Three and a half decades ago, Renny Harlin helmed the horror sequel A Nightmare on Elm Street 4: The Dream Master. He’s back in the genre with The Strangers: Chapter 1 on May 17th. It is the third feature in the franchise and the first of a trilogy that are all slated to hit multiplexes this year. Madelaine Petsch (best known for Riverdale), Froy Gutierrez, Rachel Shenton, Gabriel Basso, and Ema Horvath star.
In late May of 2008, The Strangers was a sleeper hit with a $20.9 million debut and $54.5 million overall domestic gross. A decade later, follow-up The Strangers: Prey at Night suffered diminished returns with a $10.4 million start and $24.3 million total.
Lionsgate is taking a gamble with their release strategy of chapter 2 and 3 shortly following. There’s a decent chance it won’t pay off. Scary movies have struggled in 2024. Titles like Night Swim, Imaginary, Immaculate, The First Omen, Abigail, and Tarot have either barely topped $10 million or come in below that figure. I figure The Strangers may experience a similar fate.
The Strangers: Chapter 1 opening weekend prediction: $10.1 million
Based on the early 90s novel Horrorscope from Nicholas Adams, Tarot is the latest scary movie hoping to bring in genre enthusiasts. Spenser Cohen and Anna Halberg share directorial duties with a cast including Harriet Slater, Adain Bradley, Avantika Vandanapu, Wolfgang Novogratz, and Jacob Batalon.
Moviegoers have been caught in a web of horror titles over the last several weeks. From Imaginary to The First Omen to Abigail, grosses have been unimpressive as all three of those pics have debuted in the $8-10 million range.
Tarot might be lucky to do that. Plenty of potential viewers will be preoccupied with The Fall Guy. That’s in addition to the aforementioned oversaturated market as of late. I say mid single digits is (yes…) in the cards.
From Matt Bettinelli-Olpin and Tyler Gillett (the filmmakers known as Radio Silence), Abigail sautés between a crime thriller and vampire tale. It doesn’t completely land that From Dusk til Dawn style jump off and it overstays its welcome. There are lively breaks in the gory repetition and that’s thanks to some quality casting.
The title character is a young girl (played by Alisha Weir) who we first see practicing her ballet moves in an empty theater. She’s being tailed by six criminals engaged in a snatching plot. They succeed in the abduction, at least theoretically. The mastermind behind the taking (Giancarlo Esposito) provides a creepy old house for them to hold Abigail for 24 hours until the ransom is met. The operation has a strict no real names policy (think Reservoir Dogs), so the group is named after Rat Packers. Melissa Barrera is Joey and she’s tasked with being Abigail’s sole point of contact. We quickly figure out she kidnaps with kindness and is our heroine. She also has a drug problem and might’ve abandoned her son, but she’s rather virtuous compared to the lot.
That includes former detective Frank (Dan Stevens, clearly having a ball and looking a bit like Bradley Cooper), spoiled brat and computer hacker Sammy (Kathryn Newton), and demented getaway driver Dean (Angus Cloud). Low IQ muscleman Peter (Kevin Durand) and Marine Rickles (Will Catlett) complete the sextet.
The young captor doesn’t waste much time engaging in mind games with the unwelcome house guests. In what might have been a juicy twist if the trailer and ads hadn’t clearly spelled it out, she’s a bloodsucker who has been around much longer than her appearance suggests. As if that weren’t enough, she has a father whose name sends chills down the spine of those who hear it.
Abigail should be more of a guilty pleasure than it is. There are times when it flourishes. Stevens steals the show while Barrera is saddled with a semi-serious and boring backstory. Some of the exaggerated violence is reminiscent of Radio Silence’s Ready or Not from 2019. That can be a good thing though it’s a reminder that the pic five years ago was superior. Alisha Weir’s performance is certainly a plus as she switches up the cadence of a preteen and a centuries old devourer of souls.
