Blogger’s Note: on the eve of its premiere, I’m giving this a bump from $56.4 million to $63.4 million
Illumination Entertainment’s The Grinch looks to be a profitable one when it hits theaters next weekend. The animated take on the Dr. Seuss classic features the voice of Benedict Cumberbatch as the grumpy Christmas hating character. Other voice over work is provided by Cameron Seely, Rashida Jones, Kenan Thompson, Angela Lansbury, and Pharrell Williams. Scott Mosier and Yarrow Cheney (who co-directed Illumination’s The Secret Life of Pets) are the filmmakers.
In 2000, the live-action version of this tale with Jim Carrey was a massive smash for Universal (Illumination’s parent company). There has been plenty of family pics over the last couple of months and The Grinch will get plenty more competition in following weekends. Both Fantastic Beasts: The Crimes of Grindelwald and Ralph Breaks the Internet are on deck.
That said, Illumination has had an impressive track record during this decade with the Despicable Me/Minions franchise and Pets. This is their first foray into the month of November, but plenty of other studios have planted their animated flag into the same time frame. In 2012, Wreck-It Ralph took in $49 million for its start. Two years later, Big Hero 6 made $56 million. In 2015, The Peanuts Movie started with $44 million and Trolls premiered to $46 million a year later. Yet the best comp could end up being 2000’s How the Grinch Stole Christmas, which bowed to $55 million. I’ll put it just over that as this Grinch looks to leg out well throughout the holiday season.
The Grinch opening weekend prediction: $63.4 million
For my The Girl in the Spider’s Web prediction, click here:
Blogger’s Note (10/30/18): My estimate for BohemianRhapsody has increased from $31.8M to $41.8M
A flurry of box office activity greets November as three new releases are unveiled. We have the Queen musical extravaganza Bohemian Rhapsody, Disney’s fantasy adventure The Nutcracker and the Four Realms, and Tyler Perry directed Tiffany Haddish comedy Nobody’s Fool. You can peruse my detailed prediction posts on each of them here:
Rhapsody appears poised to, ahem, be the champion. How much it earns is very much in question. Forecasts have it anywhere between $25-$35 million. Reviews have been mixed, but the band’s fan base and rocking trailers have the potential to make the point moot. The film has the potential to over perform ($40 million is in the cards), but I’m estimating it ends up falling in the middle of current projections. **Note updated above.
As for The Nutcracker, it’s risky to underestimate the marketing power of the Mouse Factory. That said, buzz for this seems curiously muted. While it should have no problem nabbing the runner-up spot, I believe it will do so with less than $20 million.
Tiffany Haddish has had a pair of hits with Girls Trip last summer and Night School just a month ago. The latter had the benefit of featuring Kevin Hart. My prediction for Fool gives it about half of what School made out of the gate. That could put it in a battle for third place with the third weekend of current champ Halloween, with A Star Is Born rounding out the top five.
And with that, my top 5 take on as November comes in:
1. Bohemian Rhapsody
Predicted Gross: $41.8 million
2. The Nutcracker and the Four Realms
Predicted Gross: $19.4 million
3. Nobody’s Fool
Predicted Gross: $14.5 million
4. Halloween
Predicted Gross: $14.1 million
5. A Star Is Born
Predicted Gross: $9.7 million
Box Office Results (October 26-28)
As expected, Halloween easily topped the charts for the second weekend in a row with $31.4 million, a bit below my $35.4 million estimate. The latest pairing of Michael Myers and Laurie Strode has taken in $126 million. That already gives it the all-time franchise earner by far (the previous record was 2007’s remake at $58 million).
For the fourth weekend in a row, A Star Is Born held the #2 spot with $14 million, a tad higher than my take of $13.3 million. It’s up to $148 million with $200 million in its sights.
Venom was third with $10.6 million (I was right there at $10.5 million) for an overall tally of $187 million.
Goosebumps 2: Haunted Halloween was fourth with $7.2 million (I said $6.9 million) for $38 million thus far.
