Tag: Alicia Vikander

Early 2021 Oscar Predictions: Best Actress

Last year’s Best Actress race was one of the most unpredictable and competitive in ages. Five different performers took the Oscar, Golden Globes (since they split between Drama and Musical/Comedy), SAG, and Critics Choice Award.

And, while it’s very early, 2021 appears that it could be a humdinger of a contest yet again. This is the final acting derby I am doing projections on in these initial forecasts. By far, Best Actress was the hardest one to whittle down and there were even potential contenders beyond the 15 listed that I believe could easily get into the mix.

Speaking of those earlier posts, you can peruse them here if you didn’t catch  them:

Early 2021 Oscar Predictions: Best Actor

Early 2021 Oscar Predictions: Best Supporting Actress

Early 2021 Oscar Predictions: Best Supporting Actor

When I did my inaugural 2020 posts in Actress, I correctly identified 2 of the 5 eventual nominees: winner Frances McDormand (Nomadland) and Viola Davis (Ma Rainey’s Black Bottom). Carey Mulligan was named in Other Possibilities while I did not yet call out Andra Day (The United States vs. Billie Holiday) or Vanessa Kirby (Pieces of a Woman).

Let’s get to the hopefuls for 2021!

EARLY OSCAR PREDICTIONS: BEST ACTRESS

Penelope Cruz, Parallel Mothers

Ana de Armas, Blonde

Lady Gaga, House of Gucci

Jennifer Hudson, Respect

Frances McDormand, The Tragedy of Macbeth

Other Possibilities:

Jessica Chastain, The Eyes of Tammy Faye

Emilia Jones, CODA

Nicole Kidman, Being the Ricardos

Jennifer Lawrence, Don’t Look Up

Thomasin McKenzie, Last Night in Soho

Renate Reinsve, The Worst Person in the World

Margot Robbie, Canterbury Glass

Kristen Stewart, Spencer

Alicia Vikander, Blue Bayou

Rachel Zegler, West Side Story

Best Director is next up!

Oscar Watch: Blue Bayou

Justin Chon is known to many moviegoers as Eric Yorkie from the Twilight franchise, but he’s also a burgeoning director who’s debuted his latest feature at the Cannes Film Festival. Blue Bayou is Chon’s third effort behind the camera. The immigration drama stars the filmmaker as a Korean-American facing deportation with Alicia Vikander (2015’s Supporting Actress winner for The Danish Girl) portraying his wife. Costars include Mark O’Brien, Linh Dan Pham, Vondie Curtis-Hall, and Emory Cohen.

Reviews coming from France aren’t all completely laudatory. It stands at 75% on Rotten Tomatoes. Yet plenty are quite positive. Focus Features could be able to mine the urgent subject matter for awards consideration when it premieres stateside in September. This includes top line races such as Original Screenplay (Chon wrote the script) and his own lead performance as well as Vikander’s.

Could Best Picture be in the mix? It’s possible. The film is said to be an effective tearjerker and that never hurts. This season has a ways to go to determine whether Bayou could be 2021’s Minari in terms of contention, but it’s in the mix. My Oscar Watch posts will continue…

Summer 2001: The Top 10 Hits and More

My annual recounting of the cinematic seasons that preceded 30, 20, and 10 years prior continues on the blog today with the summer of 2001! It was a frame dominated by an animated jolly green giant that kicked off a massive franchise for its studio.

As is tradition, I’ll run through the top 10 domestic grossers as well as other notables pics and some flops. If you missed my post covering 1991’s May-August output, you can find it here:

Summer 1991: The Top 10 Hits and More

Let’s get to it!

10. Dr. Dolittle 2

Domestic Gross: $112 million

Eddie Murphy returned as the doc who talks to animals in this sequel that managed to cross the century mark, but failed to approach the $144 million earned by its 1998 predecessor. This would mark the end of Eddie’s involvement in the franchise, but a direct to DVD third helping came in 2006.

9. Lara Croft: Tomb Raider

Domestic Gross: $131 million

Angelina Jolie (fresh off an Oscar for Girl, Interrupted) headlined the video game adaptation that, despite weak reviews, spawned a sequel and an eventual reboot with Alicia Vikander that will soon get its own follow-up.

8. The Fast and the Furious

Domestic Gross: $144 million

We first saw Vin Diesel and Paul Walker and those souped up whips 20 years ago. Unless you’ve been living under a rock (or haven’t heard of The Rock), this begat a franchise which is still running strong today. F9 is currently the #1 movie in America in this series that has topped a billion bucks.

