knight rounded out the top five at $6.3 million (I said $7M) for a $118M total. It will easily stand as the lowest domestic earner of the franchise, which currently belongs to predecessor Age of Extinction at $245M.
Calvin Coolidge was our 30th President of the United States and he isn’t talked about too often in the general grand scheme of Presidential history. There will probably never be a biopic about President Coolidge, but he does receive the honor of having an alien named after him in Daniel Espinosa’s Life. The term mild-mannered comes up frequently in relation to the President. His extra-terrestrial namesake is nothing of the kind.
Life takes place entirely on the International Space Station (ISS) where a six-member crew is returning from a Mars mission. They’ve made quite the discovery: Matt Damon and they’re bringing him home with his disco music! Actually it’s a soil sample that turns out to be the first evidence of life outside Earth. School children are given the ability to name this historic being and the lucky winners hail from Calvin Coolidge Elementary – hence Calvin.
Jake Gyllenhaal is Dr. Jordan, who’s been stationed the longest and seems to have a slight case of space institutionalization. Ryan Reynolds is engineer Rory, who keeps the Reynolds patented wisecracks to a minimum. Dr. Miranda (Rebecca Ferguson) is the chief quarantine officer. Biologist Hugh (Ariyon Barake) is tasked with bringing Calvin out of his dormant status to life.
That turns out to be a bad idea because Calvin has only survival instincts in mind. The organism shows a mean streak when he wakes up and Life becomes all about the passengers on board clinging to their own.
Audiences have been treated (or in some cases subject to) a host of outer space themed pictures in recent years, from Gravity to Interstellar to The Martian to Passengers to name a few. Some of those titles had a hopeful tone about what lies beyond our planet. Life? Not so much.
The production design and technical elements are top-notch and the acting is just fine, even though no one really has a character to work with. Espinosa’s exercise is mainly an excuse to pay both loving homage and rip-off Alien, the granddaddy of this genre. In that sense, it does provide some genuinely scary moments and plenty of others that are just familiar territory. Life is competent if not memorable, which is also what some historians say about President Coolidge.
In his filmography which includes ShaunoftheDead and ScottPilgrimvs. theWorld, Edgar Wright has shown a flair for infusing a vast music catalogue to mix with inventive action. It’s on display at the highest gear in BabyDriver. Only Quentin Tarantino rivals and probably tops this director at it. For the majority of its running time, Driver merrily coasts in its own reality (like Quentin’s projects do) and it’s often a thrill.
Despite sounding like a Dreamworks animated project where a precocious infant gets an Uber license, the title refers to Ansel Elgort’s name and profession. His job is to ferry bank robbers around and make grand escapes upon completion. This is done at the direction of criminal mastermind Doc (Kevin Spacey, oozing sarcasm and smarminess as only he can do). Baby is rarely disconnected from his ear buds. A childhood tragedy that took the life of his musician mom has left him with tinnitus or a “hum in the drum” as Doc calls it. This means he is constantly blaring a seriously cool playlist that permeates the car chases that are his occupational hazard.
It turns out Baby is not involved in his line of work on a voluntary basis. He’s ready to move on, especially after meeting lovely waitress Debora (Lily James) who’s ready to ride off into the sunset with him. Yet there’s always that last job and it involves working with thieves Bats (Jamie Foxx, who’s having a grand time) and hot and heavy and psychotic couple Buddy (Jon Hamm) and Darling (Eiza Gonzalez). Baby has a moral compass when it comes to his work. His coworkers don’t always share that view.
BabyDriver takes little time getting the audience accustomed to its style. Between the chases (of which are expertly handled), we get plenty of tuneful fun. Some of the tracks are meant to get Baby motivated to do his assignments. Others are meant to further the courtship of him and Debora. Elgort and James have a winning chemistry here. You want them to hit that open road into happily ever after.
Only in the last few minutes does Driver somewhat stall when it becomes less enamored with its own hyper universe and becomes a more traditional action thriller. Thankfully there’s plenty of joyful noise that precedes it.
As has become a summer tradition on this here blog, I’m taking you back 30 years, 20 years, and 10 years recounting the top 10 tracks of every season.
We begin today with 1987 before moving forward with 1997 and 2007 shortly. It’s a fascinating experience to relive the songs that were blaring (at least in this era) on our Walkmans and cassettes at this juncture.
Just as in years past, I will assign a scale of 1 (summer bummer) to 10 (seasonal classic) for each hit. I will also reveal whether or not said track is on my Apple Music.
As a side note, my series that will cover the summer movies of 1987, 1997, and 2007 will be coming your way soon as well.
Let’s get to it!
10. “Luka” by Suzanne Vega
OK, so you don’t usually pair “summer hit song” with a track about child abuse, but Vega’s largest hit of her career is a catchy little ditty. It earned a number of Grammy nominations. And just to slide a movie reference in, a deleted scene from Pulp Fiction reveals the character of Vincent Vega (John Travolta) may actually be a cousin of hers.