None of the newcomers performed well. Hunter Killer managed just a fifth place showing with $6.6 million, not matching my $8.2 million prediction.
Jonah Hill’s directorial debut Mid90s expanded nationally with middling results in 10th with $2.9 million (I said $3.6 million).
In 12th place was Johnny English Strikes Back with $1.6 million compared to my $1.3 million projection. Faith-based drama Indivisible was 13th with $1.5 million (I said $1 million).
When YouWereNeverReallyHere ends, you may think you just witnessed a lot more gory violence than you actually did. That’s because the character of Joe (Joaquin Phoenix) lives in a universe drenched in depravity. Lynne Ramsay’s latest feature wallows in that world in the same way some of Paul Schrader’s directorial and written works do. Like TaxiDriver, we witness a Big Apple underground that is rotten to the core. Joe even has a nagging dental issue like Nick Nolte did in Affliction. This is not to suggest Ramsay is a knock off artist. Far from it. She’s a talent that saturates this with sadistic style, even if it ultimately lacks in substance. I couldn’t quite escape a feeling that this is Taken for the art house crowd, but it’s well done.
Joe is a former solider who served in Iraq and in the FBI. Quick flashbacks reveal the horrors he’s seen not only there, but in a troubled childhood. He now works in the shadows as a blunt force for hire who rescues trafficked girls. When not on assignment, he cares for his sickly mother (Judith Richards). A state senator (Alex Manette) utilizes his services to track down his young teen daughter (Ekaterina Samsonov).
This latest job leads to some revelations about the individuals behind the abduction. However, the film’s plot is less of a focus than Joe’s mental state while keeping up with it. The traumas of what’s to come have to compete with his stress disorders of prior ones. In a career filled with fine performances, Phoenix impresses again. With his unkept beard and near Terminator like concentration on inflicting pain on some real bad guys, he’s hard to turn away from. That’s even when the cruelty (both seen and implied) is occurring.
The picture is lean (clocking in at an hour and a half) and filled with mean spirits. It’s a credit to the lead actor, Ramsey’s filmmaking abilities, and an ace score by Jonny Greenwood that we stay with it.
Spike Lee mixes laughter with anger in the truth is stranger than fiction tale BlacKkKlansman. While it takes some liberties with historical accuracies (set seven years earlier than when its events actually transpired), there’s no mistaking Lee’s connecting of the then with the now. He’s not a subtle filmmaker and this finds him in his feisty and stylish element.
It’s 1972 and we know that from the strategically placed Nixon re-election signs. There’s also discussions on who’s a better movie hero – Superfly or Shaft? Ron Stallworth (John David Washington) is a rookie cop hired as the first black officer in Colorado Springs. His superiors assign him to go undercover at a civil rights rally to monitor behavior. That leads Stallworth requesting a more unconventional operation, especially for the era. He wishes to infiltrate the local chapter of the Ku Klux Klan, a group whose actions are more worthy of keeping tabs on. The color of his skin obviously presents a challenge. So while he establishes a relationship with Klansmen over the phone, it’s fellow detective Flip Zimmerman (Adam Driver) who joins them.
The main characters of the local Klan organization are the untrusting Felix (Jasper Paakkonen), the too trusting Walter (Ryan Eggold), and trusted to be always drunk Ivanhoe (Paul Walter Hauser). Stallworth’s telephone skills eventually put him in touch with Grand Wizard David Duke (Topher Grace). It so happens that the Klan’s targets could involve Stallworth’s love interest Patrice (Laura Harrier), the president of the black student union.
BlacKkKlansman is a police procedural for much of its running time with numerous excursions in grander issues. There’s a wonderfully edited sequence going back and forth between two very different rallies discussing the same subject – D.W. Griffith’s incendiary 1915 epic TheBirthofaNation. While this is set 46 years ago, the screenplay explores that time over 100 years ago in riveting fashion. It also touches on the present day in Charlottesville with fierce urgency.
