The summer box office season officially kicks off in the manner it has many times lately… with an expected Marvel Cinematic Universe juggernaut. Doctor Strange in the Multiverse of Madness looks to accomplish some records after previous franchise entry Spider-Man: No Way Home set plenty of its own. You can peruse my detailed prediction post on Benedict Cumberbatch’s return as the mystical doc here:
My estimate would give Multiverse the 7th largest domestic premiere of all time and the highest ever for the month of May (topping The Avengers). It would be #4 in terms of MCU entries – behind Avengers: Endgame, No Way Home, and Avengers: Infinity War.
No other film is daring to open against this and family friendly entries The Bad Guys (after two weeks on top) and Sonic the Hedgehog 2 should slide a spot. Everything Everywhere All at Once is holding extremely well from week to week and it could rise to fourth over Fantastic Beasts: The Secrets of Dumbledore.
Here’s how I think the top 5 will look:
1. Doctor Strange in the Multiverse of Madness
Predicted Gross: $208.5 million
2. The Bad Guys
Predicted Gross: $10 million
3. Sonic the Hedgehog 2
Predicted Gross: $7.1 million
4. Everything Everywhere All at Once
Predicted Gross: $4.4 million
5. Fantastic Beasts: The Secrets of Dumbledore
Predicted Gross: $4.3 million
Box Office Results (April 29-May 1)
Before Marvel begins its domination, it was a pretty quiet weekend with The Bad Guys repeating in first. The DreamWorks Animation effort made $16.2 million, topping my $14.4 million projection for $44 million in 10 days.
Most holdovers managed to slightly exceed my expectations. Sonic the Hedgehog 2 stayed in second at $11.5 million compared to my $10.8 million call. Total is $161 million.
Fantastic Beasts: The Secrets of Dumbledore continued its ho-hum run in third with $8.3 million, just above my $7.7 million take. The three-week tally is a disappointing $79 million.
The Northman was fourth in its sophomore outing with $6.3 million. I went with $5.6 million and it’s at $22 million.
Everything Everywhere All at Once actually had a 2% increase with $5.5 million to round out the top five (I said $4.2 million). The A24 Oscar hopeful has made an impressive $35 million.
The Unbearable Weight of Massive Talent was sixth with $3.8 million (I predicted $3.5 million) for $13 million in two weeks.
Finally, Liam Neeson’s streak of low grosses stayed intact as Memory opened in 8th with $3.1 million. That’s in line with his recent (non) earners and just below my $3.3 million projection.
It’s been an entire week since The Slap… check that, the 94th Academy Awards where CODA parlayed its Sundance buzz from January 2021 all the way to a Best Picture victory.
That also means I’ve managed to wait a whole week without speculation for the next Academy Awards which will hopefully be a slap free zone. So what are some titles that could be vying for attention?
On May 27th and after numerous delays, Top Gun: Maverick will find Tom Cruise returning to his iconic role some 36 years after the original. There’s a decent chance it could be up for similar prizes that its predecessor landed like Sound, Film Editing, and Song (courtesy of Lady Gaga apparently). Visual Effects is a possibility as well.
My weekly Oscar prediction posts won’t begin until mid to late August. In the meantime, you’ll get individualized write-ups for pics that open or screen at festivals.
Yet for today – I feel the need. The need to identify 21 other 2022 titles that might end up on the Academy’s radar. Enjoy!
