Summer 2009: The Top 10 Hits and More

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:

https://toddmthatcher.com/2019/07/10/summer-1989-the-top-10-hits-and-more/

https://toddmthatcher.com/2019/07/23/summer-1999-the-top-10-hits-and-more/

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, Iron Man came out and kickstarted the Marvel Cinematic Universe. Two seasons later, Iron Man 2 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: The Rise of Cobra

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. The Proposal

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 The Blind Side. Not to mention Betty White is in this!

8. Night at the Museum: Battle of the Smithsonian

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. XMen Origins: 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. Ice Age: Dawn of the Dinosaurs

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 Ice Age: The Meltdown.

5. Star Trek

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. The Hangover

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. Harry Potter and the HalfBlood Prince

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: Revenge of the Fallen

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 The Da Vinci Code, 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.

Inglourious Basterds

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.

District 9

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.

Public Enemies

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.

Drag Me to Hell

Domestic Gross: $42 million

Following on the heels of his SpiderMan trilogy, this horror comedy brought Sam Raimi back to his Evil Dead roots. Box office dollars were just ok, but critics appreciated it.

(500) Days of Summer

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.

The Hurt Locker

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.

Terminator Salvation

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.

The Taking of Pelham 1 2 3

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.

Funny People

Domestic Gross: $51 million

Judd Apatow had made two huge comedies with The 40 Year Old Virgin and Knocked Up. 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.

Land of the Lost

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.

Year One

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.

Imagine That

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.

Tag Box Office Prediction

Improbably based on a true story, the comedy Tag hits theaters next weekend. Based on a 2013 Wall Street Journal article, the film focuses on a group of pals who engage in a long-term version of the kids game. Stars include Ed Helms, Jeremy Renner, Jon Hamm, Jake Johnson, Isla Fisher, Annabelle Wallis, Hannibal Buress, Rashida Jones, Leslie Bibb, Brian Dennehy, and Lil Rel Howery. It marks the directorial debut of Jeff Tomsic.

The ads hype the “actually based on real stuff” angle, but I felt the trailer could’ve been a bit stronger. I’m not confident this holds any significant breakout potential. The Warner Bros release would likely love the achieve the $17 million debut of this spring’s Game Night and that might be the generous ceiling here. I’d say even with the cast of familiar faces, it doesn’t have the relative star power or laugh out loud promo materials. And I wouldn’t count Renner as this isn’t the genre he’s known for… see The House from a year ago.

Outside of the Hangover franchise, Helms has had a rough road recently as Father Figures was a dud and even his Vacation reboot fell a bit shy of $60 million three summers back. I’ll project this reaches low double digits to mid teens for a so-so showing. As we await the blockbuster comedic pic of this season, I have a hunch Tag is not it.

Tag opening weekend prediction: $13.4 million

For my Incredibles 2 prediction, click here:

https://toddmthatcher.com/2018/06/05/incredibles-2-box-office-prediction/

For my Superfly prediction, click here:

https://toddmthatcher.com/2018/06/07/superfly-box-office-prediction/

Keeping Up with the Joneses Movie Review

Zach Galifianakis and Isla Fisher are two performers that made themselves known to the moviegoing masses with some outlandish roles where they got to let their freak flags fly in The Hangover and Wedding Crashers, respectively. So it’s a bit disconcerting to see them playing the typical dull suburban married couple in Keeping Up with the Joneses. Typical is a word that can be applied to a lot of what we see here. The film isn’t bad. It’s just ordinary. The leads aren’t bad either. They’re just more boring than we’re used to and a by the numbers screenplay doesn’t help them any.

The aforementioned actors play Jeff and Karen. He is a Human Resources manager whose daily routine consists of handing out stress balls and initiating trust exercises. She is mostly obsessed with the home decor of their lovely abode in a cul-de-sac, including the chic installation of a urinal. Some needed excitement comes to them when new neighbors move across the way and they’re the interesting and impossibly good looking Tim and Natalie Jones (Jon Hamm and Gil Gadot). Tim is the handsome travel writer. Natalie is the gorgeous cooking blogger/social media consultant who also rescues orphans (her LinkedIn page wins).

It’s not long before Karen’s nosiness has her thinking maybe they didn’t quite hit the neighbor jackpot. Turns out she’s right as the Joneses are actually secret government agents investigating nefarious happenings at Jeff’s workplace.

The Joneses real careers means we’re treated to a threadbare subplot involving tracking an arms dealer and some rather tepid action sequences. Yet this is mostly about the chemistry between the four leads as their marriages and friendships develop. It’s just too bad this is contained in a completely unimaginative formulaic manner.