There are times when Lee is saying that little has really changed. Washington (whose voice in particular resembles his father Denzel’s) shows himself to be a promising performer. Some of the biggest laughs come from his phone banter with the clueless Duke. Driver’s character has perhaps the most interesting story arc. He’s a non-practicing Jew who’s at first ambivalent about his assignment. His disgust with the people he’s infiltrated with soon matches that of Stallworth. The romance with Patrice is a bit underwritten, but it’s a minor quibble.
Tonal shifts are abundant here. It serves less as a distraction than a message that humor can be found through the pain of racism and the characters who display it. The images of Charlottesville also show both rallies in that event and it’s a heart wrenching scene. BlacKkKlansman, through light and dark moments, is a stark reminder of our past and present that is Lee’s own rallying cry.
In one sense, Boots Riley’s SorrytoBotherYou is conventional with its pro-labor and anti-corporate message. How it gets there is wildly unconventional, often original, occasionally hilarious, and clearly from a new filmmaker making his voice and views heard. Riley comes from the world of hip hop and his political perspectives are unmistakable in short tracks. With nearly two hours to work with here, his words can’t possibly be as tight and controlled. This film is messy, but rarely a mess. Like the best music in the genre, it’s not easily forgotten. Similar to a bass line or lyric that won’t escape you, moments here have the same effect.
LaKeith Stanfield is Oakland native Cassius Green, who’s struggling to find a job that pays the bills. He lives in a garage with his artsy girlfriend Detroit (Tessa Thompson). He owes lots of back rent to his uncle (Terry Crews) that owns the property. While the Golden State area looks current, the picture is set in an alternate reality. There’s a massive conglomerate that goes by WorryFree. We see ads on TV that promote a life of not paying bills and free housing. The catch? A lifetime contract of servitude. It’s absolutely an allegory for the director’s view of today’s workforce. While WorryFree seemingly appeals to many, this is not so for Cassius, Detroit, and lots of protesters.
Instead, Cassius finds work as a telemarketer and he initially finds it mundane and challenging. That is until a coworker (Danny Glover) imparts his secret of success. That recipe is using his “white voice”. Those voices are provided by recognizable faces for main characters including David Cross, Lily James, and Patton Oswalt. Cassius suddenly finds himself climbing the corporate ladder once the modulation happens. It leads him to gain the designation of “Power Caller”. That means moving to a swanky floor where only the Caucasian voice is allowed to be used. This also means he becomes a scab to his fellow workers and to Detroit. His financial rise soon puts him in touch with the leaders of WorryFree and its CEO Steve Lift (Armie Hammer).
Once that partnership is forged, SorrytoBotherYou veers into genuinely unexpected directions (trust me on this one). Riley, however, never strays too far from the overall message. He’s got a fine cast to deliver it. Stanfield (best known for his supporting role in GetOut) is terrific and we’ve certainly never seen Hammer like this before. There are some genuine laugh out loud moments. One involves a passive aggressive argument Cassius has with friend and coworker Salvador (Jermaine Fowler). Another pertains to Steve’s unexpected reaction to Cassius’s reaction when a key plot point is revealed.
When we get to the third act, its unconventional tone gallops into an entirely new gear. It’s not totally successful, but I found myself admiring Riley’s kitchen sink approach to it. For viewers looking for something that’s often remarkably different, Bother hits those notes with enough frequency for a solid recommendation.
Continuing on with my look back at the major categories from 1990 to the present at the Oscars, we arrive at Best Supporting Actor! If you missed my post regarding Supporting Actress, you can find it right here:
As I did with that blog entry, I’m picking the top 3 least surprising winners (performers who essentially sailed right through awards season) and the 3 biggest upsets in each race. I am also selecting the strongest and weakest fields overall.
