Dinosaurs inhabit 1980s suburbia in David Robert Mitchell’s The End of Oak Street, out this Friday. The sci-fi adventure from the maker of critically acclaimed horror flick It Follows is the rare tale of prehistoric creatures terrorizing humans that doesn’t have the word Jurassic in front of it. Anne Hathaway and Ewan McGregor star with Maisy Stella and Christian Convery in support.
Several critics are saying this is solid summer escapism and better than the six Jurassic sequels that followed the 1993 original. The Rotten Tomatoes score is 83% with 66 on Metacritic. At the 98th Academy Awards, Jurassic World Rebirth was the first feature in that franchise since 1997’s The Lost World: Jurassic Park to land a Visual Effects nomination. If Rebirth could get there with its CG dinos, so could Oak Street. I don’t think that’s anywhere near automatic as competition will be considerable with Project Hail Mary, The Odyssey, and Dune: Part Three perhaps already with reserved slots. I suspect this will at least make the shortlist of possibilities. My Oscar Prediction posts will continue…
While Spider-Man: Brand New Day should face no trouble spinning a third weekend atop the charts, two dinosaur centered features will attempt to make their mark at multiplexes. We have 1980s set The End of Oak Street with Anne Hathaway and Ewan McGregor and animated three-quel PAW Patrol: The Dino Movie debuting. They premiere alongside The Brink of War from Angel Studios (recounting the Reagan/Gorbachev 1986 Icelandic summit) and you can peruse my detailed prediction posts on the newcomers here:
Buzz appears to picking up for Oak Street, the sci-fi adventure from acclaimed filmmaker David Robert Mitchell. While I wouldn’t discount an opening approaching $40 million in a best case scenario, the floor could be in the low 20s. My low 30s projection gives it a second place showing.
The third pic based on the Canadian kids TV series, I foresee PAW Patrol coming in a bit behind 2023 predecessor PAW Patrol: The Mighty Movie. It could be in third place, but I’ve got it in fourth slightly behind the fifth outing for The Odyssey.
The Brink of War should land the five spot. The political drama may get beyond my mid single digits estimate, but I’ll play it safe.
As mentioned, Spidey is poised to make it three in a row. A percentage decline in the high 50s would mean a gross just north of $60 million and here’s how I have it all shaking out:
1. Spider-Man: Brand New Day
Predicted Gross: $60.2 million
2. The End of Oak Street
Predicted Gross $31.1 million
3. The Odyssey
Predicted Gross: $21 million
4. PAW Patrol: The Dino Movie
Predicted Gross: $18.7 million
5. The Brink of War
Predicted Gross: $4.5 million
Box Office Results (August 7-9)
Two new comedies struggled while Peter Parker and Odysseus continued to rule. Spider-Man: Brand New Day, after scoring the greatest domestic opening haul in box office history, had the third strongest sophomore weekend ever behind Star Wars: The Force Awakens ($149 million) and Avengers: Endgame ($147 million). The MCU saga took in $144.2 million. While that’s below my generous $153 million take, the ten-day total is a whopping $654 million.
The Odyssey held runner-up status once again with $31.7 million, on target with my $31.6 million call. The future awards player sits at $461 million after four weeks.
Rom com One Night Only starring Monica Barbaro and Callum Turner was third at the low end of expectations with $5.5 million. I thought it would nab $7.8 million.
Toy Story 5 was fourth with $4.2 million (I said $4.9 million) as the Pixar sequel brought its eight-week earnings to $470 million.
Finally, Super Troopers 3 fell way behind its 2018 predecessor in fifth. While part 2 made off with $15 million out of the gate, part 3 was good for only $4 million. I went with $7.6 million.
Warner Bros looks for audiences to travel to The End of Oak Street beginning August 14th. The sci-fi thriller stars Anne Hathaway, Ewan McGregor, Maisy Stella, Christian Convery, and some prehistoric creatures menacing a 1980s suburban neighborhood. David Robert Mitchell, best known for 2014’s acclaimed horror pic It Follows, directs.