The PG-13 rating does leave the raunch factor to a surprising minimum. This is a script where the sight of two women kissing (oh my!) is treated as a big punchline. Gadot does manage to hold her own playing against these three others known a bit more for the genre (as anyone who’s watched Hamm on SNL can attest to). We see some potential in moments as the bromance between Galifianakis and Hamm grows, but not enough. Greg Mottola, who’s made some fine comedic efforts with Superbad and the underrated Adventureland, is not at the top of his game here. This is the type of picture that the content yet slightly bored suburbanites depicted here might view with some contentment but mostly be bored. And not talk about it much afterwards.

** (out of four)

Blond Ambition: Who Should Play Madonna?

There’s a well known thing in Hollywood referred to as The Black List, a compilation of screenplays that have yet to be produced. Executives in the film industry vote on which ones that they think are the best. Since the inception of the list in 2005, some that have made it on there eventually became awards worthy material. This includes eventual Best Picture winners Slumdog Millionaire, The King’s Speech, Argo, and Spotlight. There’s Best Picture nominees like Babel, Juno, American Hustle, The Wolf of Wall Street, Whiplash, American Sniper and The Revenant. We have hit movies of all genres including Superbad, The Fighter, The Hangover, Arrival, and John Wick.

The 2016 Black List was released today and the pic that received the most votes caught my eye. It’s Blond Ambition, a biopic about Madonna that’s set in the 1980s as she was a struggling artist in NYC before becoming the world’s most famous Material Girl. Elyse Hollander is the screenwriter and it’s probably safe to assume this will be on the silver screen in relatively short order.

A well made Madonna biopic (paging Damien Chazelle to direct) could be quite a sight to behold. And, of course, it got me thinking. Who should play her? There’s always the option of casting an unknown. After all, taking on the role of music’s most successful female artist might work better with a performer unfamiliar to our eyes.

Yet one name in particular entered my mind when I read the news today: Chloe Grace Moretz. I think she could pull it off. Even if the film took a couple of years to get off the ground, she’s only 19 right now and would certainly fit the age appropriate timing of that are in its subject’s life. I also thought of Greta Gerwig and she could be interesting, but she’s in her early 30s and Madonna would be in her early to mid 20s here. It could still work though.

What say you? What other actresses could potentially do justice to Madge?

Office Christmas Party Box Office Prediction

Comedic holiday hijinks ensue next weekend as Office Christmas Party RSVP’s into theaters. The R rated pic features a cast of familiar faces including Jason Bateman, Jennifer Aniston, Olivia Munn, T.J. Miller, Jillian Bell, Courtney B. Vance, Rob Corddry, Vanessa Bayer, Matt Walsh and Kate McKinnon. Josh Gordon and Will Speck handle directorial duties and their previous effort was 2010’s The Switch, which featured Bateman and Aniston.

The Paramount release could benefit from both its cast and the fact that drunken and wild work XMas bashes are something many can relate to. Party comes from a story originated by Jon Lucas and Scott Moore, who wrote The Hangover. It also has no competition in the second weekend of December in its genre.

I’ll predict a decent number of moviegoers attend this Party to the tune of a mid to high teens debut.

Office Christmas Party opening weekend prediction: $18.4 million

For my Miss Sloane prediction, click here:

https://toddmthatcher.com/2016/12/02/miss-sloane-box-office-prediction/

Oscar History: 2009

It’s been a little while, but this evening on the blog – we continue with my ongoing series of Oscar History posts and we’ve arrived at 2009. That year’s Academy Awards are notable for a couple of reasons. First, this was the year where the decision was made to expand the list of Best Picture nominees from five to ten. It’s likely not an accident that this occurred just one year after 2008’s commercial and critical smash The Dark Knight failed to make the five pic cut. This was the Academy’s way of including more commercially successful ventures. After all, there’s a direct correlation between hit pictures being nominated and the ratings of the telecast itself. Secondly, the real battle of nominated entries came down between the efforts of a couple that was married and divorced – James Cameron for his smash hit Avatar (which demolished all box office records) and ex wife Kathryn Bigelow for her war drama The Hurt Locker.

It would be Bigelow who would come out on top as The Hurt Locker would take Best Picture over her ex-husband’s blockbuster. The other eight nominated features: The Blind Side, District 9, An Education, Inglourious Basterds, Precious, A Serious Man, Up, and Up in the Air. The success of Hurt Locker would relegate Avatar to winning only the tech categories.