As a primer, here are the 28 actors whose support earned them a golden statue:
1990 – Joe Pesci, GoodFellas
1991 – Jack Palance, City Slickers
1992 – Gene Hackman, Unforgiven
1993 – Tommy Lee Jones, The Fugitive
1994 – Martin Landau, Ed Wood
1995 – Kevin Spacey, The Usual Suspects
1996 – Cuba Gooding Jr., Jerry Maguire
1997 – Robin Williams, Good Will Hunting
1998 – James Coburn, Affliction
1999 – Michael Caine, The Cider House Rules
2000 – Benicio del Toro, Traffic
2001 – Jim Broadbent, Iris
2002 – Chris Cooper, Adaptation
2003 – Tim Robbins, Mystic River
2004 – Morgan Freeman, Million Dollar Baby
2005 – George Clooney, Syriana
2006 – Alan Arkin, Little Miss Sunshine
2007 – Javier Bardem, No Country for Old Men
2008 – Heath Ledger, The Dark Knight
2009 – Christoph Waltz, Inglourious Basterds
2010 – Christian Bale, The Fighter
2011 – Christopher Plummer, Beginners
2012 – Christoph Waltz, Django Unchained
2013 – Jared Leto, Dallas Buyers Club
2014 – J.K. Simmons, Whiplash
2015 – Mark Rylance, Bridge of Spies
2016 – Mahershala Ali, Moonlight
2017 – Sam Rockwell, Three Billboards Outside Ebbing, Missouri
There are plenty to choose from as far least surprising winners, but here’s my top ones:
3. Gene Hackman, Unforgiven
Clint Eastwood’s Western picked up a slew of awards on Oscar night and Hackman’s inclusion in that race was never really in doubt. It was his second statue after winning Best Actor 21 years previously for The French Connection.
2. Heath Ledger, The Dark Knight
It was director Christopher Nolan giving numerous awards speeches on behalf of the late Ledger, as his work playing the iconic villain swept all precursors as well. This remains not only the only win in the omnipresent superhero genre in the 21st century, but the only nomination.
1. Javier Bardem, No Country for Old Men
Like Ledger, Bardem created a bad guy for the ages in the Coen Brothers Oscar-winning picture. He picked up all the precursors as well for his role.
And now the upsets!
3. James Coburn, Affliction
There was clearly no front-runner in 1998 as a different actor was honored in each preceding awards show. Ed Harris took the Golden Globe for The Truman Show, Billy Bob Thornton (A Simple Plan) was victorious at the Critics Choice Awards, Robert Duvall’s role in A Civil Action was honored at SAG, and Geoffrey Rush (Elizabeth) was the BAFTA recipient. Surely one of them would win the Oscar, but it instead went to Mr. Coburn.
2. Mark Rylance, Bridge of Spies
In 2015, the general consensus was that Sylvester Stallone would punch out the competition in his signature role for Creed. That would have been quite a feat after Rocky took Best Picture in 1976 – nearly four decades prior. Yet it didn’t materialize when Rylance made the trip to the podium.
1. Alan Arkin, Little Miss Sunshine
Along the same lines, Eddie Murphy was the strong favorite for his rare dramatic work in Dreamgirls. With Jennifer Hudson as a sure thing for Supporting Actress (which did happen), the musical looked safe for a supporting sweep. The Academy surprisingly went another route by honoring Arkin.
And now to the fields overall and choosing a strongest and weakest. For the least impressive of the bunch, I’m going with 2011. Here were the nominees:
Christopher Plummer, Beginners (winner)
Kenneth Branagh, My Week with Marilyn
Jonah Hill, Moneyball
Nick Nolte, Warrior
Max Von Sydow, Extremely Loud and Incredibly Close
When it comes to best overall field, I chose 1993. This is the year that Tommy Lee Jones got the gold in The Fugitive. That’s a rare acting win for an action flick. It was deserved in my view and the other four nominees were very strong as well. They were:
Leonardo DiCaprio, What’s Eating Gilbert Grape
Ralph Fiennes, Schindler’s List
John Malkovich, In the Line of Fire
Pete Postlethwaite, In the Name of the Father
Furthermore, I could keep going with other deserving actors that year, including Val Kilmer in Tombstone and Sean Penn for Carlito’s Way.
