The wildly unpredictable career of David Gordon Green stays wildly unpredictable with Nutcrackers, a family dramedy that opened the Toronto Film Festival yesterday. Mr. Green first captured the admiration of critics with the 2000 indie George Washington. He eventually moved onto stoner comedies like Pineapple Express and Your Highness and then some well-regarded grounded dramas like Joe and Stronger. As of late, he’s made sequels to horror classics in the newest Halloween trilogy and The Exorcist: Believer.
His latest is another genre u-turn with Ben Stiller as a career man who travels to Ohio to care for his four orphaned nephews. It marks Stiller’s first headlining role since The Meyerowitz Stories in 2017. Linda Cardellini, Tim Heidecker, and Edi Patterson costar.
Last year, TIFF’s premiere picture The Boy and the Heron started an Oscar journey that culminated in a Best Animated Feature victory. Obviously Nutcrackers won’t be eligible for that race. However, its chances of making any others are about as realistic. The Metacritic score is a ho-hum 55 at press time. That’s not going to lead to awards chatter. My Oscar Prediction posts will continue…
It’s not just priests exorcising the demonic spirits in The Exorcist: Believer, a direct sequel to the iconic horror phenomenon from a half century ago. There’s more inclusivity when it comes to the number of faith leaders involved. We have two subjects undergoing the eventual rituals via two teenage girls. David Gordon Green recently redid the Halloween franchise with three pictures that underwhelmed this viewer. He hopes to start a fresh trilogy with Believer. Despite more characters doing the casting out and doubling those being possessed, this relaunch is far from bewitching. Instead it’s a sullen and poorly edited genre exercise that could’ve passed (or failed) as any knockoff of the original. If it weren’t for Ellen Burstyn briefly returning to her Oscar nominated role, slapping The Exorcist moniker on it seems egregious. I suppose it still does. The sixth one is not the devilish charm. Neither were the second, third, fourth, or fifth though pretending they don’t exist doesn’t help.
A prologue shows us the tragic birth of Angela (Lidya Jewett). Her father Victor (Leslie Odom Jr.) is doing photography work in Haiti with his very expectant wife. An earthquake severely injures her to the point where Victor must choose whether she or his unborn daughter live. Thirteen years later, Victor and Angela are living a seemingly normal existence in Georgia. Yet when Angela and her friend Katherine (Olivia O’Neill) try to summon the spirit of her departed mother, they end up disappearing for three days and then returning. If you don’t get the symbolism behind that, the sometimes unintentionally funny screenplay will explain it slowly and obviously.
Slowly is an appropriate word for the first half as Angela and Katherine aren’t exactly themselves upon reemergence. Believer seems to forget that so many Exorcist regurgitations have been foisted upon us. Some have worked. Just none in the official canon (though The Exorcist III has its loopy delights). We know where this is headed and Green’s restart plods along in the known directions. Except for one violent outburst, Burstyn’s return is largely forgettable and a little pointless.
The interfaith participation in saving the girls is a slightly new wrinkle. By the third act, the Catholics are sitting it out and a hodgepodge of would be saviors step in to fill the void. This includes Ann Dowd as Victor’s neighbor (who takes over for the priest because she wanted to be a nun), a Hoodoo practicer, a Baptist, and a Pentecostal preacher. If these characters had walked into a bar, maybe a more lively movie would’ve resulted. Instead they walk into a procedure we’ve seen time and again. A double exorcism does not double the thrills. This was shocking and shockingly well-made (not to mention scary as hell) in 1973. Now it’s unsurprisingly bland.
This coming weekend should be very lucky for a songstress you may have heard of named Taylor Swift. Her cinematic airing of The Eras Tour is out on approximately 4000 screens as it looks to dominate the box office. You can peruse my detailed prediction post on it here:
The power of Swift has propelled the concert doc to hefty pre sales totaling over $100 million worldwide. I’m projecting the domestic take will fall just shy of $140 million. That would give it the third best premiere of 2023 behind only Barbie and The Super Mario Bros. Movie.
No other studio dared to open anything against Taylor and her army of Swifties. In fact, The Exorcist Believer moved up its release date to this past weekend. It had a so-so start (more on that below). With a meh C Cinemascore grade, I look for it to fall in the low to mid 60s in its sophomore frame.
The rest of the top five will be filled with holdovers likely dropping in the low to high 40s. Everything should slide a spot with PAW Patrol: The Mighty Movie, Sax X, and The Creator populating 3-5 in their third weekends.