Up would mark the first animated flick nomination (and first and only Pixar one) since 1991’s Beauty and the Beast and it hasn’t happened since. Basterds would mark Quentin Tarantino’s second pic nod after Pulp Fiction fifteen years prior.

As for movies that might have made my personal cut, I advocate for Steven Soderbergh’s underrated and hilarious The Informant! And if the Academy wanted to include high profile pictures, why not consider the acclaimed Star Trek reboot or comedy smash of the year The Hangover? I’m also a big fan of Zack Snyder’s graphic novel adaptation of Watchmen.

Bigelow would go onto make history by becoming the first female Best Director winner in Oscar history over Cameron, Lee Daniels (Precious), Jason Reitman (Up in the Air), and Tarantino. I may have found room for Neill Blomkamp’s impressive work in District 9.

Beloved actor Jeff Bridges would score his first Best Actor win for Crazy Heart, beating out George Clooney (Up in the Air), Colin Firth (A Single Man), Morgan Freeman (Invictus), and Jeremy Renner (Hurt Locker). Firth would go onto win the prize the following year for The King’s Speech. Once again, my Informant! love would have meant an inclusion for Matt Damon’s terrific work in it.

Sandra Bullock would receive her first ever nomination and a win for her hit football drama The Blind Side. Other nominees: Helen Mirren (The Last Station), Carey Mulligan (An Education), Gabourey Sidibe (Precious), and Meryl Streep (Julie & Julia). Two names I would’ve considered: Alison Lohman’s great scared crapless work in Sam Raimi’s horror tale Drag Me to Hell and Zooey Deschanel in the rom com (500) Days of Summer.

Quentin Tarantino’s knack of finding the perfect actor in the perfect role landed an at the time unknown Christoph Waltz a win in Supporting Actor for Inglourious Basterds. Other nominees were Matt Damon for Invictus, Woody Harrelson for The Messenger, Christopher Plummer in The Last Station, and Stanley Tucci for The Lovely Bones. As I’ve mentioned in these posts before, the Academy usually ignores comedies and this race would have given them an excellent opportunity to nominate Zach Galifianakis in The Hangover. Also, I may have included Jackie Earle Haley for his work in Watchmen.

Mo’Nique would win Supporting Actress in Precious over previous year’s winner Penelope Cruz (Nine), Vera Farmiga and Anna Kendrick (both nominated for Up in the Air), and Maggie Gyllenhaal (Crazy Heart). I would have given consideration to either Melanie Laurent or Diane Kruger for their roles in Basterds.

And that’s 2009 for you, my friends! I’ll get to 2010 at same point in the future…

Last Vegas Movie Review

Redfoo comes away the best in Last Vegas. Who’s Redfoo you ask? He’s one half of the hip hop party group LMFAO and he has a scene as a DJ for a bikini contest in the film. Redfoo will, for the rest of his life, be able to say he shared a scene with Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline. That bikini judging sequence is one of many obvious and comedically flat sequences in the picture. Yet for Redfoo, I suppose it’s pretty cool for him. The same cannot be said for the rest of the performers listed.

The film has been referred to as The Hangover for old guys and that’s a fairly accurate description. Douglas is a lifelong single man who finally decides to tie the knot with a woman less than half his age. His friends of 60 years are enlisted for a Vegas bachelor party. They are De Niro, who is a recent widower and whose late wife was involved in a love triangle long ago with Douglas’s character. There’s Freeman, whose family coddles him after he suffered a mild stroke. There’s Kline, whose sole character trait is that his wife gives him a weekend pass to sow his oats.

Once in Sin City, we experience every tired cliche one would expect to find in this type of material. The geezers are given the awesome suite due to Freeman’s gambling abilities. There’s amazement on their part about the price tags of bottle services in the club. Mary Steenburgen becomes the object of Douglas and De Niro’s affection as a lounge singer who they both manage to fall for in about 30 seconds. There isn’t a moment in Last Vegas that feels original or inspired. I didn’t expect this to reach much past the level of tolerable mediocrity, but it doesn’t even reach that unimpressive category.

50 Cent has a cameo as himself. He was supposed to stay in the Big Daddy suite and gets bumped for our grumpy old bachelor party. Even 50 gets the short shrift though as he doesn’t get to share air time with these legendary actors who are seriously slumming it. That honor, once again, belongs to Redfoo. He gets a good story out of Last Vegas’s existence. The audience? Not so much.

*1/2 (out of four)