Summer 1992: The Top 10 Hits and More

1989 was unquestionably the Summer of the Bat as Tim Burton’s take on the Caped Crusader broke records. For 1992, it’s a bit more murky but we could call it The Summer of the Cat based on the sequel being the season’s biggest blockbuster.

As I have every season on the blog, I’m recounting the top 10 hits as well as some notable pics and failures from the summers of 30, 20, and 10 years ago. For 1992, it was a time of no crying in baseball, a Best Picture winner being discovered, and audiences refusing a biopic about a discoverer of America.

We begin with the moneymakers from #10 on up before moving to additional hits, misses, and those somewhere in between.

10. Housesitter

Domestic Gross: $58 million

While not the blockbuster he’d had just six months prior with Father of the Bride, Steve Martin had a midsize performer with this rom com costarring Goldie Hawn.

9. Honey, I Blew Up the Kid

Domestic Gross: $58 million

The return of Rick Moranis and plenty of special effects had shrunken grosses compared to the predecessor. The $58 million tally is less than half of what Honey, I Shrunk the Kids made. Nevertheless a direct to video sequel and TV series followed.

8. Far and Away

Domestic Gross: $58 million

Tom Cruise is ruling summer 2022 with Top Gun: Maverick. It was a different story 30 years ago with this rare misfire. Ron Howard directed the epic Western costarring Tom’s ex Nicole Kidman. The domestic take was less than the reported $60 million budget. Cruise would quickly get back in the good graces of moviegoers later in 1992 with A Few Good Men. 

7. Boomerang 

Domestic Gross: $70 million

While not approaching the earnings of his largest hits, Eddie Murphy’s first foray into romantic leading man territory did decent business. A string of flops would follow before a plus sized comeback four years later in The Nutty Professor. 

6. Patriot Games

Domestic Gross: $83 million

Harrison Ford stepped into the role of Jack Ryan after Alec Baldwin (who played the role in The Hunt for Red October) didn’t return. The result didn’t quite reach the financial or critical levels of its predecessor, but it easily made enough to warrant Clear and Present Danger two summers later.

5. Unforgiven

Domestic Gross: $101 million

Clint Eastwood’s tale of an aging cowboy out for revenge took the August box office by storm and eventually was an awards favorite – winning Picture, Director, and Supporting Actor for the villainous Gene Hackman. Unforgiven is the rare BP winner to release in the summer season and kickstarted an impressive second act for the legendary filmmaker.

4. A League of Their Own

Domestic Gross: $107 million

Penny Marshall’s World War II era baseball comedy was celebrated for its interplay between players like Geena Davis, Madonna, and Rosie O’Donnell in addition to one of cinema’s longest urination sequences from Tom Hanks.

3. Sister Act

Domestic Gross: $139 million

Coming on the heels of her Ghost Oscar, Whoopi Goldberg hit the jackpot with this fish out of water pic putting the comedienne in a convent. A less regarded sequel would follow in December 1993 as well as a Broadway musical.

2. Lethal Weapon 3

Domestic Gross: $144 million

Mel Gibson and Danny Glover’s third go-round in their buddy cop franchise didn’t generate the reviews of its two predecessors, but it had no trouble raking in the bucks. Rene Russo joined the party this time as Gibson’s love interest and fellow officer. Part 4 would come six years later and a fifth is in development right now.

1. Batman Returns

Domestic Gross: $162 million

Breathlessly anticipated and then received with mixed reaction due to its dark tone, Batman Returns is now seen by many as an improvement over the 1989 original. One thing that’s generally agreed upon is Michelle Pfeiffer nailing the role of Catwoman. This would be Burton’s last time helming the series with Joel Schumacher taking the franchise in a far more cartoonish direction for 1995’s Batman Forever.

And now for some other noteworthy selections outside of the top ten:

Unlawful Entry

Domestic Gross: $57 million

Coming on the heels of the Rodney King verdict and the L.A. Riots, this thriller starring the late Ray Liotta as a dirty cop tormenting Kurt Russell felt timely.

