Tag: Child’s Play

June 28-30 Box Office Predictions

Another creepy doll looks to hit the runner-up spot while Toy Story 4 stays in first place this weekend as Conjuring Cinematic Universe entry Annabelle Comes Home debuts. We also have the high concept musical comedy Yesterday out and you can peruse my detailed prediction posts on both newcomers here:

https://toddmthatcher.com/2019/06/18/annabelle-comes-home-box-office-prediction/

https://toddmthatcher.com/2019/06/21/yesterday-box-office-prediction/

It seems awfully risky in the summer of 2019 to project that a sequel will come close to meeting expectations. Not even Toy Story 4 managed to do that (more on that below), but that’s where I’m at by saying Annabelle will gross in the high 20s for its Friday to Sunday earnings and high 30s when taking in the Wednesday and Thursday money.

As mentioned, Pixar’s fourth pairing of Woody and Buzz should have no trouble maintaining top position. Toy Story 3 dipped 46% in its sophomore frame and I look for this to lose around half its volume.

Yesterday, in my view, once had breakout potential. However, so-so reviews don’t help. My estimate for The Beatles themed pic puts it just behind Aladdin in fourth place. The Secret Life of Pets 2 may stay put in fifth as I figure the drops for Child’s Play and Men in Black: International will be more severe.

And with that, my top five for the weekend:

1. Toy Story 4

Predicted Gross: $60.3 million

2. Annabelle Comes Home

Predicted Gross: $27.4 million (Friday to Sunday), $38 million (Wednesday to Sunday)

3. Aladdin

Predicted Gross: $9.7 million

4. Yesterday

Predicted Gross: $9.1 million

5. The Secret Life of Pets 2

Predicted Gross: $5.7 million

Box Office Results (June 21–23)

Pixar scored yet another hit with Toy Story 4. Yet the acclaimed sequel (arriving nine years after part three) unquestionably made less than anticipated at $120.9 million. While that’s $10 million over its predecessor, that’s a far cry from my $167.5 million forecast. And even if you think I was being generous, the floor for most projections was around $140 million. I wouldn’t feel too bad for Disney as they’re having a terrific year thus far.

The return of Chucky was met with ambivalence as Child’s Play was second with $14 million compared to my $17.6 million prediction. Look for it to fade fast, especially with that other dastardly doll arriving Wednesday. The reboot only cost a reported $10 million to make so United Artists shouldn’t be too upset either.

Aladdin was third with $13.2 million (I said $13 million) and it’s up to $288 million in the coffers.

Men in Black: International tumbled from first to fourth with $10.7 million, below my $13.1 million projection for just $52 million. This reboot, like Dark Phoenix before it, looks to come in under $100 million domestically.

The Secret Life of Pets 2 rounded out the top five with $10.2 million. I was higher at $12.6 million. The three-week tally is $117 million.

Finally, the Luc Besson action thriller Anna was a flop in ninth with $3.6 million. My prediction? $3.6 million! That almost makes up for being $40 million plus off Toy Story 4! Ok maybe not…

That’s all for now, folks! Until next time…

June 21-23 Box Office Predictions

Blogger’s Note (06/19): and it’s a significant one. Revising my Toy Story 4 estimate down from $191.5 million to $167.5 million.

It’s a toy fest at the box office this weekend as Pixar’s massive franchise and an iconic demonic doll look to populate the 1-2 spots on the charts. Toy Story 4 and the reboot of Child’s Play are the big debuts, as well as Luc Besson’s action thriller Anna. You can peruse my detailed prediction posts on each of them here:

https://toddmthatcher.com/2019/06/12/toy-story-4-box-office-prediction/

https://toddmthatcher.com/2019/06/13/childs-play-box-office-prediction/

https://toddmthatcher.com/2019/06/13/anna-box-office-prediction/

The question for the fourth iteration of Woody and Buzz is not whether it opens at #1, but whether or not it sets the all-time opening record for an animated feature. Unlike what we’ve seen in the past few weekends, this should not be a sequel that fails to meet expectations. In order to nab the record, it needs to top Pixar’s Incredibles 2 from last summer. That sequel made $182 million out of the gate. I’m predicting Toy Story 4 will outdo it by nearly $10 million.

I’m projecting that Child’s Play will reach high teens and that should be enough to put it in second place. I figure enough horror fans can assist Chucky’s return to multiplexes to get it there (as long as they’re not all holding their money for next week’s Annabelle Comes Home).