7. American Pie 2

Domestic Gross: $145 million

Universal quickly green lighted this sequel to 1999’s smash hit comedy. The gross out gags in part 2 (which resulted in another theatrical effort in 2003 and numerous direct to DVD entries) stands as the largest worldwide earner of the bunch.

6. Planet of the Apes

Domestic Gross: $180 million

Tim Burton’s reimagining of the 1968 classic didn’t result in the new franchise that 20th Century Fox hoped for. Critics had their knives out for Mark Wahlberg’s lead performance and the surprise ending that didn’t pack the wallop of Charlton Heston’s encounter with the Statue of Liberty. The studio would get their successful trilogy a decade later beginning with Rise of the Planet of the Apes (which will be covered in 2011’s blog post).

5. Jurassic Park III

Domestic Gross: $181 million

Joe Johnston took over directorial duties from Steven Spielberg is this threequel. Sam Neill was back in this dino-tale that (while profitable) failed to reach the heights of the first two commercially. A reboot 14 years later would get the series back in billion dollar good standing.

4. Pearl Harbor

Domestic Gross: $198 million

Michael Bay’s romantic war epic failed with reviewers but still approached $200 million domestically and $450 million worldwide. Its six Golden Raspberry nominations topped its four Oscar nods.

3. The Mummy Returns

Domestic Gross: $202 million

Brendan Fraser and Rachel Weisz returned for this adventure sequel to the 1999 hit that topped part 1 domestically by nearly $50 million. Dwayne “The Rock” Johnson would join the fun here and was rewarded with his spin-off (The Scorpion King) the next year. A third Mummy landed with disappointing results in 2008.

2. Rush Hour 2

Domestic Gross: $226 million

It was the best of times for director Brett Ratner and stars Chris Tucker and Jackie Chan as this action comedy built upon the grosses of the 1998 original. A third would follow six years later.

1. Shrek

Mike Myers as the title character ogre, Eddie Murphy stealing scenes with his voice work as Donkey, and Cameron Diaz as Princess Fiona proved that Disney wasn’t the only animation game in town. Shrek even competed for the Palme d’Or at the Cannes Film Festival in this DreamWorks game changer that resulted in three sequels and a stage musical.

And now for some other notables flicks from the summer that was:

The Princess Diaries

Domestic Gross: $108 million

Disney’s live-action fairy tale served as a breakout role for Anne Hathaway and a return to the studio for Julie Andrews for the first time since Mary Poppins. A 2004 sequel followed.

The Others

Domestic Gross: $96 million

With its own Sixth Sense style twist ending, this gothic horror pic with Nicole Kidman earned solid reviews and got genre fans to turn out.

Legally Blonde

Domestic Gross: $96 million

Shrek isn’t the only feature to spawn a Broadway treatment. So did this Reese Witherspoon hit which also resulted in a sequel and a third Blonde that is slated for May 2022.

Cats & Dogs

Domestic Gross: $93 million

Dr. Dolittle wasn’t the only animal game in town. This kiddie pic featuring featuring talking creatures also began a franchise.

A.I.: Artificial Intelligence

Domestic Gross: $78 million

Long planned as a project for Stanley Kubrick (who passed away in 1999), Steven Spielberg directed this sci-fi visual feast with Haley Joel Osment. The film elicited strong reactions from critics and crowds (both positively and negatively). It may not have reached $100 million domestic, but it’s still a picture people like to debate about today and that’s more that can be said for most titles on this list.

Swordfish

Domestic Gross: $69 million

Hugh Jackman and John Travolta headlined this action pic which somewhat underperformed expectations. This is mostly known as the film that paid Halle Berry an extra $500,000 to go topless during a few seconds of screen time.

Moulin Rouge!

Domestic Gross: $57 million

Baz Luhrmann’s postmodern musical with Nicole Kidman and Ewan McGregor scored 8 Oscar nominations and has its legions of fans that have endured over the past two decades.

Sexy Beast

Domestic Gross: $6 million

This crime drama is mostly known for its menacing supporting turn from Sir Ben Kingsley, who was rewarded with an Oscar nod.

Ghost World

Domestic Gross: $6 million

Terry Zwigoff’s dark comedy (based on a late 90s comic book) earned raves for its screenplay and for costars Thora Birch, Scarlett Johansson, and Steve Buscemi.

