Tag: Blumhouse

Oscar Watch: BlacKkKlansman

It’s been almost 30 years since the Academy suffered a bit of backlash when Spike Lee’s Do the Right Thing missed the cut of Best Picture nominees. Since then, the writer/director has had critical hits and misses and none of his joints have managed to score a nod for the top prize (including 1992’s acclaimed Malcolm X).

That could finally change as his latest, BlacKkKlansman, was unleashed today at the Cannes Film Festival. It tells the true and amazing story of an African-American cop in the 1970s who infiltrated a chapter of the Ku Klux Klan. John David Washington (son of Lee’s frequent star Denzel) plays the role with a supporting cast that includes Adam Driver, Laura Harrier, Corey Hawkins, Paul Walter Hauser, Harry Belafonte, and Topher Grace as David Duke. Blumhouse Productions (the studio behind last year’s Get Out) distributes with its director Jordan Peele as a producer. The film opens stateside this August.

Early buzz from the French Riviera indicates this is Lee’s strongest, most mainstream, and entertaining and timely movie in some time. It seems destined to receive plenty of attention later this summer.

Could that translate to a Best Picture nomination and one for Lee’s direction? The Cannes attention raises that prospect considerably. As for performances, Washington is getting very positive writeups. The same applies to Driver (playing Washington’s partner) and Grace as the former KKK head. Either one of them could see strong campaigns mounted in Supporting Actor. If I had to guess right now, Blumhouse might focus more on Driver.

Bottom line: BlacKkKlansman was one of the festival’s most eagerly awaited pictures and its unveiling today could lead to months long Oscar chatter.

My Oscar Watch posts will continue…

Truth or Dare Box Office Prediction

Blumhouse Productions and Universal Pictures are hopeful horror fans will be game for Truth or Dare next weekend. Debuting on Friday the 13th, the film puts a scary spin on the time honored contest that we all familiarized ourselves with in our teens. That’s the target audience that it wishes to reach. Jeff Wadlow, who directed Kick–Ass 2, is behind the camera with a cast including Lucy Hale, Tyler Posey, Violett Beane, Hayden Szeto, and Landon Liboiron.

Originally scheduled to premiere on April 27, the pic wisely moved off that weekend when Iron Man, Black Panther, and other Avengers claimed it. However, the current release date poses its own problems as fellow genre title A Quiet Place will be in its sophomore frame and likely still making noise.

That said, Blumhouse has a knack for turning low-budget fright fests into hits. They’ve just come off a banner 2017 that included Split, Get Out, and Happy Death Day. I don’t, however, feel Truth or Dare will manage that trio’s grosses. I’ll estimate a debut in the mid teens range.

Truth or Dare opening weekend prediction: $16.7 million

For my Rampage prediction, click here:

https://toddmthatcher.com/2018/04/03/rampage-box-office-prediction/

Happy Death Day Movie Review

Happy Death Day begins with a universal disruption. Not the world suffering a catastrophe or anything of that sort, but the actual Universal logo repeating itself three times. It’s a signal of events to come in this horror version of Groundhog Day from the Blumhouse studio, which specializes in bargain basement budgeted genre pics.

The world as a whole may not be experiencing a crisis, but college student Tree (Jessica Rothe) sure is. Her birthday begins as many do for undergraduates. She wakes up in the dorm room of Carter (Israel Broussard) after a drunken night out. Not remembering the previous evening’s events, Tree makes a hasty exit complete with shame walking. She attends class where we learn she’s carrying on an affair with her professor. Tree doesn’t really gel with her sorority sisters, including her kindly roommate (Ruby Modine).

In fact, unlike most of the heroines in slasher flicks, Tree is a pretty unpleasant person. And she’s not that innocent. So I’ll give a bit of credit to screenwriter Scott Lobdell for changing that up, even if it makes her a smidge tougher to root for. When Tree goes out for another night of frivolity, she’s stalked and stabbed by a figure donning the mask of the university’s mascot.

And then… she wakes up on her birthday again nursing a hangover in Carter’s dorm room. Unlike Bill Murray rising to the sounds of Sonny and Cher, she repeats her day less than 20 times as she tries to figure out who’s knocking her off. Along the way, we learn some of the root causes of her unpleasantness. She’s mourning the loss of her mom for one. That death factors into the mix.

Happy Death Day has a sense of humor, which is often a good thing. Groundhog Day is mentioned as it would seem foolish not to (the title has become synonymous with anything repeating itself). Rothe is convincing as the bratty coed. Director Christopher B. Landon employs a handful of effective jump scares. The 90 minute runtime is a wise choice as the concept may not be able to sustain much more.

This is an easy and brisk watch. The PG-13 rating decision is a curious one and this may have been better served with more of the gore and aforementioned frivolity actually on display. Happy Death Day probably won’t stick in your memory for long, but it’s not a complete disruption of your time.

