Snow White is the latest Disney live-action retelling of an animated classic and this time it’s for their first feature-length picture from 1937. Nearly 90 years later, Marc Webb directs the musical fantasy with Andrew Burnap, Ansu Kabia, Hadley Fraser, and Lorena Andrea in the supporting cast.
None of these remakes have broken through in top of the line categories. Plenty have received nominations and wins in Costume Design (Alice in Wonderland, Maleficent, Cinderella, Beauty and the Beast, Mulan, Cruella), Makeup and Hairstyling (Maleficent: Mistress of Evil, Cruella), Production Design (Alice in Wonderland, Beauty and the Beast), and Visual Effects (Alice in Wonderland, The Jungle Book, The Lion King, Mulan).
So will Snow White join that list of nominees or get blanked like Dumbo, Aladdin, and The Little Mermaid did? Reviews aren’t great with 48% on Rotten Tomatoes and a 47 Metacritic. Zegler, it should be said, is getting lots of praise and I wouldn’t totally discount an Actress nod in Musical/Comedy at the Golden Globes.
As for the Oscars, Zegler’s song “Waiting on a Wish” could contend in Original Song. Of the aforementioned races where other Mouse House properties have made cut, Costume Design could happen. Visual Effects, on the other hand, is drawing some complaints so I don’t foresee that as a possibility. My Oscar Prediction posts will continue…
In what has become a tradition on the blog, it is time to revisit the cinematic season that transpired ten years ago. In 2014, that meant the warmer months were ruled by a ragtag group of relatively unknown Marvel superheroes (at least compared to your Spideys, Batmen, and Supermen, etc…).
Audiences might have been hooked on the feelings these MCU characters gave them, but they were also transfixed by apes, giant lizards, and pizza chomping turtles.
Let’s take a trip down a decade old memory lane with the top 10 domestic earners of summer ’14 as well as other noteworthy pics and significant flops.
10. How to Train Your Dragon 2
Domestic Gross: $177 million
While the DreamWorks Animation sequel couldn’t match or exceed the gross of its 2010 predecessor at $217 million, the fantasy tale won the Golden Globe for its genre and was Oscar nominated for Animated Feature. A sequel would follow five years later.
9. Teenage Mutant Ninja Turtles
Domestic Gross: $191 million
With Michael Bay producing and Megan Fox starring, the transformation of this franchise from the 1990s to the 21st century was a financial if not critical success. A sequel which made less cash came two summers later.
8. 22 Jump Street
Domestic Gross: $191 million
Channing Tatum and Jonah Hill’s second go-round as hapless cops (this time graduating to going undercover at college instead of high school) outpaced the 2012 original financially. A third Street never arrived (there was a rumored crossover with the Men in Black series), but Tatum has recently spoken of his desire to get the ball rolling.
7. Godzilla
Domestic Gross: $200 million
It might be the 30th overall feature in the Godzilla franchise, but this monster mash from Gareth Edwards achieved some of the series’ best reviews and kicked off the MonsterVerse that is still wreaking havoc at multiplexes. It also assisted in washing away dirty memories of Roland Emmerich’s 1998 summertime treatment with Matthew Broderick
6. The Amazing Spider-Man 2
Domestic Gross: $202 million
While it made over $200 million domestic, Andrew Garfield’s return to the Spidey suit was seen as underwhelming with critics and audiences. Planned sequels didn’t materialize though Garfield and head villain Jamie Foxx would reprise their roles in 2021’s Spider-Man: No Way Home.
5. Dawn of the Planet of the Apes
Domestic Gross: $208 million
The follow-up to 2011’s Rise of the Planet of the Apes, Matt Reeves took over directorial duties. The result was critical acclaim as Dawn became the long running franchise’s largest grosser. Two sequels (including Kingdom of the Planet of the Apes in May) have followed.
4. X-Men: Days of Future Past
Domestic Gross: $233 million
This sequel combined cast members from the 2000-06 trilogy including Hugh Jackman’s Wolverine, Ian McKellen’s Magneto, Patrick Stewart’s Professor X, and Halle Berry’s Storm with some of their younger counterparts from 2011’s X-Men: First Class like Michael Fassbender’s Magneto and James McAvoy’s Professor X (as well as Jennifer Lawrence’s Mystique). The result is the highest earning pic with X-Men in the title. With the exception of the Deadpool success that followed two years later, direct sequels Apocalypse and Dark Phoenix failed to replicate the success here.