Despite some clever moves, this ultimately stalls in the third act and takes a while to ramp up in the first place. Its bucket of blood falls on the half empty side a little too often.
Matt Bettinelli-Olpin and Tyler Gillett, makers of Ready or Not and the last two Scream installments, are in vampiric mode with Abigail on April 19th. Reimagining 1936’s Dracula’s Daughter, the horror flick stars Melissa Barrera (also of the latest Scream entries), Dan Stevens, Alisha Weir, Kathryn Newton, William Catlett, Kevin Durand, the late Angus Cloud, Matthew Goode, and Giancarlo Esposito.
Genre fans have had plenty to feast on in 2024. Just last weekend, we saw The First Omen struggle to bring audiences in with an opening under $10 million despite solid reviews. Abigail is generating appreciative notices as well with a current 82% RT rating.
I suspect Abigail will cross $10 million, but $20 million (or even $15 million) seems like a bridge too far.
Abigail opening weekend prediction: $13.1 million
For my The Ministry of Ungentlemanly Warfare prediction, click here:
Despite being a well-known horror series that’s been around for nearly half a century, The First Omen is the first franchise entry in nearly two decades. Serving as a prequel to the 1976 original, Arkasha Stevenson makes her directorial debut with a cast including Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Ralph Ineson, and Bill Nighy.
Genre fans have had plenty to feast on lately from Immaculate to Imaginary to Late Night with the Devil. 20th Century Studios is hoping the brand name helps here, but that could be a stretch. As mentioned, you have to go back 18 years to the last time we had an Omen flick. The 2006 remake premiered in the summer of 2006 and capitalized by debuting on Tuesday, June 6th of that year (get it?). Despite poor reviews, the gambit paid off at first with a $16 million start from Friday to Sunday and $36 million when factoring in those extra three days of release. However, it managed to tumble 65% in its sophomore outing and wound up with a so-so $54 million domestically.
All of that exposition is a way of saying that this franchise doesn’t have the juice of a Conjuring or Insidious or even Evil Dead, to name some. There’s always the chance that horror exceeds expectations. With that caveat, I’ll say low teens is where this lands with a famously unlucky number.
The First Omen opening weekend prediction: $13.3 million
Sydney Sweeney is in Scream Queen mode when Immaculate is delivered to theaters on March 22nd. The fright fest finds the Euphoria, Anyone but You, and Madame Web star as a devout nun uncovering demonic happenings in the Italian countryside. Michael Mohan directs with a supporting cast including Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, and Simona Tabasco.
The Neon distributed effort is generating uneven reviews (it premiered at South by Southwest earlier this week). The RT meter stands at 64%. I haven’t seen a screen count and the marketing campaign seems a bit on the underwhelming side.
Horror can exceed expectations and that might hold true with Immaculate. Yet I wonder if this can manage the $9M+ that The Pope’s Exorcist achieved for its start last year. It might be lucky to earn half of that.
Immaculate opening weekend prediction: $4.9 million
For my Ghostbusters: Frozen Empire prediction, click here:
South by Southwest is happening now and giving us some potential awards players (keep an eye out for my imminent Civil War post for example). It was at last year’s SXSW that festival goers were first exposed to Late Night with the Devil. Australian brothers Colin and Cameron Cairnes direct the 1970s set found footage horror flick with David Dastmalchian as a talk show host showcasing some demonic guests. Laura Gordon, Ian Bliss, and Fayssal Bazzi costar.
Devil is finally slated for stateside distribution on March 22nd with a Shudder streaming bow on April 19th. Many reviews are raves and it sports a 100% RT score. Dastmalchian, a memorable character who you may recognize from Prisoners, The Suicide Squad, Dune, and Oppenheimer, is being praised for this rare lead role.