The next trip down memory lane will be Best Actress and it will be up soon!
We have reached my last weekly Oscar predictions posts in the major categories for the month of October. Next week, we will see some big changes in my estimates! For starters, the listing of Best Picture possibilities will be whittled from 25 to 15. All other categories will be slimmed down from 15 possible nominees to just 10. Additionally, beginning next Thursday, I will be listing all races dealing with feature-length films. That means all tech races, Documentary Feature, Foreign Language Film, and Animated Feature are coming your way for the first time next week.
In the meantime, here’s some developments from last week to this one:
Bohemian Rhapsody, Beautiful Boy, and The Front Runner all fall out the top 25, making room at the bottom of the list for Cold War, Ben Is Back, and Hereditary. My nine predicted Best Picture nominees remain the same. A Quiet Place and Eighth Grade move to their highest rankings yet in 16th and 17th.
In Best Director, John Krasinski has his debut on the listings at #14 for A Quiet Place. The Coen Brothers work in The Ballad of Buster Scruggs falls out.
The mediocre critical reaction for BohemianRhapsody has me greatly questioning whether Rami Malek makes it in Best Actor after all. He drops from 4th to 6th with Willem Dafoe (AtEternity’sGate) now back in the fold.
John C. Reilly returns at #15 for his role in Stan & Ollie in Best Actor, knocking out Lucas Hedges for Boy Erased.
The continued switching between Lady Gaga (AStarIsBorn) and Glenn Close (TheWife) goes on with the latter reclaiming the top spot.
Maggie Gyllenhaal makes her first appearance at #13 in Actress for her role as The Kindergarten Teacher, replacing Carey Mulligan (Wildlife).
Mahershala Ali is back at #1 in Supporting Actor over Timothee Chalamet (Beautiful Boy), who falls to third behind Sam Elliot (A Star Is Born). Robert Forster (What They Had) also notches his highest chart placement at #9.
Emma Stone (The Favourite) and Claire Foy (First Man) switch the 2-3 spots in Supporting Actress, with Regina King (If Beale Street Could Talk) remaining #1.
First Man is back in the top 5 for Adapted Screenplay over Widows.
Best Picture
1. A Star Is Born (Previous Ranking: 1)
2. Roma (PR: 2)
3. The Favourite (PR: 3)
4. Green Book (PR: 4)
5. First Man (PR: 5)
6. BlacKkKlansman (PR: 6)
7. If Beale Street Could Talk (PR: 7)
8. Black Panther (PR: 8)
9. Vice (PR: 9)
Other Possibilities:
10. Widows (PR: 11)
11. Can You Ever Forgive Me? (PR: 10)
12. The Mule (PR: 12)
13. Crazy Rich Asians (PR: 13)
14. Mary Queen of Scots (PR: 14)
15. On the Basis of Sex (PR: 15)
16. A Quiet Place (PR: 24)
17. Eighth Grade (PR: 20)
18. Boy Erased (PR: 16)
19. Leave No Trace (PR: 19)
20. The Ballad of Buster Scruggs (PR: 17)
21. Mary Poppins Returns (PR: 18)
22. The Hate U Give (PR: 23)
23. Cold War (PR: Not Ranked)
24. Ben Is Back (PR: Not Ranked)
25. Hereditary (PR: Not Ranked)
Dropped Out:
Bohemian Rhapsody
Beautiful Boy
The Front Runner
Best Director
1. Alfonso Cuaron, Roma (PR: 1)
2. Bradley Cooper, A Star Is Born (PR: 2)
3. Yorgos Lanthimos, The Favourite (PR: 3)
4. Spike Lee, BlacKkKlansman (PR: 5)