Armageddon Time
Despite acclaimed movies like The Lost City of Z and Ad Astra, James Gray has yet to connect with awards voters. This drama, rumored to be centered on his Queens upbringing, is the next hopeful and features a stellar cast including Anne Hathaway, Anthony Hopkins, and Jeremy Strong. Release Date: TBD
Avatar 2
The 2009 original amassed nine nominations and won took home three. The first sequel (there’s three more on the way) arrives in December from James Cameron. Will it capture the critical and box office magic of part one? That’s impossible to know at this juncture, but one can safely assume it’ll be up for some tech categories like Sound and Visual Effects. Release Date: December 16th
Babylon
Damien Chazelle is no stranger to the big dance. Whiplash was a BP nominee and J.K. Simmons won Supporting Actor. Chazelle took Director for his follow-up La La Land along with Emma Stone’s Actress victory and it almost famously took BP. First Man nabbed four nominations, but missed the top of the line races. Babylon is a period drama focused on Hollywood’s Golden Age and should be right up the Academy’s alley. The cast includes Brad Pitt, Margot Robbie, and Tobey Maguire. Release Date: December 25th
Canterbury Glass
Robbie also turns up in David O. Russell’s latest ensemble piece. Anytime he’s behind the camera, Oscar nods typically follow (think The Fighter, Silver Linings Playbook, American Hustle). Slated for November, the dramedy also features Christian Bale, John David Washington, Rami Malek, Zoe Saldana, Robert De Niro, Mike Myers, and… Chris Rock. Release Date: November 4th
Elvis
Arriving in June but with a Cannes unveiling in May, Baz Luhrmann’s musical bio of The King stars Austin Butler in the title role and Tom Hanks as The Colonel. If this doesn’t contend for the major awards, I would still anticipate potential tech recognition (Production Design, Sound, etc…). Release Date: June 24th
Empire of Light
Sam Mendes was likely in the runner-up position in 2019 for Picture and Director (behind Parasite) with 1917. His follow-up is an English set romance starring Olivia Colman (who would be going for her fourth nomination in five years), Michael Ward, and Colin Firth. Release Date: TBD
Everything Everywhere All at Once
From two filmmakers known collectively as Daniels, Once is already out in limited release with spectacular reviews (97% on RT). The sci-fi action comedy might be too bizarre for the Academy, but I wouldn’t count it out as its admirers are vocal. Picture, Director, Actress (Michelle Yeoh), and Original Screenplay are all on the table. Release Date: out in limited release, opens wide April 8th
The Fabelmans
Steven Spielberg directs a semi-autobiographical tale and cowrites with his Lincoln and West Side Story scribe Tony Kushner. The cast includes Michelle Williams, Seth Rogen, and Paul Dano. Needless to say, this is a major contender on paper. Release Date: November 23rd
Killers of the Flower Moon
Alongside The Fabelmans, this might be the most obvious nominee from a personnel standpoint. Martin Scorsese helms this western crime drama featuring Jesse Plemons, Lily Gladstone, and his two frequent collaborators Leonardo DiCaprio and Robert De Niro. Apple TV just became the first streamer to get a BP victory with CODA. This could be the second in a row. Release Date: November
Poor Things
In 2018, The Favourite scored a whopping ten nominations. Based on an acclaimed 1992 novel, Poor Things is Yorgos Lanthimos’s follow-up and it reunites him with Emma Stone along with Willem Dafoe, Ramy Youssef, and Mark Ruffalo. The plot sounds bizarre but it could also be an Oscar bait role for Stone and others. Release Date: TBD
Rustin
One of Netflix’s contenders is George C. Wolfe’s profile of gay civil rights activist Bayard Rustin (played by Colman Domingo). In 2020, Wolfe directed Viola Davis and Chadwick Boseman to nods for Ma Rainey’s Black Bottom. Look for Domingo to be a competitor and the supporting cast includes Chris Rock (maybe he will be back at the show), Glynn Turman, and Audra McDonald. Release Date: TBD
See How They Run
The 1950s set murder mystery could provide 27-year-old Saoirse Ronan with an opportunity to land her fifth nomination. Sam Rockwell, David Oyelowo, Adrien Brody, and Ruth Wilson are among the supporting players. Tom George directs. Release Date: TBD
She Said
Five years after the scandal rocked Hollywood, She Said from Maria Schrader recounts the New York Times sexual misconduct investigation into Harvey Weinstein. Zoe Kazan, Carey Mulligan, and Patricia Clarkson lead the cast. Release Date: November 18th
