Based on a 2016 graphic novel by Isabel Greenberg, the historical fantasy 100 Nights of Hero played the Venice Film Festival and closed London’s as it moves toward a December 5th domestic release. Julia Jackman directs and adapted the source material for the big screen with Emma Corrin, Nicholas Galitzine, Maika Monroe, Amir El-Masry, Charli XCX, Richard E. Grant, and Felicity Jones in the cast.
Many critics are appreciating what’s called a feminist fable to the tune of 100% on Rotten Tomatoes. Metacritic stands at 70 which illustrates the more measured tone of some reviews. IFC is distributing and they don’t exactly have a track record when it comes to awards campaigning. So while a down-the-line race like Production Design might be a possibility in the care of another studio, I don’t think Hero will be on the minds of voters. My Oscar Prediction posts will continue…
Neon looks for The Monkey to shine at the box office when it opens February 21st. Based on Stephen King’s 1980 short story, the horror flick is Osgood Perkins’ follow-up to his surprise hit Longlegs from last year. Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O’Brien, Rohan Campbell, and Sarah Levy star.
Profitability shouldn’t be an issue considering the reported $10 million budget. Early reviews are at 87% on Rotten Tomatoes and 67 on Metacritic. In July of 2024, Longlegs kicked off to a robust $22 million on its way to a $74 million domestic haul.
There’s been lots of scary movies in recent weeks, but The Monkey could capitalize on its simple premise, decent buzz, and King/Perkins combo. It could get past what Longlegs accomplished though I’ll project under in the high teens or low 20s.
The Monkey opening weekend prediction: $18.2 million
For my The Unbreakable Boy prediction, click here:
Longlegs is a more effective freak show than FBI story. The direction of Osgood Perkins often shows a mastery at building tension and establishing a chilling tone. When the final act arrives, I grew colder to its energy as the plot points became more recognizable. That might be a little misleading, however, since this does feature a bonkers performance even by Nicolas Cage’s standards. When the procedural itself becomes more standard, it can suffer.
Maika Monroe is Agent Lee Harker, who can’t have been in the Bureau for long but whose seemingly psychic abilities serve as an asset. The manhunt is on for Longlegs, a serial killer dabbling in the occult and intricate doll making. His young female victims also share birthdays that fall on the 14th of the month.
Set in the 90s as evidenced by the Bill Clinton portrait behind her superior’s desk, Agent Harker seems to share more than a psychic connection to the case. Her off-kilter mother (Alicia Witt) seems hung up on religious themes. You begin to suspect that the case may have relations with that woman.
Barely seen or heard in the trailers, Mr. Cage is the title character. Buried in makeup that could earn those artists awards nominations, this is Nic at his most uncaged. There are snippets of his work that will surely enter the Memeification Hall of Fame and there are aspects of his performance that certainly remind us of his wild versatility. It’s also occasionally challenging to look beyond the off the charts Caginess of it.
The short of it is that Longlegs works best when the mystery is unraveling and its secrets are obscured like Cage was in the ads. As more is revealed, it loses some edge. Yet there is no doubt that Perkins (son of Psycho Anthony Perkins) injects this with devilish details that provide anxiety, especially early on.
Scarlett Johansson and Channing Tatum are hoping to land a third place showing behind the current animation domination with Fly to the Moon this Friday. We also have the critically acclaimed horror thriller Longlegs with Maika Monroe and Nicolas Cage and you can peruse my detailed prediction posts on the newbies here:
A low double digits premiere might get Moon to third after Despicable Me 4 and Inside Out 2. The former got off to a holiday weekend start in line with expectations while Inside continues its enormously financially potent run. I have Despicable dropping in the low 50s range with Out easing in the lower to mid 40s.
The worst case scenario for Moon would be fifth depending on how Longlegs debuts and A Quiet Place: Day One holds up in weekend 3. Longlegs is a wild card and it could exceed expectations. I have it just topping $10 million and that would put it in a close race with its genre competitor and perhaps even Moon. I’ll give the newcomer an edge over Quiet, but spots 3-5 will be a fascinating watch this time around.
Here’s how I envision the top 5 playing out:
1. Despicable Me 4
Predicted Gross: $36.4 million
2. Inside Out 2
Predicted Gross: $17.7 million
3. Fly Me to the Moon
Predicted Gross: $12.2 million
4. Longlegs
Predicted Gross: $11.6 million
5. A Quiet Place: Day One
Predicted Gross: $10.1 million
Box Office Results (July 5-7)
As mentioned, Illumination Entertainment performed as anticipated with Despicable Me 4. Having opened on Wednesday the 3rd, the four-quel (and sixth entry in the series when counting the Minions titles) made $75 million from Friday to Sunday and $122.6 million when counting its two extra days. That’s slightly below my respective estimates of $79.4 million and $126.3 million and certainly enough to keep this money minting franchise going.
Inside Out 2 dropped to second after three weeks atop the charts with $30.3 million, a tad under my $32.6 million take. The four-week gross is $534 million.
A Quiet Place: Day One tumbled a somewhat troubling 61% in third with $20.6 million. I was more generous at $24 million. The two-week tally is nearing nine digits with $93 million.
Ti West’s third pic in his horror trilogy MaXXXine was fourth with a so-so $6.7 million. That does top my $5.7 million forecast and it is higher than predecessors X and Pearl. This should fade quickly.
Bad Boys: Ride or Die rounded out the top five with $6.6 million (I said $6.8 million) for a five-week $177 million haul.
Kevin Costner’s Horizon: An American Saga – Chapter 1 was sixth in its sophomore outing with $5.3 million, in line with my $5.4 million prediction. The Western’s underwhelming total is $22 million.