That said, this is not the kind of material that awards voters notice… at least at the big dance. Perhaps the Indie Spirit Awards will be more attuned to its scare tactics. My Oscar Prediction posts will continue…
Blumhouse hopes audiences turn out for the grisly horror flick Imaginary on March 8th. From Truth or Dare and Kick-Ass 2 maker Jeff Wadlow, the tale of a demented stuffed bear stars DeWanda Wise, Pyper Braun, Tom Payne, Taegen Burns, Veronica Falcón, and Betty Buckley.
Originally slated for early February, the low-budget affair ($13 million reportedly) follows its studio’s model of minor price tags hoping for major returns. This certainly won’t make Five Nights at Freddy’s money when it comes to Blumhouse productions featuring demonic furry creatures.
It could, however, come close or even exceed the budget in its first weekend and that’d be just fine.
Imaginary opening weekend prediction: $10.5 million
When the surprise is revealed at the end of David Fincher’s The Game, Michael Douglas’s character is reminded that he was drugged and left for dead in Mexico and all that he got was a lousy t-shirt (and a gigantic bill I might add). John Kramer aka Jigsaw (Tobin Bell) can relate in Saw X. And while he doesn’t get a t-shirt, he definitely gets some new games to engineer after his visit to our southern neighbor.
As many franchises do nowadays, this tenth installment of the nearly two decade old series doesn’t require knowledge of the entire canon. You really only need to remember Saw (2004) and its 2005 sequel (they remain the best two of the bunch). To jar those memories, Bell’s Kramer has terminal brain cancer. His civil engineering background allows him to concoct elaborate traps for victims. He doesn’t look at them that way because they’re generally terrible people who’ve wronged him or others. The patient known as Jigsaw doesn’t actually kill them as he gives them opportunities for escape and I suppose personal growth. As we’ve witnessed in nine pictures already, these candidates for redemption frequently fail their tests. One of Jigsaw’s would-be cases is Amanda (Shawnee Smith). She passed her exam back in the original and was revealed to be his apprentice in part II.
With those friendly reminders, Saw X takes place between the happenings of Saw and Saw II. John is freshly diagnosed and given months to live. An acquaintance from a cancer support group tips him to experimental therapy in Mexico run by Norwegian doctor Cecelia Pederson (Synnøve Macody Lund). The eventual surgery yields puzzling results and Jigsaw realizes that the Scandinavian surgeon and her conspirators need his unique form of tutelage. Let the games begin.
Among the flaws of many Saw entries after the second and third ones is they fell all over themselves trying to feature Bell’s Jigsaw in them (or at least his aura). Two of them (Saw VI, Saw 3D) were directed by Kevin Greutert and he returns here. I can understand the strained Jigsaw inclusions as he’s the most compelling character and other villains (or sadistic heroes depending on how you look at it) didn’t match up. Therefore it’s a relief that screenwriters Josh Stolberg and Peter Goldfinger (who penned the inferior immediate predecessor Spiral) find a clever way to make him the star. These movies are dimly lit so the fact that Bell and Smith have aged a few years isn’t much of a distraction. The script also gives Bell the most screen time he’s probably ever had. That’s a plus. Yet Saw X is also quite leisurely paced at two hours. Stretching a Saw saga beyond 90 to 100 minutes is a test of endurance.
Stolberg and Goldfinger were also responsible for Jigsaw in 2017. I found it to be a mostly effective reboot. Saw X is similar in quality. Like Jigsaw, it ebbs somewhat in the third act. It takes a little too long to get where it’s going. We know John and Amanda will set their barbarous traps and that’s delivered occasionally in peak Saw fashion. The straightforward story is far less convoluted than other sequels with their overreliance on flashbacks to bring Bell into the proceedings.
Bell is front and center in this for good reason. He’s got loads of intestinal fortitude to carry forth his mission. So do his captors at one point… you’ll see. This is the tenth pic arriving 19 years after we first met the patient. It belongs in the top half in the rankings and I would diagnose it as a cut above everything after the third one (with the possible exception of Jigsaw).
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.
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