And now for some pictures that did not meet expectations:

America’s Sweethearts

Domestic Gross: $93 million

Yes, it may have approached $100 million, but this rom com starring Julia Roberts and featuring John Cusack, Billy Crystal (who cowrote), and Catherine Zeta-Jones didn’t come near what her previous blockbusters like My Best Friend’s Wedding, Notting Hill, and Runaway Bride managed.

Atlantis: The Lost Empire

Domestic Gross: $84 million

Disney’s animated sci-fi adventure was a letdown that didn’t recoup its reported $100 million budget domestically. A hoped for franchise with TV spin-offs and Disneyland ride attraction never rose to the surface.

Scary Movie 2

Domestic Gross: $71 million

This rushed horror spoof follow-up to the 2000 surprise smash couldn’t get close to the $157 million of the original. However, this didn’t stop several sequels from following that achieved greater success.

Evolution

Domestic Gross: $38 million

Director Ivan Reitman and supernatural comedy sure worked well in 1984 with Ghostbusters. Not so much here in this DreamWorks flop with David Duchovny which earned less than half its budget in North America.

Final Fantasy: The Spirits Within

Domestic Gross: $32 million

Tomb Raider was an example of a video game adaptation that made money. Not so here with this rendering of the popular role playing fantasy series that didn’t score with audiences.

Ghosts of Mars

Domestic Gross: $8 million

It wasn’t a good day at the box office for this science fiction flop from director John Carpenter and Ice Cube.

Pootie Tang

Domestic Gross: $3 million

Moviegoers didn’t turn out for this comedy written and directed by Louis C.K. that originated from a sketch on The Chris Rock Show (who costars). Despite the failed run at the box office, it has since become a cult hit.

And that does it for 2001, folks! Look for my post about summer 2011 in the coming days…

Oscar Watch: A Midyear 2020 Report

It might be hard to fathom, but we are at the midpoint of this experience we call 2020. As COVID-19 and social issues dominate the landscape, the cinematic world has necessarily taken a backseat to the times. The Academy recently announced that the Oscars will be delayed until April 2021 and that movies premiering in January and February of that year will be eligible for consideration. This is in addition to previous notice that streaming pictures that forgo a theatrical release will also be able to nab nominations at that ceremony.

Since theaters have essentially been shuttered since March and with several festivals (the normal breeding grounds for awards hopefuls) either canceled or significantly modified, a midyear report on Oscar contenders is, to put it mildly, challenging.

Yet… here goes! As awards followers already know, the bulk of serious contenders aren’t  typically released until fall anyway. In fact, the earliest release of the nine Best Picture nominees last year was Once Upon a Time in Hollywood, which came out in late July. The remaining 8 had autumn and winter dates.

The Sundance Film Festival from January did give us some potential contenders. Florian Zeller’s The Father was acclaimed and it could score nods for previous winners Anthony Hopkins in lead actor and Olivia Colman in Supporting Actress. The biographical tale of feminist icon Gloria Steinem finds several actresses playing her at different ages. Julianne Moore and Alicia Vikander (they also both have gold statues) are among them and could be potential nominees. Previous nominee Carey Mulligan garnered solid reviews for Promising Young Woman. 

And there’s Minari. The South Korean family drama starring Steven Yeun won the Jury Prize and Audience Award at Sundance. I wouldn’t sleep on its chances with the right marketing push from its studio A24. That same studio has the 19th century set indie First Cow, which also has its ardent admirers. They would need to make a major push in order for Oscar to notice it.

For movies that have actually come out, the Jane Austen inspired Emma saw positive notices for lead Anya-Taylor Joy. Ben Affleck got some of the best reviews of his career with the basketball drama The Way Back. Pete Davidson’s starring debut in The King of Staten Island drew mostly praise. And Elisabeth Moss starred in the hit The Invisible Man and it’s a possibility she could be recognized even though acting nominations in horror flicks are rare. Neither Toni Collette (Hereditary) in 2018 or Lupita Nyong’o (Us) last year could pull it off. Moss could also be recognized for Shirley, a drama that debuted at Sundance and is already available via streaming.

Then there’s Netflix’s Da 5 Bloods from Spike Lee. The director saw his last picture, BlacKkKlansman, receive numerous nominations and win Adapted Screenplay. I would posit that Bloods stands the best chance at multiple nods including possibly Picture and Director. Delroy Lindo (though it’s not clear whether he’d be campaigned for in lead or supporting) seems highly likely to be recognized. And if he’s campaigned for in Best Actor (which he probably should be), it could open the door for Clarke Peters or Jonathan Majors to make the cut in supporting.