The real battle could be for the third position. Men in Black: International was a major flop. While I don’t see it plummeting over 70% like Dark Phoenix, a mid 50s (and maybe a bit more) dip is certainly feasible. That puts it in a horse race with The Secret Life of Pets 2 and Aladdin, which could benefit from drive-in pairings with Toy Story.

As for Anna, my lowly $3.6 million puts it outside the top five.

Here’s how I have it playing out:

1. Toy Story 4

Predicted Gross: $167.5 million

2. Child’s Play

Predicted Gross: $17.6 million

3. Men in Black: International

Predicted Gross: $13.1 million

4. Aladdin

Predicted Gross: $13 million

5. The Secret Life of Pets 2

Predicted Gross: $12.6 million

Box Office Results (June 14–16)

While Will Smith’s genie in Aladdin is raking up the bucks, Sony was not granted their wish of a successful franchise reboot with Men in Black: International. The film opened in first, but with a disappointing $30 million (on target with my $30.7 million projection). Don’t look for Chris Hemsworth and Tessa Thompson to don the shades again – though you’ll probably see them revise their Thor characters again.

The Secret Life of Pets 2 dropped to second with $24.4 million (I said $23.4 million) as it sniffs the century mark at $92 million after two weeks.

Aladdin was third with $17.3 million, topping my $15.7 million forecast. It’s up to $264 million as it should cross $300 million domestically.

Rocketman was fourth and I incorrectly had it outside the top five. The Elton John biopic took in $9.4 million and it’s at $52 million overall.

After its poor debut, Dark Phoenix tumbled to fifth with $9.3 million. I was more generous at $11.8 million. With just $52 million in ten days, this looks to be the first X-Men entry that won’t reach $100 million stateside.

The sequel and reboot fatigue manifested itself again with Shaft, which flopped in sixth with only $8.9 million, coming in far below my $16.8 million prediction.

Late Night expanded nationwide to so-so results in ninth place with $5.2 million, a touch more than my $4.5 million take.

Finally, zombie comedy The Dead Don’t Die was 12th on just over 600 screens with $2.5 million compared to my $1.8 million projection.

And that does it for now, folks! Until next time…

Child’s Play Box Office Prediction

While the iconic products that come to life in Pixar’s Toy Story 4 look to dominate the box office next weekend, another cinematic toy and a far more demented one returns to theaters with the reboot of Child’s Play. Remaking the 1988 cult classic that spawned six sequels, demonic doll Chucky slashes his way back into multiplexes for the first time in almost 15 years. While Brad Dourif voiced Chucky for over three decades, Luke Skywalker himself Mark Hamill now takes over. Aubrey Plaza, Gabriel Bateman, Brian Tyree Henry, and Tim Matheson are among the cast with Lars Klevberg directing.

Despite all the follow-ups, the first Play still remains the highest earner of the franchise at $33 million ($72 million adjusted for inflation). The last two installments of the series (2013’s Curse of Chucky and 2017’s Cult of Chucky) went straight to the On Demand/DVD route. This is the studio’s hope for solid returns at the theatrical level.

1998’s Bride of Chucky achieved the biggest opening of them all at $11.8 million. The new Play should be able to top that and I’ll predict a high teens start is where this lands.

Child’s Play opening weekend prediction: $17.6 million

For my Toy Story 4 prediction, click here:

https://toddmthatcher.com/2019/06/12/toy-story-4-box-office-prediction/

For my Anna prediction, click here:

https://toddmthatcher.com/2019/06/13/anna-box-office-prediction/

Ready Player One Movie Review

In a time when much of our popular entertainment is now made by 1980s kids who worshipped at the altar of Steven Spielberg and others, Ready Player One often feels like a loving homage to the product he made. Except it’s made by Spielberg himself and based on a 2011 Ernest Cline novel that also placed Spielberg’s works among its many cultural references. Such an experience runs the considerable risk of collapsing upon itself in a meta avalanche. Yet there’s a reason Spielberg is considered the best in the blockbuster game and he mostly avoids the potential self congratulating pitfalls here. It doesn’t belong in the same stratosphere as his most delicious popcorn offerings, but it contains enough sweetness and eye-popping visuals to be reasonably filling.

We begin in the dystopian future of 2045 where the majority of the Earth’s populace lives in slum conditions. Wade Watts (Tye Sheridan) is among them. He’s an 18-year-old in Columbus, Ohio with deceased parents and a sad life living with his trashy aunt. Wade’s existence matches that of many and their only refuge from squalor is The OASIS. That’s a virtual reality world created by the late James Halliday (Mark Rylance), an eccentric developer whose nostalgic tastes inform his fantasy universe. Those preferences include a whole slew of 80s flicks and tunes and more. Players can select alternate identities when they slap on the VR goggles. Wade takes on the persona of Parzival and he cruises around in the iconic DeLorean from Back to the Future. Wade/Parzival isn’t just a run of the mill player. He’s a good one. And he’s among a small group of high level participants known as Gunters.