Originally slated for May of last year and then spring 2026, the studio is banking on moviegoers making it a late summer blockbuster. Hathaway is suddenly everywhere this year. This is her fourth release since April with another flick coming this fall. Perhaps her exposure from seasonal hits The Devil Wears Prada 2 and The Odyssey will help.
Buzz seems somewhat muted but awareness appears to be picking up. In a best case scenario, the tale of menacing dinos might score $40 million. The floor could be $20 million. I’ll say it gets toward the middle of that range in the low 30s.
The End of Oak Street opening weekend prediction: $31.1 million
For my PAW Patrol: The Dino Movie prediction, click here:
Disney looks to squeeze more bucks out of a blue chip franchise with the 20th anniversary re-release of Star Wars: Episode III – Revenge of the Sith. It is the culmination of the oft criticized second trilogy in the vaunted franchise and this is generally considered the strongest of the three. Marking the last picture directed by series creator George Lucas, this one-week engagement could manage to bring the faithful and more out.
Last May, Star Wars: Episode I – The Phantom Menace was put back into multiplexes for its 25th anniversary. Results were better than anticipated with an $8.7 million debut. The second installment – Attack of the Clones – is not being granted a theatrical comeback. Pre-sales for Sith are quite encouraging and suggest this could double the Phantom figures. I’ll predict this gets past $20 million for what could be anywhere from a second to fourth place premiere.
Star Wars: Episode III – Revenge of the Sith opening weekend prediction: $22.6 million
After playing the Toronto Film Festival in September, Mother, Couch sat around for awhile waiting for distribution. Film Movement picked it up in February and it is slated to hit screens this July. The family dramedy was written and directed by Niclas Larsson and is based a 2020 novel by Jerker Virdborg. Ellen Burstyn plays the first half of the title as she inexplicably and indefinitely sits on a department store furnishing in the second half of the title. This befuddles her children played by Ewan McGregor, Rhys Ifans, and Lara Flynn Boyle. Other costars include Taylor Russell, F. Murray Abraham, and Lake Bell.
Despite a fine cast (including previous winners Burstyn and Abraham), Couch was not a festival highlight according to most critics. The RT score is only 36% and you can count on this pic sitting out awards season. My Oscar Prediction posts will continue…
In the spring of 1997, 20th Century Fox re-released the original Star Wars trilogy to impressive box office numbers. Timed to the 20th anniversary of Episode IV, it helped build already sky high anticipation for 1999’s Star Wars: Episode 1 – The Phantom Menace. Now 25 years after its debut, Disney/20th Century Studios has it back in multiplexes.
George Lucas’s return behind the camera was probably the most breathlessly awaited movie of all time a quarter century ago. It broke records in its initial release and ended up with a domestic haul of $431 million. A 3D re-release in 2012 pushed it to $474 million.
Carefully timed so that the Saturday falls on May 4th (a sacred day for followers of the franchise), Phantom will try to push its stateside total to nearly half a billion. Of course, Menace is not beloved in the way that episodes 4-6 are. Back in ’97, the Star Wars re-release took in nearly $36 million out of the gate. A few weeks later, The Empire Strikes Back debuted to $21.9 million while Return of the Jedi made off with $16.2 million.
Phantom is not expected to reach those figures and may even struggle to hit double digits. Yet with a reported 2600 screens, it should manage a second or third place premiere and I’ll give it mid single digits.
Star Wars: Episode 1 – The Phantom Menace re-release opening weekend prediction: $6.8 million
2022 should be the year where Netflix makes significant waves in the Best Animated Feature category at the Oscars and Guillermo del Toro’s Pinocchio is its lead off hitter. The acclaimed filmmaker’s stop-motion passion project is out in select theaters next month with a streaming release on December 9th. Receiving a first look today at the London Film Festival, Pinocchio arrives a half decade after del Toro’s The Shape of Water took Best Picture (along with a directorial victory) and one year after his follow-up Nightmare Alley made the BP ten. Actors providing voiceovers include Ewan McGregor, David Bradley, Gregory Mann, Finn Wolfhard, Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, Christoph Waltz, and Tilda Swinton.