3. Maleficent
Domestic Gross: $241 million
After the massively profitable live-action remake of their animated Alice in Wonderland four years earlier, Disney continued the trend with Maleficent. Angelina Jolie starred as the Sleeping Beauty villainess and a 2019 sequel earned less than half of the total of this domestically.
2. Transformers: Age of Extinction
Domestic Gross: $245 million
Shia LaBeouf exited Michael Bay’s robotic mayhem and Mark Wahlberg entered this fourth entry. A billion in receipts worldwide resulted in making this 2014’s best worldwide grosser. Sequels are still coming and the latest Transformers: Rise of the Beasts hit a lower $157 million last year.
1. Guardians of the Galaxy
Domestic Gross: $233 million
This was the 10th feature in the MCU and it seemed like the first that could be a financial question mark. The heroes weren’t as familiar to audiences, but James Gunn’s tale of eccentric comic characters took by the box office by storm. Two sequels have followed in addition to Guardians appearances in other MCU sagas.
And now let’s cover some other flicks from ’14 that had crowds and critics chatting.
Neighbors
Domestic Gross: $150 million
The comedic teaming of Seth Rogen and Zac Efron caused this fraternal experience to be the season’s most fruitful original comedy. A less regarded sequel came two years later.
Lucy
Domestic Gross: $126 million
Two summers after The Avengers set records, Scarlett Johansson had a solid sci-fi action grosser with Luc Besson’s concoction.
The Fault in Our Stars
Domestic Gross: $124 million
John Green’s phenomenon of a YA romance bestseller became a blockbuster with decent reviews highlighting the chemistry of leads Shailene Woodley and Ansel Elgort.
Edge of Tomorrow
Domestic Gross: $100 million
Doug Liman’s sci-fi actioner with elements of Groundhog Day was not a sizable hit upon release. However, the Tom Cruise and Emily Blunt led title’s reputation has grown since with occasional rumors of another Tomorrow.
Let’s Be Cops
Domestic Gross: $82 million
This buddy cop pic was an out of nowhere late season surprise with over $100 million globally against a meager $17 million budget. Unlike nearly all other movies I’ve spoken of above, a sequel (somehow) did not happen.
Chef
Domestic Gross: $31 million
After helming two ginormous Iron Man chapters and a disappointment with Cowboys and Aliens, Jon Favreau cooked up critical cred and impressive midsize numbers with this road dramedy.
Boyhood
Domestic Gross: $25 million
Shot over a span of a decade, Richard Linklater’s unique coming-of-age drama remains the best reviewed picture of the 21st century according to Metacritic. Six Oscar nods, including a Supporting Actress victory for Patricia Arquette, were among its many plaudits.
Snowpiercer
Domestic Gross: $4 million
Bong Joon-Ho, who would make the BP winning Parasite five years later, garnered acclaim for this post-apocalyptic pic that would eventually spawn a TV series.
OK, so not all 2014 summer sagas were prosperous and here’s some that were considered commercial and/or critical disappointments.
Hercules
Domestic Gross: $72 million
Brett Ratner’s version of the Greek god wreaking havoc on his enemies cast Dwayne Johnson in the lead. The grosses were actually fairly decent, but I’m sure the studio were hoping for nine figures stateside… and does anyone even mention this movie anymore?
Jersey Boys
Domestic Gross: $47 million
The original play earned Tonys but audiences mostly tuned out Clint Eastwood’s take on the decades spanning musical drama.
Blended
Domestic Gross: $46 million
The Wedding Singer and 50 First Dates were each lucrative rom coms with Adam Sandler and Drew Barrymore. The third time was not the charm with moviegoers or reviewers.
A Million Ways to Die in the West
Domestic Gross: $43 million
Family Guy creator Seth MacFarlane ruled the comedic box office in summer 2012 with Ted. This follow-up starring him and Charlize Theron didn’t hit the bullseye.
The Expendables 3
Predicted Gross: $39 million
The previous two action headliners with Stallone, Schwarzenegger, Statham, and Snipes and others did well. For inexplicable reasons, a PG-13 rating was slapped on this third one and audiences turned their nose up for what they wanted to be R-rated violence. A fourth (and also unsuccessful) pic came out last year.
