Tag: Minority Report

Lilo & Stitch Box Office Prediction

Blogger’s Update (05/21/25): I am upping my Lilo & Stitch estimate considerably from $118.6 million from Friday to Sunday and $143.7 million from Friday to Monday to $159.7 million for the three-day and $196.6 million for the four-day. That would easily be a new Memorial Day weekend record.

23 summers ago, Disney’s animated Lilo & Stitch narrowly opened in second to Minority Report with Tom Cruise. This Memorial Day weekend, the Mouse House’s live-action (and also animated) remake will attempt to outpace Cruise’s Mission: Impossible – The Final Reckoning. That’s a mission it should achieve with room to spare.

Dean Fleischer Camp, maker of the acclaimed Marcel the Shell with Shoes On, is behind the camera. Chris Sanders, who wrote and directed the 2002 original, still provides the voice of Stitch with Maia Keoloha as Lilo. The supporting cast includes Sydney Elizebeth Agudong, Billy Magnussen, Hannah Waddingham, Courtney B. Vance, Zach Galifianakis, Tia Carrere, Amy Hill, and Jason Scott Lee.

Expectations are high for a project that once was anticipated to be a Disney+ streaming premiere. Tracking suggests a nine digit performance over the holiday frame. The studio is no stranger to Memorial Day outputs and that includes these remakes. In 2019, Aladdin took in $91 million from Friday to Sunday and $116 million when factoring in Monday. Two years ago, The Little Mermaid made $95 million for the three-day and $118 million over four.

Lilo took in $273 million worldwide for its run nearly a quarter century ago and spawned direct-to-video sequels. A nostalgia factor and a dearth of competition for family audiences (as A Minecraft Movie winds down) could mean an even stronger opening than the aforementioned titles. I’ll say it manages to get close to $120 million from Friday to Sunday and over $140 million adding Monday. That would give it the second all-time Memorial weekend behind Top Gun: Maverick (more Cruise comparisons!) and just ahead of Disney’s Pirates of the Caribbean: Dead Men’s Chest.

Lilo & Stitch opening weekend prediction: $159.7 million (Friday to Sunday); $196.6 million (Friday to Monday)

For my Mission: Impossible – The Final Reckoning prediction, click here:

Mission: Impossible – The Final Reckoning Box Office Prediction

For my The Last Rodeo prediction, click here:

The Last Rodeo Box Office Prediction

For my Friendship prediction, click here:

Friendship Box Office Prediction

30th Critics’ Choice Awards Reaction

The 30th Critics’ Choice Awards aired this evening and this body had some tricks up their sleeve with some seriously surprising selections. Leading up to Best Picture, you would’ve been right to count out Sean Baker’s Anora. It had emerged victorious nowhere, even in the races where it was supposed to like Original Screenplay. I listed it as my runner-up to The Brutalist. Fun fact: this is your first CCA BP to not receive any other wins.

Let’s not start writing those Anora will take the Oscar BP columns. While it is certainly a possibility, just half of the previous 10 CCA BP recipients repeated with the Academy. If it manages to grab PGA tomorrow, it could rightfully become the soft frontrunner.

I went 13 for 21 overall in my picks. While Anora‘s sole win in BP was unexpected, the biggest shocker was easily in Director. Brady Corbet (The Brutalist) was widely anticipated to sweep through the season and then CCA went and named Jon M. Chu for Wicked. He’s not even nominated for the Oscar. When’s the last time the Critics’ pick wasn’t up for the Academy’s trophy? That would be Ben Affleck for Argo and before that, you must go back to 2002 when they gave it to Steven Spielberg for his double feature of Minority Report and Catch Me If You Can.

My against the odds selection was Mikey Madison (Anora) over Demi Moore in The Substance. I should’ve gone bigger with my Anora upset calls. Moore did get Actress just as with the Globes. In fact, all the acting winners are also Globe takers: Adrien Brody in The Brutalist for its sole prize tonight in Actor and supporting players Zoe Saldaña in Emilia Pérez and Kieran Culkin for A Real Pain. The Moore/Brody/Saldaña/Culkin combo could absolutely be the Oscar quartet and they are certainly the favorites.

