Twisters storms into theaters nearly 30 years after the blockbuster original and it should easily rule the charts. You can peruse my detailed prediction post on the weekend’s newcomer here:
My hunch is to take the over on its anticipated range and my forecast puts Twisters in the low 70s.
The rest of the top 5 should consist of holdovers. I see Despicable Me 4, after two weeks in the top spot, dropping to second in the low to mid 40s percent arena. Another animated sequel, Inside Out 2, may hold in third.
That’s because I have it dipping in the mid t0 high 30s and current #2 Longlegs experiencing a fall in the 50% range (more on that pic’s impressive start below). A Quiet Place: Day One will probably round out the top five.
Here’s how I see it playing out:
1. Twisters
Predicted Gross: $72.3 million
2. Despicable Me 4
Predicted Gross: $24.8 million
3. Inside Out 2
Predicted Gross: $13.2 million
4. Longlegs
Predicted Gross: $11 million
5. A Quiet Place: Day One
Predicted Gross: $6.6 million
Box Office Results (July 12-14)
Illumination Entertainment lit up the charts once again as Despicable Me 4 repeated in first. The sequel took in $43.5 million in its sophomore outing and that exceeds my $36.4 million prediction. Since its holiday weekend debut, it has amassed $210 million.
Neon had the largest premiere in its history (and then some) with the serial killer thriller Longlegs. Featuring a heavily made up Nicolas Cage as the title character, it held the runner-up spot with $22.4 million. That nearly doubles my $11.6 million projection and quadruples the studio’s previous record holder Immaculate from earlier in the year. It is certainly one of 2024’s biggest over performers.
Inside Out 2 was third with $19.9 million, a tad more than my $17.7 million take. The Pixar follow-up stands at $571 million after five weeks.
A Quiet Place: Day One was fourth with $11.3 million (I said $10.1 million) for a three-week tally of $115 million.
Finally, the star power of Scarlett Johansson and Channing Tatum wasn’t enough to lift Fly Me to the Moon to stellar results. The space race rom com was fifth with $9.4 million compared to my $12.2 million call.
In what has become a tradition on the blog, it is time to revisit the cinematic season that transpired ten years ago. In 2014, that meant the warmer months were ruled by a ragtag group of relatively unknown Marvel superheroes (at least compared to your Spideys, Batmen, and Supermen, etc…).
Audiences might have been hooked on the feelings these MCU characters gave them, but they were also transfixed by apes, giant lizards, and pizza chomping turtles.
Let’s take a trip down a decade old memory lane with the top 10 domestic earners of summer ’14 as well as other noteworthy pics and significant flops.
10. How to Train Your Dragon 2
Domestic Gross: $177 million
While the DreamWorks Animation sequel couldn’t match or exceed the gross of its 2010 predecessor at $217 million, the fantasy tale won the Golden Globe for its genre and was Oscar nominated for Animated Feature. A sequel would follow five years later.
9. Teenage Mutant Ninja Turtles
Domestic Gross: $191 million
With Michael Bay producing and Megan Fox starring, the transformation of this franchise from the 1990s to the 21st century was a financial if not critical success. A sequel which made less cash came two summers later.
8. 22 Jump Street
Domestic Gross: $191 million
Channing Tatum and Jonah Hill’s second go-round as hapless cops (this time graduating to going undercover at college instead of high school) outpaced the 2012 original financially. A third Street never arrived (there was a rumored crossover with the Men in Black series), but Tatum has recently spoken of his desire to get the ball rolling.
7. Godzilla
Domestic Gross: $200 million
It might be the 30th overall feature in the Godzilla franchise, but this monster mash from Gareth Edwards achieved some of the series’ best reviews and kicked off the MonsterVerse that is still wreaking havoc at multiplexes. It also assisted in washing away dirty memories of Roland Emmerich’s 1998 summertime treatment with Matthew Broderick
6. The Amazing Spider-Man 2
Domestic Gross: $202 million
While it made over $200 million domestic, Andrew Garfield’s return to the Spidey suit was seen as underwhelming with critics and audiences. Planned sequels didn’t materialize though Garfield and head villain Jamie Foxx would reprise their roles in 2021’s Spider-Man: No Way Home.
5. Dawn of the Planet of the Apes
Domestic Gross: $208 million
The follow-up to 2011’s Rise of the Planet of the Apes, Matt Reeves took over directorial duties. The result was critical acclaim as Dawn became the long running franchise’s largest grosser. Two sequels (including Kingdom of the Planet of the Apes in May) have followed.
