Paramount seeks mega millions at the multiplex as Sonic the Hedgehog 3 arrives December 20th. Based on the hugely successful video games series from Sega, Jeff Fowler is in the director’s chair just as he was for the first two. Ben Schwartz returns to voice the title character with Jim Carrey back as the live-action main antagonist. Other faces behind the mic include Colleen O’Shaughnessey, Idris Elba, and Keanu Reeves while James Marsden, Tika Sumpter, Krysten Ritter, Natasha Rothwell, and Shemar Moore are among the in front of camera participants.
Over President’s Day weekend in 2020, the first Sonic took in $70 million over the four-day holiday. It ended up with $149 million as its earnings were disrupted by the pandemic that followed shortly after. In April of 2022, the sequel made $72 million for its start and $190 million stateside.
Early word-of-mouth is encouraging suggesting this is the strongest of the trio. Despite direct competition from Mufasa: The Lion King, this should be crowned box office ruler of the pre-Christmas frame. I believe this continues the upward trajectory of the franchise with a high 70s sprint to the number one spot.
Sonic the Hedgehog 3 opening weekend prediction: $77.6 million
For my Mufasa: The Lion King prediction, click here:
No franchise has seen more actors submit headshots to get their heads shot than this one. Nearly a decade has passed since the puppy of John Wick (Keanu Reeves) was offed by Russian mobsters in the 2014 original. Much less time has expired onscreen as we arrive at Chapter 4. In the features that have followed, the world building continues to grow as the squib games ramp up.
As a quick reminder, Wick was a legendary hitman mourning his wife’s death from natural causes in 2014. When the condemned criminals caused the demise of his very good boy, it triggered a thirst for revenge still not quenched. The storyline also veered into unexpected and violently enjoyable directions. This includes The Continental, stylish hotels across the globe that cater to nefarious types. The Wick world also established its own set of rules for how these characters behave. It’s all set in a cinematic universe where law enforcement is on permanent break and an all-powerful syndicate The High Table calls the shots.
Ultimately it’s an excuse for long take battles where Keanu and his friends and enemies (and in some cases frenemies) find fresh ways to shoot indistinguishable baddies in the head. This can be monotonous but director Chad Stahelski and his team of technicians and stunt persons more often impress with their inventive set-ups.
In 2019’s Chapter 3 – Parabellum, Wick was left for dead by the High Table and rescued by underground crime lord the Bowery King (Laurence Fishburne, still having a ball). Our title character is in heavy revenge mode as the travelogue takes him to Morocco on horseback and then New York City, Japan, and Berlin. His back is always against the wall as the reward for his killing is $20 million and increasing.
The main player tasked with extinguishing Wick is Caine (Donnie Yen), a blind former Table assassin reluctantly returning to employment. His lack of sight causes creative ways for him to accomplish goals. Every time a bell rings around him, a henchman gets his wings (you’ll see). His hirer is the arrogant and ruthless Marquis (Bill Skarsgård), making for a delightfully smarmy addition. Skarsgård nailed the role of Pennywise with his demented sideways glances in the It double feature. Now he has another memorable villainous turn. Ian McShane’s Continental manager Winston (last seen putting a bullet into Wick) is more supportive this time. Shamier Anderson turns up as a skilled bounty hunter waiting for the price to be right before taking Wick out. In keeping with the franchise’s canine connection, he has a dedicated pooch who enacts cruelty to would-be tormentors. The dog’s presence also humorously reveals that even hotels for the underworld must adopt a policy for emotional support animals.
I have a tough time ranking these movies over the others. It sort of feels like one long movie. This one feels a bit longer because it is. Chapter 4 probably doesn’t need to clock in at three hours, but the action sequences continue to wow and this edition has the best adversary. As long as they continue to stay this solid and stylish, my policy will be to support them.
Blogger’s Update (04/26): I am revising my Big George Foreman estimate down from $8.5M to $5.7M
The Super Mario Bros. Movie should have a fourth and final weekend atop the charts before Guardians of the Galaxy Vol. 3 kicks off May and the summer cinematic season. Coming-of-age dramedy Are You There God? It’s Me, Margaret and boxing biopic Big George Foreman also the newbies entering the ring. You can peruse my detailed prediction posts on them here:
The revolving door at #2 should belong to Margaret, based on the 1970 Judy Blume bestseller. While a gross approaching $20 million is feasible, I’ll say mid teens is where it lands. It will bank on strong holds in its subsequent frames.
