Blogger’s Note (07/21): I am revising some predictions from my original Monday. Taking Old from $22.8 million down to $19.8 million; Snake Eyes from $21.2 million to $17.2 million; and Space Jam: A New Legacy from $14.8 million up to $15.8 million.
We could see a real battle for the #1 position this weekend as M. Night Shyamalan’s Old and the G.I. Joe reboot Snake Eyes both debut. I have both nabbing similar grosses and you can peruse my detailed write-ups on each right here:
My estimates have the pair landing in the low to mid 20s and I’m giving Shyamalan’s latest a slight edge. Truth be told, either one of them could over or underperform so this lends some genuine suspense to the forthcoming results.
Assuming both manage to reach high teens to $20 million, that should mean Space Jam: A New Legacy will drop to 3rd following its better than expected debut (more on that below) with a dip in the 50-55% range. Black Widow, after experiencing a larger than anticipated sophomore drop, should fall to fourth position. There could be a close competition for the five spot between Escape Room: Tournament of Champions and F9. I’ll say Vin Diesel and his merry band of racers triumphs since Escape might lose around half of the opening audience from its lackluster start.
And with that, let’s do a top 6 this time around:
1. Old
Predicted Gross: $19.8 million
2. Snake Eyes
Predicted Gross: $17.2 million
3. Space Jam: A New Legacy
Predicted Gross: $15.8 million
4. Black Widow
Predicted Gross: $12.9 million
5. F9
Predicted Gross: $5.1 million
6. Escape Room: Tournament of Champions
Predicted Gross: $4.5 million
Box Office Results (July 16-18)
In a surprise development, Lebron James and the Tune Squad dunked over Scarlett Johansson as Space Jam: A New Legacy opened ahead of projections with $31 million. That’s well above my $22.7 million estimate as the long in development sequel (which is also available on HBO Max) clearly brought in families and the nostalgic fans of the 1996 original.
Black Widow was anticipated to repeat at #1, but it fell to second with a massive 68% drop. The MCU stand-alone feature took in $25.8 million compared to my more generous $32.1 million prediction. The pic stands at $131 million as theater owners are griping about its simultaneous streaming showings on Disney Plus.
Horror sequel Escape Room: Tournament of Champions couldn’t emerge with an impressive start with $8.8 million. That’s about $10 million below what the 2019 original achieved and under my take of $11.4 million.
F9 held up better than I figured in fourth with $7.6 million (I lowballed it at $6.2 million). The four week tally is $154 million as it has become to second COVID era flick after A Quiet Place Part II to reach $150M+.
The Boss Baby: Family Business was fifth with $4.7 million (I said $5.2 million) and it stands at $44 million.
We have arrived at part III of my recaps of the summer seasons that came 30, 20, and 10 years ago. That means 2011 is upon us. If you missed my sizzling throwbacks to 1991 and 2001, you can find them here:
As is tradition, I will recount the top 10 hits as well as other notable features and some flops in a season where moviegoers bid a fond farewell to their iconic wizard:
Let’s get to it, yes?
10. Bridesmaids
Domestic Gross: $169 million
Kristin Wiig made one of the most successful jumps from SNL to movie stardom in this critically hailed pic that also earned Melissa McCarthy her silver screen breakout and even an Oscar nomination. It might not be the highest grossing comedy on here, but it’s definitely still the most talked about.
9. The Help
Domestic Gross: $169 million
Based on Kathryn Stockett’s bestseller, the 1960s set period piece from Tate Taylor brought the book’s readers and many others to the multiplex. Four Oscar nods followed including Best Picture and a Supporting Actress victory for Octavia Spencer.
8. Captain America: The First Avenger
Domestic Gross: $176 million
The Marvel Cinematic Universe’s first big branch out occurred during this summer where we would get our first glimpse at this OG avenger in the form of Chris Evans and another one who sits at the throne of spot #6. The sequels actually improved on what we see here, but the Captain gets rolling with this.
7. Rise of the Planet of the Apes
Domestic Gross: $176 million
Rupert Wyatt’s reboot of the franchise is deservedly better regarded than Tim Burton’s re-imagining that transpired in 2001. Debuting the fantastic motion capture work of Andy Serkis, this would spawn two follow-ups that also pleased audiences and critics and did considerable monkey business.