Neon hopes Longlegs lights up the box office this Friday. The 90s set horror thriller comes from director Osgood Perkins with Maika Monroe and Nicolas Cage (as a demented serial killer) headlining. Costars include Blair Underwood, Alicia Witt, and Kiernan Shipka.
Plenty of scary genre titles have struggled in 2024 though A Quiet Place: Day One got off to a loud start just two weeks ago. Buzz is solid for Longlegs with a 93% RT rating.
Out on approximately 2500 screens, a victory for the studio would be a $10M+ start. It might get there and I’ll give it the benefit of the doubt. That low double digits gross might put it in a race with the third weekend of Quiet for fourth place.
Longlegs opening weekend prediction: $11.6 million
Prior to its release on July 12th, Longlegs from Osgood Perkins is generating some loud buzz. The horror thriller stars It Follows actress Maika Monroe alongside Nicolas Cage as a doll making serial killer who’s barely glimpsed in the effective trailers. Blair Underwood, Alicia Witt, and Kiernan Shipka costar.
The Neon release is drawing some comparisons to The Silence of the Lambs and not just because it’s set in the 1990s. Lambs was an anomaly as the only horror flick to take BP and win Director, Actor, Actress, and Adapted Screenplay for good measure. This is not a genre that often resonates with the Academy and I suspect Longlegs won’t either despite the current 100% RT score. I would note that most reviews are not putting it in the Lambs league.
Critics are praising Cage for his creepy work. Don’t be surprised if Neon mounts a Supporting Actor campaign, but I highly doubt it will pan out in the long run. My Oscar Prediction posts will continue…
There was a time and it wasn’t long ago when Shia LaBeouf’s career appeared to be a Hollywood cautionary tale. Just about a decade ago, he was the industry’s hot new leading man with starring roles in the Transformers franchise, Disturbia, and IndianaJonesandtheKingdomoftheCrystalSkull. However, his bizarre personal antics and a high profile 2017 arrest looked to derail his promising standing.
2019 has proved to be a resurgent period. There’s his acclaimed turn in the indie hit ThePeanutButterFalcon. And early this year, HoneyBoy was unveiled at the Sundance Film Festival and screenings have continued in Toronto.
LaBeouf wrote the screenplay and it serves as an autobiographical look at his childhood. He also costars and he gave himself a part in which he plays his own father. Other actors include Lucas Hedges, Noah Jupe, Maika Moore, and Natasha Lyonne. Like Falcon, the film has garnered critical praise to the tune of a 100% Rotten Tomatoes score.
Academy voters love a solid comeback story. Could they reward LaBeouf with a supporting actor or original screenplay nod? I generally think HoneyBoy might be a tad too low profile for inclusion and Original Screenplay in particular seems awfully crowded. Yet when it comes to how things were looking just two years ago, awards chatter is a positive sign of where Shia’s career is at. My Oscar Watch posts will continue…
Opening on a surprisingly large 2000 screens this weekend is Greta, a horror thriller from veteran Irish director Neil Jordan. The film is headlined by Elle star Isabelle Huppert and Chloe Grace Moretz with a supporting cast including Maika Monroe, Colm Feore, and Stephen Rea (who starred in Jordan’s 1992 Oscar contender TheCryingGame).
The pic screened last fall at the Toronto Film Festival to mostly positive notices. Its Rotten Tomatoes score stands at 67% currently. I will admit that I was a bit shocked when I saw its large theater count. This is normally the type of feature that opens in limited fashion and hopes to gain steam.
I’ll say that Greta has trouble landing the adult audience it’s catering to and struggles to reach mid single digits.
Greta opening weekend prediction: $5.6 million
For my TylerPerry’sAMadeaFamilyFuneral prediction, click here:
David Robert Mitchell’s low budget horror tale It Follows is set in what appears to be a suspended period of time. In the very first scene, we hear a cell phone trying to catch the attention of a young girl in distress. What follows is a parade of landline phones, small screen TVs, actual magazines of pornography and, most horrifically, jean jackets. I suspect this is due to my feeling that its writer/director wishes he could’ve made this picture in the 1980s when John Carpenter and others were making their B movies of the genre. This is clearly where the main influence of It Follows lies and much of this minimalist homage works quite well.
The stars of the pic are not the actors who populate it, but mainly its cinematographer Mike Gioulakis and musical composer Disasterpeace. The movie is filled with remarkable camerawork and shots that will stay with you while its 80s inspired score is a gem.
As for the movie itself, It Follows cleverly reverses a well known cliche in the genre. From the advent of the slasher flick, it’s been the act of sex that often gets our teen characters in the most trouble. While that also holds true here, it’s the same physical act that apparently rids you of the film’s curse.
So just what is “It”? That’s what our main heroine and high schooler Jay (Maika Monroe) must learn after she hooks up with a college dude who then proceeds to inform her that their carnal act will not just involve a walk of shame. In fact, through sex, he’s passed along a curse. The cursed are then proceeded to be followed and terrorized by an entity that can take any form and that only they can see. It’s only, she’s told, through passing it her along herself that she can rid herself of it.
Jay’s predicament soon involves her friends trying to help her out and this includes an eventual love triangle with the cool jean jacket sporting neighbor and her nerdier jean jacket sporting longtime friend. At times, It Follows doesn’t even appear to follow its own rules and the origin of the entity is never explained.
Yet that’s not the point here. The origin doesn’t really need to be explained. The pic is aimed squarely at stoking the nostalgia for the low budget horror titles from the three decades past and that’s where it often succeeds. I’ll confess that I didn’t find it as scary as its reputation has suggested, but there’s certainly some white knuckle moments. The cinematography and music stuck with this viewer the most and its craftsmanship in those areas left me most impressed.
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