Single White Female

Domestic Gross: $48 million

Liotta was the Cop From Hell while Jennifer Jason Leigh was the Roommate From Hell terrorizing Bridget Fonda in this memorable psychological thriller.

Encino Man

Domestic Gross: $40 million

The cinematic era of MTV personality Pauly Shore (as well as Brendan Fraser) began with this caveman comedy that grossed several times its meager $7 million budget.

Universal Soldier

Domestic Gross: $36 million

Action lunkheads Jean-Claude Van Damme and Dolph Lundgren teamed up for this futuristic sci-fi pic that turned a nifty profit and spawned numerous sequels. Four summers later, director Roland Emmerich would dominate the season with Independence Day. 

Honeymoon in Vegas

Domestic Gross: $35 million

With a plot similar to Indecent Proposal that would follow a few months later, Honeymoon in Vegas took the more comedic route and earned decent grosses in the cast led by Nicolas Cage, Sarah Jessica Parker, and the just departed James Caan. Plus… Flying Elvis impersonators!

Buffy the Vampire Slayer

Domestic Gross: $16 million

It did manage to double its meager budget, but this vampire comedy likely wouldn’t be remembered had it not led to a critically acclaimed WB series starring Sarah Michelle Gellar. The title role in the film version belonged to Kristy Swanson with a supporting cast including Luke Perry, Paul Reubens (aka Pee-Wee Herman), and pre double Oscar winner Hilary Swank.

My final section of the summer 1992 recap gets to the under performers and downright flops…

Death Becomes Her

Domestic Gross: $58 million

This star studded satire from Robert Zemeckis boasted Meryl Streep, Goldie Hawn, and Bruce Willis above the title and some innovative special effects. While it just missed the top ten, the $58 million take barely surpassed the $55 million budget. Audiences and critics were mixed though Death has become a cult favorite in subsequent years.

Alien 3 

Domestic Gross: $55 million

Despite marking the directorial debut of David Fincher and featuring a memorably bald Sigourney Weaver, Alien 3 is considered to be a step-down from its iconic predecessors Alien and Aliens. In spite of the backlash, the franchise has continued and, of course, Fincher went onto brighter (albeit even darker) pastures.

Cool World

Domestic Gross: $14 million

Animator Ralph Bakshi is best known for his X-rated 1972 feature Fritz the Cat. After Cool World, he was still mostly known for Fritz the Cat. This hybrid of live-action and cartoon fantasy starred Kim Basinger and Brad Pitt. Yet it bombed with reviewers and crowds alike and only earned half its budget back stateside.

Christopher Columbus: The Discovery

Domestic Gross: $8 million

No one had interest in discovering this critically drubbed Columbus biopic that had Marlon Brando and Tom Selleck in the cast. Later in the fall, Ridley Scott’s 1492: Conquest of Paradise about the title character would also bomb.

Twin Peaks: Fire Walk with Me

Domestic Gross: $4 million

In 1990, David Lynch’s bizarre TV series was a cultural phenomenon… at least for a season. The movie version arrived after the second and final season and audiences had tuned out.

https://www.youtube.com/watch?v=-BUPUxplvdU

And that’s your look at the cinematic summer from 30 years ago! My recap of 2002 will be available in short order…

The Jigsaw Files: Saw VI (2009)

The Jigsaw Files continues with Saw VI and it’s often cited as one of the better (if not best) later entry in the franchise. Rotten Tomatoes says so as its meter (39%) falls only behind the 2004 original. Me? I don’t really fall into that category. The sixth edition certainly improves upon IV and a bit over V, but my complaints in this midsection remain the same. Chief among them is that the handoff from Tobin Bell’s Jigsaw to Costas Mandylor’s Detective Hoffman as the mastermind behind the games is a bumpy one. Nothing in Saw VI changes that dynamic.