Since I added Animated Feature in my predictions a few weeks back, I’ve had del Toro’s tale of the iconic puppet turned real boy listed in first place. Part of that is due to its maker’s track record. That’s not the only reason why. The other is that it might be a rare off year for Disney, who have taken the gold statue 15 out of 21 times. This summer’s Lightyear was a high profile flop that is likely to be omitted from the final five altogether. Turning Red from the spring achieved solid enough notices to make the cut, but I certainly don’t see it as an automatic winner. The Mouse Factory still has next month’s Strange World in their arsenal so we’ll see if that emerges as a major threat.
Several critics from the London screenings are proclaiming this Pinocchio to be great or near great. On the other hand, some reviews aren’t quite as effusive. I do think the early word-of-mouth is enough to take comfort in the #1 ranking. Yet I wouldn’t say it’s a slam dunk pick to take gold like, say, 2020’s Soul was. I would also keep an eye on Original Score with Alexandre Desplat composing. Visual Effects is also doable (if perhaps a stretch).
A nomination seems assured and Netflix could hold 60% of the nominees this year. Wendell and Wild, another upcoming stop-motion pic from Henry Selick, should get in. Either The Sea Beast or My Father’s Dragon could as well (though probably not both). The streamer got their first contender in 2019 with Klaus and then Over the Moon in 2020 and The Mitchells vs. the Machines last year. They’re 0 for 3 in wins. That may change with del Toro in the company mix. My Oscar Prediction posts will continue…
Ewan McGregor and Ethan Hawke are half brothers who reunite at the funeral of their bad father in Raymond & Ray. The dramedy comes from Rodrigo Garcia, who directed Glenn Close to a Best Actress nod in 2011’s Albert Nobbs. Most recently, he helmed Close and Mila Kunis in the drug abuse drama Four Good Days. His latest premiered at the Toronto Film Festival ahead of its October 21st Apple TV streaming debut. Costars include Maribel Verdu and Sophie Okonedo.
Reviews here are perfectly split down the middle at 50% on Rotten Tomatoes. It came and went at the Canadian fest with little fanfare and scant awards buzz. Expect that to be the case moving forward. My Oscar Prediction posts will continue…
By her own admission, Harley Quinn (Margot Robbie) becomes a slightly less terrible person in Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn). She was, of course, first seen in 2016’s Suicide Squad where Robbie’s psychiatrist turned psychotic fell in love with Jared Leto’s Joker. The Squad is nowhere to be found and neither is her clown in crime. Harley is newly single and drinking her sorrows away when the proceedings begin. Her recent separation means she’s a marked gal with no protection from her former bonkers beau.
With the Joker (rather inexplicably) missing in action, flamboyant crime lord with a penchant for peeling faces Roman Sionis aka Black Mask (Ewan McGregor) is the head baddie in a picture filled with them. He’s in search of a diamond that contains codes to a massive fortune. Roman isn’t the only one. Helena Bertinelli aka The Huntress (or The Crossbow Killer) had her whole family killed for it and she’s hellbent on exacting revenge. Dinah Lance aka Black Canary (Jurnee Smollett-Bell) is Roman’s conflicted driver whose superpower seems to be her singing skills. Then there’s Cassandra Cain (Ella Jay Basco), a teenage pickpocket extraordinaire who boosts and then consumes the crown jewel. Her intestines become a sought after commodity.
Rosie Perez is Detective Montoya, who must deal with all these crazies while getting no credit from her male coworkers. That’s a running theme in Prey where the females do the heavy lifting and pulverizing while the dudes hold the power. With all these characters being introduced (and their many grievances with Harley literally spelled out onscreen), our main character occasionally feels like a supporting participant in her own stand-alone. This is especially true early on.
