Lionsgate hopes that fans of The Weeknd turn out next weekend when Hurry Up Tomorrow drops May 16th. A companion piece to the singer’s sixth studio album released in late January, It Comes at Night and Waves director is behind the camera and co-wrote the screenplay with Abel Tesfaye (best known by the aforementioned stage name). Jenna Ortega and Barry Keoghan join the performer in the cast.
The musical thriller is unlikely to be The Weeknd’s Purple Rain though figuring how much of his fanbase will turn out is tricky. With a reported production budget of $20 million, it’ll hope to at least get to higher single digits at the start. I suspect many will save their money and watch on streaming.
Hurry Up Tomorrow opening weeknd (*) prediction: $4.5 million
For my Final Destination Bloodlines prediction, click here:
Crashing into the Oscar conversation this weekend via the Telluride Film Festival is Waves, the third feature from writer/director Trey Edward Shults. Focusing on an African American family in South Florida, the drama is being hailed by some critics as a masterpiece. A24 will be distributing this and releasing it stateside on November 1. The buzz suggests the studio might have another Moonlight on its hands and that won Best Picture.
The ensemble cast of includes Kelvin Harrison, Jr., Lucas Hedges, Taylor Russell, Alexa Demie, Renee Elise Goldsberry, and Sterling K. Brown. Of those cast members, several could be in contention with Harrison and Russell getting early ink.
As for Shults, his 2015 debut Krisha won an Audience Award at the South by Southwest Festival. 2017’s horror pic ItComesatNight developed a solid critical following. This looks to put him on another level with potential nods for his directing and screenplay and the film itself. Bottom line: in a weekend full of awards bait stories, Waves is perhaps the biggest breakout yet. My Oscar Watch posts will continue…
The horror thriller Hereditary generated a lot of buzz when it premiered at the Sundance Film Festival way back in January and A24 unleashes it to audiences next weekend. Marking the directorial debut of Ari Aster, early reviews suggest a highly effective and scary experience. Its Rotten Tomatoes score is currently 100% (never a bad selling point for TV spots). Toni Collette stars alongside Alex Wolff, Gabriel Byrne, Milly Shapiro, and Ann Dowd.
This particular genre is often the hardest to predict as horror movies can vastly over or under perform. It’s also perhaps the genre where reviews truly don’t mean a lot. For instance, 2016’s The Witch and last year’s It Comes at Night both had critics on their side in a major way. Their respective debuts were only $8.8 million and $5.9 million (with It Comes at Night being released on the same June weekend as this is). On the other hand, something like A Quiet Place took in $50 million for its start just a few weeks ago.
So what’s a prognosticator like me to do? I’ll admit that this is a tough one and I foresee a wide range for the opening of Hereditary. It won’t come anywhere near the earnings of A Quiet Place, but debuting around $20 million wouldn’t shock me. The problem is that if it fell to high single digits or low double digits, that wouldn’t really shock me either.
Fair warning: this is an estimate that may fluctuate during the next nine days. For the time being, I’ll say Hereditary posts an opening in the low double digits to possibly low teens as it will hope to leg out decently based on buzz in subsequent frames.
Hereditary opening weekend prediction: $10.2 million
ItComesatNight is a bleak, brisk, sometimes effective horror thriller that’s well-acted and filmed. The decision to not overly explain the events causing the characters to be holed up in a house together seems wise. However, when the credits roll, you might find yourself asking it that’s all there is.
Trey Edward Shults writes and directs this tale of a world gone to hell. A nasty and unexplained outbreak has seemingly wiped out a hefty portion of the world’s population. If you become symptomatic, you need to be put down. That’s how we’re introduced to Paul (Joel Edgerton), wife Sarah (Carmen Ejogo), and 17 year-old boy Travis (Kelvin Harrison Jr.) as they do what they have to with Sarah’s ill father.
The family lives in their boarded up home with one entrance/exit. Days are spent rationing food and water. Their sad existence is interrupted one evening by intruder Will (Christopher Abbott), who assumes the house is vacant. He’s seeking shelter for his family – wife Kim (Riley Keough) and their toddler son. The family ends up moving in and for a brief time everything seems ok.
