My extremely early Oscar predictions for 2018 bring us to something brand new and quite controversial. Yes, I’m talking the category that we will see for the first time at next year’s ceremony: Best Popular Film.
The announcement last month by the Academy of this new race was met with a whole lotta criticism. And even if you weren’t one of the voices on the negative side, the category has caused understandable confusion.
We still don’t know the criteria for a nomination here. Over $100 million at the box office? How wide was its release?
The Academy did clear up one big question. Movies nominated in this category can also be featured in the Best Picture race. It’s a legitimate question as to whether or not that will happen. For instance, AStarIsBorn could be primed for the big race. Yet it seems likely to cross the century mark. How about Incredibles2? It’s a shoo-in for a nod in Best Animated Feature, so will voters acknowledge it in both categories? For now, I’m saying no. Many prognosticators believe this could be the Academy’s way of honoring BlackPanther. We shall see.
Bottom line… plenty of uncertainty here, but here’s my first take on the first year of Best Popular Film.
Best Director and then Picture are up next! If you missed my estimates for the four acting races, you can find them here:
The Academy of Motion Picture Arts and Sciences dropped a rather big bombshell today with some announced changes to their Oscar telecast. First off, they’re claiming the show will now be just three hours (I’ll believe it when I see it). Additionally, some categories (I imagine numerous tech ones) will be announced live during commercial breaks and then edited into the show later. This probably won’t make the individuals in those races happy, but it should speed up the program.
However, the most noticeable and interesting change is the addition of a new category (something the Academy rarely does). The addition is described as “Outstanding Achievement in Popular Film”. No other details have been provided, but this would appear to be an attempt by the Academy to include blockbusters that haven’t made the cut in Best Picture.
So what does that mean? What is the criteria? That was not announced today and it will be fascinating to see what such criteria is. Could it be a particular gross… say over $100 million domestically? Could it be the number of the theaters a movie is released in? Time will tell and hopefully these details will be revealed shortly. It isn’t even immediately clear that these changes will all be in effect for the 2019 telecast, but I imagine they will be.
Even though nothing is totally clear at press time, that won’t stop me from speculating and asking, “What if this category had been in effect in previous years?”
Before that, let’s start with this year. If there is a Best Popular Film category in 2018, that greatly increases the chances of Marvel’s Black Panther and horror smash A Quiet Place getting nods. There’s also Mission: Impossible – Fallout (the most acclaimed entry in the franchise) or perhaps Avengers: Infinity War. Pixar will certainly see Incredibles 2 nominated in Best Animated Feature, but it could make a play here as well. And we still have fall releases like Mary Poppins Returns and A Star Is Born out there.
There will be plenty of speculation as to whether Black Panther will be the first superhero pic to nab a Best Picture nomination. There is little doubt it would be recognized in this new category.
It’s been discussed on this blog previously about the 2008 Oscars which omitted The Dark Knight in the Best Picture derby. That development was likely responsible for the Academy changing its rule of five nominated films to anywhere between five and ten. Yet it would appear the Academy still isn’t satisfied with major hits being included.
Let’s consider last year. Of the nine Best Picture nominees, only two grossed over $100 million – Get Out and Dunkirk. If the Popular Film category had existed a year ago, I imagine both features would have achieved double nominations. Assuming this new category contains five nominees (something not revealed yet), what would the other three have been? There’s plenty of blockbusters to choose from: Beauty and the Beast, Wonder Woman, It, Logan, Coco, The Greatest Showman, War for the Planet of the Apes, Wonder, and Baby Driver.
Here’s my best guess of what a Best Popular Film slate would have looked like in 2017:
Dunkirk, Get Out, Logan, War for the Planet of the Apes, Wonder Woman
And I’m thinking Get Out would have won.
In 2016, you might have seen Deadpool and The Jungle Book as Popular picks.
In 2015, there could have been room for Star Wars: The Force Awakens and Straight Outta Compton.