5. Damien Chazelle, First Man (PR: 4)
Other Possibilities:
6. Barry Jenkins, If Beale Street Could Talk (PR: 6)
7. Peter Farrelly, Green Book (PR: 7)
8. Adam McKay, Vice (PR: 8)
9. Ryan Coogler, Black Panther (PR: 9)
10. Marielle Heller, Can You Ever Forgive Me? (PR: 10)
11. Steve McQueen, Widows (PR: 11)
12. Clint Eastwood, The Mule (PR: 12)
13. Josie Rourke, Mary Queen of Scots (PR: 13)
14. John Krasinski, A Quiet Place (PR: Not Ranked)
15. Jon M. Chu, Crazy Rich Asians (PR: 15)
Dropped Out:
Joel and Ethan Coen, The Ballad of Buster Scruggs
Best Actor
1. Bradley Cooper, A Star Is Born (PR: 1)
2. Christian Bale, Vice (PR: 2)
3. Viggo Mortensen, Green Book (PR: 3)
4. Ryan Gosling, First Man (PR: 5)
5. Willem Dafoe, AtEternity’sGate (PR: 6)
Other Possibilities:
6. Rami Malek, BohemianRhapsody(PR: 4)
7. Clint Eastwood, The Mule (PR: 9)
8. Robert Redford, The Old Man & The Gun (PR: 7)
9. Hugh Jackman, The Front Runner (PR: 10)
10. Steve Carell, Beautiful Boy (PR: 8)
11. Lucas Hedges, Ben Is Back (PR: 12)
12. Ethan Hawke, First Reformed (PR: 11)
13. Ben Foster, Leave No Trace (PR: 13)
14. John David Washington, BlacKkKlansman (PR: 14)
15. John C. Reilly, Stan & Ollie (PR: Not Ranked)
Dropped Out:
Lucas Hedges, Boy Erased
Best Actress
1. Glenn Close, TheWife (PR: 2)
2. Lady Gaga, A Star Is Born (PR: 1)
3. Olivia Colman, The Favourite (PR: 3)
4. Melissa McCarthy, Can You Ever Forgive Me? (PR: 4)
5. Yalitza Aparicio, Roma (PR: 5)
Other Possibilities:
6. Viola Davis, Widows (PR: 6)
7. Julia Roberts, Ben Is Back (PR: 9)
8. Felicity Jones, On the Basis of Sex (PR: 8)
9. Saoirse Ronan, Mary Queen of Scots (PR: 7)
10. Nicole Kidman, Destroyer (PR: 10)
11. Toni Collette, Hereditary (PR: 12)
12. Emily Blunt, Mary Poppins Returns (PR: 11)
13. Maggie Gyllenhaal, The Kindergarten Teacher (PR: Not Ranked)
14. Kiki Layne, If Beale Street Could Talk (PR: 13)
15. Elsie Fisher, Eighth Grade (PR: 15)
Dropped Out:
Carey Mulligan, Wildlife
Best Supporting Actor
1. Mahershala Ali, Green Book (PR: 2)
2. Sam Elliot, A Star Is Born (PR: 3)
3. Timothee Chalamet, Beautiful Boy (PR: 1)
4. Richard E. Grant, Can You Ever Forgive Me? (PR: 4)
5. Sam Rockwell, Vice (PR: 5)
Other Possibilities:
6. Daniel Kaluuya, Widows (PR: 6)
7. Adam Driver, BlacKkKlansman (PR: 8)
8. Michael B. Jordan, Black Panther (PR: 7)
9. Robert Forster, What They Had (PR: 14)
10. Steve Carell, Vice (PR: 9)
11. Armie Hammer, On the Basis of Sex (PR: 11)
12. Nicholas Hoult, The Favourite (PR: 10)
13. Russell Crowe, Boy Erased (PR: 12)
14. Russell Hornsby, The Hate U Give (PR: 13)
15. Tim Blake Nelson, The Ballad of Buster Scruggs (PR: 15)
Best Supporting Actress
1. Regina King, If Beale Street Could Talk (PR: 1)
On November 9, TheGirlintheSpider’sWeb drops in theaters stateside. It had its premiere at the Rome Film Festival and reviews are out. The film is a continuation of adaptations of the bestselling Swedish crime novels originated by Stieg Larsson (this particular book was penned by David Lagercrantz). If it seems odd to have an Oscar Watch post up for the thriller, don’t forget that 2011’s TheGirlwiththeDragonTattoo nabbed five nominations: Best Actress (Rooney Mara), both Sound races, Cinematography, and Editing (which it won).
