I wonder if M. Night Shyamalan cast Hayley Mills in Trap because it is about a parent being trapped at a concert. Josh Hartnett’s Cooper/The Butcher isn’t just stuck at that Lady Raven show. He’s held captive by memories of an abusive mother and maintaining a double life as doting dad and demented serial killer. Ms. Mills pulled double duty in Disney’s The Parent Trap some 60 plus years ago. It is nice to see her in a high profile project as an FBI profiler. Doesn’t it, however, seem like the type of weird Shyamalan touch to put her in the picture simply due to the title connection?
M. Night’s Disney breakout The Sixth Sense and follow-ups Unbreakable and Signs still stand as career highlights. You do know that his unnatural dialogue will be a constant and that’s even if those aforementioned strongest efforts. It’s present in Trap, but the wooden acting that often accompanies his thrillers is thankfully missing.
Hartnett, in his first leading role in a while, treats his teenage daughter Riley (Ariel Donoghue) to floor seats for pop sensation Lady Raven. She’s played by the writer/director’s own offspring Saleka. While enduring such a performance might be a chore for any middle-aged dad, he’s got bigger problems. As a kindly and quick to spew exposition T-shirt merchant (Jonathan Langdon) informs Cooper, the whole afternoon gig is an elaborate sting to nab 12 time murderer The Butcher.
That would, of course, be Cooper and he’s phone monitoring unlucky #13 tied up in a basement somewhere. Now he must pretend to enjoy the entertainment while searching for a way to bypass the heavy security and keep Riley relatively unsuspicious. To be fair, daughters that age probably think their dads are acting strangely without believing they’re homicidal maniacs.
This concept managed to put me in an odd and at times darkly enjoyable position. I found myself rooting for Cooper to solve this complicated puzzle and outwit the FBI being led by the former Mouse House child star. It works on Shyamalan’s terms for about one hour. Then it becomes considerably more convoluted and less engrossing.
The cast is not to blame. It’s amusing to watch Hartnett volley back and forth between personalities and Donoghue convinces in her bracelet donning fangirl love for the headliner. Saleka Shyamlan is fine while onstage though her more meaningful contributions unfortunately come later as the screenplay is unraveling.
I’ll make a concert analogy. The first couple of acts feel like Shyamalan playing his greatest hits dependably while not exactly knocking it out of the park. The encores have the sense of that artist bizarrely playing new tracks from an unreleased album. It’s not what we want and it goes on for longer that it has a right to.
There’s plenty of belly laughs amidst the bullets in Deadpool & Wolverine and some fleeting emotional moments as well. That’s no shocker as this sub-franchise from Ryan Reynolds has mixed with the bawdy with the blubbery since 2016. Dropping Wolverine into the equation is an example of corporate synergy thanks to Disney’s acquisition of Fox five years ago. You’ll recall that Hugh Jackman’s signature clawed character met a bloody yet dignified end in 2017’s Logan. For those who believe his chapter closed appropriately (and it did), the multiverse machinations of the MCU may seem cash grab inappropriate. I didn’t mind so much because it’s Jackman’s chemistry with Reynolds that provide the high points.
Deadpool’s life is kinda dead in the water in 2024. He’s living full-time as Wade Wilson having retired the mask after being rejected during a job interview for The Avengers. He wants to make a difference on a Tony Stark/Captain America sized scale, but the universe seems to feel otherwise. Broken up with Vanessa (Morena Baccarin) and rooming with Blind Al (Leslie Uggams), his mundane existence in the used car biz is jolted by the Time Variance Authority (TVA).
As exposited by one of their agents Mr. Paradox (a game Matthew MacFadyen), Wade’s “Sacred Timeline” is at risk of crumbling. That’s due to Logan’s aforementioned fate from years earlier since he served as the Timeline’s stalwart anchor. The TVA offers Mr. Pool a way out while his small group of loved ones will perish. His solution is to find another Logan across the multiverses to save the world as he knows it. Naturally he ends up with a boozy, guilt ridden, and reluctant hero version of the once proud X-Man.
The duo end up in the Void which houses outcast varieties of familiar and more unfamiliar superheroes. This wasteland is ruled by Cassandra Nova (Emma Corrin), as X-Men adjacent telepathic with designs on dominating all the dimensions. The Void concept allows for plenty of cameos from the preeminent genre of the 21st century. I wouldn’t dare spoil them, but I’d recommend seeing this quick before X gives it to you. The appearances of these known quantities is good for a few chuckles. Yet I would argue that the dependence on them (especially during the middle section) dulls the sharp humor for a stretch.