As for Big George Foreman, it might find itself in a close race with the second weekend of Evil Dead Rise for third position. I have Rise falling in the low to mid 60s (similar to the 2013 predecessor Evil Dead). If that occurs, it might win a close decision vs. Foreman.
Mario should have no trouble dominating once again and a mid 30s dip would give it just under $40 million in that fourth outing.
Finally, I have holdover John Wick: Chapter 4 in fifth. That slot could go to Guy Ritchie’s The Covenant or Air, though I have Keanu and company experiencing the smallest decline.
Here’s how I envision the top 5 shaking out:
1. The Super Mario Bros. Movie
Predicted Gross: $39.4 million
2. Are You There God? It’s Me, Margaret
Predicted Gross: $15.3 million
3. Evil Dead Rise
Predicted Gross: $8.8 million
4. Big George Foreman
Predicted Gross: $5.7 million
5. John Wick: Chapter 4
Predicted Gross: $4.1 million
Box Office Results (April 21-23)
As anticipated, it was a three-peat for The Super Mario Bros. Movie as it collected another $59.9 million in coinage. Blasting beyond my $54.8 million prediction, Illumination’s animated juggernaut has amassed $436 million domestically.
Evil Dead Rise proved there’s no horror fatigue for audiences following recent efforts Scream VI, The Pope’s Exorcist, and Renfield. The fifth pic in the franchise opened with an impressive $24.5 million, elevating past my $16.7 million take. That’s just a shade behind what 2013’s Dead ($25.7 million) kicked off with.
Afghanistan War drama Guy Ritchie’s The Covenant with Jake Gyllenhaal couldn’t fill its theaters with a middling $6.3 million. It did premiere a tad ahead of my $5.6 million forecast, but that’s still an unimpressive result.
John Wick: Chapter 4 was fourth with $5.8 million compared to my $4.7 million projection with $168 million in the coffers.
Fifth place belonged to Dungeons & Dragons: Honor Among Thieves with $5.5 million (I said $4.3 million) as the franchise hopeful is straining to reach nine digits at $82 million.
Air was sixth with $5.4 million in the third weekend – in line with my $4.6 million guesstimate. Total is $41 million.
Plummeting from 2nd to 7th is The Pope’s Exorcist, falling victim to the power of Evil Dead . Down 62% in its sophomore frame with $3.4 million, I was more generous at $4.6 million. The ten-day tally is $15 million.
The story is similar for Renfield, down 59% in weekend #2 with $3.2 million (I went with $3.9 million). The tepid two-week total is $13 million.
Finally, Beau Is Afraid with Joaquin Phoenix (generating wildly divergent reactions) played well in very limited NY/LA showings last weekend. Yet it stumbled in wider release. The multi-genre odyssey made $2.7 million on just under 1000 screens. I was higher at $4.4 million.
And that does it for now, folks! Until next time…
And in the meantime, listen to my box office thoughts on your favorite podcast platform by searching Movies at the Speed of Speculation!
Blogger’s Update (03/29): I am significantly revising my His Only Son estimate from $6.1M to $3.9M. That puts it in sixth instead of third.
There could be a photo finish at this weekend’s box office between the premiere of Dungeons & Dragons: Honor Among Thieves and second frame of John Wick: Chapter 4 after it managed a franchise best premiere. Other than Thieves, the faith-based drama His Only Son also rises in multiplexes. You can peruse my detailed prediction posts on both newbies here:
While Dungeons certainly has a rabid fanbase and reviews are quite strong, I do wonder how limited its potential is with non-fans who may have zero interest. If this hit $40 million, I wouldn’t be surprised. Same goes for $25 million. That puts me in the middle.
Wick delivered the aforementioned series peak for Keanu and company (more on that below). If the sophomore frame dip is similar to predecessor John Wick: Chapter 3 – Parabellum, it might find itself just behind Dungeons in second. I’m expecting a close battle.