Deserved kudos go out to Shults for crafting a screenplay that doesn’t burden itself with explaining the plague that’s put everyone in that house. This story is more about how the characters function in that claustrophobic existence. Travis is a teenager with attractive young woman Kim all of a sudden present. Paul is always cognizant that you can’t trust anyone beyond family.
Night is a slow burn of distrust and eerie atmosphere that eventually reaches a conclusion you both dread and suspect. Shults is clearly a talented filmmaker, but I can’t deny the feeling that the picture ends up feeling a bit slight and too simplistic. It’s not without its cliches (there’s a family dog that you just know will factor in). There’s a dream sequence over reliance. No fault belongs with the actors who are all solid. Edgerton again proves he can nail an intense performance.
Genre fans will probably find enough to admire here, but Night comes in effective spurts and not a totally cohesive whole.
Low-budget horror pic Wish Upon hopes to scare up some box office dollars when it comes out next weekend. The reported $12 million production focuses on a mysterious music box that grants wishes to terrifying results. Annabelle director John R. Leonetti is behind the camera with a cast that features Joey King, Ryan Phillippe, Ki Hong Lee, and Sherilyn Fenn.
The marketing campaign for this has seemed a little under the radar. Flicks of this genre can certainly exceed expectations, but I’m not expecting much here. We have already seen one example of a horror entry underwhelming this summer with It Comes at Night and it garnered very favorable reviews. There’s also significant competition in the form of War for the Planet of the Apes being in its opening weekend and Spider-Man: Homecoming being in its second.
I’ll predict Wish Upon is granted a debut just under half its meager budget.
Wish Upon opening weekend prediction: $5.9 million
For my War for the Planet of the Apes prediction, click here:
This should be one interesting weekend at the box office as four new titles make their debut: Pixar sequel Cars 3, Scarlett Johansson bachelorette comedy Rough Night, Tupac Shakur biopic All Eyez on Me, and shark attack thriller 47 Meters Down. You can peruse my detailed prediction posts on each of them here:
As I see it, Cars 3 should easily take its place atop the charts (as pretty much all Pixar features do). However, my estimate for it puts it below both of its predecessors.
Wonder Woman displayed a remarkable hold in its sophomore frame (more on that below) and should hold the #2 spot over the influx of newbies.
If there’s one picture with breakout potential, it’s All Eyez on Me. Just two summers ago, we saw Straight Outta Compton greatly exceed all expectations when it grossed over $60 million out of the gate. Eyez doesn’t seem to have that kind of buzz going for it, but I’m predicting a sturdy third place showing.
That puts Rough Night in fourth with a rather ho-hum debut. It seems to be sliding down considerably from its original $25 million projections.
The Mummy stumbled in its premiere (more on that below as well) and I foresee a hefty dip in weekend #2 for fifth place.
Maybe it’s not wise to bet against audience love for sharks (The Shallows proved that last summer), but I’ve got 47 Meters Down earning the least among the fresh quartet for a sixth place showing.
And with that, my top 6 projections for the bustling weekend ahead:
1. Cars 3
Predicted Gross: $57.8 million
2. Wonder Woman
Predicted Gross: $32.6 million (representing a drop of 44%)
3. All Eyez on Me
Predicted Gross: $24.4 million
4. Rough Night
Predicted Gross: $15.1 million
5. The Mummy
Predicted Gross: $13.2 million (representing a drop of 58%)
6. 47 Meters Down
Predicted Gross: $6.1 million
Box Office Results (June 9-11)
As mentioned, Wonder Woman continued its terrific run by dropping only 43% (a noteworthy hold for its genre) to $58.5 million. This topped my $49.5M projection and brought its ten-day total to $206 million. The superhero flick stands a decent shot at overtaking Guardians of the Galaxy Vol. 2 as the season’s hottest ticket.
