The fourth edition of ToyStory is unveiled in theaters next weekend and reviews are out today. It is the 21st film for Pixar that began in 1995 with… ToyStory. And when it comes to Oscar voters honoring the studio’s works, there’s a rich history.
Critics so far have given a 100% stamp of approval to the sequel. The Academy established the Best Animated Feature in 2001. There’s been 18 winners and half of them are Pixar pics. The studio has also nabbed two nods in Best Picture with 2009’s Up and 2010’s… ToyStory3.
First things first: there is approximately zero doubt that part four will get Animated Feature recognition. And unless something special comes along in the second half of the year (perhaps Frozen2?), it has an excellent shot at winning. It’s also feasible that it could land Pixar’s third Picture nod, but that is far less certain at this juncture.
Another category where ToyStory4 could contend is Best Original Song. There’s two possibilities: Randy Newman’s “I Can’t Let Yourself Throw Away” and “The Ballad of the Lonesome Cowboy”, which was written by Newman and is performed by country superstar Chris Stapleton.
Blogger’s Note (06/19)… and it’s a significant one. Revising my estimate down from to $191.5 million to $167.5 million.
With the release of ToyStory4 next weekend, Pixar should have no problem having the top three animated openings of all time. The big question is whether or not it manages to have the largest so far. The sequel arrives nearly a quarter century after ToyStory kicked off the Disney owned Pixar phenomenon and nearly a decade since ToyStory3. The iconic characters of Woody (Tom Hanks) and Buzz (Tim Allen) return along with the vocal works of Annie Potts, Joan Cusack, Wallace Shawn, John Ratzenberger, Estelle Harris, and the late Don Rickles. New actors joining the party include Keegan-Michael Key, Jordan Peele, Tony Hale, Christina Hendricks, and Keanu Reeves. Josh Cooley makes his directorial debut.
Each chapter in this cinematic universe has seen its overall domestic gross increase with each entry. Part 3 took in $110 million in its first frame and legged out to $415 million. That predecessor currently has the fifth highest animated start ever. ToyStory4 is in line to easily top that and more.
Last summer’s Incredibles2 nabbed the record for the genre by a wide margin when it took in $182 million. Pixar also holds the #2 spot with 2016’s FindingDory with $135 million. I don’t see Woody and Buzz’s fourth go round having any issue topping that and it could definitely hit the #1 designation.
I’ll say it falls just a manages a few million over the Incredibles sequel for a historic start.
ToyStory4 opening weekend prediction: $167.5 million
After over a quarter century of dormancy, the Ghostbusters have been rebooted with a female team and an appreciation for what came before it. Maybe too much appreciation. The 2016 iteration may not be ‘fraid of no ghosts, but perhaps it is of its own 1984 shadow and what followed it.
The concept here isn’t much different. Take a talented director (Paul Feig) and fill the leading roles with SNL related stars. Here it’s Melissa McCarthy (a favorite SNL host) along with former cast member Kristin Wiig and current ones Kate McKinnon and Leslie Jones. They’re the new Ghostbusters and the New York City setting is the same. Wiig is a Columbia professor who once cowrote a paranormal related book that she’s trying to forget about. McCarthy is her coauthor who’s now stuck in a dead-end job at a technical college along with McKinnon (she handles gadgets). Jones is an MTA employee who finds that ghosts are real in the bowels of the city’s subway. The NYC setting provides one of the most abnormal moments here when the team chows down on Papa Johns pizza. In New York City?!?!?! Product placement is vital, people…
Ghouls and goblins begin to sprout up in the Big Apple and soon the foursome find themselves in business, even if the city’s leaders don’t wish to acknowledge the presence of them or those they’re hunting. The Annie Potts secretarial duties are handled by a game Chris Hemsworth, showing off the same occasional comedic abilities he showed in another subpar 80s relaunch last summer, Vacation.
And there’s cameos by way of the franchise before it – both in human and special effects form. They serve more to make us nod in knowing appreciation than actually laugh. As for the Ghostbusters themselves? McCarthy and Wiig acquit themselves fine and have their strong moments, as does Jones. The weakest link is McKinnon, whose over the top antics work well in five minute SNL sketch bursts but seem out of place and rather annoying here.
Perhaps what hinders Ghostbusters from being a satisfactory experience is the fact that the melding of science fiction and comedy felt fresh over 30 years ago with Ivan Reitman’s original. Since then, we’ve seen everything from Men in Black to more obvious (and less pleasing) knock offs like Evolution and The Watch to name just a couple. The injection of a gender change isn’t enough to make this feel new and the CG effects add nothing out of the ordinary either. It is the ghosts of genre past that ultimately haunts what we see here.
One of the biggest summer 2016 mysteries will be answered next weekend when the Ghostbusters reboot hits theaters. 32 years after the original became a smash hit (with a less beloved sequel that followed five years later), the Columbia Pictures property is a hopeful franchise yet again. This follows years (decades in fact) of rumors about the comedic paranormal team making a return to the big screen. A third go round with the original cast never materialized, so the series has undergone a makeover with Paul Feig taking over directorial duties and a female ghostbustin’ cast donning the iconic uniforms.
Like they did in 1984 – the Ghostbusters have a strong “Saturday Night Live” connection consisting of frequent host Melissa McCarthy and current and former cast members Kristin Wiig, Kate McKinnon, and Leslie Jones. Chris Hemsworth takes over secretarial duties in the part made famous by Annie Potts. OG ‘Busters Bill Murray, Dan Aykroyd, and Ernie Hudson (along with Sigourney Weaver and Potts) are said to cameo.
This is the fourth collaboration between Feig/McCarthy. They’re previous pics (Bridesmaids, Heat, Spy) have grossed $169M, $159M, and $110M, respectively. This is a whole new ball game that comes with a different set of expectations, however. For starters – the budget is a reported $154 million with a studio likely hoping for a domestic haul in the $200 million range.
That could be a challenge. The word of mouth for Ghostbusters has not been overwhelmingly positive and underwhelming trailers had a little something to do with it. The first trailer even earned headlines for being the most disliked trailer in YouTube’s history. Buzz aside, it’s been marketed relentlessly in recent weeks.
The release poses a whole bunch of questions that won’t be answered until its opening: will younger viewers turn out for a franchise that’s laid dormant for nearly 30 years? Will the negative trailer reaction greatly hinder its potential? If and when the Stay Puft Marshmallow Man returns, is it the same one from the original or his offspring?
Ghostbusters, even with the lengthy time passed between entries, is still a massive brand name and the name alone should get it to a $40 million opening. How much above that number seems to be the real question. I’ll predict that it falls just under $50M in the opening weekend. How it plays out in subsequent weekends will answer the question for the studio as to whether those grosses make them feel good.
Ghostbusters opening weekend prediction: $47.3 million