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.
Sony is hoping there is leftover goodwill from a mock trailer 16 years ago when Thanksgiving arrives in theaters November 17th. The slasher film is from Eli Roth and back in 2007, he helmed a fake ad for Thanksgiving at the beginning of Grindhouse. As you’ll recall, Roth shot half of that movie via Planet Terror while Quentin Tarantino was responsible for Death Proof.
The feature length scare fest stars Patrick Dempsey, Addison Rae, Milo Manheim, Jalen Thomas Brooks, Rick Hoffman, and Gina Gershon. The Black Friday set tale is out a week before the holiday. It could be a stretch that mass audiences will want gore with their turkey. Another demerit could be the fact that Grindhouse simply isn’t very well-known (it didn’t reach near the box office levels of Tarantino’s normal offerings).
Thanksgiving might be fortunate to serve up double digits and I’ll project it falls just over that mark.
Thanksgiving opening weekend prediction: $11.4 million
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Let’s start with the fact with Mike Schmidt (Josh Hutcherson), the night guard at the now abandoned entertainment center in Five Nights at Freddy’s is just bad at his job. It’s an excuse to sleep, but there’s a purpose. He’s trying to conjure up the circumstances of what happened to his kidnapped brother years ago. Mike believes his visions during the dreams will lead to finding his sibling or at least uncovering who took him. Emma Tammi’s adaptation of the wildly successful video game series that began in 2014 (which I have no familiarity with) might lead to counting sheep as well, especially in the first half. That’s instead of counting on the animatronic animals to provide worthy scares. It doesn’t happen often.
The genealogical drama doesn’t stop at the protagonist’s abduction visions. He also has a much younger sister Abby (Piper Rubio). Their aunt (Mary Stuart Masterson) wants custody for the paycheck. Mike is desperate for employment to keep little sis with him. He reluctantly accepts the graveyard shift at Freddy Fazbear’s Pizza. Matthew Lillard of Scream distinction interviews him for the gig. The long closed pie shop with four singing critters probably would’ve been an awesome experience back in the 1980s. I could imagine Eleven and the Stranger Things gang or a Goonie hanging at it while working with a better script. Freddy’s is mysteriously not torn down. Kindly and pretty policewoman Vanessa (Elizabeth Lail) tells Mike they have a tough time keeping guards on duty. Apparently security during the day is not warranted.
By night 3 of Mike’s gig that he can’t stay alert for, he is forced to bring Abby along. That’s at about the midway point when we already know the house band is capable of wreaking havoc on unwanted visitors. They befriend Abby while Mike is confounded by their existence. At least he’s awake now even if Hutcherson’s performance is missing much of a pulse. I was less groggy too after muddling through the Schmidt family misfortunes for almost an hour. The bear, rabbit, chick, and fox come from Jim Henson’s Creature Shop and they are effective creature designs.
If only the screenplay (cowritten by the game’s creator Scott Cawthorn) allowed them to play more in their venue. We have a promising setting that is underutilized. I know this is massively successful IP with millions of young diehard fans and maybe this will deliver for them. Regular old horror fans unfamiliar with the source material (like me) have to settle for infrequent PG-13 frights. I found myself hungering to see what kind of Reagan era games occurred when kiddie customers were devouring mediocre pizza instead of the overly plotted mechanics served here. That makes it hard to recommend one night in this setting so I just say no.
Universal and Blumhouse are banking on a big financial delivery for Five Nights at Freddy’s when it debuts October 27th. Based on a massively popular video game series that began in 2014, the PG-13 horror pic comes from director Emma Tammi. The cast includes Josh Hutcherson, Elizabeth Lail, Piper Rubio, Mary Stuart Masterson, and Matthew Lillard.
The fanbase for the games should be hungry to watch this immediately. Rather surprisingly, Freddy’s will also be available same day on Peacock (much like the recent Halloween trilogy from the same studio). That could eat into the theatrical earnings as some viewers may prefer to make it a Halloween weekend couch experience.
I still think taking the over is probably wise and that might mean a start in the mid to high 60s range.