Here’s how I think it’ll play out:
1. Taylor Swift: The Eras Tour
Predicted Gross: $139.6 million
2. The Exorcist: Believer
Predicted Gross: $9.7 million
3. PAW Patrol: The Mighty Movie
Predicted Gross: $6.6 million
4. Saw X
Predicted Gross: $4.1 million
5. The Creator
Predicted Gross: $3.5 million
Box Office Results (October 6-8)
David Gordon Green’s take on another iconic horror franchise couldn’t come close to his Halloween numbers as The Exorcist: Believer fell slightly short of expectations. The poorly reviewed direct sequel to the 1973 classic scared up $26.4 million compared to my $31.9 million prediction. That’s not terrible, but Universal reportedly ponied up $400 million for the rights to the series with two sequels planned. A mid 20s beginning (coupled with that unimpressive Cinemascore grade) could spell trouble ahead.
PAW Patrol: The Mighty Movie was second with $11.3 million, a bit under my $12.8 million forecast. The animated sequel has grossed a sturdy $38 million in ten days of release.
Saw X had an understandable 57% decline for third with $7.8 million (I was close with $8.3 million). Jigsaw and company’s tenth go-round has $32 million in the bank thus far.
The Creator was fourth with $6.2 million (I said $5.9 million) for a disappointing $25 million in its first two weeks.
I incorrectly didn’t project numbers for The Blind and A Haunting in Venice. They were 5th and 6th respectively with $3.2 million and $2.6 million. The Blind has made $10 million in two weeks while Venice is at $35 million after four frames.
The error was placing The Nun II in fifth. It was seventh with $2.6 million. My prediction? $2.6 million! This horror sequel has achieved $81 million.
Universal Pictures hopes to scare up big business in the first full weekend of October with The Exorcist: Believer. It’s the only new release coming out after a handful of pics were out this past frame. You can peruse my detailed prediction post on it here:
David Gordon Green’s direct sequel to the 1973 horror classic (with Ellen Burstyn returning to her Oscar nominated role) looks to be a financial success like the filmmaker’s recent Halloween trilogy. I’m thinking it might accomplish that goal and my forecast is at the higher end of its anticipated range at over $30 million.
All holdovers seem destined to slide a spot. PAW Patrol: The Mighty Movie had a better than anticipated start (more on that below) and the sophomore dip should be the smallest of last weekend’s newcomers. Falls for Saw X and The Creator should be heftier with The Nun II rounding out the top five in its fifth outing.
Here’s how I see it playing out:
1. The Exorcist: Believer
Predicted Gross: $31.9 million
2. PAW Patrol: The Mighty Movie
Predicted Gross: $12.8 million
3. Saw X
Predicted Gross: $8.3 million
4. The Creator
Predicted Gross: $5.9 million
5. The Nun II
Predicted Gross: $2.6 million
Box Office Results (September 29-October 1)
PAW Patrol: The Mighty Movie eclipsed the earnings of its 2021 predecessor (which opened during the COVID challenges) and was easily the top dog of the weekend with $22.7 million. That’s ahead of my $16.3 million call as the animated sequel based on the Nickelodeon series brought in family audiences.
Saw X, which surprisingly received the best reviews of the nearly 20-year-old franchise, was second and slightly beat projections with $18.3 million. I went lower with $15.7 million. That’s an improvement over previous entries Jigsaw (2017) and Spiral (2021) while a far cry from the $30M+ that earlier editions managed.
I was off base in saying sci-fi thriller The Creator from Gareth Edwards would capture the #1 position. With a third place premiere at $14 million, it fell short of my $17.9 million take. Look for it to fade quickly as its overseas grosses were also underwhelming.
The Nun II, after three weeks in 1st, was fourth with $4.7 million. My prediction? $4.7 million! The four-week tally is a sturdy $76 million.
I failed to see that The Blind might be in the top 5. Recounting the early days of Duck Dynasty star Phil Robertson, the Fathom Events feature did manage the 5 spot with $4.3 million and $5.1 million since its Thursday bow.
The final wide release was Dumb Money as it expanded nationwide and disappeared in seventh with $3.3 million (I said $5.5 million). The overall three-week gross is a weak $7 million.
The Exorcist: Believer looks to scare up big box office numbers when it debuts October 6th. It serves as a direct sequel to William Friedkin’s classic from 50 years ago (ignoring the four sequels/reboots) with Ellen Burstyn reprising her role from the original. Costars include Leslie Odom, Jr., Ann Dowd, Jennifer Nettles, Norbert Leo Butz, Lidya Jewett, and Olivia Marcum. David Gordon Green, who relaunched the Halloween franchise to impressive grosses, takes on this series and there’s a sequel already planned.
Believer was originally slated for an October Friday the 13th start before Taylor Swift took over that weekend with her Eras Tour experience. With a one-week head start, this should manage to capitalize on franchise familiarity. I believe enough horror fans will turn out to give this a debut on the higher end of its expected range. That might mean a gross in the low 30s vicinity.
