Tag: Tim Burton

May 17-19 Box Office Predictions

John Krasinski’s fantastical family flick IF looks to top the box office charts while horror prequel The Strangers: Chapter 1 and the Amy Winehouse biopic Back to Black also debut. You can peruse my detailed prediction posts on the newcomers here:

IF Box Office Prediction
The Strangers: Chapter 1 Box Office Prediction
Back to Black Box Office Prediction

IF is a tricky one to call. It has star power in the form of Ryan Reynolds and plenty of familiar faces voicing the various imaginary friends in the cast. On the other hand, this is original IP and it could struggle to break out with more franchise friendly titles for the fam coming our way this season (The Garfield Movie, Inside Out 2, Despicable Me 4). I’m giving it a mid to high 30s start as it will hope to leg out well over the next several weeks.

The runner-up spot should go to current champ Kingdom of the Planet of the Apes (barring a massive underperformance from IF). The tenth feature overall in the long-running series premiered at highest end of its anticipated range (more on that below). Its sophomore dip could be substantial. While 2014’s Dawn of the Planet of the Apes fell only 50%, follow-up War for the Planet of the Apes in 2017 tumbled 63%. It didn’t help that War faced direct competition from Dunkirk in its first outing. Then there’s the surprising B Cinemascore grade for Kingdom and that’s low for a blockbuster. Word-of-mouth could be an issue. I have it sliding in the high 50s or low 60s for a low to mid 20s second frame.

The Strangers: Chapter 1 could face the same genre hurdles that other recent titles have including Abigail and The First Omen. My estimate just north of $10 million puts it in third for a muted third place beginning.

The Fall Guy should continue its underwhelming run in fourth with a low to mid 40s ease in weekend #3.

With mostly poor reviews, a mid single digits start for Back to Black would have it rounding out the high five.

Here’s how I see it playing out:

1. IF

Predicted Gross: $38.3 million

2. Kingdom of the Planet of the Apes

Predicted Gross: $23.6 million

3. The Strangers: Chapter 1

Predicted Gross: $9.1 million

4. The Fall Guy

Predicted Gross: $8 million

5. Back to Black

Predicted Gross: $4.5 million

Box Office Results (May 10-12)

It was a wonderful weekend for 20th Century Studios as Kingdom of the Planet of the Apes proved the franchise is in good working order. Arriving seven years after predecessor War, it topped that film’s gross with $58.4 million. That’s third in the series only to 2014’s Dawn and Tim Burton’s 2001 re-imagining and ahead of my $55.2 million call.

The Fall Guy fell to second with $13.6 million, on target with my $13.2 million prediction. The total sits at a ho-hum $49 million after ten days as the summer’s first flop will likely not reach nine figures domestically.

Challengers was third with $4.3 million (I said $4.7 million) as its three-week tally is $37 million.

I did not correctly identify the fourth and fifth place finishers. Why? Well… the re-release of Star Wars: Episode 1 – The Phantom Menace was down a gargantuan 84% to $1.4 million (to bring its take to $486 million since 1999). I was far more generous and thought it would do $4 million. Oops.

That’s nothing compared to my overestimate of the Tyler Perry filmography spoof Not Another Church Movie. I had it in third place with $4.9 million. Instead it was 13th with a whopping…. $391k. Apparently filmgoers will go to Perry’s pics and do not want to see them made fun of.

Fourth place went to Tarot in its second go-round with $3.4 million. That’s actually a fine hold for horror as it has reached $11.9 million.

Godzilla x Kong: The New Empire rounded out the top five with $2.6 million to bring its numbers to $191 million after seven weeks.

And that does it for now, folks! Until next time…

Kingdom of the Planet of the Apes Review

Kingdom of the Planet of the Apes, for starters, gets its name right. Arriving seven years after War for the Planet of the Apes, a common criticism (not an especially important one) of the preceding trilogy was that their titles were a bit misleading. 2011’s Rise of the Planet of the Apes should’ve been Dawn of the Planet of the Apes. Yet that one came three years later and a more appropriate moniker for it would be War for the Planet of the Apes. However, War was in 2017 even though Rise of the Planet of the Apes would’ve fit better. Apes are indeed ruling the planet in the fourth entry of this Apes run and the tenth overall in the franchise. Climb of the Planet of the Apes might’ve stuck as well since the plot needs the creatures to use their upward mobility to get them out of jams.