This version finds Claire Foy taking over the lead role of Lisbeth as she follows in the footsteps of Mara and Noomi Rapace before that. Don’tBreathe director Fede Alvarez takes over top duties after David Fincher made Dragon. Costars include Sverrir Gudnason, Sylvia Hoeks, LaKeith Stanfield, Stephen Merchant, and Vicky Krieps.
Early reaction is quite mixed and Web appears highly unlikely to match the many kudos that went to Fincher’s film. Critics are pointing out Foy as a highlight, but I wouldn’t look her to be a factor at all in Best Actress. Lucky for her, she is a definite factor in Supporting Actress with the already released FirstMan.
Bottom line: while Tattoo garnered Academy attention, don’t look for voters to stamp their approval here. My Oscar Watch posts will continue…
It’s not a remake of the Paul Newman/Bruce Willis dramedy from almost a quarter century ago, but Nobody’s Fool is in theaters next weekend with some other familiar names. The comedy casts Tiffany Haddish as a recently released prisoner with some unique dating issues. Tika Sumpter, Omari Hardwick, and Whoopi Goldberg costar.
Haddish, of course, broke out on the big screen in a major way last year with her acclaimed supporting role in Girls Trip. Just last month, she had another solid earner alongside Kevin Hart in Night School. This will be the biggest test so far of her newfound star power. It doesn’t hurt that her director is another name audiences know well – Tyler Perry.
In recent years, Perry’s non-Madea features often still manage opening weekends in the mid teens to low 20s. His spring thriller Acrimony took in $17.1 million for its start. His low mark came in 2014 with The Single Moms Club with just $8 million.
My feeling is that Haddish’s involvement should cause this to hit low to mid teens. I do wonder if its numbers could dwindle a bit since many moviegoers just saw her in Night School. For that reason, I’ll go on the lower scale of that range.
Nobody’s Fool opening weekend prediction: $14.5 million
Disney is hoping for a sizable family and female audience next weekend when The Nutcracker and the Four Realms dances into theaters. The fantasy adventure is based on both the 1816 E.T.A. Hoffmann story “The Nutcracker and the Mouse King” and Tchaikovsky’s ballet with a cast including Keira Knightley, Mackenzie Foy, Eugenio Derbez, Matthew MacFadyen, Misty Copeland, Helen Mirren, and Morgan Freeman. Realms shares directing credit between Lasse Hallstrom (who shot most of it) and Joe Johnston (who came in for late re-shoots). In a strange twist of irony, the pic’s directorial drama is shared by Bohemian Rhapsody, which opens on the same day.
Unlike many Mouse Factory properties, The Nutcracker is a big question mark as to its box office viability. Buzz for this doesn’t seem on the level with many of their other productions. While Disney has been churning out one blockbuster after another, we have seen both A Wrinkle in Time and Christopher Robin come in with less than anticipated opening weekends. Both of those features struggled to eventually reach the $100 million mark. While Realms won’t have much family competition its first weekend out, that will change quickly as Dr. Seuss’ The Grinch, Fantastic Beasts: The Crimes of Grindelwald, and Ralph Breaks the Internet all debut shortly afterwards.
I believe this could struggle to join the century club like Wrinkle and Robin. It appears poised to come in second to the aforementioned Rhapsody. That said, I don’t want to underestimate the studio’s marketing prowess too much. Yet my gut says a gross in the $20 million range is where this starts and word-of-mouth will decide the rest.
The Nutcracker and the Four Realms opening weekend prediction: $19.4 million
All My Life... I Wanted To Be A Blogster 