Inspired by a children’s book from Charles Dickens released some 60 plus years following his death, Angel Studios has the faith-based animated offering The King of Kings in multiplexes this weekend. Seong-ho Jang directs the bio of Jesus Christ with Oscar Isaac voicing him. Kenneth Branagh is Dickens with Uma Thurman, Mark Hamill, Pierce Brosnan, Roman Griffin Davis, Forest Whitaker, and Ben Kingsley also providing behind the mic contributions.
Early box office indicators show this might perform well in the pre-Easter frame. Reviews are so-so with 62% on Rotten Tomatoes and a 48 Metacritic. It likely doesn’t have a prayer for a nomination in Best Animated Feature at the Academy Awards and precursor ceremonies. My Oscar Prediction posts will continue…
Blogger’s Note (04/07): Deadline reports that Kings is already seeing nearly $8 million in pre-sales four days before its debut. Angel Studios is employing a marketing strategy which includes kids receiving a free ticket to screenings with the family. This is causing me to raise my projection from $11.4 million to a sizzling $21.4 million.
Angel Studios, which had an unexpectedly massive hit with Sound of Freedom in 2023, has witnessed mixed returns for subsequent releases. The faith-based outlet goes the animation route on April 11th via The King of Kings. Based on a children’s book, it involves Charles Dickens (voiced by Kenneth Branagh) narrating the life of Jesus (Oscar Isaac). Other performers behind the mic include Uma Thurman, Mark Hamill, Roman Griffin Davis, Forest Whitaker, and Ben Kingsley.
Will Christians and kiddos turn out? Timed for a pre-Easter premiere, it does have direct competition from The Chosen: Last Supper – Part 3, the popular show which will broadcast the final 3 episodes for season 5. There’s also the sophomore frame for A Minecraft Movie which caters to family crowds.
Like the other new releases next weekend, I think this will hover around $10 million. I’ll project it gets a little over that and it might have a heavenly hold over the holiday in its second go-round.
The King of Kings opening weekend prediction: $21.4 million
Jason Statham and Sylvester Stallone look to top the charts as Expend4bles, the fourth entry in the action franchise, is the only new wide release this weekend. You can peruse my detailed prediction post on it here:
I have it just under the teens and that’s a far cry from the mid 30s/high 20s premieres that parts 1 and 2 achieved. It’s also below the $15.8 million that The Expendables 3 made in 2014. That said, given the weak box office frame happening, it should be enough for a #1 debut.
Just as the competition for #1 was a photo finish this past weekend (more on that below), The Nun II and A Haunting in Venice should duke it out for the runner-up spot.
Nos. 4 and 5 should go to holdover threequels The Equalizer 3 and My Big Fat Greek Wedding 3. However, Barbie might manage to stay fifth depending on the Greek drop and the fact that it’s playing on IMAX screens this weekend.
Here’s how I think it’ll shake out from 1-6:
1. Expend4bles
Predicted Gross: $12.8 million
2. The Nun II
Predicted Gross: $7.5 million
3. A Haunting in Venice
Predicted Gross: $7.2 million
4. The Equalizer 3
Predicted Gross: $4.9 million
5. Barbie
Predicted Gross: $3.1 million
6. My Big Fat Greek Wedding 3
Predicted Gross: $2.6 million
Box Office Results (September 15-17)
In a minor upset, The Nun II managed to remain #1 for a second weekend. That upends the conventional wisdom that A Haunting in Venice would claim the top slot. With a better than expected 55% fall (decent for the horror genre), The Nun II made $14.5 million compared to my $10.9 million projection. The scary sequel has made $56 million in two weeks.
A Haunting in Venice, the third Kenneth Branagh entry in his Hercule Poirot series, was a close second with $14.2 million. That’s right on track with my $14.6 million take. Considering last year’s Death on the Nile struggled as well, I wouldn’t anticipate seeing the mustachioed detective for a fourth mystery.