The Exorcist: Believer opening weekend prediction: $31.9 million
MGM/UA hopes younger viewers are hungry for some cannibal love when Bones and All opens wide on Wednesday, November 23rd. Based on a 2015 novel by Camille DeAngelis, Taylor Russell and Timothee Chalamet headline the road flick from director Luca Guadagnino. Costars include Mark Rylance, Michael Stuhlbarg, Andre Holland, Chloe Sevigny, David Gordon Green, and Jessica Harper.
The subject matter could be a challenging one for holiday crowds though Chalamet has a rabid fanbase that could turn up. The Thanksgiving release (it’s out five screens November 18 before the expansion) is also the only holiday newbie geared toward teens and young adults. Strange World is for the kids while Devotion and The Fabelmans skew older. Reviews are pretty appetizing with an 89% Rotten Tomatoes score following its September debut at the Venice Film Festival.
With a reported count of around 2500 venues, I’ll say Bones gets to mid single digits for the three-day and for the five.
Bones and All opening weekend prediction: $3.5 million (Friday to Sunday); $5.3 million (Wednesday to Sunday)
One of the most violent moments in Halloween Ends involves an actual record (as in the vinyl variety) skipping and it’s one of the cooler parts of this trilogy ender. There’s also many instances where a record skipping sound effect would’ve been appropriate. As in – what in the world is this movie doing?!?!
Our final pairing of Laurie Strode (Jamie Lee Curtis) and Michael Myers after almost four and a half decades features some bewilderingly bad decisions. The odd choices that don’t work stack up higher than the body count. On the plus side, I at least found its unpredictable nature to be more intriguing than most of what occurred in predecessor Halloween Kills. Does that make it better? Probably not. It means neither were of much quality and 2018’s starter was just OK too. That could be the legacy of the 11th, 12th, and 13th overall franchise entries.
In Haddonfield, Illinois in 2019, there were tragedies on the spooky holiday not related to Mr. Myers. Corey (Rohan Campbell) is babysitting a young boy when their game of hide and seek takes an unplanned head banging turn. Though accidental in nature, Corey is looked upon as a pariah by the townspeople four years later. He does find a sympathetic figure in Allyson (Andi Matichak), granddaughter of Laurie who is accustomed to grief. Their blossoming romance concerns Grandma, who notices something is off with Corey in a way that reminds her of her tormentor (who’s been AWOL).
This previous paragraph could beg your question: why is a dude who accidentally offed a kid and his strange relationship with Allyson getting so much attention? Well, it’s what Halloween Ends is about for quite a while. On that level, there are problems. First and foremost, any character development of Allyson from the first two features is slashed as she inexplicably falls for Corey in about five minutes. I’m not asking for realism in this genre, but this romance is a badly developed one.
Myers is often a supporting player in Ends along with Laurie (though she has more to do than her bedridden hospital appearance in Kills). Instead we have the potential Natural Born Killers like union of Corey/Allyson and the former dealing with boring high school bullies and his domineering mother. What we expect from a Halloween flick, eh??
Truth be told, my interest piqued a little when I realized David Gordon Green and his three cowriters (including Danny McBride) were going off the rails. The diversionary tactics mostly stall. By the time we get to the showdown between Laurie and Myers, it seems almost anticlimactic. Even though this trilogy ignores everything after 1978’s brilliant original, we’ve kinda been there and done that with 1998’s Halloween: H2O.
Curtis brings the tough survivor attitude that we’ve witnessed before and it helps in the final act. Campbell truly is the lead character and his performance is shaky at best. I’m not sure I buy the “ends” part of the title though Laurie and Michael’s saga does appear to have reached its conclusion. Maybe The Shape will take another form someday in the reboot/requel/prequel or whatever term comes next. The mediocrity of this three-arch journey dies here.
The culmination of this iteration of Laurie Strode (Jamie Lee Curtis) battling Michael Myers arrives on October 14th with Halloween Ends. Said to be Curtis’s final appearance in the 44-year-old franchise (though I’m sure Myers will manage to return in some form), David Gordon Green is back directing along with cowriter Danny McBride. It comes a year after Halloween Kills and four years behind Halloween which began the trilogy. It’s the 13th overall entry in the series overall. Costars include James Jude Courtney and OG Nick Castle doubling up again as the iconic slasher, Andi Matichak, Will Patton, and Kyle Richards.
2018’s Halloween was a juggernaut with a $76 million opening and $159 million eventual domestic haul. Kills still killed, but to a lesser degree with a $49 million start and $92 million overall take. Like its predecessor, Ends will be simultaneously available on Peacock.