D & W could have used more of the two leads just marinating in their beloved personas. With Shawn Levy handling the direction after teaming with Reynolds on Free Guy and The Adam Project, the pic occasionally seems too busy and eager to please. One quibble is that when Pool and Wolvie fight each other, the screenplay (from five writers including Reynolds and Levy) tells us just how awesome it’s about to be!! The truth is that the action sequences are your typical Marvel level mayhem, no more or less. Speaking of eager to please, I do have to shoutout the hideous and simultaneously adorable Mary Puppins aka Dogpool character.
Due to the demerits listed above, I’d rank this third among the three Deadpool movies. I cannot deny that it still manages to the tickle the funny bone with some precision targets uproariously skewered. That includes Disney’s recent misfortunes in its not always marvelous franchise. This won’t be looked at as one of them courtesy of the headliners.
In what has become a tradition on the blog, it is time to revisit the cinematic season that transpired ten years ago. In 2014, that meant the warmer months were ruled by a ragtag group of relatively unknown Marvel superheroes (at least compared to your Spideys, Batmen, and Supermen, etc…).
Audiences might have been hooked on the feelings these MCU characters gave them, but they were also transfixed by apes, giant lizards, and pizza chomping turtles.
Let’s take a trip down a decade old memory lane with the top 10 domestic earners of summer ’14 as well as other noteworthy pics and significant flops.
10. How to Train Your Dragon 2
Domestic Gross: $177 million
While the DreamWorks Animation sequel couldn’t match or exceed the gross of its 2010 predecessor at $217 million, the fantasy tale won the Golden Globe for its genre and was Oscar nominated for Animated Feature. A sequel would follow five years later.
9. Teenage Mutant Ninja Turtles
Domestic Gross: $191 million
With Michael Bay producing and Megan Fox starring, the transformation of this franchise from the 1990s to the 21st century was a financial if not critical success. A sequel which made less cash came two summers later.
8. 22 Jump Street
Domestic Gross: $191 million
Channing Tatum and Jonah Hill’s second go-round as hapless cops (this time graduating to going undercover at college instead of high school) outpaced the 2012 original financially. A third Street never arrived (there was a rumored crossover with the Men in Black series), but Tatum has recently spoken of his desire to get the ball rolling.
7. Godzilla
Domestic Gross: $200 million
It might be the 30th overall feature in the Godzilla franchise, but this monster mash from Gareth Edwards achieved some of the series’ best reviews and kicked off the MonsterVerse that is still wreaking havoc at multiplexes. It also assisted in washing away dirty memories of Roland Emmerich’s 1998 summertime treatment with Matthew Broderick
6. The Amazing Spider-Man 2
Domestic Gross: $202 million
While it made over $200 million domestic, Andrew Garfield’s return to the Spidey suit was seen as underwhelming with critics and audiences. Planned sequels didn’t materialize though Garfield and head villain Jamie Foxx would reprise their roles in 2021’s Spider-Man: No Way Home.
5. Dawn of the Planet of the Apes
Domestic Gross: $208 million
The follow-up to 2011’s Rise of the Planet of the Apes, Matt Reeves took over directorial duties. The result was critical acclaim as Dawn became the long running franchise’s largest grosser. Two sequels (including Kingdom of the Planet of the Apes in May) have followed.
4. X-Men: Days of Future Past
Domestic Gross: $233 million
This sequel combined cast members from the 2000-06 trilogy including Hugh Jackman’s Wolverine, Ian McKellen’s Magneto, Patrick Stewart’s Professor X, and Halle Berry’s Storm with some of their younger counterparts from 2011’s X-Men: First Class like Michael Fassbender’s Magneto and James McAvoy’s Professor X (as well as Jennifer Lawrence’s Mystique). The result is the highest earning pic with X-Men in the title. With the exception of the Deadpool success that followed two years later, direct sequels Apocalypse and Dark Phoenix failed to replicate the success here.
3. Maleficent
Domestic Gross: $241 million
After the massively profitable live-action remake of their animated Alice in Wonderland four years earlier, Disney continued the trend with Maleficent. Angelina Jolie starred as the Sleeping Beauty villainess and a 2019 sequel earned less than half of the total of this domestically.
2. Transformers: Age of Extinction
Domestic Gross: $245 million
Shia LaBeouf exited Michael Bay’s robotic mayhem and Mark Wahlberg entered this fourth entry. A billion in receipts worldwide resulted in making this 2014’s best worldwide grosser. Sequels are still coming and the latest Transformers: Rise of the Beasts hit a lower $157 million last year.