2014? Perhaps Guardians of the Galaxy and Gone Girl.
Heck, let’s go way back. Would Jurassic Park have won Best Popular Film in 1993? I don’t think so. I bet it would have gone to The Fugitive, which nabbed an actual Best Picture nomination.
Of course, there would have been years where Best Picture and Best Popular Film match. 1994 with Forrest Gump. 1997’s Titanic. 2000’s Gladiator. Lord of the Rings: The Return of the King in 2003.
Back to today. I would say this new category seems tailor-made for Black Panther. Does that mean its chances for a Best Picture nod are now diminished because voters figure it runs away with this? Perhaps. And that’s why I’m not too wild about this change at the moment. This has the potential to look like a desperate play by the Academy. At the least, it’s an acknowledgment that audience favorites and Academy favorites don’t often match.
That said, let’s see what the criteria is and I’ll judge from there. It’s a new era at the Oscars… one where Bumblebee stands a shot (however remote) at Oscar glory!
Ten years ago tomorrow, The Dark Knight was unleashed into theaters. Looking back at the summer of 2008, you could argue that the two most important superhero pics in recent memory were released in that short time frame. Two months earlier in May of that year, Iron Man kicked off the Marvel Cinematic Universe which now stands at 20 films strong. Yet it was The Dark Knight that set box office records and brought critical appreciation of the genre to new heights. In a genre that has exploded in the 21st century, many consider this to be the crown jewel. I believe it’s certainly up on the Mount Rushmore.
A decade prior to its release, Batman had run into some trouble at multiplexes with the deservedly derided Batman and Robin. It was a disappointment both commercially and with reviewers. Joel Schumacher’s two run experiment with the iconic character had dissolved into campy non-fun. In the new century, Christopher Nolan was brought in to resurrect the franchise after making Memento and Insomnia.
2005’s Batman Begins would achieve that goal, but that was not apparent immediately. Despite glowing reviews, Begins started with $48 million at the box office and $206 million overall domestically. Those are solid numbers but some context is needed. That’s nearly $50 million less than 1989’s Batman made 16 years earlier. In other words, it wasn’t obvious that the eventual sequel would turn into a phenomenon.
That’s what happened. The Dark Knight had the advantage of pitting Christian Bale’s Caped Crusader against his most known foe, The Joker. Many questioned whether Heath Ledger (coming off an Oscar nomination for Brokeback Mountain) had the goods to fill Jack Nicholson’s shoes. Early trailers indicated the answer was yes. And he nailed it with an unforgettable performance. As we know, Ledger never got to witness the acclaim. He died six months before the picture’s release and it added a tragic level of publicity leading up to the premiere.
Once Knight was released, expectations were sky-high and it earned $158 million out of the gate. That was an opening weekend record which has since been surpassed by 14 movies including its sequel The Dark Knight Rises and seven other comic book themed experiences.
The Dark Knight still stands as the 10th highest grossing movie of all time and fourth biggest superhero effort behind Black Panther, Avengers: Infinity War, and The Avengers. It received eight Oscar nominations – something previously unheard of for something in its genre. That stands as another portion of its legacy. While Ledger would posthumously win Best Supporting Actor for his work, many figured The Dark Knight should and would nab a Best Picture nomination. It didn’t. And that caused the Academy to expand Best Picture from a finite five nominees to anywhere between five and ten (nine has been the major number most years in the decade following).
While no comic book film has managed a Best Picture nomination since then (Black Panther could change that this year), that rule change has perhaps allowed non-traditional awards material like District 9, Nolan’s own Inception, Gravity, The Grand Budapest Hotel, Mad Max: Fury Road, Arrival, and Get Out to garner nods.
And The Dark Knight, for many moviegoers, proved what comic book lovers had known all along. This material, done right, could truly be a work of art.