His Only Son, like other titles in its genre, could outdo expectations just as Jesus Revolution did a few weeks ago. My mid single digits projections put it in third with sequels Creed III, Shazam! Fury of the Gods, and Scream VI all in close proximity in the 4-6 slots.
Here’s how I envision it:
1. Dungeons & Dragons: Honor Among Thieves
Predicted Gross: $32.7 million
2. John Wick: Chapter 4
Predicted Gross: $31.5 million
3. Creed III
Predicted Gross: $4.6 million
4. Shazam! Fury of the Gods
Predicted Gross: $4.3 million
5. Scream VI
Predicted Gross: $4.2 million
6. His Only Son
Predicted Gross: $3.8 million
Box Office Results (March 24-26)
There was little doubt that John Wick: Chapter 4 would continue each entry improving upon the opening of the other. The question was by how much. With the best reviews of the quartet, 4 got off to a $73.8 million start. That’s well beyond the $56 million achieved by the third chapter. I went on the highest end of anticipated ranges with $85.5 million. It didn’t get there, but this is a terrific result.
Shazam! Fury of the Gods plummeted 69% in weekend #2 with $9.7 million. I was more generous at $12.9 million. The DCEU sequel (with $45 million) has made less in 10 days than its 2019 predecessor made in its first three. There’s no way to sugarcoat it. This is a bomb that may struggle to make $75 million domestically.
Creed III was third with $8.3 million, in line with $8.8 million take for $140 million after four weeks.
Scream VI was fourth and also did $8.3 million (I predicted a little more at $9.4 million). The horror sequel is at $89 million as it slashes to $100 million plus.
Finally, 65 rounded out the top five with $3.2 million (I said $3 million) for a weak $27 million after three weeks.
And that does it for now, folks! Until next time…
BUT in the meantime – check out my podcast on your favorite place to get podcasts. Simply search for Movies at the Speed of Speculation for your listening pleasure!
John Wick: Chapter 4 is set to easily achieve a franchise best record this weekend. It’s the only new wide release burning up the screens and you can peruse my detailed prediction post on it here:
When I did my initial projection last week, I had Keanu and company hitting close to $70 million. Sizzling buzz now has me projecting in the mid 80s for a series that keeps growing financially with each entry.
The rest of the top 5 will be holdovers. Shazam! Fury of the Gods got off to a middling start (more on that below) and it should fall a bit further than the 54% decline of its predecessor in 2019.
It could be a close call for #3 between Scream VI (which I have dipping in the mid 40s) and Creed III (which could see a lower 40s fall). 65 looks to round out the high five.
Here’s how I see it shaking out:
1. John Wick: Chapter 4
Predicted Gross: $85.5 million
2. Shazam! Fury of the Gods
Predicted Gross: $12.9 million
3. Scream VI
Predicted Gross: $9.4 million
4. Creed III
Predicted Gross: $8.8 million
5. 65
Predicted Gross: $3 million
Box Office Results (March 17-19)
Shazam! Fury of the Gods could’ve used Irish luck or any other type as it came nowhere near the $53 million that its predecessor debuted at. The DCEU sequel made $30.1 million. While it managed to barely top my $27.9 million call, this is a subpar start to be kind. On the heels of Ant-Man and the Wasp: Quantumania not matching expectations, there seems to be some superhero fatigue. With a B+ Cinemascore (compared to part 1’s “A”), look for this to suffer substantial declines in the weeks ahead.
Scream VI was second after a franchise high opening with $17.3 million. That’s right on pace with my $17.6 million forecast for a ten-day haul of $75 million (just below the $81 million that #5 earned in total stateside).
Creed III was third with $15.3 million (I said $16.5 million) for a three-week tally of $127 million. That puts it beyond the $115 million that part II made overall.
65 was fourth with $5.8 million, a smidge ahead of my $4.8 million projection. Adam Driver’s dino adventure stands at a muted $22 million thus far.
Ant-Man and the Wasp: Quantumania rounded out the top five with $4.2 million, in line with my $4.3 million prediction. Total is $205 million.
Blogger’s Update (03/20): Wick appears poised for a massive over performance. I am revising from projection from $69.1M to $85.5M.