Sex Tape
Predicted Gross: $38 million
Jason Segel and Cameron Diaz couldn’t cause people to cue up this raunchy comedy which played to mostly empty establishments.
Sin City: A Dame to Kill For
Domestic Gross: $13 million
The first Sin City in 2005 made nearly $30 million in its first weekend while this sequel grossed less than half that figure total. The comic book adaptation co-directed by Robert Rodriguez and Frank Miller might stand as the biggest flop of the season.
And that’s your recap, folks! Hope you enjoyed this walk down memory lane and I’ll have a post about summer 2015 up in the summer of 2025!
More often than not, the Disney live-action remakes related to their animated classics have managed to score Oscar nominations in various technical races. Two days ahead of its Memorial Day weekend domestic bow, the studio’s Cruella (a reboot of their 1961 animated tale and the Glenn Close live-action features) has seen its review embargo lifted. It is widely expected that the Academy will reward it in some of the races that their previous features have been mentioned in.
The Rotten Tomatoes meter currently stands at a decent 72% with many critics praising Emma Stone (Best Actress winner in 2016 for La La Land) in the title role of the dog despising villainess. She’s unlikely to get much attention in the lead race, but should certainly find herself in the mix in the Musical/Comedy competition at next year’s Golden Globes… if there is a Golden Globes next year.
As mentioned, the Academy has been kind to the remakes over the last decade plus. Alice in Wonderland won Art Direction (now Production Design) and Costume Design and was nominated for Visual Effects. Nods for the costumes were also received by Maleficent (2014) and Cinderella (2015). In 2017, Beauty and the Beast made the shortlist for Production and Costume Design. The Jungle Book (2016) was victorious in Visual Effects with Christopher Robin (2018) and The Lion King (2019) as nominees. Maleficent: Mistress of Evil (2019) nabbed a mention for its Makeup and Hairstyling. Last year’s Mulan got in for Costume Design and Visual Effects, winning neither.
All four categories mentioned are on the table for Cruella to varying degrees. Based on the buzz, Costume Design and Makeup and Hairstyling are highly probable and could even be wins. Production Design is also feasible while Visual Effects could be more of a stretch due to expected competition.
Additionally, Florence and the Machine have contributed the original song “Call Me Cruella”. I wouldn’t bank on it making the final five in that race, but you never know (sometimes there’s surprises in that category).
Bottom line: Cruella is looking good for at least two Academy mentions and possibly more. My Oscar Watch posts will continue…
After its theatrical release was scrapped due to the COVID-19 pandemic, Disney’s live-action version of their 1998 animated tale Mulan is set to stream on Disney+ beginning tomorrow for a fee of $30. With a reported budget of around $200 million, this is certainly one of the highest profile features to ever (if ever) hit the PVOD circuit.
Over the past decade, the Mouse Factory has made billions of dollars with this sub genre of bringing their well-known drawn properties to a human scale. And there’s already a history of these pics garnering technical nominations at the Oscars.
The review embargo for Mulan lapsed on the eve of its release and reaction thus far is mostly on the positive side. Niki Caro’s remake is generating praise for its action sequences and overall visuals. Some of the reviews are a bit less kind. The Rotten Tomatoes meter is currently 73%. That’s a marked improvement over last year’s Aladdin (57%) and The Lion King (52%). Yet it falls short of the highs of The Jungle Book (94%) or Cinderella (84%). It’s actually right in range with 2017’s Beauty and the Beast, which scored 71%.
Let’s take that trip down memory lane for Disney’s output in this genre, shall we? In 2010, Alice in Wonderland won both Art Direction (now Production Design) and Costume Design and was nominated for its Visual Effects. 2014’s Maleficent also received a nod for its costuming and that happened a year later with Cinderella. In 2016, The Jungle Book was victorious for its Visual Effects. Beauty and the Beast received nominations the next year for Production Design and its costumes. Christopher Robin got a Visual Effects nod in 2019. And last year, The Lion King picked up a Visual Effects mention while Maleficent: Mistress of Evil was nominated for Makeup and Hairstyling.