6. Thor
Domestic Gross: $181 million
Chris Hemsworth’s Asgardian heartthrob hammered into the public consciousness alongside Natalie Portman and Anthony Hopkins and managed $5 million more box office bucks than the Captain. The third sequel is currently in production.
5. Cars 2
Domestic Gross: $191 million
Despite grossing nearly $200 million, this Pixar sequel is not one of the studio’s most fondly remembered vehicles with just a 40% Rotten Tomatoes rating. A third Cars did zoom into theaters six years later.
4. Pirates of the Caribbean: On Stranger Tides
Domestic Gross: $241 million
With a reported budget of $379 million, Johnny Depp’s fourth headlining of the franchise still sports the largest price tag of all time. The actor’s final participation in the series would come in 2017 with Disney still looking to reboot it without their signature player.
3. The Hangover Part II
Domestic Gross: $254 million
Crowds were still clamoring for the drunken exploits of Bradley Copper, Ed Helms, and Zach Galifianakis. Critics weren’t near as kind to part II, but audiences didn’t begin to tire of the hijinks until part III two years later.
2. Transformers: Dark of the Moon
Domestic Gross: $352 million
Michael Bay’s third saga of the Autobots and Decepticons marks Shia LaBeouf’s last appearance in the franchise and includes drop-ins from acting heavyweights John Malkovich and Frances McDormand. Mark Wahlberg would take over starring duties three years later.
1. Harry Potter and the Deathly Hallows – Part 2
Domestic Gross: $381 million
After nearly a decade of enchanting kids and their parents alike, the franchise stemming from J.K. Rowling’s beloved novels received a fittingly massive send-off with this billion dollar plus worldwide earner.
Now for other noteworthy titles from the summer:
X-Men: First Class
Domestic Gross: $146 million
Bryan Singer’s handed over directorial reigns to Matthew Vaughn for this reinvigorating reboot of the series that introduced the younger versions of Charles Xavier, Magneto, and Mystique in the bodies of James McAvoy, Michael Fassbender, and Jennifer Lawrence. Numerous sequels of varying quality followed.
The Smurfs
Domestic Gross: $142 million
Sony Pictures wasn’t blue about the financial returns for this half live-action/half animated adaptation of the popular comics and animated series. A sequel came in 2013.
Super 8
Domestic Gross: $127 million
In between Star Trek pics and before rebooting Star Wars, J.J. Abrams helmed this sci-fi original which paid tribute to the Spielberg efforts of the 1980s. Critics gave it their stamp of approval and it’s notable for one heckuva train crash sequence.
Horrible Bosses
Domestic Gross: $117 million
This raunchy comedy about workers exacting revenge on their wretched superiors showed us a whole different side to Jennifer Aniston and spawned a 2014 sequel.
Crazy, Stupid, Love
Domestic Gross: $84 million
Before their collaboration on La La Land earned lots of Oscar nods five years later, Emma Stone and Ryan Gosling teamed up for this rom com with Steve Carell and Julianne Moore that exceeded expectations with audiences and many critics.
Midnight in Paris
Domestic Gross: $56 million
It was a different time 10 years ago for Woody Allen, who scored his last big hit with this fantastical comedy starring Owen Wilson. Woody would win the Oscar for Original Screenplay and it landed three additional nominations including Picture and Director.
The Tree of Life
Domestic Gross: $13 million
Terrence Malick’s epic philosophical drama won the Palme d’Or at the Cannes Film Festival and was nominated for Best Picture, Director, and Cinematography at the Academy Awards. Not your typical summer fare, but it certainly had reviews on its side.
And now for some titles that didn’t meet expectations commercially, critically, or both:
Green Lantern
Domestic Gross: $116 million
Five years before he entered the comic book flick pantheon with Deadpool, Ryan Reynolds didn’t have as much luck with this critically drubbed flop. Even the star himself has taken to calling it a waste of time for viewers.
Cowboys & Aliens
Domestic Gross: $100 million
Coming off the huge Iron Man pics, Jon Favreau cast James Bond (Daniel Craig) and Indiana Jones (Harrison Ford) in this space western that didn’t impress crowds or critics and earned considerably less than its budget domestically.