4. X-Men: Days of Future Past
Domestic Gross: $233 million
This sequel combined cast members from the 2000-06 trilogy including Hugh Jackman’s Wolverine, Ian McKellen’s Magneto, Patrick Stewart’s Professor X, and Halle Berry’s Storm with some of their younger counterparts from 2011’s X-Men: First Class like Michael Fassbender’s Magneto and James McAvoy’s Professor X (as well as Jennifer Lawrence’s Mystique). The result is the highest earning pic with X-Men in the title. With the exception of the Deadpool success that followed two years later, direct sequels Apocalypse and Dark Phoenix failed to replicate the success here.
3. Maleficent
Domestic Gross: $241 million
After the massively profitable live-action remake of their animated Alice in Wonderland four years earlier, Disney continued the trend with Maleficent. Angelina Jolie starred as the Sleeping Beauty villainess and a 2019 sequel earned less than half of the total of this domestically.
2. Transformers: Age of Extinction
Domestic Gross: $245 million
Shia LaBeouf exited Michael Bay’s robotic mayhem and Mark Wahlberg entered this fourth entry. A billion in receipts worldwide resulted in making this 2014’s best worldwide grosser. Sequels are still coming and the latest Transformers: Rise of the Beasts hit a lower $157 million last year.
1. Guardians of the Galaxy
Domestic Gross: $233 million
This was the 10th feature in the MCU and it seemed like the first that could be a financial question mark. The heroes weren’t as familiar to audiences, but James Gunn’s tale of eccentric comic characters took by the box office by storm. Two sequels have followed in addition to Guardians appearances in other MCU sagas.
And now let’s cover some other flicks from ’14 that had crowds and critics chatting.
Neighbors
Domestic Gross: $150 million
The comedic teaming of Seth Rogen and Zac Efron caused this fraternal experience to be the season’s most fruitful original comedy. A less regarded sequel came two years later.
Lucy
Domestic Gross: $126 million
Two summers after The Avengers set records, Scarlett Johansson had a solid sci-fi action grosser with Luc Besson’s concoction.
The Fault in Our Stars
Domestic Gross: $124 million
John Green’s phenomenon of a YA romance bestseller became a blockbuster with decent reviews highlighting the chemistry of leads Shailene Woodley and Ansel Elgort.
Edge of Tomorrow
Domestic Gross: $100 million
Doug Liman’s sci-fi actioner with elements of Groundhog Day was not a sizable hit upon release. However, the Tom Cruise and Emily Blunt led title’s reputation has grown since with occasional rumors of another Tomorrow.
Let’s Be Cops
Domestic Gross: $82 million
This buddy cop pic was an out of nowhere late season surprise with over $100 million globally against a meager $17 million budget. Unlike nearly all other movies I’ve spoken of above, a sequel (somehow) did not happen.
Chef
Domestic Gross: $31 million
After helming two ginormous Iron Man chapters and a disappointment with Cowboys and Aliens, Jon Favreau cooked up critical cred and impressive midsize numbers with this road dramedy.
Boyhood
Domestic Gross: $25 million
Shot over a span of a decade, Richard Linklater’s unique coming-of-age drama remains the best reviewed picture of the 21st century according to Metacritic. Six Oscar nods, including a Supporting Actress victory for Patricia Arquette, were among its many plaudits.
Snowpiercer
Domestic Gross: $4 million
Bong Joon-Ho, who would make the BP winning Parasite five years later, garnered acclaim for this post-apocalyptic pic that would eventually spawn a TV series.
OK, so not all 2014 summer sagas were prosperous and here’s some that were considered commercial and/or critical disappointments.
Hercules
Domestic Gross: $72 million
Brett Ratner’s version of the Greek god wreaking havoc on his enemies cast Dwayne Johnson in the lead. The grosses were actually fairly decent, but I’m sure the studio were hoping for nine figures stateside… and does anyone even mention this movie anymore?
Jersey Boys
Domestic Gross: $47 million
The original play earned Tonys but audiences mostly tuned out Clint Eastwood’s take on the decades spanning musical drama.
Blended
Domestic Gross: $46 million
The Wedding Singer and 50 First Dates were each lucrative rom coms with Adam Sandler and Drew Barrymore. The third time was not the charm with moviegoers or reviewers.