Each Wick pic has burned brighter at the box office than the previous entry and the trend looks to continue as John Wick: Chapter 4 is unleashed on March 24th. Keanu Reeves is back in the title role with Chad Stahelski returning to direct. The supporting players are a mix of familiar franchise faces and newcomers including Donnie Yen, Bill Skarsgård, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rino Sawayama, Ian McShane, and Laurence Fishburne.
In the fall of 2014, the first Wick was a modest success when it debuted with $14 million and $43 million domestic overall. Those numbers seem meager now, but they were better than anticipated and more fans were gained when it hit the home viewing circuit. The 2017 sequel took in $30 million out of the gate with $92 million total. In 2019, Chapter 3 – Parabellum soared to a $56 million premiere with $171 million in the stateside bank.
At nearly three hours long, Chapter 4 is generating some of the strongest reviews of the series. With 91% on Rotten Tomatoes, critics are particularly praising the choreography of its wild action sequences. That should get plenty of genre fans out to the multiplexes. Like Creed III, look for this to score a series high opening with room to spare. I’m thinking mid 60s to possibly $70 million is achievable.
John Wick: Chapter 4 opening weekend prediction: $85.5 million (REVISED NUMBER)
The Best Picture lineup for the just aired Academy Awards was 20% sequel with Top Gun: Maverick and Avatar: The Way of Water in contention. We also had Black Panther: Wakanda Forever and Glass Onion: A Knives Out Mystery up in key contests. So is it crazy to think John Wick: Chapter 4 could find its way into the Oscar conversation a little less than a year from now? Yeah, it might be.
Or maybe not. The fourth heaping of ultra-violence starring Keanu Reeves and directed by Chad Stahelski stands at 89% on Rotten Tomatoes prior to its March 24th domestic bow. That exactly matches the scores of predecessors Chapter 2 and Chapter 3 – Parabellum and exceeds the original’s 86%.
Yet many of the reviews are calling #4 the best of the wild bunch. The nearly three hour opus is being specifically singled out for its production design and cinematography. I could certainly see Film Twitter mounting a campaign for this acclaimed franchise to finally get some love from the tech branches. It’s unlikely to occur, but not impossible. My Oscar Prediction posts will continue…
The Warner Animation Group kicked off nearly a decade ago with 2014’s The Lego Movie. This Friday, their 10th effort under the production banner is DC League of Super-Pets. It comes from director Jared Stern (who wrote The Lego Batman Movie and The Lego Ninjago Movie) and features the voices of Kevin Hart and Dwayne Johnson as Batman and Superman’s respective canine pals.
While some of their titles have performed pleasingly at the box office, none of the pics have caught the attention of awards voters. Super-Pets currently sits at a decent 80% on Rotten Tomatoes. Yet if Lego and its spin-offs and sequels didn’t block space on the Best Animated Feature final five, the competition from Disney and others will likely freeze this out too. My Oscar Prediction posts will continue…
Blogger’s Note (07/27): I am revising my estimate down considerably- from $42.6M to $33.6M
Dwayne Johnson and Kevin Hart already share a successful cinematic history via Central Intelligence and the Jumanji franchise. On July 29th, they reunite to respectively provide the voices of Superman and Batman’s canine companions in the animated DC League of Super-Pets. The Warner Animation Group superhero tale (or rather… tail?) is directed by Jared Stern, who did work on the studio’s The Lego Batman Movie and The Lego Ninjago Movie. John Krasinski voices the Man of Steel while Keanu Reeves does so for the Caped Crusader. Other familiar names contributing vocal work are Kate McKinnon, Vanessa Bayer, Natasha Lyonne, Diego Luna, Thomas Middleditch, Ben Schwartz, Marc Maron, and Olivia Wilde.
The Legion of Super-Pets from the DC Comics dates all the way to 1962 and their connection to their iconic masters could get plenty of kids to the multiplexes. It might even get their parents slightly interested. The summer of 2022 has been unpredictable when it comes to animated features. Lightyear was a rare disappointment for Disney/Pixar and Paws of Fury: The Legend of Hank outright bombed last weekend. On the other hand, Minions: The Rise of Gru was a massive hit that’s currently rising to a $300 million plus domestic haul. The Bad Guys was also a solid performer in the spring.