As for other categories, here’s where I was right:

Conclave in Adapted Screenplay; Emilia Pérez as Foreign Language Film and The Wild Robot in Animated Feature; A Real Pain is Best Comedy though it tied with Deadpool & Wolverine (so I guess I was half right); Wicked in Costume Design and Production Design; The Substance for Hair & Makeup, Challengers for Original Score; “El Mal” from Pérez in Original Song; and Dune: Part Two for Visual Effects.

Where I went wrong:

The Substance scored an out of nowhere win over BP Anora in Original Screenplay. Maisy Stella (My Old Ass) is the Best Young Actor/Actress instead of Izaac Wang in Dídi. Conclave is Best Ensemble over Wicked. In Cinematography, it’s Nosferatu and not The Brutalist. Challengers took the Editing category and not Anora.

What’s it all mean for BP? The Brutalist could’ve solidified frontrunner status tonight and it didn’t. The fact that Anora didn’t win anywhere else? Confusing. And we do have 4 legit acting favorites. Let’s see if PGA and DGA can muddy the waters tomorrow…

Here’s the win total for the various pictures in contention

3 Wins

Emilia Pérez, The Substance, Wicked

2 Wins

Challengers, Conclave, A Real Pain

1 Win

Anora, The Brutalist, Deadpool & Wolverine, Dune: Part Two, My Old Ass, Nosferatu, The Wild Robot

2022: The Year of Colin Farrell

Colin Farrell may have lost a friend in Brendan Gleeson’s character during The Banshees of Inisherin, but he seems poised to gain some with Oscar voters.

That’s all part of a busy 2022 for the actor and he’s my 3rd entry for six posts covering performers who had an impressive 2022 at the movies. If you missed the entries covering Farrell’s Minority Report costar Tom Cruise and Michelle Yeoh, you can find them here:

2022: The Year of Tom Cruise
2022: The Year of Michelle Yeoh

20 years after Minority Report, Farrell turned up in a quartet of pictures which all drew acclaim. The spring gave us Kogonada’s contemplative sci-fi drama After Yang where he showed off some sweet Dad dance moves in the opening credits. That same month, an unrecognizable Farrell played the Penguin in The Batman from Matt Reeves. The makeup was impressive. So was his performance and an HBO Max limited series focused on the character is in the works.

On a side note, another villain from The Batman came close to making my list of six. Paul Dano, who played the Riddler, could be in line for a Supporting Actor mention in Minority Report director Steven Spielberg’s The Fabelmans. AND we have Farrell’s Banshees costar Barry Keoghan (SPOILER ALERT: he cameos as Joker in The Batman). He might turn up in Supporting Actor as well.

Back to Farrell. In the summer, he was among the ensemble for Ron Howard’s Tham Luang cave rescue saga Thirteen Lives. Reviews were solid for all three films and they all showcased his skills.

The capper came in the fall with Banshees. Reuniting with his In Bruges director Martin McDonagh and costar Gleeson, Farrell nabbed some career best notices as the naive Irish drinking buddy who inexplicably loses his best buddy. He’s close to a guarantee for a first Oscar nomination and he could win.

Critics and moviegoers were not in the minority appreciating the veteran performer and I’m pleased to report his inclusion as someone who can cheer to a fruitful 2022. My Year Of posts will continue with a new Scream Queen who made her presence known every day of the week…

Summer 2002: The Top 10 Hits and More

In the turbulent months that followed the terrorist attacks of 9/11, domestic audiences needed some escapism at the box office. In the Christmas season of 2001, they found it with Harry Potter and the Sorcerer’s Stone and Lord of the Rings: The Fellowship of the Ring. 

By summer 2002, moviegoers turned out in record-setting droves for the first big screen treatment of an iconic superhero.

20 years later, that’s one thing that hasn’t changed as Spidey continues to dominate the charts. It all started with a memorable upside down kiss. Before we go there, there’s plenty more to discuss for the cinematic summer of two decades past.