1. Guardians of the Galaxy
Domestic Gross: $233 million
This was the 10th feature in the MCU and it seemed like the first that could be a financial question mark. The heroes weren’t as familiar to audiences, but James Gunn’s tale of eccentric comic characters took by the box office by storm. Two sequels have followed in addition to Guardians appearances in other MCU sagas.
And now let’s cover some other flicks from ’14 that had crowds and critics chatting.
Neighbors
Domestic Gross: $150 million
The comedic teaming of Seth Rogen and Zac Efron caused this fraternal experience to be the season’s most fruitful original comedy. A less regarded sequel came two years later.
Lucy
Domestic Gross: $126 million
Two summers after The Avengers set records, Scarlett Johansson had a solid sci-fi action grosser with Luc Besson’s concoction.
The Fault in Our Stars
Domestic Gross: $124 million
John Green’s phenomenon of a YA romance bestseller became a blockbuster with decent reviews highlighting the chemistry of leads Shailene Woodley and Ansel Elgort.
Edge of Tomorrow
Domestic Gross: $100 million
Doug Liman’s sci-fi actioner with elements of Groundhog Day was not a sizable hit upon release. However, the Tom Cruise and Emily Blunt led title’s reputation has grown since with occasional rumors of another Tomorrow.
Let’s Be Cops
Domestic Gross: $82 million
This buddy cop pic was an out of nowhere late season surprise with over $100 million globally against a meager $17 million budget. Unlike nearly all other movies I’ve spoken of above, a sequel (somehow) did not happen.
Chef
Domestic Gross: $31 million
After helming two ginormous Iron Man chapters and a disappointment with Cowboys and Aliens, Jon Favreau cooked up critical cred and impressive midsize numbers with this road dramedy.
Boyhood
Domestic Gross: $25 million
Shot over a span of a decade, Richard Linklater’s unique coming-of-age drama remains the best reviewed picture of the 21st century according to Metacritic. Six Oscar nods, including a Supporting Actress victory for Patricia Arquette, were among its many plaudits.
Snowpiercer
Domestic Gross: $4 million
Bong Joon-Ho, who would make the BP winning Parasite five years later, garnered acclaim for this post-apocalyptic pic that would eventually spawn a TV series.
OK, so not all 2014 summer sagas were prosperous and here’s some that were considered commercial and/or critical disappointments.
Hercules
Domestic Gross: $72 million
Brett Ratner’s version of the Greek god wreaking havoc on his enemies cast Dwayne Johnson in the lead. The grosses were actually fairly decent, but I’m sure the studio were hoping for nine figures stateside… and does anyone even mention this movie anymore?
Jersey Boys
Domestic Gross: $47 million
The original play earned Tonys but audiences mostly tuned out Clint Eastwood’s take on the decades spanning musical drama.
Blended
Domestic Gross: $46 million
The Wedding Singer and 50 First Dates were each lucrative rom coms with Adam Sandler and Drew Barrymore. The third time was not the charm with moviegoers or reviewers.
A Million Ways to Die in the West
Domestic Gross: $43 million
Family Guy creator Seth MacFarlane ruled the comedic box office in summer 2012 with Ted. This follow-up starring him and Charlize Theron didn’t hit the bullseye.
The Expendables 3
Predicted Gross: $39 million
The previous two action headliners with Stallone, Schwarzenegger, Statham, and Snipes and others did well. For inexplicable reasons, a PG-13 rating was slapped on this third one and audiences turned their nose up for what they wanted to be R-rated violence. A fourth (and also unsuccessful) pic came out last year.
Sex Tape
Predicted Gross: $38 million
Jason Segel and Cameron Diaz couldn’t cause people to cue up this raunchy comedy which played to mostly empty establishments.
Sin City: A Dame to Kill For
Domestic Gross: $13 million
The first Sin City in 2005 made nearly $30 million in its first weekend while this sequel grossed less than half that figure total. The comic book adaptation co-directed by Robert Rodriguez and Frank Miller might stand as the biggest flop of the season.
And that’s your recap, folks! Hope you enjoyed this walk down memory lane and I’ll have a post about summer 2015 up in the summer of 2025!
Inside Out 2 has been responsible for animation domination and kickstarting the summer season for the past three weeks. Now it’s time for a new sequel to take over as Despicable Me 4 debuts Wednesday and looks to rule the holiday frame. We also have Ti West’s horror trilogy capper MaXXXine out Friday. My detailed prediction posts on both can be accessed here:
While not setting a franchise record like other follow-ups lately, I have Despicable Me 4 from Illumination Entertainment premiering in line with other entrees. That means a three-day near $80 million with over $125 million when counting Wednesday and Independence Day.