Mr. Popper’s Penguins
Domestic Gross: $68 million
Audiences were mostly cool to Jim Carrey’s treatment of the popular late 30s children’s book though it did manage to top its $55 million budget. It probably would have made far more during the star’s box office heyday.
Spy Kids 4-D: All the Time in the World
Domestic Gross: $38 million
A decade after Robert Rodriguez kicked the kiddie franchise off to great results, part 4 marked a low mark for the series.
Larry Crowne
Domestic Gross: $35 million
The star power of Tom Hanks (who also directed) and Julia Roberts couldn’t elevate this rom com from a subpar showing (critics weren’t kind either). This is largely a forgotten entity on both actor’s filmographies.
Conan the Barbarian
Domestic Gross: $21 million
Before becoming known to the masses as Aquaman, Jason Momoa couldn’t fill the shoes of Arnold Schwarzenegger in this bomb that couldn’t swim close to its $90 million budget.
And that does it, folks! I’ll have recaps of the summers of 1992, 2002, and 2012 up for your enjoyment next season!
The seemingly endless slew of summer sequels continues this weekend with Lebron James facing the Toon Squad in Space Jam: A New Legacy and the horror follow-up Escape Room: Tournament of Champions. You can peruse my detailed predictions on both part 2’s right here:
Can either newbie manage to top Marvel’s Black Widow after its record setting opening? Quite unlikely. I look for #23 and his animated competitors to manage a low to mid 20s start (it will also be available on HBO Max streaming).
As for Tournament, the first Escape Room easily outpaced expectations with a near $20 million debut. However, I think low double digits to possibly low teens is the target here.
Black Widow brought us to new heights in the post COVID world (more on that below). A drop in the 60% would generally keep it in line with other MCU entries and that means it shouldn’t have much trouble staying atop the charts in its sophomore frame.
Holdovers F9 and The Boss Baby: Family Business should keep the top five sequel heavy as has been the case all season.
And with that, here’s how I think it all shakes out:
1. Black Widow
Predicted Gross: $32.1 million
2. Space Jam: A New Legacy
Predicted Gross: $22.7 million
3. Escape Room: Tournament of Champions
Predicted Gross: $11.4 million
4. F9
Predicted Gross: $6.2 million
5. The Boss Baby: Family Business
Predicted Gross: $5.2 million
Box Office Results (July 9-11)
As anticipated, the two-week old record for F9 achieving the highest premiere in the COVID era was rather easily eclipsed by Scarlett Johansson’s stand-alone Black Widow saga. Yet its $80.3 million haul was on the lower end of projections. I forecasted slightly more at $83.3 million. Since The Avengers (2012) and the 18 MCU blockbusters that have followed, only Ant-Man and its sequel Ant-Man and the Wasp opened lower. However, we still are not in normal times and Widow is the first franchise entry to be simultaneously be available on Disney Plus (for a $30 fee). The studio was quick to point out that the streamer pulled in an additional $60 million through the distribution method.
Widow was the only fresh product in the marketplace as F9 dropped to second after two weeks parked in first. It made $11.4 million which was right on pace with my $11.3 million prediction. The three-week total is $141 million.
The Boss Baby: Family Business was third with $8.8 million (I said $8.6 million) for a ten-day tally of $34 million.
The Forever Purge held up better than I figured in weekend #2 with $7.1 million (I went with $5.1 million). It’s at $27 million overall.
Rounding out the top five was A Quiet Place Part II with $3.1 million compared to my $2.7 million projection. The horror sequel became the first COVID era title to reach $150 million domestically (something F9 and Black Widow will accomplish in short order).
The Marvel movies have become as American as apple pie. Or “American Pie” since that Don McLean ditty is featured prominently in Black Widow, a stand-alone feature designed to fill some backstory of Scarlett Johansson’s OG Avenger. Is it necessary? That’s debatable. However, the unexpected COVID layoff of nearly two years between MCU titles and some solid performances makes this a welcome addition to the franchise.