The 20th entry in the Marvel Cinematic Universe crawls into theaters next weekend with Ant–ManandtheWasp. The sequel to the 2015 original, Paul Rudd is back in the title role along with Evangeline Lilly as his partner in heroics (aka Wasp). Peyton Reed returns is back directing along with returning cast members Michael Pena, T.I., Bobby Cannavale, Judy Greer, and Michael Douglas. New faces joining the MCU include Walton Goggins, Michelle Pfeiffer, and Laurence Fishburne.
This has been a banner year for Disney’s multi-billion franchise as BlackPanther just hit $700 million domestically and Avengers: InfinityWar not far behind. While Ant–Man was certainly a hit, its numbers three years ago weren’t quite on pace with numerous other MCU titles. It opened to $57 million (18th of the 19 series pics) with an eventual stateside gross of $180 million (17 out of 19).
That said, the MCU is on a roll and early word-of-mouth for this follow-up is encouraging. In the past decade, we’ve seen three examples of a direct MCU sequel making $20-$30 million more than the first during opening weekend. They are:
I feel there is a very strong chance Ant–ManandtheWasp will do the same and possibly hit that mark of close to $30 million higher than part 1. That would put it at #14 out of the 20 MCU movies between Guardians of the Galaxy and Thor: The Dark World.
Ant–ManandtheWasp opening weekend prediction: $86.4 million
Pixar should easily rule the weekend and it may do so in record-breaking fashion as Incredibles 2 debuts. We also have the openings of comedy Tag and action remake Superfly. You can peruse my detailed prediction posts on the three of them here:
The computer animated superhero sequel arrives nearly 14 years ago after The Incredibles, but anticipation appears sky-high as part 2 looks to set a personal best for the massively successful studio. In order to accomplish that, Incredibles 2 would need to outdo the $135 million achieved out of the gate by Finding Dory two summers ago. My estimate gets it there by just over $3 million.
Tag could potentially serve as decent counter programming, but I’m not quite sold that it breaks out in a significant way. My lower teens projection places it firmly in third behind the sophomore weekend of Ocean’s 8 (which I see losing close to half its audience in weekend #2).
The 4-7 slots could be interesting to watch. One question mark is how Hereditary performs. The horror pic was a hit with critics and easily set an opening weekend record for studio A24. However, its Cinemascore audience grade was a dismal D+. That could mean a hefty sophomore decline. On the other hand, A24’s The Witch was saddled with a C- Cinemascore score and dropped just 42% in its second outing. I have Hereditary dropping over 50% and that should put it in 6th and that would be ahead of Superfly (as my prediction for it has steadily declined since my original post last week). As a reminder, Superfly debuts on Wednesday. That means the 4-5 spots should belong to Solo and Deadpool 2 (and it could be a dead heat between them).
And with that, let’s make it a top 7 projections for the weekend ahead:
1. Incredibles 2
Predicted Gross: $138.1 million
2. Ocean’s 8
Predicted Gross: $21.2 million
3. Tag
Predicted Gross: $13.4 million
4. Solo: A Star Wars Story
Predicted Gross: $8.4 million
5. Deadpool 2
Predicted Gross: $8.2 million
6. Hereditary
Predicted Gross: $6.3 million
7. Superfly
Predicted Gross: $5.3 million (Friday to Sunday), $7.2 million (Wednesday to Sunday)
Box Office Results (June 8-10)
Ocean’s 8 got off to a healthy start and came in right in line with most expectations. The female led heist caper achieved the best debut of the franchise with $41.6 million. I was close with $42.6 million.
Solo: A Star Wars Story dropped to second with $15.7 million compared to my $14.3 million estimate. The three-week total is $176 million.
Deadpool 2 was third with $14.1 million (I said $13.2 million) to bring its four-week tally to $279 million.
Hereditary opened on the higher end of expectations in fourth with $13.5 million, topping my $10.2 million estimate. As mentioned, its negative audience reaction could serve as a hindrance for long-term viability.