**1/2 (out of four)

In a Valley of Violence Movie Review

For all I know, director Ti West was exposed to the films of Quentin Tarantino last week. I doubt it. His western doesn’t really like feel inspired by QT’s genre works like Django Unchained and The Hateful Eight.

Instead, it seems like Mr. West’s western could be a product of the fact that the filmmaker was a young teen when Pulp Fiction came out in 1994. Just maybe that teen wanted to make a genre pic that felt a bit like Tarantino – the sudden jolts of violence, the dialogue that sounds a little hipper than the time period, the cool vintage fonts on the title cards. In 1994, Pulp resuscitated John Travolta’s career. Here he’s cast as the nefarious Marshal ruling a deserted Old West town. Ethan Hawke became a Gen X star that year as well in Reality Bites. Here he’s the strong, silent, and complicated hero who must go up against him. Maybe I’m reaching for connections to make my point. However, that’s how In a Valley of Violence felt to me and it was an appealing experience. And I haven’t mentioned the super cool dog yet…

Paul (Hawke) and his dog Abbie (Jumpy) are making their way to Mexico (their motives are unclear for a bit) when he comes across the town of Denton. It’s sparse in both population and set design, allowing this to look like a low-budget old timey western from decades ago. Blumhouse, the studio that specializes in bargain basement priced horror flicks, is behind this so it makes some sense. It’s clear that Paul knows how to fight, but doesn’t want to. Unfortunately dim-witted deputy Gilly (James Ransone) rattles his cage in small ways at first and then big ones. Suddenly Paul’s trip south of the border is delayed for revenge purposes. And he must also deal with Gilly’s father, Travolta’s aforementioned Marshal.

Valley doesn’t take itself very seriously. There’s a lot of humor and much of it is well written and well placed. Travolta has been known to overact over the last couple decades since his comeback. Here he does it in a role that seems appropriate for it. Hawke plays the lonely cowboy straight and solidly. Taissa Farmiga provides a spark as a town resident desperate to get out. And it’s not often I’d mention the real name of the dog in a film, but Jumpy deserves the shout out for a real performance. More kudos go to composer Jeff Grace for a pitch perfect score.

Again, I have no idea if my Ti West/Tarantino hypothesis (who’s worked in horror before this) holds merit. No, it doesn’t reach the brilliant level of impact and the dialogue isn’t consistently as poetic as Quentin’s. There’s moments and enough of them, however, to make the connection worth mentioning.

*** (out of four)

 

 

Insidious: The Last Key Box Office Prediction

The first new wide release of 2018 is out next Friday when Insidious: The Last Key enters theaters. This is the fourth chapter in the franchise that began in 2011. Like Chapter 3, it’s a prequel to the events of the first two. In other words, no Patrick Wilson or Rose Byrne (the stars of the originals). James Wan, director and 1 and 2, produces with Adam Robitel behind the camera. Leigh Whannell, who’s served as writer for all of them, costars along with Lin Shaye, Angus Sampson, Josh Stewart, and Bruce Davison.

One factor that could assist The Last Key is the absence of horror flicks in the marketplace at the moment. That said, this franchise has been losing its luster. The 2011 original debuted to $13 million but legged out very nicely for its genre with an eventual $54 million gross. The 2013 sequel was the pinnacle with a terrific $40 million opening weekend and $83 million total tally. Chapter 3 in 2015 premiered to $22 million, but ended up as the lowest earner of the series with $52 million. 

I don’t see a compelling reason why part 4 will rebound. For comparison sake, I could see this performing similarly to 2014’s Paranormal Activity: The Marked Ones, which opened in the first weekend of January to just over $18 million. Like this, that was an entry in a franchise whose steam had dissipated. That number seems to be where Key fits best.

Insidious: The Last Key opening weekend prediction: $18.6 million

 

2017: The Year of Blumhouse

As 2018 is nearly upon us, today begins an exploration on what and who made a lasting impression on film in 2017. And it does start with a what – in this case, a studio.

Blumhouse Productions, founded by Jason Blum, kicked off in 2009 with found footage hit Paranormal Activity. It was a massive money maker that spawned numerous sequels. From then on, Blumhouse became known for their low-budget horror flicks. This includes the Insidious, Ouija, Purge, and Sinister franchises.

Yet 2017 has marked their banner year. This started immediately in January with M. Night Shyamalan’s comeback pic Split, which debuted to $40 million and earned $138 million overall domestically. Shyamalan will be working with the studio once again with its spin-off/sequel Glass, due in 2019.

The success kept going in February with the release of Jordan Peele’s Get Out. Earning $33 million out of the gate, the acclaimed horror comedy went on to make $175 million. It’s even garnering Oscar buzz, something rare for Blumhouse (a notable exception was 2014’s Whiplash).