Following Halliday’s death, it’s revealed he hid an Easter egg in the OASIS and the first player to find it will inherit control of the whole shebang. Wade has noble intentions should he win. So does Art3mis (Olivia Cooke), an expert gamer who attracts Wade’s admiration and his heart. There’s also those who want control of this trillion-dollar game for more devious purposes. That includes Sorrento (Ben Mendelsohn), corporate overlord of IOI (Innovative Online Industries). That conglomerate envisions total control of this product and go to dangerous lengths to prevent ace players like Parzival and Art3mis from succeeding.

Ready Player One quickly establishes this dense new world to us without making it seem too complicated. We quickly accept the dual nature of these heroes and villains in the depressed looking capital of Ohio and the shimmering alternate reality of the OASIS. In the latter, players can become whoever they want and the programmers can insert anyone in. That allows a lot of references to characters we’ve seen elsewhere. If you have ever imagined King Kong, The Iron Giant, and the murderous Chucky doll in the same feature, your wish is granted.

Much of this is an excuse for dazzling adventure sequences and many of them truly are. There’s a notable horror pic that is the centerpiece of a key scene. Going much more into it would feel like spoiler territory, but I’ll say it’s a pretty amazing highlight. Some of the battles take on a sameness vibe eventually, but the OASIS is consistently a visual wonder to behold.

Leads Sheridan and Cooke are both stellar. Rylance and Simon Pegg as Halliday’s former business partner are memorable. Mendelsohn (as he did in Rogue One: A Star Wars Story) brings a satisfying  sinister turn as the bad guy.

Spielberg’s classics have become so because of their heart. Ready Player One is not a classic, but there are moments when the beats of them are well replicated. The picture may be best appreciated by an audience whose nostalgia glasses are usually half full. I’m among them. While you might be watching closely for pop culture references, there’s an overall message of balance between adoration of the past and appreciating the present. The director behind the camera here is deservedly revered for his great past, but he can still provide the goods presently.

*** (out of four)

The Boy Movie Review

When the U.S. of A did the whole creepy doll comes to life thing nearly three decades ago, it was in the form of a foul mouthed, sarcastic lil freak named Chucky in Child’s Play. In this U.K. set version of a similar concept titled The Boy, we have a significantly more mild mannered and seriously less verbose porcelain doll that goes by the name of Brahms. The 1988 doll comes to life experience knew it was trashy fun. This 2016 experience is a little too mild in its approach to its concept… even dull from time to time, if you will. There’s some nice little creepy moments, but far fewer than there should be.

William Brent Bell’s movie intoroduces us to Greta (Lauren Cohan), who’s just moved across the pond from Montana. She’s trying to escape an abusive relationship and finds a nanny job at the stately manor of the elderly Heelshire couple (Jim Norton and Diana Hardcastle). Turns out that there is no child… at least not in human form. The Heelshires are caring for Brahms, the aforementioned porcelain eight year old boy that they treat as if he was alive. He comes with lots of instructions, too. Some concern not leaving him alone and having no guests over. This doesn’t apply to their grocery deliverer Malcolm (Rupert Evans), who explains that there was a real Brahms who apparently perished in a fire years ago. When the homeowners take their first vacation in ages, Greta is left to care for the boy herself.

Of course, that’s when strange sound effects and happenings begin and soon our heroine comes to realize that the Heelshires might not be so crazy after all. The Boy has a rather slow build-up and while this is effective in plenty of other horror titles, it doesn’t exactly work here. We also spend a considerable amount of screen time on Greta’s potential burgeoning romance with Malcolm and her failed one with her ex.

Yet the real relationship at focus is her and that doll. And it’s clearly the most important one to Brahms. Is this all as silly as it sounds? Yes and no. Obviously the concept is bonkers, but the screenplay takes itself way more seriously than it should. The tone feels off most of the time.

That said, many of the actors give it their all. Cohan makes for an appropriately scared and bewildered protagonist and the thespians portraying Brahms’s folks have some early moments of creepiness.

Many a flick of this genre relies on twists and The Boy is another. The one here is more of a head scratcher than a good one and leaves far more questions than answers. As I write that, I recognize I’m maybe taking this too seriously. If this had been produced with a bit more gleeful recognition of its own absurdity, I probably wouldn’t have cared if it made sense.

** (out of four)