In other races – Pixar’s Onward could compete in Animated Feature, though Disney could save their muscle for the upcoming Soul. Look for Emma to nab a Costume Design nod.

And we shall leave it there for now, folks! As readers of the blog know, expect more Oscar Watch posts to come your way as titles screen. Typically it’s late August when I start my weekly predictions and hopefully that’s a tradition that can be kept in this crazy thing we call 2020…

Daily Streaming Guide: March 18th Edition

Continuing on with my Daily Streaming Guide for worthy titles available on various services – let’s call today the Alex Garland Edition. He’s the director behind both science fiction titles that are highly worthy of a look:

Netflix

We begin with his intelligent 2015 effort about artificial intelligence – Ex Machina starring Domhnall Gleeson, Oscar Isaac, and Alicia Vikander. Made for a reported lowly $15 million, this is the type of sci-fi that Stanley Kubrick probably would have been proud of. Machina even won the Oscar for Visual Effects over high-profile features like Mad Max: Fury Road and Star Wars: The Force Awakens. It also features one of the greatest out of nowhere dance sequences in cinematic history in my view.

Hulu

Garland’s excursion into high minded sci-fi continued with Annihilation, his 2018 follow-up. The visually stunning experience featuring Natalie Portman and Isaac (again) has themes that will stick with you post credits. And just like Ex Machina features a scene that floored me, so does this. The former involved dancing. The latter involves a human and a bear sharing the same voice. You’ll see what I mean. It’s terrifying and thrilling simultaneously.

I’ll be back at it soon, folks! Until then…

Oscar Watch: The Glorias

The Glorias is one of the more closely watched titles currently playing at the Sundance Film Festival. This is a biopic of feminist activist Gloria Steinem with four actresses, including Julianne Moore and Alicia Vikander, portraying her at various stages of life. In that sense, it resembles 2007’s I’m Not There. That unconventional Bob Dylan tale earned Cate Blanchett a nomination. The pic comes from famed theater director Julie Taymor, whose filmography includes 2002’s Frida which nabbed Salma Hayek a Best Actress nod.

Reviews are positive. However, as with everything else screening so early in 2020, time will tell when it comes to awards prospects. If The Glorias can develop buzz throughout the year, it will be interesting to monitor which performers garner attention. Obviously you start with Moore and Vikander (who have each previously won Oscars). Yet it’s supporting player Lorraine Toussaint who is being singled out for raves over Bette Midler (who could also contend) and Janelle Monae.

Whether any of the Gloria playing thespians and beyond are still in the mix months from now remains to be seen. Sundance has opened the door of possibility. My Oscar Watch posts will continue…

THE_GLORIAS_DM_02-12-2019-00128.arw

Oscar Watch: Cats

Yes, readers, the words Oscar and Cats are in the same post title, so get on board! Truthfully, this shouldn’t be surprising at all. The adaptation of the long-running Broadway musical comes from director Tom Hooper. His last three films (The King’s Speech, Les Miserables, The Danish Girl) garnered a total of 24 nominations and 8 wins, including Speech nabbing Best Picture. Each one of them gave us one acting winner – Colin Firth in Speech, Anne Hathaway in Miserables, and Alicia Vikander for Danish. 

So to say Cats had potential awards pedigree is not an understatement. Had being the objective term. One day before its release, the review embargo is up. Note to everyone: Oscar contenders don’t lapse their embargo 24 hours before release.

This has proven accurate as the Rotten Tomatoes score for Cats is currently… 19%. Some reviews are of a mixed nature while others are deeming it an unmitigated disaster. Weeks ago, the prospect of a Jennifer Hudson nod in Supporting Actress seemed at least feasible. There will be no second nomination for the Dreamgirls winner.

That said, Cats is definitely contending in one race. Earlier this week, the Academy released their shortlist for Visual Effects nominees. Ten pictures were named and this is one of them. This seems potentially amusing as a number of reviews say the visual look is ugly and garish. I don’t expect this to make the final five and I foresee chatter as to how this got on the shortlist over material like Ad Astra and Spider-Man: Far From Home. Could this show up in other races like Production Design or Makeup and Hairstyling? That seems like a reach.

The one category where Cats did seem like a genuine player was Best Original Song via “Beautiful Ghosts”. That track is sung by costar Taylor Swift and it seemed like a good excuse for the Academy to get her on the stage. Surprisingly, “Ghosts” was excluded from the 15 finalists that were also named this week.

