GoodBoys is looking to become this summer’s Superbad when the raunchy comedy debuts next weekend. Marking the directorial debut of Gene Stupnitsky, the film centers on three preteens doing R rated shenanigans. The kids are played by Jacob Tremblay of Room and Wonder fame, as well as unknowns Keith L. Williams and Brady Noon. Costars include Will Forte, Molly Gordon, and Lil Rel Howery.
Keeping with the Superbad theme, Boys comes from Seth Rogen and Evan Goldberg’s production company, who wrote that 2007 hit. The pic was first unveiled in March at the South by Southwest Festival to positive reaction. The Rotten Tomatoes score is at 78%.
That said, the buzz for this doesn’t seem as high. The chance for this to over perform is there. Yet I’m skeptical this earns half of the $33 million achieved by Superbad, which premiered over the same late summer weekend a dozen years ago. In fact, its debut might be in the preteens just like its stars.
GoodBoys opening weekend prediction: $14.3 million
For my TheAngryBirdsMovie2 prediction, click here:
Today we continue with my recaps of the movie summers from 30, 20, and 10 years ago. I’ve already covered 1989 and 1999 and if you missed them, you can find them right here:
Looking over the 2009 list, it’s a reminder of how one thing in particular has changed in just a decade. In the summer of 2008, IronMan came out and kickstarted the Marvel Cinematic Universe. Two seasons later, IronMan2 followed. In every summer since, there’s been a massive MCU title often ruling the charts. 2009 is the last year not to feature one.
Instead, one of the most indelible images from 10 years past is Mike Tyson belting out a Phil Collins classic.
As I’ve done with previous entries, I’ll recount the top ten hits along with some other notable pics and flops. Let’s get to it!
10. G.I.Joe: TheRiseofCobra
Domestic Gross: $150 million
Hasbro was kind of the MCU of this summer by bookending the top 10. Based on their popular set of action figures, Cobra spawned a sequel and introduced many moviegoers to Channing Tatum.
9. TheProposal
Domestic Gross: $163 million
What a year for Sandra Bullock. First she has this huge rom com with Ryan Reynolds and months later gets her Oscar winning turn in TheBlindSide. Not to mention Betty White is in this!
8. NightattheMuseum: BattleoftheSmithsonian
Domestic Gross: $177 million
While it couldn’t match the $250 million earned by its 2006 predecessor, the Ben Stiller led family adventure sequel still did enough for a part 3 to eventually follow.
7. X–MenOrigins: Wolverine
Domestic Gross: $179 million
The first of three spinoffs for Hugh Jackman’s iconic clawed character, this is generally considered the worst of them. It still made a pretty penny and gave us a first glimpse at Ryan Reynolds as Wade Wilson, aka Deadpool.
6. IceAge: DawnoftheDinosaurs
Domestic Gross: $196 million
The third of these five animated tales, Dinosaurs stands at the largest grosser by a mere $1 million over 2006 predecessor IceAge: TheMeltdown.
5. StarTrek
Domestic Gross: $257 million
J.J. Abrams was able to bring this long running film and TV milestone to the next generation in a critically acclaimed way. His reboot remains the highest grossing entry in the canon of Trek. Two sequels so far have followed.
4. TheHangover
Domestic Gross: $277 million
The breakout comedy of the summer made stars out of Bradley Cooper and Zach Galifianakis in particular and had the aforementioned Mike Tyson musical moment of glory. Two lesser regarded sequels followed.
3. Up
Domestic Gross: $293 million
Pixar had another smash hit with this tale of aging and wonder that contains my personal favorite sequence of any of their titles. The opening montage of a couple’s journey through life is simultaneously beautiful and devastating.
2. HarryPotterandtheHalf–BloodPrince
Domestic Gross: $301 million
This sixth Potter pic set up the two part franchise finale and it stands at the third biggest grosser behind the eighth and final entry and the first film in 2001.