As for MaXXXine, my readers think I’m low. However, I’m struggling to see why it would debut too much higher than predecessors X and Pearl. I have it slated for a fifth place showing, but perhaps I’m not being generous enough.
Inside Out 2 will slide to second with perhaps a low to mid 40s percentage ease considering the Despicable competition. A Quiet Place: Day One may experience a 50-55% drop after its series best start (more on that below). The 4 slot (barring a MaXXXine over performance) should go to Bad Boys: Ride or Die with Horizon: An American Saga – Chapter 1 in sixth after its so-so unveiling.
Here’s how I see it playing out:
1. Despicable Me 4
Predicted Gross: $79.4 million (Friday to Sunday); $126.3 million (Wednesday to Sunday)
2. Inside Out 2
Predicted Gross: $32.6 million
3. A Quiet Place: Day One
Predicted Gross: $24 million
4. Bad Boys: Ride or Die
Predicted Gross: $6.8 million
5. MaXXXine
Predicted Gross: $5.7 million
6. Horizon: An American Saga – Chapter 1
Predicted Gross: $5.4 million
Box Office Results (June 28-30)
Despite the aforementioned loud opening from A Quiet Place: Day One, Disney/Pixar ruled the roost for a third weekend with Inside Out 2. It took in $57.5 million (just below my $61.5 million prediction) for a three-week haul of $469 million. The sequel also crossed a billion bucks worldwide.
Day One was second with $52.2 million, eclipsing my estimate of $46.3 million and the $50.2 million that A Quiet Place earned back in 2018. I do think its sophomore weekend dip will be more pronounced than part 1 (which only fell by a third). Either way it’s a fine result for a franchise that looks to keep chugging along.
The news wasn’t as good for Kevin Costner as his Western epic Horizon: An American Saga – Chapter 1 lassoed $11 million in third compared to my $14.8 million projection. Reportedly self-funded by its star/writer/director, this is on the lower end of its range and troubling considering the rumored $100 million price tag.
Bad Boys: Ride or Die was fourth with $10.3 million (I said $11.2 million) for a four-week gross of $165 million.
Indian sci-fi tale Kalki 2898 AD was fifth with $5.2 million and I incorrectly had it outside the high five and didn’t do a forecast.
The Bikeriders plummeted 66% to sixth with $3.3 million (I was generous at $4.6 million) for a mere $16 million in ten days.
Finally, Yorgos Lanthimos’s anthology Kinds of Kindness was ninth on just under 500 screens with $1.5 million. I thought it might get a bit more with a $3.2 million call.
Horror prequel A Quiet Place: Day One will attempt to make enough noise to knock Inside Out 2 from its third week atop the charts, but that could be a tall order. We also have Kevin Costner’s epic Western Horizon: An American Saga – Chapter 1 and the semi-wide expansion of the Yorgos Lanthimos anthology Kinds of Kindness out. You can peruse my detailed prediction posts on the trio right here:
My mid 40s projection for Quiet would be right in line with expectations and a tad under predecessor A Quiet Place Part II from 2021. That should put it firmly in second.
That’s because animated box office behemoth Inside Out 2 might ease around 40% for a third weekend in first after its record breaking performance during its second frame (more on that below).
Horizon is a legit question mark. Some estimates have it as low as $10 million and that would likely put it in fourth behind the fourth outing of Bad Boys: Ride or Die. Despite lackluster reviews and a three-hour runtime, I think it might manage low teens for third if enough Yellowstone viewers turn up.
The Bikeriders, with significant competition for adult eyeballs, should fall around 50% to fifth after a so-so start. As for Kinds of Kindness (which just scored the biggest PTA of 2024 on five screens), it is expanding to approximately 500 venues Friday and a gross just above $3 million might be enough for sixth.
Here’s how I have it shaking out:
1. Inside Out 2
Predicted Gross: $61.5 million
2. A Quiet Place: Day One
Predicted Gross: $46.3 million
3. Horizon: An American Saga – Chapter 1
Predicted Gross: $14.8 million
4. Bad Boys: Ride or Die
Predicted Gross: $11.2 million
5. The Bikeriders
Predicted Gross: $4.6 million
6. Kinds of Kindness
Predicted Gross: $3.2 million
Box Office Results (June 21-23)
Disney/Pixar broke its own record (previously held by Incredibles 2) with the second highest animated weekend in history at $101.2 million. That bests my $93.6 million projection as the mighty sequel is up to $356 million in just ten days. A billion plus worldwide haul seems to be in the making. This is also vying for title of summer 2024’s heftiest domestic grosser with Deadpool & Wolverine seemingly the only challenger.