Avengers: Infinity War rounded out the top 5 with $7.2 million (I said $6.7 million). The Marvel juggernaut is up to $655 million.
Adrift was sixth with $5.2 million and I was a touch higher at $6.1 million. The Shailene Woodley sailing drama has made $21 million in two weeks.
Finally, Hotel Artemis failed to generate many check-ins, opening in 8th place with $3.2 million (below my take of $5 million).
A trio of new titles open wide at the box office this weekend as the unremarkable two-week reign of Solo: A Star Wars Story looks to close. They are the reboot of heist caper franchise Ocean’s 8 with Sandra Bullock and other notable actresses, critically acclaimed horror pic Hereditary, and crime thriller Hotel Artemis. You can peruse my detailed prediction posts on each of them here:
My low 40s opening for Ocean’s 8 easily puts it in the #1 spot. That estimate gives it the largest debut for the franchise that’s been dormant for over a decade when George Clooney, Matt Damon, Brad Pitt, and others had their trilogy.
The biggest question mark of the weekend to me is undoubtedly Hereditary. Reviews have been terrific, but critical praise doesn’t always equate to major dollars for this genre. Two similarly heralded entries from the same studio – The Witch and It Comes at Night – made less than $10 million out of the gate. Hereditary could potentially suffer the same fate, but I’ve got it pegged to manage low double digits. If the pic over performs, it could nab the #2 spot. If it hits in the range I’m projecting, it would be fourth behind Solo and Deadpool 2.
Adrift premiered right in line with my expectations and it may find itself in a close race with Avengers: Infinity War for the fifth slot. I’m giving the superheroes an edge.
As for Hotel Artemis, I’m not expecting much and my forecast has gone from $7.7 million to now $5 million over the course of the last week. That number puts it outside the top five.
And with that, my top 6 projections for the weekend ahead:
1. Ocean’s 8
Predicted Gross: $42.6 million
2. Solo: A Star Wars Story
Predicted Gross: $14.3 million
3. Deadpool 2
Predicted Gross: $13.2 million
4. Hereditary
Predicted Gross: $10.2 million
5. Avengers: Infinity War
Predicted Gross: $6.7 million
6. Adrift
Predicted Gross: $6.1 million
Box Office Results (June 1-3)
All eyes were on how Solo: A Star Wars Story would perform in its second weekend after a majorly lackluster premiere. The verdict? Not good. The Star Wars stand-alone fell a precipitous 65% to $29.3 million, well behind my $37.3 million estimate. The two-week tally stands at $148 million.
Deadpool 2 was second with $23.1 million in weekend #3, topping my $20.9 million projection for $254 million total.
Newcomer Adrift was right in line with my take – placing third at $11.6 million (I said $11.7 million).
Avengers: Infinity War was fourth with $10.5 million, ahead of my $8.6 million projection for $643 million in its considerable coffers.
Book Club rounded out the top five and I didn’t have it in there. It earned $7 million and sits at $47 million overall.
Blumhouse’s Upgrade exceeded my prediction with $4.6 million. I was lower at $2.8 million. The well reviewed sci-fi horror flick’s number is pretty decent considering its meager budget and low 1400 plus theater count.
Last and indeed least, Johnny Knoxville’s Action Point was a complete dud coming in at 9th place with a measly $2.3 million (well below my $6.6 million guesstimate). I wrote about its failure yesterday here:
The post Memorial Day weekend gives us a trio of vowel led titles as romantic disaster drama Adrift with Shailene Woodley, Johnny Knoxville comedy Action Point, and Blumhouse horror pic Upgrade all debut. You can peruse my detailed prediction posts on each of them here:
I don’t expect any of the newbies to exactly set the box office ablaze, but have Adrift getting over Action Point (if for nothing else than the higher theater count). My meager $2.8 estimate for Upgrade leaves it far outside the top 5.