As I do every season on the blog, I’m recounting the top 10 hits, other notable features, and flops from 30, 20, and 10 years ago. If you missed my post covering 1992, it’s right here:

Summer 1992: The Top 10 Hits and More

Let’s begin with that top 10!

10. Mr. Deeds

Domestic Gross: $126 million

When Adam Sandler remade Frank Capra, the result was another blockbuster for the star and a needed one after his previous pic Little Nicky was a rare commercial flop.

9. Minority Report

Domestic Gross: $132 million

The first and still only collaboration between Tom Cruise and Steven Spielberg is a prescient sci-fi tale and its reputation has grown since its release. It’s my personal favorite film of 2002.

8. xXx

Domestic Gross: 142 million

Riding high off the success of the previous summer’s The Fast and the Furious, Rob Cohen and Vin Diesel reunited for this over the top action flick. A sequel would follow three years later without Diesel’s involvement (Ice Cube starred instead), but Vin would return to the role in 2017.

7. Lilo & Stitch

Domestic Gross: $145 million

This Disney animated effort performed just fine (if not in the stratosphere of some 90s gems) and spawned numerous direct-to-video follow-ups. A live-action version is being planned.

6. Scooby-Doo

Domestic Gross: $153 million

Critics might have thought it was a dog, but crowds lapped up this live-action/animated hybrid based on the very 1970s cartoon. Scoob and the gang would return two years later for part 2. Fun fact: James Gunn of Guardians of the Galaxy fame wrote the script.

5. Men in Black II

Domestic Gross: $190 million

Will Smith and Tommy Lee Jones teamed up again for the sci-fi comedic spectacle from Barry Sonnenfeld. This fell short of the original’s $250 million domestic haul and the reviewers weren’t impressed, but that didn’t prevent a third offering that will be discussed in my summer of 2012 post.

4. Austin Powers in Goldmember

Domestic Gross: $213 million

Mike Myers continued to flex his box office mojo alongside Beyonce, Michael Caine, and Mini-Me in this threequel that I believe surpassed the quality of predecessor The Spy Who Shagged Me. 

3. Signs

Domestic Gross: $227 million

After the more mixed reaction that Unbreakable garnered, M. Night Shyamalan’s Signs with Mel Gibson and Joaquin Phoenix was more of a return to crowd favorite status. What followed was several pics from him that drew considerably more ambivalent to negative vibes.

2. Star Wars: Episode II – Attack of the Clones

Domestic Gross: $302 million

$302 million is just dandy for nearly any movie, but this second prequel from George Lucas fell well short of the $431 million achieved by The Phantom Menace three summers prior. Many consider this the worst of the nine officials episodes. I’m one of them.

    1. Spider-Man

Domestic Gross: $403 million

When Sam Raimi’s spin on the webslinger kicked off the summer, it did so with the largest opening weekend of all time at $114 million (breaking a record that had just been set by the first Potter). Two sequels followed for the Tobey Maguire/Kirsten Dunst trilogy and, as we all know, the character has never left us. Spider-Man: No Way Home recently brought all 3 Spideys (Maguire, Andrew Garfield, Tom Holland) into its MCU Multiverse.

Now let’s move to some other notable titles from the season:

The Bourne Identity 

Domestic Gross: $121 million

While outside the top ten, Paul Greengrass’s action thriller with Matt Damon as an amnesiac spy is more influential than the bulk of the flicks above it. Damon would return to the role three times.

The Sum of All Fears

Domestic Gross: $118 million

Right behind Damon is his buddy Ben Affleck who took over the role of Jack Ryan (previously played by Alec Baldwin and Harrison Ford) in the Tom Clancy adapted hit.

Road to Perdition

Domestic Gross: $104 million

His follow-up to Best Picture winner American Beauty, the Depression era crime drama from Sam Mendes cast Tom Hanks against type as a hitman with Paul Newman as his underworld boss. This only nabbed a Cinematography Oscar, but reviews were mostly strong. It also provides a juicy role for pre-007 Daniel Craig.

Insomnia

Domestic Gross: $67 million

Hanks wasn’t the only legend stretching in a villainous turn. Robin Williams memorably did the same as he was pitted against Al Pacino’s detective in this chilly thriller from Christopher Nolan (three years before Batman Begins).