Speaking of changing dynamics, a little side note about this blog series. Back in 2009, I purchased the first five Saw flicks on DVD and did a little mini marathon back then. 2021, since Spiral was coming out, warranted this blog group. I had, however, only viewed the quintet of these devious blood spattered experiences. So Saw VI and the three pictures that follow are original viewings.

When we last left Hoffman, he had dispatched FBI agent Strahm to a brutal demise and he seemingly has the keys to Jigsaw’s demented kingdom. The central game in this entry involves the medical industry and that does provide for a slightly fresh dynamic. William Easton (Peter Outerbridge) is an executive in that profession who made the unfortunate decision to deny John/Jigsaw’s requested experimental procedure post cancer diagnosis. As you can imagine, Jigsaw enlists Hoffman to exact revenge and this involves William having to play God in considerably more violent scenarios.

Meanwhile the various subplots continue to pile as high as the body count. Jigsaw’s ex-wife (Betsy Russell) becomes more of a central figure. Shawnee Smith’s Amanda gets some posthumous attention. And those flashbacks (a common occurrence in the franchise) go into overdrive here. It’s almost as if screenwriters Patrick Melton and Marcus Dunstan were struggling to justify VI‘s existence and that’s likely true. Kevin Greutert, who edited all five earlier pics, gets his shot as director. Oh… and Steve Martin’s son-in-law from Father of the Bride and its sequel pops up in a key role.

At this point as a Saw watcher, it’s all about how compelling the games are. The characters have ceased to be very stimulating. There’s one involving a playground roundabout that gets a couple points for creativity. Despite the corporate greed angle (predatory lenders get their comeuppance too), Saw VI is once again a mundane ride that plays on mostly familiar ground.

The Jigsaw Files will continue with Saw: The Final Chapter (2010)… as if…

You can peruse my previous postings in this series here:

The Jigsaw Files: Saw (2004)

The Jigsaw Files: Saw II (2005)

The Jigsaw Files: Saw III (2006)

The Jigsaw Files: Saw IV (2007)

The Jigsaw Files: Saw V (2008)

Home Again Movie Review

Essentially Three Men and a Divorcée, Reese Witherspoon’s latest rom com Home Again is a bland genre exercise that struggles mightily to be relatable. The star plays Alice, the daughter of a famous deceased director and his starlet muse (Candice Bergen). The maker of this film, Hallie Meyers-Shyer, is the child of divorced writers/filmmakers Charles Shyer and Nancy Meyers. Together and apart, her folks are responsible for such rom com titles as Baby Boom, Father of the Bride, What Women Want, and Something’s Gotta Give. One wonders if Ms. Meyers-Shyer could channel that insight of growing up with her famous parents into a perceptive screenplay. I wonder because it’s not found anywhere here.

Reese’s Alice has recently separated from her music exec hubby (Michael Sheen) and lives at a gorgeous L.A. home with her two daughters. She’s just turned the big 4-0 and genre contrivances soon brings three twenty something lads into her guesthouse. They’re all aspiring filmmakers. Harry (Pico Alexander) is the handsome director. George (Jon Rudnitsky) is the teddy bear screenwriter who forms a bond with Alice’s eldest kid. Teddy (Nat Wolff) is the actor who really has no notable character traits.

Harry and Alice start a May-December romance while her ex is weighing his return home. The boys also must deal with the drama of getting their movie made and keeping their integrity intact. A lazy script would signify that integrity by making them insist on it being black and white. That’s exactly the situation here.

Home Again simply doesn’t bring anything new to the table. It is a little more frustrating considering the talent involved could have dug deeper. Witherspoon is adequate in the lead, but we’ve seen her elevate similar material and she can’t here. The story doesn’t even allow for any real chemistry to develop between Alice and Harry. The director’s parents are responsible for some of the more memorable rom coms of the last three decades. At the least, many of them qualify as genuine guilty pleasures. Here’s hoping Hallie finds a similar voice, but this is a dull beginning.

*1/2 (out of four)