The Son
Florian Zeller won Best Adapted Screenplay in 2020 for The Father along with Anthony Hopkins taking Best Actor. This follow-up (based on the director’s play) finds Hopkins reprising his Oscar-winning part in supporting fashion. Other cast members seeking awards attention include Hugh Jackman, Laura Dern, and Vanessa Kirby. Release Date: TBD
TAR
It’s been a while since we’ve seen Todd Field behind the camera. Previous efforts In the Bedroom and Little Children received 8 nominations between them. A decade and a half following Children comes this Berlin set drama with Cate Blanchett, Noemie Merlant, and Mark Strong. Release Date: October 7th
Three Thousand Years of Longing
Scheduled for a Cannes bow in May, Longing is a fantasy romance from the legendary mind of George Miller (who last made Mad Max: Fury Road which won six tech Oscars). Idris Elba and Tilda Swinton star. Release Date: TBD
The Whale
Darren Aronofsky directed Mickey Rourke to a comeback narrative nod for 2008’s The Wrestler. Two years later, his follow-up Black Swan earned Natalie Portman a statue. Brendan Fraser is hoping for the same treatment with The Whale as he plays a 600 pound man attempting to reconnect with his daughter. Costars include Sadie Sink, Hong Chau, and Samantha Morton. I’d expect Makeup and Hairstyling could also be in play with this. Release Date: TBD
White Noise
Not a remake of the Michael Keaton supernatural thriller from 2005, this is Noah Baumbach’s follow-up to Marriage Story. Based on a 1985 novel, it’s the filmmaker’s first picture based on other source material. Marriage landed three acting nods (with Laura Dern winning Supporting Actress). The cast here includes frequent Baumbach collaborator Adam Driver, real-life partner Greta Gerwig, Raffey Cassidy, Andre Benjamin, Alessandro Nivola, and Don Cheadle. This could be Netflix’s strongest contender. Release Date: TBD
The Woman King
Expect this West Afrian set historical epic from Gina Prince-Bythewood to be heavily touted by Sony with awards bait roles for leads Viola Davis and Thuso Mbedu. The supporting cast includes John Boyega and Lashana Lynch. Release Date: September 16th
Women Talking
Based on a 2018 novel, Sarah Polley writes and directs this drama focused on eight Mennonite women and their story of abuse. The sterling cast includes Frances McDormand, Jessie Buckley, Ben Whishaw, Claire Foy, and Rooney Mara. Release Date: TBD
And that’s just a small preview of the features that could materialize for the 95th Academy Awards! As always, the speculation on this site will continue throughout the year and into the next. Stay tuned…
Coming off terrific reviews and a sizzling limited rollout, Everything Everywhere All at Once debuts in wide release on April 8th. The sci-fi action comedy comes from Dan Kwan and Daniel Scheinert (known as Daniels) with an acclaimed leading performance from Michelle Yeoh. The supporting cast includes Ke Huy Quan (Short Round from Indiana Jones and the Temple of Doom and Data from The Goonies!), Stephanie Hsu, Jenny Slate, Harry Shum Jr., James Hong, and Jamie Lee Curtis.
Sporting a 97% Rotten Tomatoes rating, Everything grossed just over half a million bucks on only 10 screens last weekend (that’s a $50k average). It’s fair to assume that the A24 tale will play stronger on the coasts than in between.
That said, the buzz that began at South by Southwest should result in this earning its reported $25 million budget back domestically. I’ll project $7-10 million for the expansion.
Everything Everywhere All at Once opening weekend prediction: $8.4 million
For my Sonic the Hedgehog 2 prediction, click here:
**Blogger’s Update (03/24): The Indian period adventure RRR is slated for a release on over 1100 screens and it could be a sleeper hit for the weekend based on buzz and pre-sales. I’m adding it in the mix for a third place debut.
Sandra Bullock, Channing Tatum, Brad Pitt, and Daniel Radcliffe will try to dislodge The Batman from its three-week perch atop the charts when The Lost City debuts this Friday. It’s the only newcomer this weekend and you can peruse my detailed prediction post on the comedic adventure here:
My mid to high 20s estimate for the well reviewed City gets it to first place as long as The Batman sees a drop in the high 30s to low 40s range. It could end up being a close race, but I’m giving Bullock and company the benefit of the doubt.