Bad Boys: Ride or Die held in second at $18.8 million, a bit shy of my $21.3 million take. The three-week gross is $147 million.
The Bikeriders couldn’t quite reach double digits in third with $9.6 million compared to my $10.5 million forecast. With an unimpressive B Cinemascore, this should stall out in subsequent weekends.
Kingdom of the Planet of the Apes was fourth with $3.8 million (I said $4.1 million) for a seven-week tally of $164 million.
The Garfield Movie closely followed in fifth with $3.7 million and I incorrectly had it outside the high five. It has made $85 million after five weeks.
IF was sixth with $2.7 million as the family friendly original hit $106 million after six weeks.
I was a little too kind to Russell Crowe’s The Exorcism. His second feature with this subject matter in a year’s time (after The Pope’s Exorcist) was underwater in seventh with $2.4 million. I predicted $3.2 million.
Finally, I didn’t do an estimate for the critically acclaimed comedy Thelma with June Squibb. It was eighth with $2.3 million which is pretty decent considering it’s on less than 1300 screens.
It has been two weeks since my previous Oscar predictions in the eight major categories of Picture, Director, the four acting derbies, and the two screenplay competitions.
Perhaps the biggest development in that time frame (nothing really significant happened via the Tribeca Film Festival) is the massive box office performance for Disney/Pixar’s Inside Out 2. Not only did it land the second highest animated feature debut of all time, it just scored the biggest second weekend ($100 million) for its genre in history. As it is easily exceeding expectations at multiplexes, could it sneak into the Best Picture race?
I doubt it. There have only been 3 animated pics up for the grand prize (all Disney): 1991’s Beauty and the Beast, 2009’s Up, and 2010’s Toy Story 3. You’ll notice that 2015’s Inside Out is not on the list and it garnered stronger reviews than its sequel. Part 2 is a shoo-in for an Animated Feature nom and it could even make an appearance in Adapted Screenplay (though you’ll see its toward the bottom of my hopefuls).
As far as rankings, there is movement to discuss. I’ve vaulted Amy Adams to #1 in my Best Actress quintet for Nightbitch. It was announced earlier this week that it will screen at the Toronto Film Festival in September and that Adams will receive the Tribute Performer Award while there. Other recent takers of that prize are Joaquin Phoenix (Joker), Anthony Hopkins (The Father), Jessica Chastain (The Eyes of Tammy Faye), and Brendan Fraser (The Whale). Wanna take a wild guess what they all have in common?
Oh… there’s more. I am now putting Sing Sing atop the charts for Best Picture over Steve McQueen’s Blitz. The buzz for the former has been steady since its Toronto unveiling in 2023 and it sounds like the type of crowdpleaser that the Academy could eat up. Like CODA from 2021, it could be a BP recipient where its director fails to get nominated. Speaking of that category, I’m elevating Denis Villeneuve to the top spot for Dune: Part Two overMcQueen.
You can read all the movement below and I’ll have another update posted in two weeks!
Best Picture
Predicted Nominees:
1. Sing Sing (Previous Ranking: 4) (+3)
2. Dune: Part Two (PR: 2) (E)
3. Blitz (PR: 1) (-2)
4. Conclave (PR: 3) (-1)
5. Anora (PR: 5) (E)
6. Queer (PR: 6) (E)
7. Emilia Pérez (PR: 7) (E)
8. The Seed of the Sacred Fig (PR: 10) (+2)
9. The Piano Lesson (PR: 9) (E)
10. The End (PR: 8) (-2)
Other Possibilities:
11. Nightbitch (PR: 15) (+4)
12. Joker: Folie à Deux (PR: 11) (-1)
13. The Apprentice (PR: 12) (-1)
14. A Real Pain (PR: 18) (+4)
15. The Fire Inside (PR: 17) (+2)
16. Nickel Boys (PR: 14) (-2)
17. His Three Daughters (PR: 13) (-4)
18. The Room Next Door (PR: Not Ranked)
19. Maria (PR: 16) (-3)
20. Here (PR: 23) (+3)
