Focus Features tries to get some animation movie dollars with The Boxtrolls, out Friday. The 3D comedic fantasy features the voices of Ben Kingsley, Elle Fanning, Toni Collette, Simon Pegg, Nick Frost, and Tracy Morgan.
The Boxtrolls will attempt to bring in family audiences and there is certainly a market out there with Guardians of the Galaxy and Teenage Mutant Ninja Turtles having made the vast bulk of their money. However, some of its target audience may look at this as a B team offering. Reviews are sturdy with 71% on Rotten Tomatoes at press time. The absence of similar genre titles could lead to this to a debut above $20 million, but I’m skeptical. I’ll predict it manages an opening in the mid to high teens for a respectable but unspectacular debut.
The Boxtrolls opening weekend prediction: $17.2 million
Denzel Washington reteams with his Training Day director Antoine Fuqua for The Equalizer, loosely based on the 1980s crime TV show starring Edward Woodward. Columbia Pictures is so high on the project that they’ve already announced a sequel, so they’re confident this will rake in the dollars. Chloe Grace Moretz, Bill Pullman, and Melissa Leo costar.
There’s reason for the studio to be optimistic. When Denzel works within the action genre, positive results usually follow. In 2012, Safe House got off to a $40 million start and last summer’s 21 Guns took in $27 million. The Equalizer is unlikely to match the actor’s career best opening of $43 million for 2007’s American Gangster, but it’s not totally out of the question. Reviews have been decent and it currently stands at 70% on Rotten Tomatoes.
I believe this should eclipse the opening of 21 Guns while not reaching the heights of Safe House. A debut in the middle of those picture’s openings seems most likely and it should easily rule the box office next weekend.
The Equalizer opening weekend prediction: $34.8 million
Let’s say you got invited to a party and were told that Godzilla, the king of movie monsters, was going to be in attendance. You get there and for a while, you hear quite a bit of backstory about him. There’s even a celebrated TV actor who you’re so happy is appearing, even though he overacts almost laughably from time to time. Also, other monsters show up who you’re not as familiar with and feel a little ambivalent towards. Godzilla doesn’t even bother showing up until halfway through the event. Yet when he does it’s pretty cool. You decide that it was worth it.
And so it is with Godzilla and that’s the kind of party director Gareth Edwards chose to throw bringing back the iconic character to the screen. The last time an American studio featured the jolly green giant, it was with Roland Emmerich behind the camera and Matthew Broderick starring in the summer of 1998. That flick was a “disaster movie” in more ways than one and despite its $379 million worldwide total, it was considered a huge critical and commercial disappointment.
The glass is more half full sixteen years later. That celebrated TV actor is Walter Freaking White himself, Bryan Cranston! And, yes, his performance is a touch over the top. Contrary to what its TV spots might lead you to believe, he doesn’t even stick around the party as long as you’d think either. Cranston plays an engineer at a Japanese nuclear power plant who’s been monitoring troubling seismic activity. One of his coworkers is his wife (Juliette Binoche) and she tragically perishes when the seismic activity turns into a full-on disaster at the plant.
Flash forward to fifteen years later when Cranston’s son (Aaron Taylor-Johnson) is now a military bomb technician with a family of his own, while overacting Daddy is still in Japan trying to track what killed his wife. Circumstances bring them together and in contact with other scientists, led by Ken Watanabe and Sally Hawkins. And after about an hour – not only is Godzilla checked in at the party, but so are two MUTOs (Massive Unidentified Terrestrial Organisms). And as scientist Watanabe waxes philosophical about, our title character might be around to stop those other monsters from wreaking even more havoc. The military, led by David Strathairn, naturally disagree.
Godzilla does take its time to get going, but when it does we’re rewarded with some ultra cool action sequences. A MUTO in Las Vegas is a fun sight to see, as is Godzilla’s initial appearance in Hawaii where vacationers are treated to far more than they paid for.