The Equalizer 3 was third with $7.2 million, in line with my $7 million call. Denzel Washington’s alleged capper to his franchise has made $73 million in three weeks.
My Big Fat Greek Wedding 3 saw a sophomore frame decline above 50% with $4.7 million (I was more generous at $5.9 million). Total is just $18 million.
Barbie rounded out the top five with $3.8 million (I said $3.6 million) to bring its nine-week haul to $625 million.
Sequel heavy September chugs along this weekend as Kenneth Branagh’s A Haunting in Venice continues his Hercule Poirot series and seeks a #1 start. You can peruse my detailed prediction post on it here:
The follow-up to 2017’s Murder on the Orient Express and last year’s Death on the Nile is actually receiving some of the best reviews of the trio. I suspect it may manage to top what Nile did while only reaching about half of what Express grossed out of the gate.
After a solid if unspectacular start, The Nun II may see a high 60s plummet that’s fairly normal for its genre. That would mean a second place showing barely in the double digits.
Holdover threequels The Equalizer 3 and My Big Fat Greek Wedding 3 will likely populate the 3-4 slots with drops in the low to mid 40s while Barbie should round out the top five. I figure the year’s biggest hit will remain in the high five as I look for Jawan to have a hefty decline after its impressive premiere (more on that below).
Here’s how I envision that top five:
1. A Haunting in Venice
Predicted Gross: $14.6 million
2. The Nun II
Predicted Gross: $10.9 million
3. The Equalizer 3
Predicted Gross: $7 million
4. My Big Fat Greek Wedding 3
Predicted Gross: $5.9 million
5. Barbie
Predicted Gross: $3.6 million
Box Office Results (September 8-10)
The Nun II didn’t come anywhere near the franchise Conjuring Universe peak $53 million that its predecessor made in 2018. It still scared up a respectable $32.6 million, under my $38.7 million prognosis.
The Equalizer 3 tumbled in the mid 60s during its sophomore frame with $12 million, below my $15.4 million call. The two-week total is $61 million as it hopes to hit $100 million like parts 1 and 2. It’s a legit question mark as to whether it gets there.
My Big Fat Greek Wedding 3 debuted in line with my expectations with a meh $10 million (I said $10.3 million). That is slightly better than other estimates though it’s well under the $16 million of part 2 from 2016.
Acclaimed Hindi action flick Jawan admittedly was not on my radar screen like it should’ve been. The $6.1 million haul put it in fourth place with the second strongest per theater average after The Nun II.
Barbie rounded out the top five with $5.7 million (I went with $6.4 million) as its eight week total rose to a massive $620 million.
I incorrectly had Blue Beetle in the top five, but it was sixth with $3.8 million. I was right on pace with $3.9 million. The DCU disappointment made $63 million in four weeks.
Nearly half a century ago, Sidney Lumet’s cinematic adaptation of Agatha Christie’s Murder on the Orient Express tracked down six nominations. This included a Supporting Actress victory for Ingrid Bergman.
Kenneth Branagh’s 2017 version of the mystery found decent box office success and a Production Design nom at Critics Choice. Academy voters didn’t honor it anywhere and the same holds true for follow-up Death on the Nile from last year.
The third feature in the series is A Haunting in Venice (out September 15th), based on Christie’s Hallowe’en Party. Kyle Allen, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly, Riccardo Scamarcio, Michelle Yeoh, and Branagh’s Hercule Poirot make up the cast. With more horror elements than the previous pics, it hopes to scare up decent business. With the review embargo lifted, it holds the best Rotten Tomatoes score among the trio. Orient‘s is 61%, Nile is similar with 62%, and Haunting is posting 81% at this early stage (of course it could go down when more reaction comes in).