21. All We Imagine as Light (PR: 22) (+1)
22. Hit Man (PR: 19) (-3)
23. Dídi (PR: 20) (-3)
24. Gladiator II (PR: 25) (+1)
25. Nosferatu (PR: Not Ranked)
Dropped Out:
Bird
Kinds of Kindness
Best Director
Predicted Nominees:
1. Denis Villeneuve, Dune: Part Two (PR: 2) (+1)
2. Steve McQueen, Blitz (PR: 1) (-1)
3. Edward Berger, Conclave (PR: 3) (E)
4. Sean Baker, Anora (PR: 4) (E)
5. Mohammad Rasoulof, The Seed of the Sacred Fig (PR: 5) (E)
Other Possibilities:
6. Jacques Audiard, Emilia Pérez (PR: 6) (E)
7. Greg Kwedar, Sing Sing (PR: 10) (+3)
8. Luca Guadagnino, Queer (PR: 7) (-1)
9. Joshua Oppenheimer, The End (PR: 8) (-1)
10. Marielle Heller, Nightbitch (PR: 13) (+3)
11. Todd Phillips, Joker: Folie à Deux (PR: 9) (-2)
12. Malcolm Washington, The Piano Lesson (PR: 11) (-1)
13. Payal Kapadia, All We Imagine as Light (PR: 12) (-1)
14. Pedro Almodóvar, The Room Next Door (PR: Not Ranked)
15. Ridley Scott, Gladiator II (PR: 15) (E)
Dropped Out:
Pablo Larrain, Maria
Best Actress
Predicted Nominees:
1. Amy Adams, Nightbitch (PR: 3) (+2)
2. Angelina Jolie, Maria (PR: 1) (-1)
3. Mikey Madison, Anora (PR: 2) (-1)
4. Karla Sofia Gascón, Emilia Pérez (PR: 4) (E)
5. Saoirse Ronan, The Outrun (PR: 5) (E)
Other Possibilities:
6. Lady Gaga, Joker: Folie à Deux (PR: 6) (E)
7. Natasha Lyonne, His Three Daughters (PR: 7) (E)
8. Tilda Swinton, The Room Next Door (PR: Not Ranked)
9. Ryan Destiny, The Fire Inside (PR: 10) (+1)
10. Tilda Swinton, TheEnd (PR: 8) (-2)
11. Marianne Jean-Baptiste, Hard Truths (PR: 9) (-2)
12. Jessica Lange, Long Day’s Journey Into Night (PR: 11) (-1)
13. Tessa Thompson, Hedda (PR: Not Ranked)
14. Zendaya, Challengers (PR: 12) (-2)
15. Florence Pugh, We Live in Time (PR: 13) (-2)
Dropped Out:
Noemie Merlant, Emmanuelle
Demi Moore, The Substance
Best Actor
Predicted Nominees:
1. Colman Domingo, Sing Sing (PR: 1) (E)
2. Ralph Fiennes, Conclave (PR: 2) (E)
3. Daniel Craig, Queer (PR: 3) (E)
4. André Holland, The Actor (PR: 4) (E)
5. Sebastian Stan, The Apprentice (PR: 5) (E)
Other Possibilities:
6. Joaquin Phoenix, Joker: Folie à Deux (PR: 7) (+1)
7. John David Washington, The Piano Lesson (PR: 8) (+1)
8. Jesse Plemons, Kinds of Kindness (PR: 9) (+1)
9. Paul Bettany, The Collaboration (PR: Not Ranked)
10. Glen Powell, Hit Man (PR: 6) (-4)
11. Sebastian Stan, A Different Man (PR: 11) (E)
12. Tom Hanks, Here (PR: 14) (+2)
13. Andrew Garfield, We Live in Time (PR: 13) (E)
14. Paul Mescal, Gladiator II (PR: 15) (+1)
15. Jesse Eisenberg, A Real Pain (PR: Not Ranked)
Dropped Out:
George MacKay, The End
Kingsley Ben-Adir, Bob Marley: One Love
Best Supporting Actress
Predicted Nominees:
1. Isabella Rossellini, Conclave (PR: 1) (E)
2. Zoe Saldaña, Emilia Pérez (PR: 3) (+1)
3. Danielle Deadwyler, The Piano Lesson (PR: 5) (+2)
4. Aunjanue Ellis-Taylor, Nickel Boys (PR: 4) (E)
5. Saoirse Ronan, Blitz (PR: 2) (-3)
Other Possibilities:
6. Carrie Coon, His Three Daughters (PR: 7) (+1)
7. Lesley Manville, Queer (PR: 10) (+3)
8. Valeria Golino, Maria (PR: 6) (-2)
9. Julianne Moore, The Room Next Door (PR: Not Ranked)
10. Joan Chen, Dídi (PR: 8) (-2)
11. Elizabeth Olsen, His Three Daughters (PR: 12) (+1)
12. Selena Gomez, Emilia Pérez (PR: Not Ranked)
13. Erin Kellyman, Blitz (PR: 15) (+2)
14. Toni Collette, Juror No. 2 (PR: 13) (-1)
15. Catherine Keener, Joker: Folie à Deux (PR: 11) (-4)
Dropped Out:
Emily Watson, Small Things like These
Naomi Watts, Emmanuelle
Best Supporting Actor
Predicted Nominees:
1. Clarence Maclin, Sing Sing (PR: 1) (E)
2. Samuel L. Jackson, The Piano Lesson (PR: 2) (E)
3. Stanley Tucci, Conclave (PR: 3) (E)
4. Kieran Culkin, A Real Pain (PR: 4) (E)
5. Brian Tyree Henry, The Fire Inside (PR: 5) (E)
Other Possibilities:
6. Jeremy Strong, The Apprentice (PR: 6) (E)
7. John Lithgow, Conclave (PR: 8) (+1)
8. Drew Starkey, Queer (PR: 7) (-1)
9. Adam Pearson, A Different Man (PR: 9) (E)
10. Michael Shannon, The End (PR: 10) (E)