The top two (and perhaps 3) should remain unchanged, but the real story of the weekend may be how far Solo: A Star Wars Story drops. It shouldn’t have trouble remaining #1, but as discussed in my post from last night, it came in considerably below expectations:
Press chatter since the undeniably disappointing premiere of Solo has solely focused on just that and it could cause the film to take a hefty dip in its sophomore frame. In addition, tent pole features opening over the Memorial weekend typically experience large declines anyway. Last year’s Pirates of the Caribbean: Dead Men Tell No Tales fell 64%. I believe a better comp might be Indiana Jones and the Crystal Skull from 10 years ago. It made $100 million over the three-day portion of the holiday weekend and dipped 55% in weekend #2. That seems more feasible for Solo, however if it fell over 60% it wouldn’t exactly be shocking.
Deadpool 2 should remain in second place while Avengers: Infinity War could find itself locked in battle for third with Adrift or possibly Action Point. I’m giving Adrift an edge.
And with that, my top 5 projections for the beginning of June:
1. Solo: A Star Wars Story
Predicted Gross: $37.3 million
2. Deadpool 2
Predicted Gross: $20.9 million
3. Adrift
Predicted Gross: $11.7 million
4. Avengers: Infinity War
Predicted Gross: $8.6 million
5. Action Point
Predicted Gross: $6.6 million
Box Office Results (May 25-28)
As discussed already, Solo: A Star Wars Story came in far below expectations with $103 million over the four-day weekend. That’s, ahem, a bit under my forecast of $151.3 million. Just days ago, the stand-alone Star Wars entry was a strong candidate to break the previous $139 million Memorial Day record held by Pirates of the Caribbean: At World’s End. It ended up as only the 7th highest holiday haul.
Deadpool 2 dropped to second with $53.8 million, in line with my $55.2 million prediction for a two-week total of $218 million.
Avengers: Infinity War was third at $22.4 million (I was right there at $22.5 million) for $627 million overall.
Book Club was fourth with $13.1 million in its second weekend, topping my $11.7 million projection for $35 million total. The comedy is scoring with a female and older audience and turning into a nice midsize summer performer.
Life of the Party rounded out the top five with $6.8 million, topping my $5.3 million prediction. It’s made $40 million total.
It’s Memorial Day weekend at the box office and Solo: A Star Wars Story is the solo new release as it looks to dominate the holiday charts. You can peruse my detailed prediction post on it here:
I believe Solo will manage to just top $150 million for the four-day frame and that would make it the largest Memorial Day opening of all time (topping the $139 million earned by Pirates of the Caribbean: At World’s End in 2007).
The holiday weekend often means small declines for holdovers and I believe that will hold true such titles as Avengers: Infinity War, Book Club, and Life of the Party. That may not apply to Deadpool 2, which will certainly be in second place. The Ryan Reynolds sequel seems likely to lose over 50% of its opening crowd – perhaps even 55% or so.
And with that, my take on the weekend’s top five (keep in mind these are Friday to Monday estimates):
1. Solo: A Star Wars Story
Predicted Gross: $151.3 million
2. Deadpool 2
Predicted Gross: $55.2 million
3. Avengers: Infinity War
Predicted Gross: $22.5 million
4. Book Club
Predicted Gross: $11.7 million
5. Life of the Party
Predicted Gross: $5.3 million
Box Office Results (May 18-20)
Deadpool 2 easily dominated the weekend, but did so with a little less dollars than most projections include mine. The superhero sequel earned $125.5 million, under my $137.4 million prediction. That’s good for the second biggest R rated debut of all time behind… Deadpool from 2016. Considering its reported $110 million budget, that’s still a hefty haul even though many figured it might manage to just top the original.
Avengers: Infinity War dropped to second after three weeks at #1 with $29.4 million (in line with my $30.8 million projection) for $595 million overall.