1. Transformers: RevengeoftheFallen
Domestic Gross: $402 million
The follow-up to the 2007 original, Michael Bay’s metallic action extravaganza is the high point in terms of box office dollars overall and largest opening, even though critics mercilessly crucified it.
And now for some other notable flicks from the summer that was 10 years ago:
Angels&Demons
Domestic Gross: $133 million
The sequel to TheDaVinciCode, the return of Tom Hanks as Robert Langdon performed decently, but nowhere near the $217 million achieved by its predecessor. The next sequel Inferno bombed.
InglouriousBasterds
Domestic Gross: $120 million
Quentin Tarantino’s revisionist World War II saga become his best earning pic at the time and earned a slew of Oscar nods, including a win for scene stealer Christoph Waltz.
District9
Domestic Gross: $115 million
Made for a mere $30 million, Neill Blomkamp announced himself a serious force of sci-fi nature with heralded work that nabbed a Best Picture nod.
PublicEnemies
Domestic Gross: $97 million
This gangster tale from Michael Mann was headlined by Johnny Depp and Christian Bale as they took a break between their respective pirate and bat franchises. It was a slight box office disappointment as it couldn’t quite match its $100 million budget back domestically.
Julie&Julia
Domestic Gross: $94 million
Meryl Streep got her umpteenth Oscar nod playing famed chef Julia Child in this Nora Ephron dramedy that proved to be a nice August hit.
Bruno
Domestic Gross: $60 million
There was enough goodwill left over from Sacha Baron Cohen’s smash Borat to propel this satire about a fashion journalist to a $30 million opening weekend. It fell off quickly after that impressive start.
DragMetoHell
Domestic Gross: $42 million
Following on the heels of his Spider–Man trilogy, this horror comedy brought Sam Raimi back to his EvilDead roots. Box office dollars were just ok, but critics appreciated it.
(500) DaysofSummer
Domestic Gross: $32 million
Made for a tiny $7.5 million, Joseph Gordon-Levitt and Zooey Deschanel charmed audiences with this rom com from Marc Webb. He would take over the Spidey franchise from Raimi shortly thereafter.
TheHurtLocker
Domestic Gross: $17 million
Kathryn Bigelow’s intense tale of bomb technicians in Iraq made a name for Jeremy Renner. While its box office earnings weren’t that potent, the real reward came later when it won the Oscar for Best Picture and Bigelow became the first female to be awarded Best Director.
We move to pictures that failed to meet expectations or were outright flops.
TerminatorSalvation
Domestic Gross: $125 million
The Governor of California sat this one out and this McG directed franchise entry couldn’t match the opening of part 3 from six years prior. Today it’s perhaps best known for a secretly recorded onset argument between McG and star Christian Bale.
TheTakingofPelham123
Domestic Gross: $65 million
A remake of a 1974 Walter Matthau action flick about hijacked subway cars, Tony Scott’s collaboration starring Denzel Washington and John Travolta fell short of anticipated blockbuster status.
FunnyPeople
Domestic Gross: $51 million
Judd Apatow had made two huge comedies with The40YearOldVirgin and KnockedUp. This one centered on the world of stand-up with Adam Sandler and Seth Rogen. It was more personal and divided critics and crowds alike.
LandoftheLost
Domestic Gross: $49 million
Based on a loopy 1970s TV series, Will Ferrell had a rare bomb with this critically derided prehistoric pic. It didn’t earn half of its $100 million price tag back stateside.
YearOne
Domestic Gross: $43 million
Yet another prehistoric comedic failure, the talents of director Harold Ramis and Jack Black and Michael Cena couldn’t get reviewers or audiences on its side.
ImagineThat
Domestic Gross: $16 million
Families ignored this particular Eddie Murphy headliner that stands as one of his lowest grossing efforts.
And that does it for my seasonal summer recaps! A year from now… look for 1990, 2000, and 2010 coming your way.
Charlize Theron deserves better. In LongShot, I couldn’t fully escape the feeling that her character would be far more interesting outside of this familiar beauty and the beast rom com plot. The screenplay (from Dan Sterling and Liz Hannah) seems overly preoccupied with the idea that her U.S. Secretary of State Charlotte Field could fall in love with Seth Rogen’s schlubby journalist Fred Flarsky.