11. Denzel Washington, Gladiator II (PR: Not Ranked)
**Blogger’s Update (06/20): We have yet to even see a theater count for The Exorcism so I’m downgrading my estimate from $6.2 million to $3.2 million
The Bikeriders and The Exorcism enter a marketplace in which Inside Out 2 greatly exceeded expectations last weekend. The summer box office is finally looking up, but the two new entries could struggle for exposure. My detailed prediction posts on them can be accessed here:
There’s no doubt that Inside Out 2 will be perched in 1st for a second weekend. A high 30s to low 40s decline would put it in the low to mid 90s. A sequel in its third frame – Bad Boys: Ride or Die – should remain in the runner-up slot with a mid 30s to 40% ease.
Now we get to the newbies. With decent reviews and the star power of Austin Butler, Tom Hardy, and Jodie Comer, The Bikeriders could still sputter with a third place showing. I think the big question is whether it reaches double digits and I have it barely accomplishing that minor goal.
As for The Exorcism, Russell Crowe’s second horror pic in as many years dealing with the subject matter probably won’t reach the $10 million that The Pope’s Exorcist did in April of 2023.
The five spot may go to holdover Kingdom of the Planet of the Apes in its seventh week of release and here’s how I have the high five playing out:
1. Inside Out 2
Predicted Gross: $93.6 million
2. Bad Boys: Ride or Die
Predicted Gross: $21.3 million
3. The Bikeriders
Predicted Gross: $10.5 million
4. Kingdom of the Planet of the Apes
Predicted Gross: $4.1 million
5. The Exorcism
Predicted Gross: $3.2 million
Box Office Results (June 14-16)
Disney/Pixar were feeling all the happy emotions as Inside Out 2 blasted past forecasts for the 2nd best animated opening of all time. That would also be the 2nd largest Pixar haul behind record holder Incredibles 2. The sequel to the 2015 Oscar winning blockbuster posted $154.2 million, way beyond my $92.4 million call. It’s also the biggest 2024 premiere thus far.
Bad Boys: Ride or Die only fell 40% after its huge start with $33.7 million, riding past my $29.8 million take. The fourth entry in the three-decade old franchise has amassed $113 million.
Kingdom of the Planet of the Apes actually rose 2% to $5.5 million in third, dwarfing my $3.1 million projection as this sequel’s six-week tally is $158 million.
The over performance of Inside Out 2 caused other family friendly titles to plummet. The Garfield Movie was fourth with $4.7 million (I said $6.1 million) for $78 million in four weeks. IF was fifth with $3.6 million (I said $4.9 million) for $101 million in five weeks.
Finally, The Watchers was sixth in its sophomore frame with $3.5 million compared to my $2.9 million prediction. The two-week total is $13 million.
Of the 23 Best Animated Feature Oscar winners (the category didn’t start until 2001), Disney/Pixar has taken 11 of them. The Mouse Factory itself has picked up an additional four through their traditionally animated tales. One of the Pixar winners is 2015’s Inside Out and the sequel is out this weekend. Kelsey Mann makes his directorial debut with a voice cast including Amy Poehler, Phyllis Smith, Lewis Black, Tony Hale, Liza Lapira, Maya Hawke, Ayo Edebiri, Adéle Exarchopoulos, Paul Walter Hauser, Kensington Tallman, Diane Lane, and Kyle MacLachlan.
Due to Disney and Pixar’s aforementioned track record, it’s no surprise that Inside Out 2 was the frontrunner for gold sight unseen. With the review embargo lifted, is that still true? Probably, but it’s not a slam dunk.
Reviews are unsurprisingly positive with a 91% RT score. Some of the reaction has critics in their feels as they say it’s on par with the original that managed a 98% Fresh rating. Other write-ups, while mainly of the thumbs up variety, say it doesn’t match its predecessor.