My Rating: 8
Is It On My Apple Music?: No
9. “Heart and Soul” by T’Pau
Not T-Pain for you youngsters. No, this is T’Pau, a British pop song fronted by Carol Decker that had some hits in the late 80s. “Heart and Soul” is a perfectly reasonable track you’d belt out in the car alone.
My Rating: 7 and a half
Is It On My Apple Music?: No
8. “Only In My Dreams” by Debbie Gibson
Teen Long Island pop princess Debbie Gibson (before she changed to her name to the more distinguished Deborah) had a huge hit with this ditty. It’s somewhat forgettable these days, but it’s an OK little pop confection.
My Rating: 5 and a half
Is It On My Apple Music?: No
7. “Who’s That Girl” by Madonna
And now for the real pop princess! This is the title track for Madonna’s 1987 box office dud that still managed to produce this hit. This has never been one of my favorite Madonna songs to be honest, but it’s decent.
My Rating: 6 and a half
Is It On My Apple Music?: Yes
6. “I Want Your Sex” by George Michael
The late British pop sensation gave radio programmers heart palpitations with this first single from his heralded solo debut Faith. The track also served as the third single for the soundtrack to Beverly Hills Cop II, which was the summer’s biggest hit movie. As is the case with plenty of other GM tracks, it’s terrific and so are the various remixes that followed.
My Rating: 9 and a half
Is It On My Apple Music? Yes
5. “La Bamba” by Los Lobos
This is, of course, the cover of the Ritchie Valens 50s smash that served as the lead single for the movie La Bamba. Truth be told, this is a track that grates on my nerves and maybe that’s due to its omnipresence three decades ago.
My Rating: 4 and a half
Is It On My Apple Music? No
4. “Shakedown” by Bob Seger
This is Detroit legend Seger’s only #1 single and it came from the Beverly Hills Cop II soundtrack. It was originally intended for the late Glenn Frey, who recorded “The Heat Is On” for 1984’s Beverly Hills Cop. Do I think it’s great? No, but I might not turn the dial if it comes on.
My Rating: 6
Is It On My Apple Music?: No
3. “I Still Haven’t Found What I’m Looking For” by U2
The second single from their beloved Joshua Tree album, this is one of Irish rock band’s signature tunes and it deserves to be.
My Rating: 9 and a half
Is It On My Apple Music?: Yes
2. “I Wanna Dance With Somebody (Who Loves Me)” by Whitney Houston
Ms. Whitney’s dance inducing track here served as the first single from her second album and to this day, it will get bridal parties belting out the lyrics.
My Rating: 9
Is It On My Apple Music? Yes
1. “Alone” by Heart
Yeah, very few singers have pipes like Ann Wilson and this power ballad has tested the limits of many who attempt to keep up by themselves while sitting in traffic. Many have tried.
My Rating: 8
Is It On My Apple Music?: No
And there you have it! I’ll be back soon with 1997 and 2007…
Unlike its surprise hit predecessor, no animals are harmed in the duration of John Wick: Chapter 2. However, dozens and dozens of other miscellaneous henchmen are. Especially their heads, which is a specialty of our title character to turn them into squib fodder.
2014’s John Wick gave our retired assassin (Keanu Reeves) a decent reason to use his killing skills. His dying wife gave him a dog as a gift and bad guys disposed of it (they also stole his sweet ride). This led to a shoot-em-up extravaganza that served as a comeback role for Reeves and one of the more distinctive action titles in a while. Directors Chad Stahelski and David Leitch fashioned an ultra stylish, ultra violent, and occasionally ultra inventive experience. The first Wick burned with an intense, brooding and often humorous showcase for its star. Yet it also began building a world gleefully not grounded anywhere in reality that let the creative juices of screenwriter Derek Kolstad run free. This was especially evident in scenes at The Continental Hotel in New York City, a fancy establishment reserved for nefarious types who make their living from offing others.
It was time spent at that hotel that gave John Wick an air of something new and creative and it turns out there’s a Continental in Rome as well. That’s where the majority of the carnage here takes place. The sequel picks up right after the events of the original as Wick wraps up his business from the previous outing. He’s ready to go back to retirement with his new unnamed canine companion when an Italian baddie (Riccardo Scamarcio) visits his home. It turns out Wick made a deal with him some time ago to accept any job with no questions asked. Our villain’s task is to kill his sister so he can elevate his crime boss status and that brings Wick to Rome with an arsenal.
What follows is a lot of what we saw in the original – grandly choreographed sequences in which Wick uses his talents. This could run the risk of becoming redundant. There’s only so many ways of killing villains, but I’ll be damned if Wick doesn’t find some fascinating ways to do it. Still, it’s the little touches that make chapters 1 and 2 special from time to time.
For instance, I love the idea of an old school telephone company setting where the women working in the office look like goth versions of tellers from the 1950s. Their job is to pass along information when a hit is ordered (of which John is certainly subject to). I found myself interested in all the rules that the film’s enormous supply of assassins must abide by and the hints of larger syndicates. Some of those new professionals include Common (whose fights scenes with Wick are a highlight) and Ruby Rose as a mute vixen who hurls insults through sign language. Laurence Fishburne pops up as an underground (literally) crime leader whose group will probably play a larger role in the inevitable sequel.