The Secretary of State is the one position in the federal government whose travel itinerary is similar to The Rolling Stones on a worldwide tour. Charlotte Field is an ambitious and bright politician with eyes on the Presidency and a focus on environmental issues. The current Commander in Chief (Bob Odenkirk) is in the Oval because he played the President on TV. He’s a dolt who sees his position as a springboard to breaking into movies (admittedly an amusing concept). She’s relying on his endorsement to bring her to highest office in the land.
At a swanky party, she comes into contact with Fred. He’s a recently fired journalist who is said to be a fine writer, but all we really see are his headlines filled with expletives. It turns out Charlotte was actually his babysitter in the early 90s where his early teenage hormones made an unfortunate impression. Charlotte’s staffers (June Diane Raphael and Ravi Patel) believe her one weakness is lack of humor and Fred is brought on to punch up the funny in her speeches.
The two end up falling for each other in between country hopping, terrorist attacks, and a night dancing and tripping on Molly where she also must negotiate a hostage situation. Theron does a fine job here as she’s proven before that she’s adept at comedy. The idea that she must navigate the perception of basically dating Seth Rogen could have been mined for perceptive insights about how we look at our leaders. LongShot really isn’t that movie. Instead we get Rogen doing his predictable man child thing. He’s just not very interesting and it’s tricky to root for him. O’Shea Jackson Jr. has a couple funny moments as Fred’s successful and conservative best bud. There’s bodily secretion humor and I’ll just say that stuff peaked over twenty years ago in There’sSomethingAboutMary.
Director Jonathan Levine first teamed with Rogen in the decent dramedy 50/50. Lately he’s been doing material that’s barely passable or less so (TheNightBefore, MikeandDaveNeedWeddingDates, Snatched). This falls in that category too despite Theron’s sincere efforts to elevate it.
Disney’s live-action rendering of its 1994 classic TheLionKing is out next weekend and it’s expected to make a killing at the box office. The computer generated saga from director Jon Favreau is among a quartet of Mouse Factory updates of their animated filmography out in 2019.
Reviews are out today and it’s a mixed bag. Even the majority of positive reviews essentially say it’s a carbon copy of the original. Even the majority of negative reviews seem impressed with its state of the art visuals.
The Rotten Tomatoes score stands at 59% and that’s right in range with the 57% that Aladdin received two months ago. That certainly puts this out of Best Picture range. However, I look for this to be a serious player in Visual Effects. If so, it would follow Favreau’s 2016 smash TheJungleBook and it won the award. This has a shot at following suit. My Oscar Watch posts will continue…
Disney’s live action reimagining of TheLionKing roars into theaters next weekend a quarter century after the classic animated tale. Jon Favreau, who has some experience in the genre with 2016’s $364 million grosser TheJungleBook, directs. The computer animated animal epic features the voices of many recognizable faces. They include Donald Glover, Seth Rogen, Beyoncé, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, John Kani, John Oliver, and James Earl Jones returning as Mufasa.
Expectations are sky high and it’s easy to see why. The Mouse Factory has achieved massive successes in this unique sub genre and have done so very recently. This May’s Aladdin now stands at over $321 million in domestic earnings. The high water mark is from 2017 with BeautyandtheBeast. It opened to $174 million and topped out at $504 million total.
The 1994 original was a phenomenon, taking in $422 million. And that was 25 years ago and would be over $800 million when adjusted for inflation. It still stands as the fourth highest grossing animated feature of all time.
Considering those gaudy numbers, TheLionKing is likely to make a killing and set a new record for the studio’s remakes. $200 million is reachable in my view, but I’ll put it a bit under that.