Tayl0r-Johnson (of Kick-Ass fame) is the human star of these proceedings and we get some familiar scenes of him keeping in touch with his wife at home (Elizabeth Olsen) and young son. Home is San Francisco and that means an action set piece located at the Golden Gate Bridge, which brings me to an important point. Can we get a moratorium on the Golden Gate Bridge for big action spectacles??? After X-Men: The Last Stand and Rise of the Planet of the Apes – enough already. There are other bridges in this country.
Nevertheless, director Edwards brings to the table what Roland Emmerich didn’t – a genuine respect and understanding of the monster genre he’s playing in. And the second half of this party in particular has lots of solid moments that make it worthwhile. For the first time in a long time, we have a Godzilla done mostly right.
From the Venice to Telluride to Cannes to Toronto Film Festivals – we’ve seen a great number of Oscar hopefuls screen already that could easily be contenders at the end of the year. I’ve written about many of them – Foxcatcher. Boyhood. The Imitation Game. Birdman. This evening, I add James Marsh’s The Theory of Everything to the growing list.
This true story is based on Jane Hawking’s book. She is the now ex-wife of noted physicist Stephen Hawking and the film tells the tale of their romance and marriage. The couple is played by Eddie Redmayne (from Les Miserables) and Felicity Jones. Both performers are receiving considerable Oscar buzz for their roles.
Redmayne enters an already highly competitive and crowded field for Best Actor. Already – Steve Carell (Foxcatcher), Benedict Cumberbatch (The Imitation Game), and Michael Keaton (Birdman) appear shoo-ins for nominations. Based on reviews and festival reaction, so does Mr. Redmayne. The problem is there’s only five nominees and other contenders haven’t even been screened yet. Nevertheless, pencil his work in for a nod.
It isn’t totally clear whether Jones will be touted by the studio in the Actress or Supporting Actress category. The latter seems more probable. Either way- count on her being nominated.
Audience reaction at the Toronto Film Festival indicates it’s a crowd pleaser and, as of now, a Best Picture nomination seems more likely than not. It’s a bit tougher to gage whether Marsh will be recognized and we’ll have to see how the Director race plays out over time.
As always, I’ll be updating Academy Award possibilities as they come!
Ryan Coogler’s Fruitvale Station doesn’t focus on the true life homicide of Oscar Grant as much as it tells the story of his life. A life that is still forming like any 22 year old man’s is. And yet the end result of Grant’s young existence permeates the whole picture because we know finality is very near.
On New Year’s Day 2009 at the title train station in Oakland, Oscar Grant (Michael B. Jordan) was killed when a police officer shot him while he was unarmed and handcuffed. The film opens with actual cell phone footage of the incident. We then move back hours before to New Year’s Eve and watch Oscar’s day and night unfold. There’s a birthday party for his mother (Octavia Spencer). His worries about recently losing his grocery store job and whether or not he’ll fall back into the trap of dealing drugs (he’s been incarcerated before and is on probation). His relationship with his girlfriend (Melonie Diaz) and young daughter (Ahna O’Reilly). And a fateful evening to go see fireworks in San Francisco and a return trip home that never occurs.
Fruitvale Station does not make Oscar Grant out to be a saint. He’s a complicated young man who’s conflicted about his fidelity to his girlfriend and how to earn money to care for his family. In a flashback jail scene, we see a side of rage in Oscar that may sadly be necessary in order for him to survive in that world.
First-time director/writer Coogler is a USC grad just like John Singleton, who made his debut feature Boyz N The Hood over twenty years ago. Both movies are similar in this way – they know their environments and portray them with honesty. Where Coogler’s screenplay succeeds best is its subtlety. He recognizes that by showing us the sometimes mundane activities of Oscar’s last hours, it still packs an emotional punch. Oscar and the people he loves and who love him don’t know what’s coming, but we do.
Michael B. Jordan gives a fantastic performance that is an announcement of quite an actor that we’ll be seeing a lot of. His emotional state, in quiet moments with his daughter to truly frightening ones in that station, varies greatly at times and there’s a never a moment where Jordan’s work isn’t completely believable. Diaz and O’Reilly are quite good and Spencer is outstanding as always, with a wrenching scene after Oscar’s death.
