Tag: Fifty Shades of Grey

Back to Black Box Office Prediction

Focus Features hopes audiences don’t say no no no to Back to Black when it arrives stateside on May 17th. Sam Taylor-Johnson, best known for making Fifty Shades of Grey, directs the Amy Winehouse biopic with Marisa Abela as the late crooner. Jack O’Connell, Eddie Marsan, and Lesley Manville costar.

Despite middling reviews (only 38% on RT), Black premiered in the #1 spot in the UK about a month ago. Of course, its earnings should be more impressive across the pond. Stateside audiences might be more ambivalent and the shaky word-of-mouth won’t help.

Rolling out on approximately 2000 screens, this could open similarly to last fall’s Priscilla. It did $5.1 million in its wide release and I’ll forecast that this gets just under that.

Back to Black opening weekend prediction: $4.5 million

For my IF prediction, click here:

IF Box Office Prediction

For my The Strangers: Chapter 1 prediction, click here:

The Strangers: Chapter 1 Box Office Prediction

Oscar Predictions: Back to Black

Back to Black doesn’t hit domestic venues until May 17th, but the biopic is out this weekend in the U.K. and reviews are available for download. Focused on the life of British crooner Amy Winehouse, Fifty Shades of Grey helmer Sam Taylor-Johnson directs with Marisa Abel as the late singer. Jack O’Connell, Eddie Marsan, and Lesley Manville costar.

Critical reaction is decidedly mixed. Trades like Variety and Hollywood Reporter are mostly positive while plenty of across the pond publications are panning it. The current result is 52% on Rotten Tomatoes.

Like another 2024 musical biopic about a legend gone too soon (Bob Marley: One Love with Kingsley Ben-Adir in the title part), notices for its headliner are stronger than the picture itself. Abel is being praised and she’s at least a slight threat to contend in Best Actress. Like Ben-Adir, it might be a stretch to make the final cut. Perhaps BAFTA is more doable. Don’t expect Black to factor in anywhere else. My Oscar Prediction posts will continue…

Madame Web Box Office Prediction

Dakota Johnson headlines as the title character in Madame Web, Sony’s fourth feature in their Spider-Man Universe on February 14th. The studio is hoping its grosses are closer to Venom and its sequel than Morbius. S.J. Clarkson directs with a supporting cast including Sydney Sweeney (hot off Anyone but You), Celeste O’Connor, Isabela Merced, and Tahar Rahim.

Ms. Johnson is no stranger to the Valentine’s Day/President’s Day weekend frame considering the Fifty Shades trilogy. Web will attempt to bring in a female contingent, but also a sizable male crowd craving some comic book action.

Debuting on Wednesday, my forecast includes the Friday to Monday long weekend projection along with its two extra days. A best case scenario might be in the $35-40 million neighborhood for the six-day total. I’m skeptical it gets that high. A low to mid 20s start for the four-day and high 20s to low 30s range over the longer haul sounds likelier.

Madame Web opening weekend prediction: $21.5 million (Friday to Monday); $30.7 million (Wednesday to Monday)

For my Bob Marley: One Love prediction, click here:

Bob Marley: One Love Box Office Prediction

Ant-Man and the Wasp: Quantumania Box Office Prediction

Ant-Man and the Wasp: Quantumania hopes to score commanding grosses over the long President’s Day weekend starting February 17th. The 31st entry in the Marvel Cinematic Universe and third in this particular franchise features Paul Rudd and Evangeline Lilly reprising their roles as the title heroes. Michelle Pfeiffer and Michael Douglas are back with Jonathan Majors being introduced as villain Kang the Conqueror. Peyton Reed (who helmed the first two) is back directing. Other cast members include Kathryn Newton, David Dastmalchian, William Jackson Harper, Katy O’Brian, and Bill Murray.