In addition to the streaming option that could siphon away viewers, horror fans have had plenty to enjoy lately (Barbarian and Smile for example). That said, there’s obviously a built-in base here.
I do expect diminishing returns though not close to the disparity between 2018 and 2021. Mid to high 40s is where I see it and considering the reported $20 million budget, that’s a profitable cut for Universal.
Halloween Ends opening weekend prediction: $47.6 million
Laurie Strode (Jamie Lee Curtis) spends the 12th Halloween experience laid up in a hospital bed after her near mortal injuries incurred from the 11th one. In that sense, Halloween Kills is quite similar to the first official sequel from 1981. The samesies comparisons don’t stop there as this is an inferior follow-up to what came before it. The difference is that the 1978 original was a slasher classic to which all followers have been judged. 2018’s Halloween was not and therefore the letdown isn’t as steep.
Kills takes place (like Halloween II) during the immediate events after its predecessor. Laurie, daughter Karen (Judy Greer), and granddaughter Allyson (Andi Matichak) had left Michael Myers (James Jude Courtney) to burn at her tricked out house. Unsurprisingly, it turns out to be mission unaccomplished as the masked one escapes that space and leaves plenty of dead firefighters in his wake.
While Laurie is recovering from her own stabbing, Michael has his knives out for plenty of other townsfolk in Haddonfield. As you may recall, we are on our third iteration of the killer’s most famous prey reuniting with her predator. The 1981 sequel continued John Carpenter’s storyline and revealed that Laurie is Michael’s little sister. 1998’s Halloween: H20 set their sibling rivalry 20 years later.
By the time David Gordon Green and company came around and another two decades passed, 2018’s Halloween ignored all of that. The familial connection was slashed in favor of Laurie becoming a survivalist and waiting for escaped booby hatch patient Myers to find her. Kills allow for other figures in the ’78 pic to return – Tommy Doyle (who Laurie babysat) is now Anthony Michael Hall. Kyle Richards reprises her role as Lindsey, one of the other kids tormented that night. And we catch up with Sheriff Bracket (Charles Cyphers) and Nurse Chambers (Nancy Stephens). We also spend some unnecessary time with flashbacks to 40 years before that don’t add much (though if you want CG Donald Pleasance, you’re in luck).
The phrase “Evil Dies Tonight” is repeated ad nauseam as the denizens of our Illinois murder spot (led by Tommy) seek to end Michael’s return engagement. Of course, we know that ain’t happening. Halloween Kills is the second of a trilogy that will end (?) with next year’s ambitiously titled Halloween Ends. This has the feel of stopgap viewing with no real payoffs and our star player relegated to the sideline. There are a few garish highlights. I was entertained by the couple Big John (Scott MacArthur) and Little John (Michael McDonald… not that one) who live in Michael’s childhood house of horrors and probably should’ve upped their homeowners insurance. A hospital set scene where the residents chase down another of the escaped mental patients is shot effectively.
Ultimately Halloween Kills, for most of its running time, feels painfully average. It’s more violent than part one… which was actually part II if you ignore that other part II. So I suppose this is part III when ignoring nine other movies. The gimmick of Laurie coming back (again) had its pleasures in 2018. Tommy and Lindsey coming back in the mix doesn’t really cut the mustard. Michael cuts the tracheas and tendons with dutiful impassioned restraint. It seldom rises above the mediocrity where most of this series has dwelled since part one (the real one).
Arriving one year after its COVID delay, Halloween Kills stalks theaters October 15th. The 12th film in the nearly 45-year-old franchise, it’s a direct sequel to 2018’s Halloween, which served as a follow-up to 1978’s original (therefore ignoring everything that came in between). Got all that? David Gordon Green returns to direct. So do Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, and, of course, Nick Castle as Michael Myers. Anthony Michael Hall, Thomas Mann, and Kyle Richards are newcomers.
Three Octobers ago, Halloween blew away expectations with a $76 million opening gross and $159 million overall domestically. The debut weekend alone made it the highest earning feature in the series.
Universal Pictures recently made the surprising choice to simultaneously release this in cinemas and on the Peacock streaming service. I’m not so sure how much that hurts its chances in multiplexes (Peacock still isn’t on the level of its better known competitors). However, it doesn’t help.
Reviews for Kills aren’t as laudatory as part 1… err part 2 (or part 11… I suppose). The 2018 effort nabbed 79% on Rotten Tomatoes while this sits at 57%. Critical reaction shouldn’t determine its fate either. I do think the buzz surrounding Curtis’s return has dissipated. This should contribute to a lower premiere and I suspect low to mid 40s is where this ends up.
Halloween Kills opening weekend prediction: $41.2 million
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