So what league will this premiere in? Estimates have it in the $40-50 million range. I see no reason why it would greatly exceed or fall short of expectations. I’m thinking it starts in the low to mid 40s though getting above $50 million is certainly doable.
DC League of Super-Pets opening weekend prediction: $33.6 million
When the director seems to have ambivalent (at best) feelings about returning to their franchise, that emotion might rub off on the audience a bit. And so it is with The Matrix Resurrections, arriving 18 years after parts II and III with Lana Wachowski back (though not with her sister Lilly who co-directed previous installments). An overriding theme is that Wachowski is making part IV because the studio was going to do it regardless. Apparently she’d rather not leave it in the hands of others. The more things change, the more they stay the same in one respect. Our fourth trip into this world, like the second and third, can’t come close to matching the heights of the 1999 original (no matter how many throwback clips we see from it).
A glaring flaw is Resurrections mirrors that of the first sequels. So much after part one about The One centered its drama on Neo’s (Keanu Reeves) powerful connection with Trinity (Carrie-Anne Moss). For the most part, we were told as opposed to shown that development. The 2021 model is dependent on our wistful nostalgic pining of their romance. It’s one that I and I suspect many others just don’t possess.
In The Matrix, we were introduced to a fresh and exciting cinematic universe at the perfect time. As the 20th century drew to a close, questions abounded about machines and technology and their potential to overpower humans and their free will. It was potent in its message back then and (of course) the action was mind blowing and influenced many a 21st century spectacle.
2003’s follow-up The Matrix Reloaded was in many respects a mess, but an often highly entertaining one. Its freeway shootout was a marvel that holds up gloriously today. The first act set in a sweat drenched orgiastic Zion… not so much. The Matrix Revolutions arrived six months after Reloaded and despite some nifty moments, it was a serious letdown critically and financially.
Yet franchises never die in Hollywood so Wachowski seems to be battling her own free will and giving us her next iteration. For those who may have forgot (and it’s easy to forget Revolutions), Neo and Trinity both lost their lives while saving what was left of the human race from machine domination. In Resurrections, Neo’s real life persona Thomas Anderson is indeed alive and living 60 years in the future as a video game programmer. His lauded creation is essentially what we saw in the previous trilogy. His therapy sessions with Neil Patrick Harris’s analyst hints of his recollections and, for that, he’s prescribed blue pills. When Anderson is confronted with his past, it comes from a younger Morpheus (Yahya Abdul-Mateen II) and a new team of rebels led by a white rabbit tattooed Bugs (Jessica Henwick).
It also turns out Trinity is around in the form of Tiffany, now married with kids and without knowledge of her gravity defiant history. The deal cut by the lovebirds in Revolutions still stands albeit on shaky ground. Humans and machines have found a way to coexist but others want war times to resume. The plot, however, really isn’t focused on extinction. Tiffany is the McGuffin – and the drama centers on her chosen pill intake. It seems a tad low-pressure for a series typically concentrated on civilization’s existence.
In addition to a more youthful Morpheus, we also have Jonathan Groff as a boyish Agent Smith. Neither of their characterizations match those of Laurence Fishburne or Hugo Weaving, respectively. The screenplay, in particular, does a disservice to Mateen (a fine actor) and the treatment of Morpheus. So crucial in the trilogy, he’s relegated to an insignificant status in this one. On the flip side, Jada Pinkett Smith returns as General Niobe and she’s aged six decades. The makeup is decent. Her decision making hasn’t improved much when it comes to advising our protagonists.
Wachowski’s self-referential treatment of the material starts off fairly funny and the first hour has its charms. When a holdover from Reloaded and Revolutions appears to spew English and French rantings about our text obsessed and social media culture, it’s moved to eye rolling emoji territory. In Reloaded, that mid-picture car flipping street extravaganza alone arguably made the first sequel worth the price of admission. There’s no such centerpiece in Resurrections that approaches it. Instead we get a follow-up where the filmmaker is struggling to justify its existence and even pontificating through her subjects that it’s not warranted. Maybe she should have left this revolution for someone else to start.
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