The initial movie in the MCU’s Phase Five (with Guardians of the Galaxy Vol. 3 and The Marvels up next), Ant-Man looks to expand on the opening earnings of its predecessors. In the summer of 2015, Ant-Man made $57 million for its start (the second smallest MCU debut with The Incredible Hulk being lowest at $55 million). It ended up with $180 million domestically. Three years later, Ant-Man and the Wasp reached higher with $75 million and an eventual stateside tally of $216 million.

When it comes to the MCU, sequels typically outperform their originals (Black Panther: Wakanda Forever was a recent exception to the rule). Thor: Love and Thunder, on the other hand, built upon its three predecessors. Quantumania should follow that trend.

As far as President’s Day weekend, it shouldn’t come close to approaching the record. That was five years ago with Black Panther when it scored $202 million from Friday to Sunday and $242 million when factoring Monday. The runner-up is 2016’s Deadpool with respective three and four-day takes of $132 million and $152 million. Third place belongs to 2015’s Fifty Shades of Grey ($85 million Friday to Sunday, $93 million four-day).

This should manage a third place all-time haul. I’ll say the three-day falls a tad short of $100 million and just shy of $110 million with Monday’s inclusion.

Ant-Man and the Wasp: Quantumania opening weekend prediction: $96.8 million (Friday to Sunday); $109.1 million (Friday to Monday)

For my Winnie-the-Pooh: Blood and Honey prediction, click here:

Winnie-the-Pooh: Blood and Honey Box Office Prediction

Oscar Predictions: Cha Cha Real Smooth

Cha Cha Real Smooth comes from writer/director Cooper Raiff and its Sundance premiere is garnering solid buzz (86% on Rotten Tomatoes so far). The filmmaker himself stars as a bar mitzvah party starter who befriends a single mom (Dakota Johnson). Leslie Mann and Brad Garrett costar.

Many reviews indicate this could be a breakout crowdpleaser. Whether that word-of-mouth means anything to awards voters is questionable. However it’s worth mentioning that Johnson is receiving some career best talk. Ever since (or in spite of) her breakout role in Fifty Shades of Grey, the actress is slowly becoming a bit of a critical darling. Her recent supporting turn in The Lost Daughter was well received and she’s got another lead part in another fest offering Am I Ok? (which I’ll get to on the blog shortly).

I doubt Cha Cha is the role that nabs Johnson her first Academy mention, but it’s worth keeping an eye on. My Oscar Prediction posts will continue…

Barb and Star Go to Vista Del Mar Review

The heights of Kristin Wiig and Annie Mumolo’s writing partnership has been airborne for a decade now. In their 2011 collaboration Bridesmaids (which was Wiig’s deserved breakout on the big screen), the funniest scene of many took place on a plane with the bridal party trying and failing to get to Vegas. That thwarted flight was uproariously due to the lead’s drunken exploits. Wiig and Mumolo’s teaming ten years later in Barb and Star Go to Vista Del Mar again provides my favorite highlight above the clouds.

Wiig is Star and Mumolo is Barb. They are Nebraskan BFF’s recently fired from their jobs and looking to shake things up. When they decide that a Florida trip is the way to do it, their discussion on the flight involves them inventing a superstar woman named Trish. The dialogue proves the following: just like their characters, Wiig and Mumolo can create seemingly improvised silliness that is downright hilarious. Their emotional investment in the fictitious Trish is a sight to behold.

The best moments here are throwaway lines and conversations that could have worked just as well with Barb and Star as characters on Saturday Night Live doing a Weekend Update bit. Is that enough to satisfactorily fill two hours? Not really, but you can’t help but praise the leads/co-writers for trying.

Barb and Star is far more of a dumb comedy than Bridesmaids and I don’t mean that in a bad way. The tone is pure farce and there’s unexpected musical performances that interrupt the absurdity. We have Jamie Dornan showing a different shade of his personality from his Christian Grey persona (he gets perhaps the most memorable singing assignment). Wiig gets to pull double duty as a villainess with an aversion to sunlight. Her grand plan involves destroying Vista Del Mar and unleashing deadly mosquitoes on the town’s populace (think Austin Powers levels of scheming). Dornan is her lover/henchman sent to do some of the dirty work. When he meets the sweet and naive Midwestern besties, the possibilities of a throuple get real and then real complicated.