A Million Ways to Die in the West
Domestic Gross: $43 million
Family Guy creator Seth MacFarlane ruled the comedic box office in summer 2012 with Ted. This follow-up starring him and Charlize Theron didn’t hit the bullseye.
The Expendables 3
Predicted Gross: $39 million
The previous two action headliners with Stallone, Schwarzenegger, Statham, and Snipes and others did well. For inexplicable reasons, a PG-13 rating was slapped on this third one and audiences turned their nose up for what they wanted to be R-rated violence. A fourth (and also unsuccessful) pic came out last year.
Sex Tape
Predicted Gross: $38 million
Jason Segel and Cameron Diaz couldn’t cause people to cue up this raunchy comedy which played to mostly empty establishments.
Sin City: A Dame to Kill For
Domestic Gross: $13 million
The first Sin City in 2005 made nearly $30 million in its first weekend while this sequel grossed less than half that figure total. The comic book adaptation co-directed by Robert Rodriguez and Frank Miller might stand as the biggest flop of the season.
And that’s your recap, folks! Hope you enjoyed this walk down memory lane and I’ll have a post about summer 2015 up in the summer of 2025!
Scarlett Johansson and Channing Tatum look to provide Fly Me to the Moon with some financial liftoff this weekend. The rom com is set during the 1960s space race with Greg Berlanti directing. Costars include Jim Rash, Anna Garcia, Ray Romano, and Woody Harrelson. Its box office prospects are shaky (I have it debuting to around $12 million) and reviews aren’t gushing.
Fly has a fair if not over the moon 70% Rotten Tomatoes score. Several critics are praising the star power of the headliners, particularly Johansson. The actress received her first and second Academy noms in 2019 for Marriage Story (lead Actress) and Jojo Rabbit (Supporting Actress). This will not be #3 and I don’t see Moon factoring in anywhere else. However, Johansson could contend in Actress in a Musical/Comedy at the Golden Globes depending on competition strength. My Oscar Prediction posts will continue…
Scarlett Johansson and Channing Tatum are hoping to land a third place showing behind the current animation domination with Fly to the Moon this Friday. We also have the critically acclaimed horror thriller Longlegs with Maika Monroe and Nicolas Cage and you can peruse my detailed prediction posts on the newbies here:
A low double digits premiere might get Moon to third after Despicable Me 4 and Inside Out 2. The former got off to a holiday weekend start in line with expectations while Inside continues its enormously financially potent run. I have Despicable dropping in the low 50s range with Out easing in the lower to mid 40s.
The worst case scenario for Moon would be fifth depending on how Longlegs debuts and A Quiet Place: Day One holds up in weekend 3. Longlegs is a wild card and it could exceed expectations. I have it just topping $10 million and that would put it in a close race with its genre competitor and perhaps even Moon. I’ll give the newcomer an edge over Quiet, but spots 3-5 will be a fascinating watch this time around.
Here’s how I envision the top 5 playing out:
1. Despicable Me 4
Predicted Gross: $36.4 million
2. Inside Out 2
Predicted Gross: $17.7 million
3. Fly Me to the Moon
Predicted Gross: $12.2 million
4. Longlegs
Predicted Gross: $11.6 million
5. A Quiet Place: Day One
Predicted Gross: $10.1 million
Box Office Results (July 5-7)
As mentioned, Illumination Entertainment performed as anticipated with Despicable Me 4. Having opened on Wednesday the 3rd, the four-quel (and sixth entry in the series when counting the Minions titles) made $75 million from Friday to Sunday and $122.6 million when counting its two extra days. That’s slightly below my respective estimates of $79.4 million and $126.3 million and certainly enough to keep this money minting franchise going.
Inside Out 2 dropped to second after three weeks atop the charts with $30.3 million, a tad under my $32.6 million take. The four-week gross is $534 million.
A Quiet Place: Day One tumbled a somewhat troubling 61% in third with $20.6 million. I was more generous at $24 million. The two-week tally is nearing nine digits with $93 million.
Ti West’s third pic in his horror trilogy MaXXXine was fourth with a so-so $6.7 million. That does top my $5.7 million forecast and it is higher than predecessors X and Pearl. This should fade quickly.
Bad Boys: Ride or Die rounded out the top five with $6.6 million (I said $6.8 million) for a five-week $177 million haul.