Tom Cruise’s The Mummy was hindered by poor reviews and word of mouth with a second place opening at $31.6 million (a bit under my $34.7M forecast). While it’s doing better overseas, this will undoubtedly be a major disappointment stateside.
Captain Underpants: The First Epic Movie was third in its sophomore frame with $12.1 million, under my $14.1M projection for a so-so overall gross of $44M.
Pirates of the Caribbean: Dead Men Tell No Tales was fourth with $10.7 million (I said $10.2M) to bring its tally to $135M.
Guardians of the Galaxy Vol. 2 was fifth and I incorrectly had it outside the top five. It made $6.3 million and has earned $366M total.
That’s because critically acclaimed horror pic It Comes at Night had a soft showing with just $5.9 million in sixth (I said $9.5M). While reviews were strong, audience reaction has been negative and look for this to fade very quickly.
Finally, the combo of military themes and dogs gave Megan Leavey an 8th place debut with $3.7 million (I said $3.3M).
Tom Cruise will attempt to take on the bonanza that is WonderWoman this weekend and it will probably come up short. Universal monster pic TheMummy opens wide along with criticality lauded horror flick ItComesatNight and military themed biopic MeganLeavey. You can read my detailed prediction posts on the newbies here:
Mr. Cruise looks headed for a second place showing as I foresee WonderWoman falling just a bit over 50%. There is a chance that Mummy over performs and gets around $50 million, but I’m not seeing it right now.
CaptainUnderpants should be in third while the four spot could be a battle between PiratesoftheCaribbean in its third frame and ItComesatNight. The latter also has a chance to exceed my estimate, but I’ve got under double digits.
As for MeganLeavey, I’m anticipating a muted premiere at $3.3 million, which would put it in 8th place.
And with that, my top 5 estimates for the weekend:
1. WonderWoman
Predicted Gross: $49.5 million (representing a drop of 52%)
2. TheMummy
Predicted Gross: $34.7 million
3. CaptainUnderpants: TheFirstEpicMovie
Predicted Gross: $14.1 million (representing a drop of 41%)
4. PiratesoftheCaribbean: DeadMenTellNoTales
Predicted Gross: $10.2 million (representing a drop of 54%)
5. ItComesatNight
Predicted Gross: $9.5 million
BoxOfficeResults (June2–4)
DC had a critical hit and now they have a huge box office smash as WonderWoman lassoed $103.2 million, topping my $98.3M projection. It set the all-time opening record for a female directed motion picture. The road ahead looks bright with very positive word of mouth.
CaptainUnderpants was second and came in on the lower end of expectations with $23.8 million, under my $27.4M estimate. The Dreamworks animated tale will hope for smallish drops in the weekends ahead, but there’s competition coming with Cars3 and DespicableMe3 this month.
PiratesoftheCaribbean dropped to third with $22 million, in line with my $21.6M prediction for a two-week total of $115M.
GuardiansoftheGalaxyVol. 2 was fourth with $9.8 million (I said $10M) for $355M overall.
Baywatch held up a bit better than I figured in weekend #2, placing fifth with $8.7 million compared to my $7.5M forecast. It’s earned $41M.
A24 Studios will try and scare up some business next weekend with the release of psychological horror thriller It Comes at Night. From director Trey Edward Shults, it stars Joel Edgerton, Carmen Ejogo, and Christopher Abbott. Originally scheduled to open in August, it was pushed up after receiving some critical acclaim on the film festival circuit (it’s at 100% on Rotten Tomatoes right now).
Horror flicks are notoriously tough to predict and it’s a genre where reviews don’t matter much. We have seen lauded titles such as You’re Next fail to break through with mainstream audiences and that could hold true here. On the other hand, Get Out from just this year is one of the best reviewed genre titles in recent memory and it made a killing. That said, Get Out seemed to have a lot more buzz going for it.
There’s also the matter of The Mummy opening against it and it could compete for some of the same crowd. I’ll predict It Comes at Night opens just under double digits as it hopes to build upon solid word of mouth or achieve cult status afterwards.
It Comes at Night opening weekend prediction: $9.5 million
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