That said, Production Design and Costume Design are really the only feasible inclusions. I deduce the Academy will look to others for their final five. My Oscar Prediction posts will continue…
Kenneth Branagh’s grandly mustachioed master sleuth Hercule Poirot is back in cinemas on September 15th with A Haunting in Venice. Based on Agatha Christie’s 1969 work Hallowe’en Party, this is the third mystery in the franchise that began with Branagh’s 2017 version of Murder on the Orient Express and continued last year with Death on the Nile. In addition to its director/star, the cast includes Kyle Allen, Camille Cottin, Jamie Dornan, Tina Fey, Jude Hill, Ali Khan, Emma Laird, Kelly Reilly, Riccardo Scamarcio, and current Best Actress winner Michelle Yeoh.
The first trailer for Haunting definitely leaned on the horror elements of its story and not the fact that it’s a continuation of the Express and Nile series. That’s not surprising when you consider that Nile came in well under its predecessor. While the Orient remake made $28 million out of the gate and $102 million overall domestically, the oft delayed Nile only earned $12.9 million for its start and $45 million overall a year and a half ago.
That horror angle might be a smart one for 20th Century Studios, but genre fans might be satiated with The Nun II (out the weekend prior). I do think this manages to top Death though not by much.
A Haunting in Venice opening weekend prediction: $14.6 million
When it comes to Academy love for Christopher Nolan and his filmography, the magic number appears to be 8. That’s how many nominations happened for 2008’s The Dark Knight, 2010’s Inception, and 2017’s Dunkirk. The filmmaker looks to exceed that figure with Oppenheimer. The three-hour epic biopic starring Cillian Murphy as the father of the atomic bomb opens this weekend and the review embargo lapsed today. The massive supporting cast includes Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, and Benny Safdie (among others). Seriously when I say among others. As in, Gary Oldman plays Harry Truman and that’s far down on the Wiki list of familiar faces.
The Academy has a checkered history with Mr. Nolan. While The Dark Knight managed those eight mentions and won two, it famously missed Best Picture. Many believe the expansion to 10 features from five a year later was due to the Dark snub. Nolan himself has only been up for Best Director once with Dunkirk. His omission for Inception was a surprise. As far as actors who’ve competed in his works, that list consists of only one: Heath Ledger in The Dark Knight. He, of course, posthumously won.
Based on the critical reaction to Oppenheimer, Nolan’s record for nods may be broken and the acting list should expand. The Rotten Tomatoes meter is at 93% and while not all write-ups are raves, I believe enough are so that Best Picture and Director are likely happening. In fact, I see both of them occurring before an Adapted Screenplay spot (which could still materialize).
It’s no surprise that this should play in tech races. From Cinematography to Film Editing and Original Score and Production Design. Those might be givens as is Sound. Costume Design, Makeup and Hairstyling, and certainly Visual Effects are all feasible too.
If you’re keeping score, we’re already potentially above 8. Then there’s the performances. Murphy (obviously in lead) was assumed to be a surefire contender (his first at bat) and that’s bearing out. The bigger question was which supporting players would emerge. The answer it seems is Blunt and Downey Jr. For Blunt, it somehow would mark her first nomination. For Downey Jr., it would be the third – 31 years after Chaplin in lead and 15 years following Tropic Thunder in Supporting.
Bottom line: Oppenheimer appears positioned to be Nolan’s personal best showing at the big dance. It should be right up there with Killers of the Flower Moon and perhaps Dune: Part Two as far as numerical possibilities. My Oscar Prediction posts will continue…
Blogger’s Update (07/19): I’ve increased my prediction from $52.3M to $65.3M
As one of the few directors whose name can open a movie, Christopher Nolan’s epic biopic Oppenheimer reaches theaters on July 21st. Cillian Murphy headlines the three-hour historical epic as the title character, known as the father of the atomic bomb. The large supporting cast includes Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, and Benny Safdie.
Shot for a reported $100 million, the Oscar hopeful is targeting a second place showing by outpacing the second frame of Mission: Impossible – Dead Reckoning Part One. First place appears unreachable due to Barbie. The social media world has had a ball with memes and GIFs celebrating the premieres of these two huge projects on the same date. The term “Barbenheimer” has even been coined with thousands of moviegoers having already planned long days at the multiplex to view both.