It seems irrelevant to spend much word space delving into the plot – which is incidental. Barb and Star works or doesn’t based on how much you believe this premise can be stretched. I have to be frank. I’m not referring to the franks that our two heroines put in their soup during Talking Club, which is Nebraska’s version of ladies night and is run with military precision by its leader (Vanessa Bayer). The film sort of runs out of steam (not the steam emanating from said franks) about midway through by my meter. The inventive Trish talk, the hot dog soup, and the dawning of the Dornan dalliances are all first half occurrences. I do give the script some props for being so gleefully bizarre. Wiig and Mumolo’s second effort is destined to become a cult classic and I imagine Barb and Star Halloween costumes (love those culottes) this fall. I could never quite fully escape the feeling that it might have worked better as shorter sketches on the program that made Wiig a star before Star.

**1/2 (out of four)

Book Club Box Office Prediction

Paramount is hoping to bring in an older female audience next Friday with the release of Book Club. The comedy casts the quartet of Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen as members of a reading group who become influenced by their latest selection, Fifty Shades of Grey. The pic marks the directorial debut of Bill Holderman and costars include Andy Garcia, Don Johnson, Richard Dreyfuss, Craig T. Nelson, and Alicia Silverstone.

As mentioned, this Club hopes to capitalize on an often underserved market. Yet there is at least one other title appealing to females as Life of the Party will be in its sophomore frame and possibly still in lower double digits.

I’ll estimate this manages high single digits to low double digits itself out of the gate as it’ll likely hope for smallish declines in subsequent frames.

Book Club opening weekend prediction: $10.3 million

For my Deadpool 2 prediction, click here:

https://toddmthatcher.com/2018/05/09/deadpool-2-box-office-prediction/

For my Show Dogs prediction, click here:

https://toddmthatcher.com/2018/05/10/show-dogs-box-office-prediction/

For my Pope Francis: A Man of His Word prediction, click here:

https://toddmthatcher.com/2018/05/13/pope-francis-a-man-of-his-word-box-office-prediction/

Fifty Shades Freed Movie Review

A franchise can’t run out of steam if it never gathered any to begin with. That is the legacy of the Fifty Shades films and it climaxes limply with Fifty Shades Freed. The third and final (!) entry in the romantic saga of Christian Grey (Jamie Dornan) and Anastasia Steele-Grey (Dakota Johnson), we open with the lovebirds tying the knot. And by tying the knot, I mean they’re getting married and not just tying some knot as part of their wild sex escapades. We’ve seen that before and it’s a major reason why the pictures (based on the E.L. James bestsellers) have their legions of fans.

Their wedded bliss is relatively short-lived, though describing anything as short-lived is generous in this sluggishly paced series. For one thing, Ana’s stalker Jack (Eric Johnson) is causing mischief once again. There’s also feelings of jealousy happening with Christian’s former flame (Kim Basinger). That subplot actually gets less screen time than the relationship woes of Ana’s best bud (Eloise Mumford) and Christian’s brother (Luke Grimes). What do these storylines have in common? None of them are interesting. For a trilogy wanting to burst with lustful excitement, Freed and its predecessors have been so very listless.

I was never familiar with the source material from which these movies were spawned. Upon viewing Fifty Shades of Grey for the first time, I was more than willing to keep an open mind and try to understand how the novels become phenomenons. Three tales later, I just don’t get it and that certainly applies to its cinematic renderings. The performances of Johnson and Dornan still come across as flat. My previous descriptions of the “hot scenes” being no more gripping than late night Cinemax still stands (the writing is no better either).

Thankfully I can now officially close that once open mind when it comes to Christian and Anastasia. I am freed.