I guess I should say SPOILER ALERT if you haven’t taken in the rest of the cinematic universe so there’s your warning. Avengers: Endgame marked the demise of Natasha Romanoff/Black Widow as she went out in self sacrificial fashion. Her previous sacrifices for a darker cause are explored here. The film opens in 1995 Ohio with Natasha and her little sister Yelena being raised by parents Alexei (David Harbour) and Melina (Rachel Weisz). It’s all a front, though, as mom and dad aren’t really their folks. They are Russian spies on a mission for General Dreykov (Ray Winstone) and once the Midwest job is completed, the fake family unit is broken apart.
Natasha, of course, grows up to be the fighter we have seen in numerous other blockbusters beginning with Iron Man 2 and so on. Yelena grows up to take the form of Florence Pugh and she gets her training as well through Dreykov along with numerous other orphaned girls turned assassins. As far as timeline purposes go, Black Widow happens between the actions of Captain America: Civil War and Avengers: Infinity War. That’s when The Avengers were experiencing their roughest patch with Tony Stark and Captain America at odds and the others being forced to choose sides.
Since Natasha is a wanted woman by the U.S. Government, she reunites with her long lost “sister” and “parents” in Budapest (remember to pronounce the SH sound in the word) in an effort to stop Dreykov’s mind control of his female army. Unlike other MCU pics, this truly is a stand-alone piece. None of the other Avengers are present and that gives time for new secondary characters to shine. Foremost among them is Yelena and the winning performance given by Pugh. She makes enough of an impression that I hope for her future involvement in other chapters. Harbour is good for a few comedic highlights as he reminisces about his time as Red Guardian (when he apparently had some battles with Captain America).
The MCU always comes down to bloodline dynamics and it is in abundant supply here. If Black Widow previously felt like a slightly underdeveloped character, there’s enough familiar familial dynamics to check off some boxes. Where Black Widow is weakest is not in the action sequences. They’re as first-rate as you’d expect. Cate Shortland makes her first contribution to the series in the director’s chair and she and the tech team certainly get a passing grade. The film’s liability is the villain Dreykov who doesn’t make much of an impression in the fairly short amount of screen time he’s given. This is not a unique flaw in the MCU. For every Loki or Thanos, there seems to be a handful of forgettable baddies.
We already said bye-bye to Johansson’s Black Widow once, but this callback to a time before her heroic departure proves the levee isn’t dry when it comes to her entertainment value. And it also shows she leaves behind previously unknown associates that could provide more highlights.
Chris Pratt is no stranger to his pictures getting nominated in the Visual Effects race at the Oscars. However, this is limited to his participation in the Marvel Cinematic Universe via Guardians of the Galaxy and its sequel and Avengers: Infinity War and Avengers: Endgame. Neither Jurassic World or its sequel made the VE cut.
Mr. Pratt headlines another sci-fi spectacle with The Tomorrow War, debuting on Amazon Prime today. Budgeted in the $200 million range, the pic comes from Chris McKay (making his live-action directorial debut after helming The Lego Batman Movie). Costars include Yvonne Strahovski, Betty Gilpin, and J.K. Simmons. Originally slated for a December 2020 theatrical release, Tomorrow was relegated to streaming due to its COVID delay. It’s now out on Independence Day weekend and some critics have compared it to the 1996 summer blockbuster that shares its name with the holiday.
When it comes to awards attention, Visual Effects is the only possibility here. Reviews are middling as it currently sits at 55% on Rotten Tomatoes. The VE branch can be an unpredictable one (remember that Love and Monsters nod last year?). That said, my hunch is that Tomorrow will be ignored by voters months down the line. The competition should be steep (more so than last year) with Dune, Eternals, Top Gun: Maverick, and others.
Bottom line: expect the MCU to still be Pratt’s filmography represented when it comes to souped up special effects.
Hitting theaters two weeks after F9 sprinted to the best opening weekend for films released post COVID, Black Widow looks to make that record short-lived. Originally slated for May 2020 before its pandemic delays, the 24th saga in the Marvel Cinematic Universe is a stand-alone showcase for Scarlett Johansson’s Avengers character. Cate Shortland directs with a supporting cast including Florence Pugh, David Harbour, O-T Fagbenie, William Hurt, Ray Winstone, and Rachel Weisz.