I’ve ended dozens and dozens of these Oscar Watch posts with “My Oscar Watch posts will continue…”. Indeed they will. However, this appears to be the final one of 2019. Have no fear as the Sundance Film Festival is around the corner in January and there’s always Oscar bait at that event. Therefore, my Oscar Watch posts will continue… in 2020. And in the meantime, my predictions for this year’s Academy nominees will continue as well.

Best Supporting Actress: A Look Back

Today begins a new blog series where I’m looking back at five of the major Oscar categories from 1990 to the present: the four acting races and Best Picture. This is essentially the time period where I’ve closely watched and analyzed. My charge? Picking the three largest upsets in each said category and the three least surprising winners… a film or performer where it truly would have been a shock if they didn’t emerge victorious.

We begin with Best Supporting Actress and this is one in which there have been some genuine upsets over the past quarter century plus. Unlike some other races we’ll get to later, it was not a challenge to pick three unexpected winners.

The other agenda item here is I’m picking my personal selections for strongest and weakest overall field among the five nominees in the acting derby’s and five-ten for Best Picture.

For starters, here’s the list of women that won gold statues in the supporting race from 1990 to now:

1990 – Whoopi Goldberg, Ghost

1991 – Mercedes Ruehl, The Fisher King

1992 – Marisa Tomei, My Cousin Vinny

1993 – Anna Paquin, The Piano

1994 – Dianne Wiest, Bullets Over Broadway

1995 – Mira Sorvino, Mighty Aphrodite

1996 – Juliette Binoche, The English Patient

1997 – Kim Basinger, L.A. Confidential

1998 – Judi Dench, Shakespeare in Love

1999 – Angelina Jolie, Girl, Interrupted

2000 – Marcia Gay Harden, Pollock

2001 – Jennifer Connelly, A Beautiful Mind

2002 – Catherine Zeta-Jones, Chicago

2003 – Renee Zellweger, Cold Mountain

2004 – Cate Blanchett, The Aviator

2005 – Rachel Weisz, The Constant Gardner

2006 – Jennifer Hudson, Dreamgirls

2007 – Tilda Swinton, Michael Clayton

2008 – Penelope Cruz, Vicky Christina Barcelona

2009 – Mo’Nique, Precious

2010 – Melissa Leo, The Fighter

2011 – Octavia Spencer, The Help

2012 – Anne Hathaway, Les Miserables

2013 – Lupita Nyong’o, 12 Years a Slave

2014 – Patricia Arquette, Boyhood

2015 – Alicia Vikander, The Danish Girl

2016 – Viola Davis, Fences

2017 – Allison Janney, I, Tonya

I’ll begin with the least surprising winners. Truthfully, there are plenty of selections (and will be in each race) to pick from here. It’s normal procedure for the front runner to actually win. Here’s three that did just that:

3. Dianne Wiest, Bullets Over Broadway

Of the 28 recipients to choose from, note that 3 of them were under the direction of Woody Allen. None were surprise winners. That’s most evident with Wiest’s showcase work as an aging diva here. Her win here came just eight years following her Oscar winning role in another Allen pic, Hannah and Her Sisters.

2. Jennifer Hudson, Dreamgirls

Fans of the Broadway play this is based upon knew Ms. Hudson could have a legitimate breakthrough part here. She nailed it and her win was never in much doubt.

1. Anne Hathaway, Les Miserables

Similar to Hudson’s victory, Hathaway’s casting as Fantine and her “I Dreamed a Dream” dramatic solo made her the odds-on favorite from the moment the project was announced. That never changed.

Now we get to the upsets and there were four to choose from. I could easily include Anna Paquin in The Piano, who became the second youngest winner when she beat out favorite Winona Ryder for The Age of Innocence. Here’s 3 I rank as even more surprising:

3. Marcia Gay Harden, Pollock

Harden had won no significant precursors and Kate Hudson was expected to have her name called for Almost Famous. She wasn’t even nominated for a Golden Globe or SAG.

2. Juliette Binoche, The English Patient

While the film itself was the anticipated winner for Picture (which it did), the Oscars were expected to select the legendary Lauren Bacall for her work in Barbra Streisand’s The Mirror Has Two Faces. Yet it was Binoche’s performance that was unexpectedly honored.