Unfaithful

Domestic Gross: $52 million

Adrian Lyne made a movie about another fatal attraction and Unfaithful earned Diane Lane an Oscar nomination as the cheating wife of Richard Gere.

And now for some movies that didn’t perform so well…

Reign of Fire

Domestic Gross: $43 million

This dragon centered fantasy arrived before Matthew McConaughey and Christian Bale would be Oscar winners a few years later. Critics weren’t kind and the box office failed to generate much fire.

Windtalkers

Domestic Gross: $40 million

John Woo’s financial win streak blew over with this World War II action drama headlined by Nicolas Cage that only managed 32% on Rotten Tomatoes.

K-19: The Widowmaker 

Domestic Gross: $35 million

Seven years before her Oscar winning The Hurt Locker, Kathryn Bigelow’s 1960s set submarine thriller with Harrison Ford was a pricey disappointment.

Halloween: Resurrection

Domestic Gross: $30 million

Michael Myers and Jamie Lee Curtis’s Laurie Strode are about to team up for the final (?) time in Halloween Ends in October. In 2002, this was the sequel to the successful Halloween H20 from 1998. This one was not so successful and it’s considered by many aficionados as the weakest of the whole franchise.

Bad Company

Domestic Gross: $30 million

One is a double Oscar winner and the other is one of greatest stand-ups of all time, but this cinematic pairing of Anthony Hopkins and Chris Rock in Joel Schumacher’s action comedy was met with a shrug.

Blood Work 

Domestic Gross: $26 million

Ten years after Unforgiven won Best Picture after its summer release, Clint Eastwood’s mystery didn’t work for critics or crowds.

The Adventures of Pluto Nash

Domestic Gross: $4 million

Speaking of legendary stand-ups, Eddie Murphy reached a career low point as sci-fi comedy Nash stands as one of cinema’s most notorious flops. Its budget was a reported $100 million and that’s not a misprint above… it made an embarrassing $4 million.

2012 is up next!

Daily Streaming Guide: April 2nd Edition

For today’s streaming guide, I focus on what I consider Steven Spielberg’s best picture of the 21st century:

Minority Report was released in 2002 and it’s new to Netflix as of yesterday. Set in 2054, the sci-fi action thriller casts Tom Cruise as the head of a police force that determines “precrimes” – allowing law enforcement the ability to arrest perps before they commit murder. This system turns its head on Cruise when he becomes subject to such an investigation. Costarring Colin Farrell, Samantha Morton, and Max Von Sydow, Report is a visual feast with a highly intelligent screenplay. The pic is based on a short story from famed author Philip K. Dick. Such features as Blade Runner and Total Recall have also been based on his works.

While it was a hit upon release, I’ve always felt this doesn’t get as much credit as it deserves. I consider it to be the #1 movie of 2002 and the kind of relentless entertainment that its director is celebrated for. If you haven’t caught it (or need a reminder of its quality), I can’t recommend it enough.

That’s all for now, folks! Until next time…

Ad Astra Movie Review

Roy McBride has major dad issues in James Gray’s Ad Astra, a space epic that’s more consumed with the personal. As played by Brad Pitt, McBride is a supremely subdued astronaut with a legendary father. He disappeared years ago and is assumed deceased after his mission to Neptune to find extraterrestrial life. This is all a giant metaphor for a father and son relationship that’s literally and figuratively separated by billions of miles. Tommy Lee Jones plays distant papa Clifford and Roy accepts a classified mission to retrieve him after it turns out he may be alive. Only the Earth’s fate hangs in the balance as all of human life is threatened and perhaps by dad’s activities far far away.

We are told that Ad Astra takes place in the near future, but there’s been time for moon bases, plenty of Mars exploration, and the capacity to get to Neptune in a relatively short period of time. Roy is not just estranged from Clifford, but so focused on work that his emotions leave him ambivalent about his wife (Liv Tyler) leaving him. For both him and the father who abandoned him, the mission of work trumps anything familial.