As for the rest of the top 5, current #2 Jujutsu Kaisen 0 easily surpassed expectations in its debut (more on that below), but the sophomore drop should be steep (similar to the 70% fall of animated manga tale Demon Slayer). That would leave Uncharted in third with Kaisen fourth. In the five spot, Dog (also with Channing Tatum) may have a slighter dip than X in what might be a tight race for that position.
And with that, here’s my take on this Oscar frame’s top 7 performers:
1. The Lost City
Predicted Gross: $28.4 million
2. The Batman
Predicted Gross: $21.6 million
3. RRR
Predicted Gross: $7.8 million
4. Uncharted
Predicted Gross: $6.1 million
5. Jujutsu Kaisen 0
Predicted Gross: $5 million
6. Dog
Predicted Gross: $2.9 million
7. X
Predicted Gross: $2.7 million
Box Office Results (March 18-20)
While there were newbies to view, The Batman ruled the roost while Jujutsu had a terrific premiere. Robert Pattinson’s debut as the DCEU Crusader took in $36.7 million, below my projection of $42.1 million. The three-week tally sits at an impressive $300 million.
Jujutsu blew away prognostications with $17.6 million. The FUNimation entry (which was already a hit overseas) easily toppled my meager $9.8 million take. Like other genre fare, its opening frame should represent a large portion of the overall domestic gross.
Uncharted was third with $7.8 million. I was right on target at $7.7 million. Total earnings are $125 million.
Horror pic X from A24 capitalized on solid reviews and came in fourth with a decent $4.4 million. That’s ahead of my $2.9 million estimate and it will hope for solid holds in coming weekends.
Dog rounded out the top five with $3.9 million, a touch below my $4.6 million prediction. It’s up to $54 million.
Spider-Man: No Way Home was sixth with $3.1 million (I said $3.7 million) and the massive haul is $797 million.
Finally, crime drama The Outfit with Mark Rylance started in 8th place with a muted $1.4 million. That is better than my $1 million forecast, however.
Set in 1979 and melding the genres of horror with adult filmmaking, Ti West’s X is slated for spots in over 2000 theaters this weekend. The slasher pic (which premiered at South by Southwest days ago) stars Mia Goth, Jenna Ortega (just coming off Scream), Martin Henderson, Brittany Snow, Owen Campbell, and Scott Mescudi (aka Kid Cudi).
Reviews are sharp with a current 100% Rotten Tomatoes score. That said, I do believe its box office potential is limited. Unlike most recent horror titles, it’s not a sequel/remake/prequel/requel. While A24 materials often receives acclaim, they can struggle at multiplexes.
Despite the hefty screen count, I’ll project this struggles to reach $3 million.
Prior to its theatrical release on March 25th, Everything Everywhere All at Once has premiered at South by Southwest over the weekend. The sci-fi comedy comes from directors Daniel Kwan and Daniel Scheinert, who are collectively known as Daniels. This is the follow-up to their acclaimed 2016 surrealist debut Swiss Army Man with Paul Dano and Daniel Radcliffe. Everything features Michelle Yeoh experiencing numerous multiverses of action with a supporting cast including Ke Huy Quan, Stephanie Hsu, Jenny Slate, James Hong, and Jamie Lee Curtis. Quan, by the way, you may know as Short Round from Indiana Jones and the Temple of Doom and Data from The Goonies.
When the Internet chatter broke last night, lots of bloggers were raving about this unconventional pic with particular praise toward Yeoh. The veteran actress has had acclaimed performances in Crouching Tiger, Hidden Dragon and Crazy Rich Asians, but she’s yet to surface for awards attention. The original screenplay (from the filmmakers) is also being touted for its boldness.