Disney has lost the Academy’s animated prize for two years running. In 2022, Guillermo del Toro’s Pinocchio defeated Turning Red. Last year, The Boy and the Heron flew by Elemental. If the Oscars were held today, Inside Out 2 would likely emerge victorious. However, the year is only half over and other contenders are hoping to challenge it in the months to come. My Oscar Prediction posts will continue…
Disney/Pixar looks to dominate the box office charts in a way they haven’t for some time with Inside Out 2. The sequel to the 2015 hit is the only newcomer in the marketplace and you can peruse my detailed prediction post on it here:
After some fairly underwhelming grosses for the studio, Out could exceed the $90 million premiere achieved by its predecessor nine summers ago. I have it just doing so for what would be the fifth largest Pixar opening in its nearly three decade history.
Bad Boys: Ride or Die got off to a sizzling start (more on that below) and a mid to high 40s decline would have it in the $30 million range for its sophomore outing.
Spots 3 and 4 are likely to be a family friendly zone with The Garfield Movie and IF. Both will probably see slightly heftier declines than this past weekend considering the Mouse Factory competition.
Ishana Night Shyamalan’s horror debut The Watchers failed to attract genre viewers and I suspect its second weekend will see a dip in the 60% region. Thatcould mean Kingdom of the Planet of the Apes stays in fifth with The Watchers in sixth.
Here’s how I see it playing out:
1. Inside Out 2
Predicted Gross: $92.4 million
2. Bad Boys: Ride or Die
Predicted Gross: $29.8 million
3. The Garfield Movie
Predicted Gross: $6.1 million
4. IF
Predicted Gross: $4.9 million
5. Kingdom of the Planet of the Apes
Predicted Gross: $3.1 million
6. The Watchers
Predicted Gross: $2.9 million
Box Office Results (June 7-9)
Will Smith can breathe a sigh of relief as Bad Boys: Ride or Die topped estimates with a boisterous $56.5 million. While that’s under the $62 million that 2020 predecessor Bad Boys for Life achieved, it’s still an impressive number considering this summer of underachievers. I didn’t give it enough credit with a $47.3 million forecast. For Smith, it’s a sign that moviegoers are willing to shell out their bucks after The Slap. Don’t be surprised to see him and Martin Lawrence back for a fifth adventure.
The Garfield Movie was second with a meager 29% slide at $10 million, ahead of my $8.9 million call. The three-week total is $68 million as it hopes to reach $100 million domestically.
IF only fell 25% for third at $7.8 million, in range with my $7.4 million projection. It is approaching nine digits with $93 million after four weeks.
The aforementioned The Watchers couldn’t capitalize on the Shyamalan family name as poor reviews sunk it. The gross was just $7 million for fourth compared to my $10.2 million estimate.
Kingdom of the Planet of the Apes rounded out the top five with $5.4 million (I said $6 million) for five-week earnings of $149 million.
Lastly, Furiosa: A Mad Max Saga plummeted another 61% in sixth with $4.2 million. I was kinder at $5.7 million as the prequel has only hit $58 million after three weeks.
Disney/Pixar hope for a reversal of recent fortunes when Inside Out 2 arrives in theaters June 14th. A sequel to the 2015 megahit Animated Feature Oscar winner, Kelsey Mann takes over directorial duties from Pete Docter. Returning voices include Amy Poehler, Phyllis Smith, Lewis Black, Diane Lane, and Kyle MacLachlan. Replacing Bill Hader from the original is Tony Hale while Liza Lapira, Maya Hawke, Ayo Edebiri, Adéle Exarchopoulos, Paul Walter Hauser, and Kensington Tallman as the now teenage Riley join the cast.
Nine summers ago, the original made $90 million in its premiere frame with an eventual domestic tally of $356 million. That stands as the fifth largest opening of all time for Pixar and the sixth heftiest overall final take.
As mentioned, the studio has dealt with its own emotional rollercoasters as of late. 2022’s Lightyear was a high profile flop with a lowly (for Pixar) $118 million total. Last summer, Elemental fared better with $154 million while that’s still a ways from their typical numbers.
This sequel should brighten their emotions. Part 1 is well-regarded and family audiences should be primed for a second helping. Estimates have this making around what the predecessor accomplished out of the gate. It might manage slightly more. Each Toy Story, for instance, improved with the first weekend figures. Incredibles 2 and Finding Dory dwarfed the starts of their precursors.
I’ll go glass half full and say this just manages to outdo the original while not reaching nine digits in its first three days.
Inside Out 2 opening weekend prediction: $92.4 million
All My Life... I Wanted To Be A Blogster 