Ultimately Kingdom gets more right than its name. A brief prologue reminds us where we left off in War. In its climax, simian leader Caesar (played iconically by Andy Serkis in probably the greatest motion capture performance ever) stopped being an Earthbound dweller and belonged to the ages. “Many generation later” (like 200-300 years), there are groups who study and honor Caesar’s work. Others are agnostic. Young ape Noa (Owen Teague) is in the latter bunch. His clan is more preoccupied with their birding activities which involve coming-of-age rituals that Noa is primed for. This is interrupted by human contact in the form of Freya Allan’s character Mae. All members of that race have been rendered speechless (as we started to witness in War). By Kingdom‘s coming, they’re also undomesticated and homeless and rare to come across.

This interaction inadvertently brings harm to Noa’s loved ones and sets the young ape on a course of discovery and retrieval of kidnapped family members. The abductor is Proximus Caesar (Kevin Durand’s superb and complex villain), whose mission involves bringing all clans together where he can rule with an iron paw. While that ape bends the teachings of Caesar to his own twisted ideology, others succeed in extolling the virtues. This includes orangutan Raka (Peter Macon) who joins Noa on the journey and first exposes him to the dominant force in Rise, Dawn, and War (or more appropriately… Dawn, War, and Rise but’s let not get hung up on it).

Raka is maybe my favorite character in a screenplay (by Avatar: The Way of Water scribe Josh Friedman) filled with promising new ones. I say promising because Kingdom is clearly world building to more installments. In that sense, comparisons to Rise of the Planet of the Apes from 2011 are apt. That tale explained Caesar’s childhood upbringing and eventual imprisonment that created the wide divide between apes and human. The movie itself was lean and efficient with a short runtime compared to Dawn, War, and this. Parts of Kingdom could’ve used a shave and tighter edit. The end result, though, is similar to 2011’s reboot in that I look forward to what’s coming while valuing what I just saw. Wes Ball takes over directorial responsibilities from Matt Reeves, who excelled at making the darker Dawn and War. Ball’s contribution may not be quite as distinctive, but it’s well-executed in reintroducing the audience to its visual landscapes and consistent tug-of-war between species coexisting in them.

This is smarter summer blockbuster sci-fi than any other franchise going and the series has been pulling that off for nearly 60 years. There’s been dips in quality (hi Tim Burton and various portions of the 1970s sequels). These past four Apes sagas have climbed to the top in terms of overall quality.

***1/2 (out of four)

Oscar Predictions: Kingdom of the Planet of the Apes

20th Century Studios is back in the monkey business this weekend with Kingdom of the Planet of the Apes. Wes Ball takes over the directorial reins for the 56-year-old franchise with Owen Teague, Freya Allan, Kevin Durand, Peter Macon, and William H. Macy among the cast.

This is the 10th feature in the series and the previous nine entries netted six total Academy nominations. Three of them went to the 1968 original with nods for its Score and Costume Design as well as an honorary Oscar for its revolutionary makeup artist John Chambers.

Following that, there was a long break between awards mentions. None of the four sequels to Planet (Beneath the Planet of the Planet, Escape from the Planet of the Apes, Conquest of the Planet of the Apes, Battle for the Planet of the Apes) contended in any races. Neither did Tim Burton’s 2001 re-imagining of part 1.

It took Rise of the Planet of the Apes in 2011 and sequels Dawn of the Planet of the Apes (2014) and War for the Planet of the Apes (2017) to get back in the Oscar mix. All 3 were up for their fantastic Visual Effects. The win tally was 0 for 3 as they respectively lost to Hugo, Interstellar, and Blade Runner 2049. Despite high praise for Michael Giacchino’s score and Andy Serkis’s lauded motion capture work as Caesar in that trilogy, VE was the only derby that the Apes ran in.