That said, this could be a prime example of a movie that has its fervent champions and doesn’t materialize in Oscar discussions (despite inevitable Twitter talk). The Rotten Tomatoes score is currently 67% with both Variety and Hollywood Reporter logging so-so reviews. If A24 does mount a campaign, they’ll have supporters but that may not be enough. My Oscar Prediction posts will continue…
In cartoons and comedies, we’ve grown accustomed to watching animals with human qualities and it doesn’t phase us one bit. Same goes for horror movies and it’s usually played for laughs or with cartoonish violence. That is surely not the vibe of Valdamir Johannson’s fable Lamb, which treats its baby sheep and real baby hybrid with total tonal sincerity. It’s not the first movie to do it (though not with that combo). It’s jarring nonetheless.
Maria (Noomi Rapace) and Ingvar (Hilmir Snaer Guonason) are remote farmers who tend to their flock amidst the scenic mountains of Iceland. Their rather mundane days are given a jolt when the couple deliver a creature with anthropoid qualities.
The blended family scenario provides immediate joy to the parents who suffered a previous tragedy in their conception attempts. A disconcerting aspect of the screenplay is how normally their situation is treated. That’s until Ingvar’s deadbeat brother Pétur (Bjorn Hlynur Haraldsson) drops in and his reaction mirrors the WTFery of the viewer.
While Maria and Ingvar stubbornly adhere to maintaining the new routine, Ada (and the dog) sense an outside presence lurking. Mom and Dad aren’t questioning how this mythical being came to be. The animal instincts of others are on alert.
A24 specializes in artsy horror flicks though I struggle to say Lamb is of that genre. It’s not scary. Eerie, including its picturesque though foreboding atmosphere, is a better word for it. This is prime example of either buying the concept or wanting to run for the hills. For a while, I was intrigued by its bizarre nature. Rapace’s committed performance (I’m tempted to say she really has the chops) helps.
When some of the mysteries are clarified in the third act, it felt a bit sudden and anticlimactic. The presentation is certainly unique but the overriding theme of grief is recognizable. That’s not to say there aren’t genuine surprises that occur. The shock value seems a little diluted after watching this sweater clad wooly oddity assisting with breakfast.
The 2022 Sundance Film Festival is underway and, if history is any judge, we could see films and performances that may be talked about come Oscar time a year from now. In 2021, CODA premiered at the fest in January and it looks to be on its way to a Best Picture nod a couple weeks from now. In 2020, Judas and the Black Messiah also got its start and (with the elongated Academy schedule from that frame) hit the BP derby. In 2020, three BP nominees (The Father, Minari, Promising Young Woman) made their initial stops in Park City, Utah.
Sundance’s opening night selection is When You Finish Saving the World and it marks the directorial debut of Jesse Eisenberg. A Best Actor nominee back in 2010 for The Social Network, the dramedy stars Julianne Moore and Finn Wolfhard. Early buzz is mixed and the Rotten Tomatoes score sits at 73%. Most critical reaction indicates the characters are unpleasant to watch with reviews pretty divided on its overall effectiveness.
Eisenberg also wrote the screenplay and Emma Stone serves as a producer. And while World has received some praise, this is highly unlikely to be an awards breakout. My Oscar Prediction posts will continue…
The veil has lifted for a major awards hopeful with Joel Coen’s The Tragedy of Macbeth. This version of the Shakespearian tragedy casts Denzel Washington as Lord Macbeth and Frances McDormand as Lady Macbeth and it is kicking off the New York Film Festival. Between the two leads, they have five Oscars between them. Do they need to find more room on their shelves?
With Denzel, news from the Big Apple indicates yes. Some early reviews are calling it among his career best work. In the Best Actor derby, it’s likely that Benedict Cumberbatch (The Power of the Dog) and Will Smith (King Richard) have already punched their tickets to the dance. I believe we can add a third today with Mr. Washington.
With McDormand, it’s a bit more complicated. The answer may come down to whether distributor A24 elects for a campaign in lead or supporting. Based on the buzz, it sounds like a case could be made for either. My hunch is that Supporting Actress (which appears fairly wide open at the moment) will be the play. If so, McDormand probably stands a better chance for inclusion. I question whether her recent Best Actress victories (in 2017 for Three Billboards Outside Ebbing, Missouri and last year’s Nomadland) make her vulnerable to newcomers. Yet in Supporting Actress, I could easily see the Academy making room for her.