Book Club experienced a nice debut in third with $13.5 million, ahead of my $10.3 million estimate. I look for this to have perhaps the smallest drop of any feature over Memorial Day.
Life of the Party was fourth with $7.6 million (I said $8.4 million) for $30 million total.
Breaking In rounded out the top five at $6.8 million (I said $7.2 million) for $29 million in its two weeks.
Finally, family feature Show Dogs failed to bring in its audience with just $6 million. I was higher at $7.9 million.
Two years ago, Deadpool was a breath of filthy fresh air in the superhero genre with Ryan Reynolds triumphing in bringing the title character to the big screen (as we forget X–Men: Wolverine ever existed… sort of). No one was sure whether a very R rated comic book protagonist could succeed with audiences, but he did and then some. The inevitable sequel risks the chance of having a been there, done that vibe. For a while, Deadpool2 comes dangerously close to being that. The self referential jokes and carefree energy threatens to make part II nothing more than a featherweight viewing with a few clever gags thrown in. Luckily, Deadpool gets his groove back in time to make it something a little more. Does it match the quality of its predecessor? No, but there’s certainly moments (especially in the second half) that work very well.
We open with Wade Wilson, aka Mr. Pool, having a demented ball fighting sex traffickers and other baddies while in his blissful romance with soul mate Vanessa (Morena Baccarin). Some complications interrupt his happy-go-lucky routine and he soon finds himself in a bad way. He finds teenage mutant Russell (Julian Dennison) with flames for fists that he struggles to protect from future traveling soldier Cable (Josh Brolin, summer 2018’s villain du jour). Deadpool also assembles a motley crew of a team known as X-Force (which even he knows is a derivative monicker). For those who’ve witnessed our hero in action before, we know that none of this is exactly pulled off with expert precision. It is a joy to welcome back some of his unconventional crime fighting partners, particularly Karan Soni’s taxi driving sidekick.
The first half of Deadpool2 is equipped with some humorous cameos and quips galore. And so is the second half. The difference is that for the first hour or so, the pic seems a bit unfocused and content to coast on its meta merits. It isn’t until some of the new characters motivations are explained that the follow-up gathers that needed focus. Once that happens, the gags work better. It also helps that the action sequences seem to jump up a notch towards the end.
One item that doesn’t change is the commitment that Reynolds brings to his beloved character. He clearly loves playing the part and it shows. Brolin, like his Thanos In Avengers: InfinityWar, plays an antagonist with some actually understandable motivation for the second time in a month. He’s no Thanos, but he’s a reasonably interesting dude. Part II delves more into Deadpool’s connection with the X-Men and occasionally in ways that induce well-earned laughter.
The originality factor that made Deadpool such a welcome addition to an always growing genre over can’t be replicated here. However, enough of the winking dirty charms we experienced in 2016 are present.
Since Disney took over the StarWars franchise, the three released pictures have combined for 11 Oscar nominations in the past three ceremonies. Let’s break them down, shall we?
StarWars: TheForceAwakens (2015)
Nominations: Original Score, Sound Editing, Sound Mixing, Film Editing, Visual Effects
RogueOne: AStarWarsStory (2016)
Nominations: Sound Mixing, Visual Effects
StarWars: TheLastJedi (2017)
Nominations: Original Score, Sound Editing, Sound Mixing, Visual Effects
You will note 11 nods, but no wins for the multi-billion dollar series and that all recognition has been in technical races. This Memorial Day weekend, Solo: AStarWarsStory flies into theaters. So the question must be asked: will it manage to score some Academy love as well?
Solo has the lowest Rotten Tomatoes rating (71%) of the bunch. That could serve as a hindrance for even tech nods, especially with MCU heavy hitters like BlackPanther and Avengers: InfinityWar in the mix, among others.
Perhaps it could play in the Sound races and perhaps Visual Effects, but competition could potentially leave Solo as the solo entry in the franchise with no Oscar attention.