Much credit should be given to the design of Ad Astra. This is a beautiful looking picture as Roy’s travelogue takes him to stunningly desolate set pieces. Director Gray and his team pay attention to how this future world functions in a way that Minority Report did. Those details are worth exploring. It’s the rather tired dynamic between Roy and Clifford that gets in the way. The screenplay seems to think their relationship and what it represents is more profound than it is.

Astra is certainly a visual feast and a bit of a non-starter on a poignancy level. Midway through, I thought of the Dave Matthews Band track “The Space Between”. That could have been the title of this picture, which is more admirable than engrossing. There’s been efforts in this genre with parental themes (Gravity and Interstellar to name two) that landed the emotional stuff with more accurate precision. They didn’t leave me with Dave Matthews warbling gooey lyrics in my head either.

**/2 (out of four)

Top 25 Best Movies (1990-2015): Nos. 25-21

With 2015 nearly over, we can take a look at the beginning of the 1990s through today and see an entire generation of films represented. It caused your trusty movie blogger to think about what my personal favorite 25 pictures have been over that time period and that’s a daunting task. I chose to make the list anyway and, truth be told, it’s a list that could literally fluctuate from day to day.

For one thing, it certainly wouldn’t be accurate to say I’ve seen every acclaimed film from 1990-2015 (and there’s still more to come). Yet I certainly feel confident I’ve viewed enough to make a solid listing and if it changes, I’ll gladly update this.

What we have here is my personal best breakdown of my 25 pictures I keep going back to. That I just can’t quit (Brokeback Mountain didn’t make the cut, by the way). Obviously this is entirely subjective. Movies I wrote down that didn’t make the list are ones that I truly love and or admire from comedies like Dumb and Dumber, Austin Powers: International Man of Mystery, The Big Lebowski, There’s Something About Mary, The 40 Yr. Old Virgin, and Superbad. Disney classic Beauty and the Beast, which is way at the top of my traditional animated material from the studio. Same goes for Pixar’s Toy Story franchise. Tarantino’s Reservoir Dogs, Jackie Brown, Inglourious Basterds, and Django Unchained. Fincher’s The Game. Genre standard bearers like Scream, The Matrix, and Batman Begins and The Dark Knight. Best Picture winners Unforgiven and No Country for Old Men. American Psycho. Glengarry Glen Ross. Black Swan. Nightcrawler. Captain Phillips. American Sniper. Lost in Translation. Casino. Traffic. The Sixth Sense. The Usual Suspects. L.A. Confidential. Inception. And this is what didn’t make it.

So let’s get to what did, my friends! We’ll do this in five installments counting down from #25 to #1. Here we go:

25. Drive (2011)

Director Nicolas Winding Refn’s ultra violent art house crime pic is a triumph of mood and music with magnificent performances from Ryan Gosling, Carey Mulligan, and Albert Brooks. More than most others, Drive stayed with me and I find myself going back to it frequently. Is it in acquired taste? Yes and definitely mine.

24. Capturing the Friedmans (2003)

This is the only documentary of many I could have considered for inclusion, including Hoop Dreams, Man on Wire, and so on. Yet no documentary floored me like Capturing the Friedmans, which tells the truth is stranger than fiction tale of family members accused of child molestation. It’s riveting, heart wrenching stuff that I found myself endlessly recommending to friends.

23. Fight Club (1999)

I wasn’t crazy about David Fincher’s Fight Club when I saw it in the theater circa October 1999. Since then, I’ve come around and been able to recognize it for the timely masterpiece that it is.

22. Casino Royale (2006)

It’s my second favorite James Bond flick ever after only 1963’s From Russia with Love. It brilliantly cast Daniel Craig in the role of 007 and stands as an absolute classic in the canon of the British super spy franchise.

21. Minority Report (2002)

Many movie fans simply thought this Steven Spielberg/Tom Cruise futuristic action thriller was solid. I thought it was amazing from the moment I set eyes on it and it says a lot about the current state of our world and its security. It’s Spielberg’s best work since the early 1980s in my opinion.

And there you have it! I’ll have 20-16 up very soon…