As for the rest of the cast, both Corey Hawkins and Kathryn Hunter are generating solid notices. However, their screen time could be a hindrance to make the cut (for Hunter, this definitely holds true if McDormand goes supporting).
Beyond Denzel, the cinematography is being heralded and it’s a safe bet Macbeth gets recognized there. Other techs like Production Design and Sound are feasible. Adapted Screenplay from Mr. Coen (making his first pic without brother Ethan) is in the cards. On the other hand, it’s said to deviate very little from the Shakespeare text and that may leave it off some ballots in that particular category.
Moving to the largest race of all, I’ve included Macbeth in my top ten for Best Picture all along. I don’t think it’s guaranteed a slot, but I don’t see myself moving it out based on the current buzz. Coen’s placement in Best Director is questionable but possible.
Bottom line: The Tragedy of Macbeth has elevated its lead actor and put itself in position for numerous other races. My Oscar Prediction posts for the films of 2021 will continue…
James Gunn’s version of The Suicide Squad hits theaters and HBO Max streaming this Friday and it’s got surprisingly terrific reviews as a bonus feature to bring viewers out. You can peruse my detailed prediction post on it here:
The first Squad from 2016 (the one without the THE in front of the title) landed just a 26% Rotten Tomatoes score while THE reboot is perched at an unexpectedly lofty 96%. However, with the Delta variant in play and the availability to HBO subscribers, I have this Squad achieving a low to possibly mid 40s start.
Margot Robbie and her devious friends represent the only newcomer. Jungle Cruise opened a bit above most projections (including mine). The question is whether its Disney Plus simultaneous debut will cause it to drop precipitously like Black Widow and other recent titles. I suspect the sophomore frame dip may not be quite as severe and mid 50s is my forecast.
The holdover battle for the #3 spot could be close between M. Night Shyamalan’s Old, critical favorite The Green Knight, and Black Widow. I actually think Widow could rise from 4th to 3rd with the smallest drop (assuming Old falls about 50%). Knight, despite the laudatory reviews and a larger than expected debut, only nabbed a C+ Cinemascore grade and that could mean a 60% range dip is in the cards.
And with that, my top 5 take on the frame ahead:
1. The Suicide Squad
Predicted Gross: $40.8 million
2. Jungle Cruise
Predicted Gross: $15.5 million
3. Black Widow
Predicted Gross: $3.7 million
4. Old
Predicted Gross: $3.5 million
5. The Green Knight
Predicted Gross: $2.7 million
Box Office Results (July 30-August 1)
Disney had reason to celebrate over the weekend as Jungle Cruise with Dwayne Johnson and Emily Blunt opened at the high end of projections. The theme ride based adventure, sporting mostly positive reviews, landed with $35 million (ahead of my $28.4 million estimate). Additionally, the studio’s streamer Disney Plus reported $30 million in rental action. That’s about as rosy as scenario possible given the continuing complications for theaters.
Old dropped to second with a near 60% plummet at $6.8 million, in line with my $6.6 million take. It’s earned $30 million so far and that’s decent considering the small budget.
The Mouse Factory wasn’t the only studio that exceeded projections as The Green Knight was third with $6.7 million – well beyond my meager $3.4 million guesstimate. As mentioned above, the middling audience reaction could halt its momentum in weekend #2, but that’s certainly a better start than anticipated.
Black Widow was fourth with $6.4 million (I said $5.6 million) to bring its tally to $167 million.
Matt Damon’s Stillwater premiered in fifth with a muted $5.1 million. That’s right in line with my $5.2 million estimate as mostly solid reviews couldn’t bring adult moviegoers out in substantial fashion.
Space Jam: A New Legacy was sixth with $4.2 million (I was close with $4.5 million) for a three week $60 million total.
Lastly, Snake Eyes nosedived in its second outing after a disastrous opening with $4 million (I said $4.7 million). The ill-fated G.I. Joe reboot has amassed just $22 million.
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