Thanks in large part to his Dark Knight trilogy, Nolan serves as the biggest main draw for his own projects. He boasts a directorial bankability that few of his colleagues share (Tarantino is another example). Non-Batman projects have seen impressive starts. In 2010, Inception (hot on the heels of The Dark Knight) premiered with $62 million. Interstellar started with $47 million in 2014. Over Labor Day weekend in 2020, Tenet braved unfavorable COVID conditions and managed a $20 million beginning.
Oppenheimer faces its challenges. There’s obviously the competition from an iconic doll and Ethan Hunt. The subject matter may not be enticing to younger viewers who typically drive the summer box office. Still early indications including some sold out IMAX venues at considerably higher prices have me thinking it could top $50 million.
Oppenheimer opening weekend prediction: $65.3 million
We have reached 2021 in my posts speculating on a specific piece of Oscar history. As awards followers are aware, 2009 saw the Academy expand the Best Picture category from five movies to ten. That lasted for two years and in 2011, it switched to anywhere from 5-10 with 8 or 9 as the magic numbers for several years. In 2021, the number reverted back to a set ten.
What if that hadn’t happened? What if the BP derby had stayed at a quintet? What pictures would have made the cut?
Beyond the headlines made during the 94th Academy Awards by Will Smith and Chris Rock, the other story was a little movie called CODA. The family drama from Apple TV built momentum beginning at the Sundance Film Festival early in the year. It culminated in a 3/3 performance on Oscar night – winning Picture, Original Screenplay, and Supporting Actor (Troy Kotsur). We can assume it would’ve made the final cut.
As for the other nine, let’s take a deeper dive:
Belfast
Kenneth Branagh’s semi-autobiographical coming-of-age drama picked up other key nods in Director, Supporting Actress (Judi Dench), Supporting Actor (Ciaran Hinds), Original Song, and Sound. It didn’t emerge victorious in any, but its sole win came in Original Screenplay in a tight contest with Licorice Pizza.
Does It Make the Final Five?
Yes. The seven nominations were tied for third most and the screenplay trophy pushes it over.
Don’t Look Up
Adam McKay’s political satire was a streaming hit for Netflix with a megawatt all-star cast including Leonardo DiCaprio, Jennifer Lawrence, and Meryl Streep. Even with the Power of the Meryl, it received just three other mentions besides Picture in Original Screenplay, Original Score, and Film Editing (going 0 for 4).
Does It Make the Final Five?
No. Critics were divided and Netflix likely would’ve thrown all their campaign muscle behind The Power of the Dog if the count was only five.
Drive My Car
Ryusuke Hamaguchi’s three-hour Japanese drama easily won the International Feature Film race, but it also picked up other nods in Director and Adapted Screenplay.
Does It Make the Final Five?
No, but you could argue otherwise. I left it off due to the power of the others and the fact that foreign directors often get nominated without their films making the BP cut.
Dune
Denis Villeneuve was shockingly omitted from the Best Director derby. However, the sci-fi epic got the second most nominations at 10. It won a ceremony high 6 with Cinematography, Film Editing, Original Score, Production Design, Sound, and Visual Effects. The other nods were Adapted Screenplay, Costume Design, and Makeup and Hairstyling.
Does It Make the Final Five?
Yes. The Villeneuve snub causes some doubt, but the sheer amount of victories makes the inclusion likely.
King Richard
Will Smith infamously had the true-life sports drama’s sole win in Actor and it was also nominated in Supporting Actress (Aunjanue Ellis), Original Screenplay, Original Song, and Film Editing.
Does It Make the Final Five?
No. Yet this is another one that was a very close call. Once again, I just couldn’t take out some upcoming entries.
Licorice Pizza
Paul Thomas Anderson’s coming-of-age dramedy also saw its maker nominated in Director and Original Screenplay. It went 0 for 3.
Does It Make the Final Five?
No. That performance is a low showing for PTA’s pic and this was fairly easy to leave out of the ultimate quintet.