Kevin Costner’s Horizon: An American Saga – Chapter 1 was sixth in its sophomore outing with $5.3 million, in line with my $5.4 million prediction. The Western’s underwhelming total is $22 million.
Sony Pictures is banking on star power to land Fly Me to the Moon pleasing results when it debuts July 12th. Scarlett Johansson and Channing Tatum headline the 1960s set romantic dramedy with the Space Race as a backdrop. Nick Dillenburg, Anna Garcia, Jim Rash, Ray Romano, and Woody Harrelson are in the supporting cast with Love, Simon helmer Greg Berlanti behind the camera.
With a reported $100 million price tag, this a risky bet for its studio (Apple TV has streaming rights for a TBD date). This is counting on adult moviegoers to turn up for a summertime tale with no awards buzz. It is primarily relying on Johansson and Tatum to propel it and that’s asking a lot.
A best case scenario would put this near $20 million, but I think that might be wishful thinking. Low double digits or lower teens seems likelier.
Fly Me to the Moon opening weekend prediction: $12.2 million
No, Scoop is not a remake of the 2006 Woody Allen pic with Hugh Jackman and Scarlett Johansson, but it is centered on a controversial subject. This Scoop is out on Netflix today and focuses on a disastrous TV interview with Prince Andrew about his various scandals. Gillian Anderson plays journalist Emily Maitlis with Rufus Sewell as the aforementioned royalty. Billie Piper and Keely Hawes costar with Philip Martin, known for TV work in Prime Suspect and The Crown, directing.
Like Scoop from Mr. Allen, this Scoop has a mixed reception. At 76% on RT, even the more positive notices temper their plaudits. Here’s a new flash! This won’t a topic in the awards conversation. My Oscar Prediction posts will continue…
Wes Anderson’s mix of melancholia and quirky humor is abundant in Asteroid City with its massive cast and dueling aspect ratios. This is a stunning looking feature focused on the behind the scenes made for TV airing of a play (shot in black & white). The play itself is presented via Technicolor hues in a Western desert setting in the 1950s. Whether it’s the characters they’re playing or the actors and directors themselves, they exist in Anderson’s wheelhouse of themes. From dealing with grief to unlikely romances and coming-of-age under unique circumstances, any filmmaker would be rightly accused of ripping off Anderson if this weren’t made by him. Whether it works will depend on how into him you are. I’m not a die-hard though his signature style popped for me in The Royal Tenenbaums, The Grand Budapest Hotel, and more. It can also leave me cold. That happened in portions of his previous effort The French Dispatch while other segments were more successful. This City was lukewarm.
The play we see (which takes up the bulk of screen time) happens in the sleepy title dwelling awoken by a youth astronomy convention. One of the top outcasts competing is Woodrow (Jake Ryan), the movie’s Max Fischer from Rushmore but nicer. His father is war photojournalist Augie and he’s played by Jason Schwartzman, who played Max in Anderson’s acclaimed dramedy from 1998. He’s recently widowed and (in a gag that works throughout) hasn’t figured out how to tell his son and three young daughters who might be witches that mom has passed. Tom Hanks is his wealthy father-in-law who lives on a golf course and reluctantly is teeing up accommodations for the family.
Another competitor is Dinah, daughter of Midge (Scarlett Johansson), a sullen movie star who assumes her fate will be similar to ingenues like Marilyn Monroe. She engages in a fireworks free tryst with Augie while Woodrow develops a crush on Dinah.
We’ve seen plenty of all-star casts in his oeuvre, but Anderson outdoes himself in Asteroid City. From Steve Carell’s motel manager to Matt Dillon’s auto mechanic or Tilda Swinton’s scientist and Rupert Friend’s singing cowboy who’s sweet on Maya Hawke’s teacher, the cast is a loaded group. Some are practically blink and you’ll miss them appearances – hey there’s Jeff Goldblum! And Hong Chau! Jeffrey Wright, who gave a segment stealing performance in The French Dispatch, has a highlight scene as a General judging the convention.
Without going into spoiler territory, the plot eventually employs sci-fi elements in an idiosyncratic Wes way. While this is happening, we get monochrome interludes with Bryan Cranston’s host introducing and commenting on the teleplay, Edward Norton as its writer, and Adrien Brody as the randy director. These are great performers, but the best moments come in Asteroid City. The backstage business of meeting the performers counterparts didn’t have a deep impact with me.