Widow, sporting a budget of at least $200 million, marks the longest delay between MCU pics that we have seen in over a decade. This is the creme de la creme of franchises where 11 of the past 18 titles have made over $100 million (or much more) in their debuts.
As has been the case with all pictures in this uncertain era, there are challenges Widow faces that could prevent that. For starters, its studio made the choice to simultaneously make this available for Disney Plus streaming. $30 will allow you to view it from the comfort of your couch (a cheaper proposition if buying for the whole family). Widow also doesn’t have the benefit of falling between two gargantuan Avengers features. That certainly helped 2019’s Captain Marvel which soared to $153 million for its start.
While the MCU is generally review proof, the positive reaction from critics won’t hurt. The Rotten Tomatoes rating is at 85%. And Johansson’s character (while not in the stratosphere of Iron Man or Captain America) is a familiar presence from The Avengers, its sequels, and more.
I can’t help but wonder if the Mouse Factory regrets making the Disney Plus decision. This will be a test to see how many fans will choose the home option. That said, I do believe Widow will top the $70 million that F9 reached. While $100 million may be out of range, a gross of $75-$85 million seems doable and that’s where I’m landing. My projection puts this just under what Doctor Strange (2016) and Thor: The Dark World (2013) achieved.
Black Widow opening weekend prediction: $83.3 million
In the Marvel Cinematic Universe, unless the film is named Black Panther, your best hope is to contend in Visual Effects at the Oscars and probably lose. This brings us to Black Widow, the 24th entry in the MCU that opens July 9th in theaters and on Disney Plus streaming. The stand-alone pic focused on Scarlett Johansson’s title character had its review embargo lifted today and results are mostly positive thus far. The Rotten Tomatoes score currently stands at 86%.
Johansson’s costars (Florence Pugh particularly) are getting the bulk of critical kudos. That said, no actor in an MCU flick has made the cut in those categories and it won’t start here. 10 of the previous 23 franchise blockbusters (Iron Man, Iron Man 2, The Avengers, Iron Man 3, Guardians of the Galaxy, Captain America: The Winter Soldier, Doctor Strange, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame) have landed slots in Visual Effects. As far as victories go – they are 0 for 10. In fact, only Panther (which nabbed a Best Picture nod) has won anything. It went 3 for 7 on Oscar night 2019 by taking Original Score, Costume Design, and Production Design.
Just over half of Marvel’s creations have received zero recognition from the Academy. Black Widow should face an uphill battle in Visual Effects. Late year arrivals like Dune and Top Gun: Maverick are just two possibilities outside of this cinematic universe. Then there’s the matter of 3 more hopeful MCU titles: Shang-Chi and the Legend of the Ten Rings, Spider-Man: No Way Home, and (perhaps especially) Eternals. Bottom line: there’s a better chance of Black Widow not showing up anywhere at next year’s ceremony. My Oscar Watch posts will continue…
It is officially summertime 2021 and that brings my annual seasonal three-part series where I take a look back at the top ten pics, flops, and other notable selections from 30, 20, and 10 years ago. That means I’ll begin with 1991 at a time where Arnold Schwarzenegger said hasta la vista to all competitors.
Let’s count down from #10 to numero Ah-nuld along with other entries worthy of discussion (both good and bad).
10. Doc Hollywood
Domestic Gross: $54 million
Michael J. Fox had a midsize hit with this fish out of water comedy about an uppity surgeon stuck in the rural south. It marks the star’s last solid performer that he headlined.
9. Boyz n the Hood
Domestic Gross: $57 million
John Singleton had one of cinema’s most memorable directorial debuts with this coming-of-age drama set in South Central. He would become the youngest filmmaker ever to be nominated at the Oscars and the critically hailed pic kickstarted the careers of Cuba Gooding Jr. and Ice Cube.
8. One Hundred and One Dalmatians
Domestic Gross: $60 million
Disney re-released their 1961 classic three decades after its release and picked up a cool $60 million for it. Later in 1991, the studio would begin another renaissance with Beauty and the Beast becoming the first animated film to nab a Best Picture nomination. Five years later, Glenn Close would headline the live-action version and another reboot, Cruella with Emma Stone, is currently in the top five.