In the fall, Happy Death Day premiered to $26 million and $55 million total. Not all of the studio’s offerings landed with audiences this year, including The Belko Experiment, Birth of the Dragon, and Sleight.

Still, there’s little doubt 2017 has offered Blumhouse its most high-profile successes. 2018 will look to replicate the wins with new Purge and Insidious editions and a reboot of the Halloween franchise.

My look back on the winners in 2017 onscreen will continue…

Happy Death Day Box Office Prediction

Timing is sometimes everything at the box office and that factor could boost Happy Death Day to a lively opening. The pic is essentially a horror version of Groundhog Day with a woman waking on the same day that happens to be the date of her demise. Christopher B. Landon, who last made Paranormal Activity: The Marked Ones, directs with a cast made up of relative unknowns including Jessica Rothe and Israel Broussard.

Death comes from Blumhouse Productions, which specializes in low-budget genre flicks. 2017 has been a very happy year for the studio, with fright pic breakouts Split and Get Out. The budget is reportedly just a teeny $5 million. Regarding its release date, it has the benefit of premiering on a Friday the 13th in October (a good month for the genre). It should also help that It is finally slowing down at multiplexes, so genre enthusiasts may be ready for another horror fix.

High teens to possibly low 20s seems reachable here.

Happy Death Day opening weekend prediction: $20.6 million

For my The Foreigner prediction, click here:

https://toddmthatcher.com/2017/10/05/the-foreigner-box-office-prediction/

For my Marshall prediction, click here:

https://toddmthatcher.com/2017/10/05/marshall-box-office-prediction/

Birth of the Dragon Box Office Prediction

Blumhouse and WWE Studios hope that martial arts fans turn out for Birth of the Dragon, opening next weekend. Set in 1960s San Francisco, it casts Philip Ng as legend Bruce Lee and chronicles one of his most famous showdowns with Shaolin Master Wong Jack Man (Xia Yu).

The film premiered nearly a year ago at the Toronto Film Festival and it’s getting a release stateside on approximately 1500 screens. The late summer release date and lack of promotion could hinder its box office potential.

If box office predictions were made by considering the amount of Wu-Tang Clan members who might attend a screening, I’d have this higher. Minus that, I’ll say it struggles to even reach $3 million.

Birth of the Dragon opening weekend prediction: $2.9 million

For my Leap! prediction, click here:

https://toddmthatcher.com/2017/08/16/leap-box-office-prediction/

For my All Saints prediction, click here:

https://toddmthatcher.com/2017/08/16/all-saints-box-office-prediction/

For my Good Time prediction, click here:

https://toddmthatcher.com/2017/08/21/good-time-box-office-prediction/

The Resurrection of Gavin Stone Box Office Prediction

Faith based comedic drama The Resurrection of Gavin Stone debuts next weekend and it hopes to over perform like several other Christian themed pics have in recent years. Co-produced in part by Blumhouse Tilt and WWE Studios, it stars Brett Dalton, Anjelah Johnson, Neil Flynn, Shawn Michaels (yep, the wrestler), and D.B. Sweeney (yep, one half of the ice skating duo in early 90s flick The Cutting Edge).

Focusing on a washed up child star who pretends to be a person of faith to play Jesus in a megachurch production, Stone comes with just a teeny $2 million budget. Profitability shouldn’t be a tall order.

That said, I expect it to fall just under its budget in the opening frame with the caveat that it could surprise a bit.

The Resurrection of Gavin Stone opening weekend prediction: $1.6 million

For my xXx: Return of Xander Cage prediction, click here:

https://toddmthatcher.com/2017/01/10/xxx-return-of-xander-cage-box-office-prediction/

For my Split prediction, click here:

https://toddmthatcher.com/2017/01/10/split-box-office-prediction/

For my The Founder prediction, click here:

https://toddmthatcher.com/2017/01/11/the-founder-box-office-prediction/

For my 20th Century Women prediction, click here:

https://toddmthatcher.com/2017/01/12/20th-century-women-box-office-prediction/

Incarnate Box Office Prediction

The first weekend of December is typically a very light frame for new product and 2016 is no different as horror flick Incarnate is the only new offering. From Blumhouse Tilt (a studio that makes their pics cheap and fast), the exorcism tale stars Aaron Eckhart. It’s been a busy year for the lead actor, as he’s already appeared in supporting roles this fall with hit Sully and flop Bleed for This. Brad Peyton (who made last summer’s San Andreas) is behind the camera and costars include Carice van Houtem and Catalina Sandino Moreno.

Despite a release in European territories last summer, Incarnate has sat on the shelf waiting for U.S. distribution. That’s usually not a sign of confidence from the studio and neither is its dumping ground release date. This should follow the pattern of many other first weekend of December premieres and post extremely low numbers.

Incarnate opening weekend prediction: $1.7 million