TheLionKing opening weekend prediction: $192.7 million
Seth Rogen and Charlize Theron headline the improbable rom com LongShot, out in theaters next weekend. It marks the latest collaboration between Rogen and director Jonathan Levine after 50/50 and TheNightBefore (Levine’s latest was 2017’s Snatched). The film casts Theron as the U.S. Secretary of State who strikes up a romance with Rogen’s journalist. Costars include O’Shea Jackson Jr., June Diane Raphael, Andy Serkis, Alexander Skarsgard, and Lisa Kudrow.
Shot premiered in March at the South by Southwest Festival to favorable reviews and it stands at 88% on Rotten Tomatoes. A comparison to TheNightBefore is tricky. That pic opened in November 2015 on the weekend before Thanksgiving and against the finale of TheHungerGames franchise. The result was just a $9.8 million start (it legged out well the following holiday weekend).
I believe LongShot will top that number, but perhaps with low teens as it hopes for minimal drops in subsequent frames. If so, this could fall behind the debut grosses of its competition – TheIntruder and UglyDolls.
LongShot opening weekend prediction: $13.1 million
TheDisasterArtist begins with filmmakers J.J. Abrams and Kevin Smith and actors Adam Scott, Danny McBride, and Kristen Bell extolling the strange virtues of TheRoom. That terrible movie became one of the most unlikely cult hits of the 21st century. The rest of the picture details its strange maker Tommy Wiseau (James Franco) and the process to bring it to a midnight theater showing near you.
Just as TheRoom was Wiseau’s warped vision all his own, this is clearly a passion project for Franco. I suspect many of the other well-known actors who turn up in parts large and small are devotees of the unintentionally hilarious 2003 film that Franco is recounting. Like Tim Burton’s EdWood, this is a good movie about a bad director. Not as good, but it’s an entertaining watch that doesn’t probe too far into its subject’s real story. Truth be told, maybe we don’t really wanna know.
Tommy Wiseau wouldn’t want it any other way. We first meet him in San Francisco circa 1998 as he pours his heart into Marlon Brando’s monologue from AStreetcarNamedDesire at an acting class. His rendering is quite awful, but it’s his devil-may-care attitude and blind commitment that gets the attention of Greg (Dave Franco). He’s a fellow student who’s more reserved. Tommy is too, but in a much different way. His age is a mystery and he’s not about to tell it. A European accent (where in that continent… who knows?) counters his contention that he hails from New Orleans. Most interestingly, Tommy seems to have a limitless supply of money and no one knows why.
His new pal Greg manages to ignore those puzzling personal aspects and they road trip it to L.A. to move in together and pursue their dreams. Although he seems to have some prospects, Greg can’t catch a break. Tommy’s overall bizarre vibe is an immediate red X to casting agents. The only solution is to finance his own feature.
And TheRoom is birthed throughout a long shooting process with a director who has no clue what he’s really doing. We see Wiseau torment his cast and crew because he read somewhere that’s how Alfred Hitchcock did it. Those who know TheRoom will revel in revisiting Wiseau (who casts himself as the romantic lead) and his humorously questionable line readings. There’s his screenplay that inexplicably brings up cancer subplots that go nowhere and sex scenes that would be deemed too horrible for 2am Cinemax play.
Franco, who also serves behind the camera, is obviously enamored with getting his portrayal of Tommy’s mannerisms and his journey to make this project as accurate as possible. Even if you’re not familiar with Wiseau’s cinematic opus, one YouTube viewing of an interview with him and you’ll know Franco nails it. The star/director, in addition to casting his brother, finds roles for Dave’s real life wife Alison Brie and his frequent costar Seth Rogen as a perpetually bemused script supervisor. Yet just as the real Tommy made his personal relationships and the shooting experience all about him, so is the case with TheDisasterArtist.
That devotion from Franco is enough to make this a worthwhile experience. If you’re looking for any insight into what really made Tommy who he is, you won’t find it here. The ultimate irony is that Wiseau did end up succeeding in a town where that’s nearly an impossible feat. He didn’t know that the earnest drama he thought he was making would result in RockyHorrorPictureShow style late night screening madness. What kind of man could achieve this? We may never know, but it’s a fun question for Franco and others to ponder.