7. What About Bob?
Domestic Gross: $63 million
Bill Murray had one of his signature roles as the multi-phobic patient tormenting shrink Richard Dreyfuss on his vacation. Apparently this comedy was a bit dramatic behind the scenes with the two leads having an actual antagonistic relationship.
6. Hot Shots!
Domestic Gross: $69 million
Spoofs were a hot commodity in the early 90s following the success of 1988’s The Naked Gun. Jim Abrahams, one of that film’s writers, created this sendup of Top Gun and many others that starred Charlie Sheen. A sequel would follow two years later.
5. Backdraft
Domestic Gross: $77 million
Ron Howard directed this firefighting drama that heated up the box office with Kurt Russell, William Baldwin, Robert De Niro, and a creepy Donald Sutherland as a pyromaniac. There was even a sequel released in 2019 with Baldwin and Sutherland that went direct to streaming and that I frankly forgot existed.
4. The Naked Gun 2 1/2: The Smell of Fear
Domestic Gross: $86 million
The spoofing love continued as Leslie Nielsen reprised his role as doofus detective Frank Drebin in this sequel to the 1988 classic. It couldn’t hold up the original, but it was better than part 3 which followed in 1994. And, needless to say, this was a simpler time for costar O.J. Simpson.
3. City Slickers
Domestic Gross: $124 million
As New Yorkers learning life lessons on a cattle drive, Billy Crystal, Daniel Stern, and Bruno Kirby starred in the comedy smash of the summer and costar Jack Palance even ended up with a Best Supporting Actor victory. A less regarded follow-up would come in 1994.
2. Robin Hood: Prince of Thieves
Domestic Gross: $165 million
While his accent was spotty at best, Kevin Costner parlayed his Oscar success from the previous year’s Dances with Wolves into this blockbuster about the robbing from the rich and giving to the poor hero. The highlight was Alan Rickman’s sublime work as the Sheriff of Nottingham while critics mostly turned up their noses.
1. Terminator 2: Judgment Day
Domestic Gross: $204 million
Arnold Schwarzenegger’s android went from being the bad guy in the 1984 original to the good robot in James Cameron’s sequel that gave us eye popping and revolutionary special effects and a dynamite Linda Hamilton returning as a buffed up Sarah Connor. There’s been four more entries in the franchise and none have matched the potency of this one.
Now let’s turn the focus to some other notable releases:
Thelma & Louise
Domestic Gross: $45 million
Susan Sarandon and Geena Davis both scored lead actress Academy nods for Ridley Scott’s now iconic tale of feminism and revenge with an unforgettable ending. This also marked audiences falling in love with a then unknown actor by the name of Brad Pitt.
Point Break
Domestic Gross: $43 million
Patrick Swayze starred in the previous summer’s high earner with Ghost. This surfing action pic from director Kathryn Bigelow paired the actor with Keanu Reeves and has amassed a deserved cult following. An unnecessary remake wiped out in 2015.
Dead Again
Domestic Gross: $38 million
Kenneth Branagh’s sophomore effort after the acclaim of his Shakespearian Henry V was this Hitchcock homage costarring his then wife Emma Thompson, Andy Garcia, and Robin Williams. As tributes to the Master of Suspense go, this is one of the best.
Soapdish
Domestic Gross: $38 million
Sally Field, Kevin Kline, Robert Downey, Jr., and Whoopi Goldberg are part of the ensemble in this comedy set in the world of the afternoon melodramas that populate the airwaves. Not a big hit at the time, its reception has since grown.
Jungle Fever
Domestic Gross: $32 million
Spike Lee’s tale of an interracial couple played by Wesley Snipes and Annabella Sciorra received critical kudos. The two most memorable performances come from Samuel L. Jackson as a crack addict and Halle Berry (in her feature debut) as his girlfriend.
Madonna: Truth or Dare
Domestic Gross: $15 million
As she often is, Madonna was ahead of the cultural curve with this documentary set during her 1990 Blond Ambition Tour. This was reality programming before it exploded.