You’ll notice that none of these pictures landed attention in the major categories and I don’t expect that Mulan will change that. When it comes to down the line nominations, I do expect this will contend in Production Design and Costume Design especially. Visual Effects and Makeup and Hairstyling are also possibilities and maybe even Cinematography. And there’s also the matter of Best Original Song. Christina Aguilera, who sang the track “Reflection” over the end credits 22 years ago, has composed some original works here. She recently put out the single “Loyal Brave True” and it certainly could contend.
Bottom line: Mulan is unlikely to be the first live-action Disney remake to compete for the big prizes, but it should carry on the tradition of its technical achievements being noticed. My Oscar Watch posts will continue…
The cavalcade of 2019 Disney live-action reimaginings continues next weekend with Maleficent: MistressofEvil. The fantasy adventure is the sequel to 2014’s Maleficent, which focused on the villainous title character from SleepingBeauty. Angelina Jolie returns along with Elle Fanning, Sam Riley, Imelda Staunton, Juno Temple, and Lesley Manville. Newcomers to the fold include Chiwetel Ejiofor, Ed Skrein, and Michelle Pfeiffer. Joachim Rønning (who recently co-directed the Mouse Factory’s PiratesoftheCaribbean: DeadMenTellNoTales) takes over for Robert Stromberg.
When it comes to comps for how Mistress might perform, that’s a tricky calculation. Since the release of part 1 five summers ago, there’s been eight Disney updates of their classic animated material. The last two from this summer (Aladdin and TheLionKing) were massive blockbusters based on beloved 1990s pics. This spring’s Dumbo, on the other hand, premiered with a so-so $45 million.
What about Maleficent itself? It opened just under $70 million with a $241 million eventual domestic haul. Yet five years is a fairly long break between sequels and some of the kiddos who attended could take a pass here. That brings up the example of AliceinWonderland and AliceThroughtheLookingGlass. In 2010, Wonderland was the first significant reimagining in several years. It debuted to $116 million. Six years later, LookingGlass was a huge flop and earned in the mid 20s for its start. For a non Disney example, SnowWhiteandtheHuntsman kicked off with a robust $56 million in 2012. Four years, its follow-up TheHuntsman: Winter’sWar sputtered with a meager $19.4 million.
While I don’t anticipate the drop-off here will be quite as dramatic as the last two scenarios, I do feel Evil will come in markedly lower than its predecessor. I’ll predict low to mid 30s could be the range and that means around half of the bounty from half a decade ago.
Maleficent: MistressofEvil opening weekend prediction: $32.3 million
For my Zombieland: Double Tap prediction, click here:
Just a day before its theatrical release, Disney’s live-action update of Aladdin had its review embargo lifted. The big-budget fantasy, which casts Will Smith in the genie role made iconic by Robin Williams in the 1992 animated feature, could’ve certainly fared worse. Based upon fears from a poorly received first trailer, some wondered if the pic would be a disaster. Most critics, while certainly mixed with some negative, haven’t been too harsh. It stands at 60% currently on Rotten Tomatoes. Particular praise has gone to the performances of Mena Massoud and Naomi Scott, who respectively play the title character and Princess Jasmine.
When it comes to these updates of studio classics, many in the past decade have scored technical nods. This includes AliceinWonderland, Maleficent, Cinderella, TheJungleBook, and BeautyandtheBeast. In 2019, Aladdin will find itself competing for space with three other Disney live-action renderings: the already released Dumbo, this summer’s TheLionKing, and this winter’s Maleficent: MistressofEvil. Don’t be surprised if TheLionKing gets the lions share of attention.
That said, Costume Design and Makeup and Hairstyling could be the two best possibilities here. My Oscar Watch posts will continue…
Disney’s live-action version of their 1941 classic Dumbo arrives in theaters on Friday and the review embargo was lifted today. Tim Burton’s take on the flying elephant is the first of four Mouse Factory updates on their animated tales hitting screens in 2019.
The advance word out is quite mixed with a Rotten Tomatoes score of just 51%. No one seriously expected this would contend for Best Picture, but previous Disney updates in recent years have fared well with Oscar voters with technical nods.
Burton’s own AliceinWonderland in 2010 won Best Art Direction (now Production Design) and Costume Design and landed a nomination in Visual Effects. Costume Design nods were received by Maleficent in 2014 and by Cinderella the following year. In 2016, TheJungleBook emerged victorious in Visual Effects. BeautyandtheBeast nabbed nods for Production and Costume Design.