There are only a few occasions where the script veers into unnecessary dramatization, such as when Oscar tries to save a dog from dying on the road. For the vast length of its running time, Station simply shows us Oscar’s day. To him, it’s just another one. To us, we know it’s tragically much more than that. And it shouldn’t have been.
Four new titles enter the marketplace this weekend to compete with the current #1 and #2 – No Good Deed and Dolphin Tale 2. They are the YA adaptation The Maze Runner, the Liam Neeson actioner A Walk Among the Tombstones, star-studded comedy This Is Where I Leave You, and Kevin Smith horror flick Tusk.
**In a change from normal practice, let’s get Tusk out of the way first. Kevin Smith, known most from Clerks fame, has directed this low-budget horror pic. It’s unknown at press time how many screens it will open on, though it’s expected to be relatively low compared to the three other new releases. Without knowing a screen count, it’s difficult to post a detailed prediction post on it, so I didn’t. I will say it opens with $2.3 million, well below having the possibility of being in the top five.
As for the other newbies, you can find my detailed prediction posts on them here:
I expect the three newcomers to populate the top three positions this weekend and the possibility exists of a battle between Maze Runner and Tombstones. Current #1 No Good Deed should suffer a far bigger decline than Dolphin Tale 2 and the two could duke it out for the four spot.
And with that, my predictions for the weekend’s top five:
1. The Maze Runner
Predicted Gross: $26.1 million
2. A Walk Among the Tombstones
Predicted Gross: $21.4 million
3. This Is Where I Leave You
Predicted Gross: $12.3 million
4. Dolphin Tale 2
Predicted Gross: $10.8 million (representing a drop of 32%)
5. No Good Deed
Predicted Gross: $10.7 million (representing a drop of 57%)
Box Office Results (September 12-14)
In a bit of a surprise, the Idris Elba/Taraji P. Henson thriller No Good Deed debuted at #1 with a robust $24.2 million, well beyond my meager $13.8M projection. Clearly the marketing campaign worked with 60% of its audience being female. As predicted above, it should drop precipitously in its sophomore frame, but with a low budget, it’s an unqualified hit.
Dolphin Tale 2 had to settle for the #2 spot with $15.8 million, in line with my $16.4M prediction. The sequel couldn’t match the $19.1 million opening gross of its predecessor, though it shouldn’t fall too far in weekend #2.
The rest of the top five was made up of summer holdovers that all didn’t drop quite as far as I expected. Guardians of the Galaxy was third with $8.1 million (my prediction: $6.8M), Teenage Mutant Ninja Turtles fourth with $4.8 million ($3.9M was my estimate), and Let’s Be Cops fifth with $4.3 million (my prediction: $3.4M).
One interesting box office story was the sixth place debut of The Drop, a crime thriller starring Tom Hardy and the late James Gandolfini. It managed an impressive $4.1 million on only 809 screens, giving it the second highest per screen average of the weekend after Deed. This was certainly above the estimates of most and I didn’t even make a prediction on it.
It’s got all-star cast and a director who’s had his share of successful comedies, but I have my doubts as to whether This Is Where I Leave You will have much of an impact with audiences. Shawn Levy, the man behind the Pink Panther reboot, the Night at the Museum franchise and Date Night, is behind the camera. The family comedy’s cast includes Jason Bateman, Tina Fey, Jane Fonda, Adam Driver, Rose Byrne, Corey Stoll, Dax Shepard, Connie Britton, Kathryn Hahn, Timothy Olyphant, and Abigail Spencer.
Yet my take is that the TV spots and trailers haven’t made this look like a must-see and reviews are mixed. This is the exact type of flick that audiences might wait to watch at home in a few months. The high-profile cast could theoretically push it to a bigger opening that I’m imagining, but my gut says it won’t even reach the mid teens and be a box office disappointment like Levy’s last outing, The Internship.
This Is Where I Leave You opening weekend prediction: $12.3 million
20th Century Fox is putting its faith in The Maze Runner, out Friday. The YA pic, based on a bestselling 2009 novel by James Dashner, is looking to appeal to the Hunger Games/Divergent crowd and the studio has already began pre-production on a sequel.