Nightmare Alley
Guillermo del Toro’s noirish thriller received three additional tech nods (losing all) in Cinematography, Costume Design, and Production Design.
Does It Make the Final Five?
No. This was (by a considerable margin) the easiest to leave off since it was blanked in all other major races like directing and screenplay and any acting mentions.
The Power of the Dog
Jane Campion’s direction is responsible for the Netflix Western’s one win. The nom count was an even better than expected 12 that included Actor (Benedict Cumberbatch), Supporting Actress (Kirsten Dunst), Supporting Actor (Kodi Smit-McPhee and Jesse Plemons), Adapted Screenplay, Cinematography, Film Editing, Original Score, Production Design, and Sound.
Does It Make the Final Five?
Yes, even though that 1/12 count is underwhelming to be kind. That’s still the most nods and Campion winning director seals it.
West Side Story
Steven Spielberg’s musical remake had its only win for Ariana DeBose (doing her thing in Supporting Actress). Five additional noms came for Mr. Spielberg, Cinematography, Costume Design, Production Design, and Sound.
Does It Make the Final Five?
Yes. I’ll admit this is a tough one and you could put Drive My Car or King Richard in its place. My gut says The Power of the Spielberg gives it a minor advantage.
That means my final 2021 five is:
Belfast
CODA
Dune
The Power of the Dog
West Side Story
2022 is next! And then, I’m switching it up. From 2008 and working backwards, I’ll do the inverse of these posts. For those years, I’ll speculate on what an expanded lineup of 10 might look like.
If you missed my entries for 2009-20, have no fear! They’re here:
My Year Of posts focusing on a half dozen performers who had us feeling ’22 continues with our second icon who turned the big 6-0 this year. The first was Tom Cruise and if you missed that post, you can find it here:
The next sexagenarian is Michelle Yeoh. For the past three decades, U.S. audiences have seen the Malaysian legend fighting alongside Jackie Chan in the Supercop pics, James Bond in Tomorrow Never Dies, and Chow Yun-fat in Ang Lee’s acclaimed Crouching Tiger, Hidden Dragon. In recent years, she probably came close to a Supporting Actress nomination as the overbearing mother in Crazy Rich Asians. Last year, she joined the MCU in Shang-Chi and the Legend of the Ten Rings.
There were plenty of projects in 2022. She lent her voice to Minions: The Rise of Gru and Paws of Fury: The Legend of Hank. A small role popped up in Netflix’s YA fantasy The School for Good and Evil. None of those projects are why Yeoh made this cut.
Everything Everywhere All at Once is. The sophomore effort of the Daniels (Dan Kwan and Daniel Scheinert) is the multi-genre rumination on life that casts Yeoh as frazzled laundromat owner Evelyn. She also (due to a seemingly infinite multiverse) plays the role in many other iterations including a movie star, a woman with hot dogs for fingers, and a rock. It’s a one-of-a-kind picture with the role of a lifetime for its lead.
An Oscar nomination is a near certainty and a win is quite possible. The box office was impressive with $70 million domestically against a considerably smaller budget. Costars Ke Huy Quan, Stephanie Hsu, and Jamie Lee Curtis could all be headed for their own awards nods. I currently have Everything listed in 1st to take Best Picture.
A busy 2023 and beyond awaits Yeoh. More voice work is on deck with Transformers: Rise of the Beasts and Kenneth Branagh has put her in the ensemble of his third Poirot mystery A Haunting in Venice. Her Crazy Rich Asians director Jon M. Chu will be collaborating with her again on the two planned Wicked films (slated for 2024 and 2025). James Cameron has her showing up (apparently in human form) in the third and fourth Avatar pics.
Yeoh’s part in Everything was originally considered for her old costar Jackie Chan. That’s hard to picture now given her fantastic portrayal. She easily earns a spot in this series. My Year Of posts will continue with an actor who might’ve lost a friend in his Oscar contender, but gained plenty of praise for his body work throughout the year.
All My Life... I Wanted To Be A Blogster 