Barton Fink
Domestic Gross: $6 million
The Coen Brothers pitch black comedy was the darling of the Cannes Film Festival, winning Picture, Director, and Actor for John Turturro. It would land three Academy nominations including Michael Lerner in Supporting Actor.
Now it’s time for the pictures that either didn’t land with audiences or critics (or both):
The Rocketeer
Domestic Gross: $46 million
Disney was hoping for a new franchise with this comic book based property. Yet the period adventure underwhelmed at the box office. This was a different era for the genre before the MCU changed everything. Director Joe Johnston, coincidentally, would go on to make Captain America: The First Avenger 20 years later.
Dying Young
Domestic Gross: $33 million
This seems hard to believe now, but Premiere magazine predicted this romance would be the largest grossing feature of the summer. Not so much. However, Julia Roberts was just coming off her smash breakthrough Pretty Woman. This didn’t land with audiences in the same way.
Only the Lonely
Domestic Gross: $25 million
Chris Columbus was basking in the box office bonanza that was Home Alone. This rom com with John Candy and Ally Sheedy that followed six months later didn’t cause many filmgoers to leave their homes.
Mobsters
Domestic Gross: $20 million
1990 was gave us lots of mobster fare such as GoodFellas, The Godfather Part III, and Miller’s Crossing. Crowds and critics didn’t take to the Christian Slater and Patrick Dempsey versions of Lucky Luciano and Meyer Lansky, respectively.
Hudson Hawk
Domestic Gross: $17 million
Bruce Willis’s vanity project is considered one of the gargantuan flops in history. Grossing only about a fourth of its $65 million budget, it was awarded the Golden Raspberry for Worst Picture of the year.
V.I. Warshawski
Domestic Gross: $11 million
Based on a series of successful novels, audiences didn’t take to Kathleen Turner in the title role for this detective action comedy. It made less than half its budget.
Delirious
Domestic Gross: $5 million
Also set in the world of soap operas, this marked another dud for John Candy in the same season.
Another You
Domestic Gross: $2 million
Richard Pryor and Gene Wilder are a classic combo with well-regarded comedies like Silver Streak and Stir Crazy. Even See No Evil, Hear No Evil in 1989, despite critical scorn, performed well. That’s not the case with their last collaboration (which reviewers also drubbed).
And that concludes my look back at summer 1991. Next up is the sweltering season of 2001!
My Case Of posts in the Best Director category reaches its fifth and final hopeful with Chloe Zhao for Nomadland. If you missed the previous four, you can find them here:
Nomadland is absolutely the frontrunner to win Best Picture and oftentimes it matches with director (though not quite as much in recent years). Even if something upsets Nomadland in the big race, Zhao has made it a clean sweep at the precursors and that includes BAFTA, DGA, Critics Choice Awards, Golden Globes, and many other regional critics group awards. Zhao (who will next take on the MCU’s Eternals) will also make some history by becoming the second female to take the gold after Kathryn Bigelow (The Hurt Locker) in 2009.
The Case Against Chloe Zhao
To be blunt – there really isn’t one. I suppose only if the Academy doesn’t embrace Nomadland like other awards bodies have and that appears unlikely.
The Verdict
Some of the major categories have some suspense around them. This one doesn’t. Zhao appears primed for victory.
My Case Of posts will continue with Carey Mulligan in Promising Young Woman…
Cherry marks the fourth collaboration between directors Anthony and Joe Russo and actor Tom Holland and it’s the first time the lead star isn’t sporting a Spider-Man outfit in it. The crime drama casts him as a soldier who’s turned to a life of crime. Costars include Ciara Bravo and Jack Reynor.
The pic hits theaters in limited fashion on February 26th which grants it 2020 Oscar eligibility. It streams on Apple TV starting March 12th. The review embargo has yet to lift, but social media reaction from critics is out. Bottom line: Cherry is highly unlikely to be picked by awards voters in any races.
Much of the reaction indicates this is a misfire. As mentioned, the Russos have had tremendous success in the Marvel Cinematic Universe and with Holland’s participation in Captain America: Civil War and the last two Avengers pics. Before the recent buzz, Holland was looked at as an outside possibility for Best Actor. Yet that chatter should dissipate quickly if it hasn’t already. My Oscar Watch posts will continue…
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