That’s a solid track record. Where’s that leave Dumbo? Tough to say at this juncture. Even the negative skewing reviews have praised the visuals. Yet there will be a lot of competition and that includes the other three live-action updates arriving later: Aladdin, TheLionKing, and Maleficent: MistressofEvil. Even more potentially serious competitors include Avengers: Endgame and the next StarWars.
Costume Design and Production Design remain more realistic possibilities. Bottom line: Dumbo could continue the recent tradition of this sub genre getting down the line category attention, but competition will be key. My Oscar Watch posts will continue…
Blogger’s Note (03/07): I am revising my estimate from $42.8 million to $37.8 million, meaning I have it debuting at #2
What film could knock Disney’s Black Panther off its perch atop the box office charts after its momentous performance? Well, it should be another Disney property as A Wrinkle in Time debuts next Friday. Based on the famed and acclaimed 1962 novel from Madeleine L’Engle, the sci-fi fantasy comes from Selma director Ana DuVernay and marks the biggest budgeted feature ever (a reported $103 million) from an African-American female director. The cast includes Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Chris Pine, Gugu-Mbatha Raw, Zach Galifianakis, Michael Pena, and Storm Reid.
The Disney marketing machine is certainly a formidable one and familiarity with the source material and high-profile actors should serve as a benefit. One potential hindrance: while reviews are embargoed until March 7, initial word-of-mouth from screenings has been mixed.
On the low end, Wrinkle could see a debut in the mid 30s. However, I feel it will manage to climb higher with low 40s gross that could certainly reach as a high as $50 million. I don’t see it hitting the high 60s grosses that Disney’s live-action adaptations like Maleficent or Cinderella managed. That should be enough to allow the Mouse Factory to hold the 1-2 position next weekend with this and Panther.
A Wrinkle in Time opening weekend prediction: $37.8 million
For my TheStrangers: PreyatNight prediction, click here:
Disney’s live-action remake of Beauty and the Beast arrives in theaters next weekend and it looks poised for quite a fantastic opening. Bill Condon serves behind the camera (he directed the last two Twilight installments recently) with Emma Watson as Belle and Dan Stevens as the Beast. Costars include Luke Evans, Kevin Kline, Josh Gad, Ian McKellen, Ewan McGregor, Stanley Tucci, Gugu Mbatha-Raw, and Emma Thompson.
The Mouse Factory has had tremendous success with their reboots of their classic animated tales. 2014’s Maleficent took in $241 million stateside. The following year, Cinderella cleared $200 million. Last year’s The Jungle Book scored even more impressively with $364 million.
Beauty stands a great shot at outdoing them all. For starters, the 1991 original is beloved (it was the first animated feature to nab a Best Picture nomination). The Disney marketing machine has been in high gear and turnout among youngsters and females in particular should be substantial. Reviews (while not gushing) have been solid and it stands at 73% on Rotten Tomatoes.
There is little doubt that this will post 2017’s largest opening so far. Just how high can it go? I am predicting it will achieve one of the top ten domestic premieres of all time. My estimate puts it at #10, right in between The Dark Knight Rises and The Dark Knight for a truly beast mode roll out.
Beauty and the Beast opening weekend prediction: $158.8 million
For my The Belko Experiment prediction, click here:
Disney’s live-action version of their acclaimed 1991 animated tale (as old as time) Beauty and the Beast is out next weekend. It’s a safe bet that it makes a killing at the box office. It could approach the $364 million territory that The Jungle Book achieved last year and will almost certainly post 2017’s biggest opening thus far, overtaking Logan.
Let’s not forget: the quarter century plus version of Belle and her Beastly beau was the first animated feature to be nominated for Best Picture. Any chance that this rendering of the classic story could follow suit?
Short answer: no. Beast currently sits at 71% on Rotten Tomatoes. That’s a decent score but way under the 95% reached by Jungle and that couldn’t get a Picture nod. That said, Beauty could be a factor in some down the line categories. Production Design, Visual Effects, and Makeup and Hairstyling are all possibilities. Where it’s most likely to show up is in Costume Design, where the studio’s recent remakes of Cinderella and Maleficent both scored nominations.
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