Five Nights at Freddy’s opening weekend prediction: $68.3 million
The Exorcist: Believer looks to scare up big box office numbers when it debuts October 6th. It serves as a direct sequel to William Friedkin’s classic from 50 years ago (ignoring the four sequels/reboots) with Ellen Burstyn reprising her role from the original. Costars include Leslie Odom, Jr., Ann Dowd, Jennifer Nettles, Norbert Leo Butz, Lidya Jewett, and Olivia Marcum. David Gordon Green, who relaunched the Halloween franchise to impressive grosses, takes on this series and there’s a sequel already planned.
Believer was originally slated for an October Friday the 13th start before Taylor Swift took over that weekend with her Eras Tour experience. With a one-week head start, this should manage to capitalize on franchise familiarity. I believe enough horror fans will turn out to give this a debut on the higher end of its expected range. That might mean a gross in the low 30s vicinity.
The Exorcist: Believer opening weekend prediction: $31.9 million
Brian Duffield’ssci-fi horror tale No One Will Save You is generating some buzz with its Hulu debut this weekend. It did open earlier this week in New York and L.A. so it would qualify for Academy recognition. A practically dialogue free experience, it stars Kaitlyn Dever as a victim of an alien home invasion. The Booksmart lead is drawing positive ink for her performance. For the most part, so is the picture with a 75% Rotten Tomatoes rating.
This is not a genre that receives Oscar attention and it’s unlikely No One will. However, it is worth mentioning that the sound team is receiving lots of praise. The horror genre is one where the audio wizardry probably should gets more awards love. Yet I wouldn’t expect it to start here. My Oscar Prediction posts will continue…
Nearly 20 years after the original was an unexpected box office hit, Saw X arrives on September 29th. It’s a back to basics affair with Tobin Bell returning as Jigsaw with the events taking place between 2004’s Saw and 2005’s Saw II. Kevin Greutert, who helmed 2009’s Saw VI and 2010’s Saw 3D, directs. Shawnee Smith returns to the series and other supporting players include Synnøve Macody Lund, Steven Brand, and Michael Beach.
The tenth entry was supposed to open right at Halloween on October 27th before Lionsgate announced its late September bump. X is out two and a half years after Spiral: From the Book of Saw, Chris Rock’s take on the franchise which set historic lows. COVID didn’t help, but Spiral did just that at the box office with a mere $8 million opening and $16 million eventual domestic gross. Prior to that, 2017’s Jigsaw managed a $16 million premiere and $38 million eventual take. That’s a far cry from the high point debut of Saw III in 2006 at $33 million.
Saw X will be lucky make half of that. I certainly don’t think it’ll fall under Spiral, but low to mid teens might be all it manages.
Five years ago, The Nun upended conventional wisdom (get it??) with a larger than anticipated opening. At the time, it was the fifth feature in the Conjuring Universe and it set the opening weekend record for the horror franchise at $53 million. The sequel out September 8th is now the ninth entry with Michael Chaves directing (he also made The Curse of La Llorona and The Conjuring: The Devil Made Me Do It). Taissa Farmiga, Jonas Bloquet, and Bonnie Aarons (as The Nun) reprise their roles with Storm Reid and Anna Popplewell joining the cast.
Whether its The Conjuring and its sequels, Annabelle and her follow-ups, or The Nun, Warner Bros has made massive profits in the past decade from this series. Nun II‘s predecessor, in addition to the highest premiere, holds the second best overall domestic gross ($117 million while the first Conjuring took in $137 million). Each direct follow-up for Conjuring and Annabelle has seen slight to fairly substantial decreases in their debuts. 2013’s Conjuring made $41 million while part 2 made $40 million and the third slid to $24 million (with COVID complications to be fair). Annabelle started with $37 million while its sequel hit $35 million and the third did $20 million (a series low).
You’ll note that the second installments hold up rather well. The Nun II would need to top the original Conjuring‘s $41 million for the #2 beginning. That’s certainly doable, but I’ll project high 30s.
The Nun II opening weekend prediction: $38.7 million
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