I’m not so sure the sci-fi flick will reach the numbers that Fox is hoping for. However, there is a significant bright side: the film only cost a reported $30 million to produce and it’ll certainly sail well past that in its domestic run alone. Some prognosticators have it grossing its budget in the first weekend, but I’m not willing to go that far. The book is well-known, though not to the level of Hunger Games or Divergent. The latter pic grossed a terrific $54 million earlier this year and that seems out of the question here.
The Maze Runner‘s trailers and TV spots might make it look like a poor man’s Hunger Games to those not familiar with the source material. Still, I’ll predict it debuts north of $25M for what should be a #1 opening, unless Liam Neeson’s A Walk Among the Tombstones eclipses it.
The Maze Runner opening weekend prediction: $26.1 million
For my prediction on A Walk Among the Tombstones, click here:
Liam Neeson is back in vengeance mode in A Walk Among the Tombstones, out Friday. The actor has surprisingly turned into a major action star over the past few years since the unexpected success of Taken in 2008. Since then, all of Neeson’s genre pics has debuted to around $20 million or over. His previous outing, this February’s Non-Stop, opened to $28 million on its way to an impressive $91M domestic haul.
Tombstones finds Neeson as a private investigator searching for a kidnapped woman in New York City. Sounds right up his alley, doesn’t it? The picture is directed by Scott Frank in his directorial debut and he’s best known as a screenwriter for films such as Out of Sight and Minority Report. If Tombstones reaches the $28M gross of Neeson’s predecessor, it certainly wouldn’t shock me.
However, my gut tells me a premiere in the range of 2011’s Unknown seems more likely. That movie opened to nearly $22M and that seems about right for this one.
A Walk Among the Tombstones opening weekend prediction: $21.4 million
The month long reign of the Guardians of the Galaxy and Teenage Mutant Ninja Turtles ruling the top two spots at the box office should come to an end this weekend with two new releases: family sequel Dolphin Tale 2 and thriller No Good Deed. You can review my detailed posts on each of them here:
I’ll give Dolphin Tale 2 the edge to top the charts, but only because it’s scheduled to open on approximately 1500 more screens than Deed, which still has an outside shot at #1. Holdovers Guardians, Turtles, and Let’s Be Cops should round out the top five in a rather lackluster weekend before heavy hitters such as A Walk Among the Tombstones, The Equalizer, and Gone Girl arrive soon.
And with that, my top five predictions for the weekend:
1. Dolphin Tale 2
Predicted Gross: $16.4 million
2. No Good Deed
Predicted Gross: $13.8 million
3. Guardians of the Galaxy
Predicted Gross: $6.8 million (representing a drop of 34%)
4. Teenage Mutant Ninja Turtles
Predicted Gross: $3.9 million (representing a drop of 41%)
5. Let’s Be Cops
Predicted Gross: $3.4 million (representing a drop of 37%)
Box Office Results (September 5-7)
In what was the weakest box office frame in 13 years, Marvel’s Guardians of the Galaxy was #1 with $10.3 million, right in line with my $10.9M projection. The superhero megahit has amassed $294 million and should blast past $300M this week.
Teenage Mutant Ninja Turtles was second with $6.5 million, on pace with my $6.6M estimate. It’s earned an impressive $174M so far and should top out around $190M.
Sleeper comedy hit Let’s Be Cops was third with my $5.5 million, above my $4.5M projection. Its total stands at $66M.
YA romance If I Stay was fourth as it also made $5.5 million, right in line with my $5.3M prediction and its haul is at an OK $39M.
Pierce Brosnan’s dud The November Man rounded out the top five with $4.3 million in weekend two, once again on pace with my $4.1M estimate. Its two week total is a weak $17M and it might reach $30M total domestically.
Finally, the faith based musical drama The Identical (the weekend’s only newbie) tanked with only $1.5 million for a pathetic 12th place debut, under my generous $3.9M projection.
All My Life... I Wanted To Be A Blogster 