* (out of four)

Fifty Shades Freed Box Office Prediction

For the third Valentine’s Day frame in the past four years, the romantic adventures of Anastasia and Christian will be on display for moviegoers when Fifty Shades Freed opens next weekend. Dakota Johnson and Jamie Dornan return with James Foley (who made previous entry Fifty Shades Darker) directing. Costars include Kim Basinger, Eric Johnson, Marcia Gay Harden, and Rita Ora.

This is the third and final chapter of the franchise based on E.L. James’s sultry bestsellers. The trailer reminds us to not miss the climax (get it?). The series has been a popular one for Universal Pictures, but there was a significant dip between 2015’s Fifty Shades of Grey and 2017 sequel Darker. Three years ago, Grey premiered to $85 million with an eventual $166 million domestic haul. Darker managed $46 million for its start with $114 million overall.

Freed appears likely to follow that downward trend, but its drop shouldn’t be nearly as pronounced as the last one. Current estimates have this hovering around the $40 million mark and that seems about right. I’ll say it falls just under that as fans bid farewell to Mr. and Mrs. Grey.

Fifty Shades Freed opening weekend prediction: $38.4 million

For my Peter Rabbit prediction, click here:

https://toddmthatcher.com/2018/01/31/peter-rabbit-box-office-prediction/

For my The 15:17 to Paris prediction, click here:

https://toddmthatcher.com/2018/01/31/the-1517-to-paris-box-office-prediction/

Fifty Shades Darker Movie Review

There’s a scene towards the end of Fifty Shades Darker where we find ourselves in Christian Grey’s childhood bedroom. He is engaged in deep conversation with Anastasia Steele. Instead of giving anywhere near a damn about what they were discussing, I found myself distracted by the movie poster in his room: The Chronicles of Riddick starring Vin Diesel.

For the next couple of minutes, my mind wandered to the following questions: What made the set designers pick that 2004 sci-fi flick? What made them deduce that their lead character with a penchant for dominance and sadism would choose that film over any other? I thought about what age Christian would have been when it was released. 17 maybe? Here’s a guy, even as a youngster, that could have bought any movie poster, yet he chose The Chronicles of Riddick. Then I realized the fact that I was preoccupied with this minor piece of set decoration said a lot. I didn’t really care about anything else in that bedroom and or anyone in it.

Fifty Shades Darker is the sequel to 2015’s smash hit Fifty Shades of Grey and continues the saga of that man with the Riddick poster (Jamie Dornan) and book editor Anastasia (Dakota Johnson). Their romance was originated in a series of wildly popular E.L. James novels. As I opined in my one star review of Grey, I tried my best to understand its mass appeal to viewers and readers, but just couldn’t get there. Yet here we are again. When we last left the lovers, they had broken up because Anastasia just couldn’t quite get there with Christian’s kinky preferences. It takes about ten minutes of screen time for her to inexplicably change her mind and they’re back at it.

Part two does bring some new dynamics and characters into the fold. Anastasia’s new boss (Eric Johnson) wants more than her editing services. Christian’s sexual mentor (Kim Basinger) keeps popping up, as does a former lover (Bella Heathcote) who’s still subservient to her former master. These subplots lead to jealousy on both ends. There’s also a bit of exploration of Christian’s troubled childhood. All of these items seem like wind up to whatever the inevitable third picture will bring. There’s no pay off.

Instead we get a whole lot of conversations between our two leads and two underwhelming actors playing them. More than anything, the Fifty Shades series rises and falls with the chemistry of Dornan and Johnson. Once again, its mostly non-existent. The franchise’s selling point is the sex scenes and even they’re nothing more than what you’d see on cable after dark.

That said, I’m awarding Fifty Shades Darker a whole half star more than Grey. Why? Good question. Johnson’s acting is probably a half star better. There is perhaps a half star’s worthy more plot developments than in the first. Or maybe the Riddick poster distraction put me in a better mood. Who knows? The more likely reasoning is I’ve become more numb to the pain this unfortunate series has inflicted on me.

*1/2 (out of four)