While Wick’s motivations in this chapter aren’t quite as rage inducing as his departed pup, Chapter 2 recognizes the unique qualities that put chapter 1 above your typical genre material. Thankfully it keeps it at a level where I’m curious what the next chapter brings beyond the limitless supply of mercenaries whose cranial areas will be irreparably harmed.
Low-budget horror pic Wish Upon hopes to scare up some box office dollars when it comes out next weekend. The reported $12 million production focuses on a mysterious music box that grants wishes to terrifying results. Annabelle director John R. Leonetti is behind the camera with a cast that features Joey King, Ryan Phillippe, Ki Hong Lee, and Sherilyn Fenn.
The marketing campaign for this has seemed a little under the radar. Flicks of this genre can certainly exceed expectations, but I’m not expecting much here. We have already seen one example of a horror entry underwhelming this summer with It Comes at Night and it garnered very favorable reviews. There’s also significant competition in the form of War for the Planet of the Apes being in its opening weekend and Spider-Man: Homecoming being in its second.
I’ll predict Wish Upon is granted a debut just under half its meager budget.
Wish Upon opening weekend prediction: $5.9 million
For my War for the Planet of the Apes prediction, click here:
Arriving as one of the most critically acclaimed blockbusters so far this year, War for the Planet of the Apes hits theaters next weekend. This is third franchise entry of the current reboot of a series that will celebrate its fiftieth anniversary next year. Matt Reeves, who made 2014 predecessor Dawn of the Planet of the Apes, is back directing with Andy Serkis bringing back his innovative motion capture work as Caesar. Woody Harrelson is our head human with Steve Zahn and Judy Greer among other ape characters.
20th Century Fox wasn’t shy about early screenings for critics and the result is a 95% current Rotten Tomatoes score, topping 2011’s Rise of the Planet of the Apes (81%) and Dawn (90%). That should help scare off potential franchise fatigue in a summer that has seen plenty of it (including Pirates of the Caribbean and Transformers).
Rise debuted six summers ago to $54 million and an eventual $176 million overall domestic gross. Three years later, Dawn reached higher with a $72 million premiere and $208 million total stateside. War stands a fair chance at posting the best opening yet and it almost certainly will outpace Rise.
I’m predicting this third helping of this well-regarded franchise will end up just below what Dawn rose to out of the gate for an opening in the mid 60s.
War for the Planet of the Apes opening weekend prediction: $63.4 million
There’s only one new major release this weekend hitting multiplexes, but it’s a big one in the form of Spider-Man: Homecoming. This is the third iteration of the beloved web slinger with Tom Holland inheriting the tights after his cameo in Captain America: Civil War. You can peruse my detailed prediction post on it here:
Spidey should easily rule the charts this weekend and my prediction puts it a couple million above what the original accomplished 15 years ago.
As for holdovers, Despicable Me 3 had a somewhat disappointing debut (more on that below) and I look for it to lose nearly half its audience in the sophomore frame.
Baby Driver, on the other hand, was quite a breakout hit and word of mouth is strong. Its drop-off shouldn’t be as pronounced. Wonder Woman and Transformers look to round out the top five.
And with that, my top 5 projections for the weekend ahead:
1. Spider-Man: Homecoming
Predicted Gross: $117.8 million
2. Despicable Me 3
Predicted Gross: $36.3 million (representing a drop of 49%)
3. Baby Driver
Predicted Gross: $13.6 million (representing a drop of 34%)
4. Wonder Woman
Predicted Gross: $9.9 million (representing a drop of 37%)
5. Transformers: The Last Knight
Predicted Gross: $7 million (representing a drop of 58%)
Box Office Results (June 30-July 2)
Illumination Entertainment’s Despicable Me 3 earned an estimated $72.4 million, which easily placed it first. However, this was easily $10 million below most of the lowest guesstimates. I projected a higher haul at $88.7M.
Edgar Wright’s critically acclaimed Baby Driver greatly exceeded expectations with a $20.5 million Friday to Sunday gross and a cool $29.5 million since its Wednesday opening. This blew away my respective predictions of $10.9M and $15.8M and proved that audiences are hungry for programming in the summer that isn’t a sequel or reboot.
Transformers: The Last Knight slipped to third with $16.8 million (in line with my $17.4M forecast) for a $102M total.
Wonder Woman was close behind in fourth with $15.7 million (I said $14.5M) to bring its massive earnings to $346M.
Cars 3 rounded out the top five with $9.6 million (I was higher at $12.1M) for a $120M overall gross.
The poorly reviewed Will Ferrell/Amy Poehler comedy The House was DOA in sixth place, earning only $8.7 million for its start (I said $13.8M).
Finally, Sofia Coppola’s The Beguiled expanded its theater count and took in $3.1 million compared to my $3.8M prediction.
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