1. Marisa Tomei, My Cousin Vinny

For starters, comedic roles are rarely nominated and wins are even more unheard of. Tomei was a newcomer in a picture that wasn’t a factor in any other category. Her competition was a list of venerable actresses: Judy Davis (Husbands and Wives), Joan Plowright (Enchanted April), Vanessa Redgrave (Howards End), and Miranda Richardson (Damages). The victory here was so shocking that conspiracy theories emerged that presenter Jack Palance had accidentally read the wrong name. That’s been debunked, but Tomei’s trip to the stage remains one of Oscar’s largest jaw droppers.

As for the fields, I’m going with 1991 for the weakest link in the chain. I probably would have given the award to Juliette Lewis in Cape Fear. However, the group was not particularly strong:

Mercedes Ruehl, The Fisher King (Winner)

Diane Ladd, Rambling Rose

Juliette Lewis, Cape Fear

Kate Nelligan, The Prince of Tides

Jessica Tandy, Fried Green Tomatoes

For the strongest field overall, I went with 2004 when Cate Blanchett won for her portrayal of Katherine Hepburn in Martin Scorsese’s The Aviator. The other nominees:

Laura Linney, Kinsey

Virginia Madsen, Sideways

Sophie Okonedo, Hotel Rwanda

Natalie Portman, Closer

And there you have it! I’ll have Supporting Actor up soon…

Tomb Raider Movie Review

Tomb Raider finds Alicia Vikander following in the career footsteps of Angelina Jolie – win yourself a Best Supporting Actress Oscar and headline a big-budget adaptation of a well-known video game. Lara Croft is back in a reboot that finds this London girl’s life as a bike courier interrupted by her tomb raidin’ father’s discoveries on a remote island.

Vikander’s Croft has been separated from father Richard (Dominic West) for seven years after he took off on a mission called Himiko and vanished. His task was to locate the resting place of a mythical queen on a remote island who can destroy the world. When Lara finds clues to the island’s whereabouts, she sails off with Hong Kong captain Lu Ren (Daniel Wu) to find it.

Once there, she finds ruthless archaeologist Mathias (Walton Goggins) also looking for the grave. He’s got a group of mercenaries commanding a slave labor force. This portion of the running time could be deemed “Get Back to Work!” on the Blu Ray, since that line of dialogue is shouted loudly and repeatedly. Lara also discovers a lot of Papa Croft’s motivations on the island when not preoccupied by grand action set pieces. Both Mathias and Richard are guilty of neglecting many a daddy/daughter dance due to their occupations.

One of these days, the protagonist in an adventure will be faced with an extremely long jump over an object that is disintegrating quickly. They will make said jump and clear the crumbling item by about ten feet and be shocked by their solid performance skills. In Tomb Raider and everything else, that hurdle is cleared by approximately one inch and then the fall and then the subsequent Herculean effort to pull oneself back up. The first feature where the hero manages to do it with room to spare will elicit deserved laughter from the audience, if set up correctly.

Moving on, Tomb Raider doesn’t reinvent the wheel but earns some points by embracing its video game heritage. There are segments where it truly feels like the action could be generated by a controller. And it’s a testament to the direction of Roar Uthaug, the sturdy work of Vikander, some gorgeous scenery and well-placed humor that Tomb Raider is as engaging as it is. It’s far from perfect, but it’s more impressive than your typical video game adaptation and that includes both of Jolie’s Croft works.

*** (out of four)

Tomb Raider Box Office Prediction

Warner Bros hopes to kick off a new franchise nearly two decades after the first one when Tomb Raider debuts next weekend. Based on the iconic video game, it finds Alicia Vikander in the role of Lara Croft that was first portrayed by Angelina Jolie. Directed by the awesomely named Roar Uthaug, the adventure costars Dominic West, Walton Goggins, Daniel Wu, Nick Frost, and Kristin Scott Thomas.

In the summer of 2001, original adaptation Lara Croft: Tomb Raider premiered to $47 million with an eventual $131 million overall gross. The 2003 sequel The Cradle of Life experienced a significant dip with a $21 million opening and $65 million total. That was a long time ago and it will be interesting to see if old and new fans of the many video games will turn out.

There is potential for a bigger than anticipated roll out. In fact, the nearly $50 million generated by the first Raider certainly exceeded projections. Yet I believe this is more likely to earn a touch higher than the sequel 15 years ago.

Tomb Raider opening weekend prediction: $26.4 million

For my Love, Simon prediction, click here:

https://toddmthatcher.com/2018/03/07/love-simon-box-office-prediction/

For my I Can Only Imagine prediction, click here:

https://toddmthatcher.com/2018/03/11/i-can-only-imagine-box-office-prediction/