Robbie was a bright spot in the very uneven Suicide Squad. Robbie still displays her demented joy in this role. In many ways, Prey improves on Squad. First off, her new squad of friends is a tad more interesting and colorful. McGregor is a better main villain and the veteran thespian has a ball going for the gusto.
Director Cathy Yan and her tech team construct some looney violent set pieces that are intermittently effective. Yet I couldn’t shake the feeling that by the time we arrive at a theme park for the climax, Prey had become rather repetitive. The pic keeps its tone more consistent than Harley’s first big screen foray, but it’s one that can become tiresome. There are times when Birds flies close to being the vehicle Robbie deserves and it is certainly not terrible, but it stays a tad grounded in its own wacky reality.
My annual recounting of the cinematic seasons that preceded 30, 20, and 10 years prior continues on the blog today with the summer of 2001! It was a frame dominated by an animated jolly green giant that kicked off a massive franchise for its studio.
As is tradition, I’ll run through the top 10 domestic grossers as well as other notables pics and some flops. If you missed my post covering 1991’s May-August output, you can find it here:
Eddie Murphy returned as the doc who talks to animals in this sequel that managed to cross the century mark, but failed to approach the $144 million earned by its 1998 predecessor. This would mark the end of Eddie’s involvement in the franchise, but a direct to DVD third helping came in 2006.
9. Lara Croft: Tomb Raider
Domestic Gross: $131 million
Angelina Jolie (fresh off an Oscar for Girl, Interrupted) headlined the video game adaptation that, despite weak reviews, spawned a sequel and an eventual reboot with Alicia Vikander that will soon get its own follow-up.
8. The Fast and the Furious
Domestic Gross: $144 million
We first saw Vin Diesel and Paul Walker and those souped up whips 20 years ago. Unless you’ve been living under a rock (or haven’t heard of The Rock), this begat a franchise which is still running strong today. F9 is currently the #1 movie in America in this series that has topped a billion bucks.
7. American Pie 2
Domestic Gross: $145 million
Universal quickly green lighted this sequel to 1999’s smash hit comedy. The gross out gags in part 2 (which resulted in another theatrical effort in 2003 and numerous direct to DVD entries) stands as the largest worldwide earner of the bunch.
6. Planet of the Apes
Domestic Gross: $180 million
Tim Burton’s reimagining of the 1968 classic didn’t result in the new franchise that 20th Century Fox hoped for. Critics had their knives out for Mark Wahlberg’s lead performance and the surprise ending that didn’t pack the wallop of Charlton Heston’s encounter with the Statue of Liberty. The studio would get their successful trilogy a decade later beginning with Rise of the Planet of the Apes (which will be covered in 2011’s blog post).
5. Jurassic Park III
Domestic Gross: $181 million
Joe Johnston took over directorial duties from Steven Spielberg is this threequel. Sam Neill was back in this dino-tale that (while profitable) failed to reach the heights of the first two commercially. A reboot 14 years later would get the series back in billion dollar good standing.
4. Pearl Harbor
Domestic Gross: $198 million
Michael Bay’s romantic war epic failed with reviewers but still approached $200 million domestically and $450 million worldwide. Its six Golden Raspberry nominations topped its four Oscar nods.
3. The Mummy Returns
Domestic Gross: $202 million
Brendan Fraser and Rachel Weisz returned for this adventure sequel to the 1999 hit that topped part 1 domestically by nearly $50 million. Dwayne “The Rock” Johnson would join the fun here and was rewarded with his spin-off (The Scorpion King) the next year. A third Mummy landed with disappointing results in 2008.
2. Rush Hour 2
Domestic Gross: $226 million
It was the best of times for director Brett Ratner and stars Chris Tucker and Jackie Chan as this action comedy built upon the grosses of the 1998 original. A third would follow six years later.
1. Shrek
Mike Myers as the title character ogre, Eddie Murphy stealing scenes with his voice work as Donkey, and Cameron Diaz as Princess Fiona proved that Disney wasn’t the only animation game in town. Shrek even competed for the Palme d’Or at the Cannes Film Festival in this DreamWorks game changer that resulted in three sequels and a stage musical.