Neither did Asteroid City as a whole. Schwartzman and Johansson (who really sells her considerable star magnetism) have a couple memorable scenes of courtship. The technical work, particularly the production design, is impeccable. Yet the emotional and comedic payoff that has worked in Tenenbaums and beyond feels more remote in this bright wasteland.
After premiering to mixed reactions at the Cannes Film Festival last month, Wes Anderson’s Asteroid City expands nationwide on June 23rd. The auteur’s distinctive mix of dry humor and drama looks to be in high supply and same goes for his impressive sprawling cast. This time around it includes plenty of Anderson regulars and some newbies. The list boasts Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Steve Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum.
With a 74% Rotten Tomatoes rating, this is far from the peak of critical acclaim for the filmmaker. I doubt this approaches the $59 million domestic gross that 2014’s The Grand Budapest Hotel made in 2014 (his best earner). Yet this should eclipse predecessor The French Dispatch from October 2021. It took in just $16 million (this was also during theatrical COVID challenges).
City rolls out June 16th in six venues. I imagine it’ll have one of the biggest per theater averages of 2023. That doesn’t necessarily translate to impressive numbers when it expands between the coasts a week later. I’m skeptical that it manages $10 million.
Asteroid City opening weekend prediction: $7.6 million
Jennifer Lawrence enters new genre territory with No Hard Feelings on June 23rd. The raunchy comedy casts the Oscar winner as a down on her luck Uber driver hired to teach a 19-year-old (Andrew Barth Feldman) the birds and bees. Gene Stupnitsky, who made the 2019 sleeper hit Good Boys, directs. Costars include Matthew Broderick, Laura Benanti, Natalie Morales, Scott MacArthur, and Ebon Moss-Bachrach.
It’s been a minute since Lawrence has graced the big screen. She was in the supporting cast as Mystique for Dark Phoenix four years ago, but you have to go back five years to Red Sparrow since her last headlining multiplex appearance. Her last two features (Don’t Look Up, Causeway) went the streaming route. Audiences are accustomed to seeing her in action flicks and dramas so this is certainly a test.
As I’ve mentioned a lot over the past few years, it’s a challenge for original comedies to break out. Plenty of viewers may simply wait until it’s ready for home consumption. If this had come out at the height of Lawrence’s bankability, I might be offering a different outlook.
Sony Pictures won’t like this comp, but Rough Night with Scarlett Johansson was another example of a popular actress branching out to this type of movie. Debuting in June six years ago, the result was a soft $8 million start. I’ll say this gets over that figure, but not by too much.
No Hard Feelings opening weekend prediction: $11.7 million
Wes Anderson is no stranger to Cannes or Oscar nominations as Focus Features hopes the debut of Asteroid City at the former leads to the latter. A mix of comedy, drama, romance, and sci-fi, it features the auteur’s typical sprawling cast (many of whom have worked with him on multiple occasions). This includes (deep breath) Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum. Exhale.
Out stateside on June 23rd, City premiered in the south of France just like Anderson’s Moonrise Kingdom and The French Dispatch. Four of his last five works have generated the Academy’s attention. 2009’s Fantastic Mr. Fox was up for Animated Feature and Original Score (from frequent collaborator Alexandre Desplat). 2012’s Kingdom was in the Original Screenplay derby (with Anderson’s cowriter Roman Coppola). Two years later, The Grand Budapest Hotel was the massive awards breakthrough with nine Oscar nods and four victories in Costume Design, Makeup and Hairstyling, Original Score, and Production Design. It is Anderson’s sole BP nominee. 2018’s Isle of Dogs nabbed Animated Feature and Score mentions. In 2021, I had The French Dispatch predicted for Score and Production Design. It was surprisingly blanked on the morning of nominations.
Critics indicate this is an Anderson effort through and through and most reviews are of the thumbs up variety. The Rotten Tomatoes score is 84%. Like Dispatch and pics before it, Score (by Desplat of course) and Production Design are possibilities. So is the screenplay from Anderson and Coppola. Yet the overseas reaction is not to the level of Hotel and City could come up short like Dispatch did. A Best Picture nod probably won’t occur though perhaps the Golden Globes could slot it in Motion Picture (Musical/Comedy).
Finally, despite the sheer volume of familiar faces appearing in his filmography, no actors have received recognition in one of Anderson’s pics from the Academy. Bill Murray in Rushmore and Gene Hackman in The Royal Tenenbaums likely came close. I do not anticipate that streak being broken here. My Oscar Prediction posts will continue…
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