And now for some other notables flicks from the summer that was:
The Princess Diaries
Domestic Gross: $108 million
Disney’s live-action fairy tale served as a breakout role for Anne Hathaway and a return to the studio for Julie Andrews for the first time since Mary Poppins. A 2004 sequel followed.
The Others
Domestic Gross: $96 million
With its own Sixth Sense style twist ending, this gothic horror pic with Nicole Kidman earned solid reviews and got genre fans to turn out.
Legally Blonde
Domestic Gross: $96 million
Shrek isn’t the only feature to spawn a Broadway treatment. So did this Reese Witherspoon hit which also resulted in a sequel and a third Blonde that is slated for May 2022.
Cats & Dogs
Domestic Gross: $93 million
Dr. Dolittle wasn’t the only animal game in town. This kiddie pic featuring featuring talking creatures also began a franchise.
A.I.: Artificial Intelligence
Domestic Gross: $78 million
Long planned as a project for Stanley Kubrick (who passed away in 1999), Steven Spielberg directed this sci-fi visual feast with Haley Joel Osment. The film elicited strong reactions from critics and crowds (both positively and negatively). It may not have reached $100 million domestic, but it’s still a picture people like to debate about today and that’s more that can be said for most titles on this list.
Swordfish
Domestic Gross: $69 million
Hugh Jackman and John Travolta headlined this action pic which somewhat underperformed expectations. This is mostly known as the film that paid Halle Berry an extra $500,000 to go topless during a few seconds of screen time.
Moulin Rouge!
Domestic Gross: $57 million
Baz Luhrmann’s postmodern musical with Nicole Kidman and Ewan McGregor scored 8 Oscar nominations and has its legions of fans that have endured over the past two decades.
Sexy Beast
Domestic Gross: $6 million
This crime drama is mostly known for its menacing supporting turn from Sir Ben Kingsley, who was rewarded with an Oscar nod.
Ghost World
Domestic Gross: $6 million
Terry Zwigoff’s dark comedy (based on a late 90s comic book) earned raves for its screenplay and for costars Thora Birch, Scarlett Johansson, and Steve Buscemi.
And now for some pictures that did not meet expectations:
America’s Sweethearts
Domestic Gross: $93 million
Yes, it may have approached $100 million, but this rom com starring Julia Roberts and featuring John Cusack, Billy Crystal (who cowrote), and Catherine Zeta-Jones didn’t come near what her previous blockbusters like My Best Friend’s Wedding, Notting Hill, and Runaway Bride managed.
Atlantis: The Lost Empire
Domestic Gross: $84 million
Disney’s animated sci-fi adventure was a letdown that didn’t recoup its reported $100 million budget domestically. A hoped for franchise with TV spin-offs and Disneyland ride attraction never rose to the surface.
Scary Movie 2
Domestic Gross: $71 million
This rushed horror spoof follow-up to the 2000 surprise smash couldn’t get close to the $157 million of the original. However, this didn’t stop several sequels from following that achieved greater success.
Evolution
Domestic Gross: $38 million
Director Ivan Reitman and supernatural comedy sure worked well in 1984 with Ghostbusters. Not so much here in this DreamWorks flop with David Duchovny which earned less than half its budget in North America.
Final Fantasy: The Spirits Within
Domestic Gross: $32 million
Tomb Raider was an example of a video game adaptation that made money. Not so here with this rendering of the popular role playing fantasy series that didn’t score with audiences.
Ghosts of Mars
Domestic Gross: $8 million
It wasn’t a good day at the box office for this science fiction flop from director John Carpenter and Ice Cube.
Pootie Tang
Domestic Gross: $3 million
Moviegoers didn’t turn out for this comedy written and directed by Louis C.K. that originated from a sketch on The Chris Rock Show (who costars). Despite the failed run at the box office, it has since become a cult hit.
And that does it for 2001, folks! Look for my post about summer 2011 in the coming days…
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