Kingdom (set many years after the events of War) is perched at 86% on Rotten Tomatoes. That’s just ahead of Rise‘s 82% while a bit behind War‘s 94% and Dawn‘s 91%. Some reviews say its visuals don’t quite match what we witnessed in the previous decade. Yet this seems poised for a fourth nomination in a row in that competition. Like its predecessors, a victory seems unlikely as Dune: Part Two may already have it wrapped up. My Oscar Prediction posts will continue…

Oscar Predictions: The People’s Joker

Batman’s most notable nemesis certainly has an Oscar history. Heath Ledger’s performance as the Joker in Christopher Nolan’s 2008 sequel The Dark Knight won him a posthumous Supporting Actor statue. Eleven years later, Joaquin Phoenix took the lead Actor prize as the title character in the Todd Phillips treatment of the demented clown. The other famous cinematic Jokers are also Academy recipients: Jack Nicholson (three times for One Flew Over the Cuckoo’s Nest, Terms of Endearment, As Good as It Gets) and Jared Leto (Dallas Buyers Club).

No, Vera Drew is not going to follow suit. However, The People’s Joker is drawing raves from many critics. A parody of superhero pics and an exploration of transgender issues, this Joker has had a fascinating and bumpy ride to the silver screen. Unveiled at the Toronto Film Festival in 2022, the film was shelved due to trademark and character rights complications.

A year and a half later, Drew’s crowd-funded concoction is out in limited fashion domestically. She stars, directs, and cowrites with a supporting cast of unknowns and familiar faces. They include Lynn Downey, Kane Distler, David Liebe Hart, Phil Braun, Maria Bamford, Christian Calloway, Tim Heidecker, Scott Aukerman, Bob Odenkirk, and Robert Wuhl (who was reporter Alexander Knox in Tim Burton’s first Batman).

Reviews are praising the filmmaker’s use of the 21st century’s preeminent genre to document her own transformation. The Rotten Tomatoes score is 96%. This doesn’t seem like something the Academy would honor, but the Indie Spirits could be another story and perhaps even DGA could put Drew in their First-Time Director race. My Oscar Prediction posts will continue…

October 27-29 Box Office Predictions

Based on the hugely popular series of video games, the PG-13 horror flick Five Nights at Freddy’s looks to dominate the Halloween frame. It is the only wide release as October draws to a close and you can peruse my detailed prediction post on it here:

Five Nights at Freddy’s Box Office Prediction

There is a wide range of possibility for Freddy’s and I think it is ready for a debut just north of $60 million. That would easily top the rest of the top five combined.

The battle for the runner-up spot will be decided by the respective third and second weekend drops for Taylor Swift: The Eras Tour and Killers of the Flower Moon. The former had an understandable mid 6os plummet as Swifties wanted to rush out and see it immediately. Moon hopes for smallish declines in the frames ahead. I have Ms. Swift edging Killers as her concert film enters its third and final outing in multiplexes.

The Exorcist: Believer should be fourth with PAW Patrol: The Mighty Movie rounding out the top five. Here’s how I see it shaking out:

1. Five Nights at Freddy’s

Predicted Gross: $68.3 million

2. Taylor Swift: The Eras Tour

Predicted Gross: $14.2 million

3. Killers of the Flower Moon

Predicted Gross: $13.4 million

4. The Exorcist: Believer

Predicted Gross: $3.5 million

5. PAW Patrol: The Mighty Movie

Predicted Gross: $2.9 million

Box Office Results (October 20-22)

Taylor Swift: The Eras Tour belonged at #1 again as the record-setting concert experience drew another $33.2 million, a tad under my $35.6 million projection. That gives it a two weekend take of $131 million.

Martin Scorsese’s Killers of the Flower Moon came in at the bottom end of its expected range with $23.2 million. I was more generous at $32.7 million. While not a flop (especially considering it was first slated for an Apple TV streaming start), it is underwhelming considering the awards buzz, Leo star power, and $200 million reported budget. The Oscar hopeful will hope to leg out during November.

The Exorcist: Believer was third with $5.6 million compared to my $6.9 million forecast. The three-week total is a fair $54 million.

PAW Patrol: The Mighty Movie sat in the four spot with $4.4 million (I said $4.7 million) for $56 million after four frames.

Rounding out the top five was a holiday themed re-release of 1993’s The Nightmare Before Christmas on its 30th anniversary. The Tim Burton produced classic added another $4.2 million to its coffers. I failed to put it in the mix.

That took Saw X out of the high five in sixth with $3.6 million (I went with $4.1 million). The four-week gross is $47 million.

And that does it for now, folks! Until next time…

Best Picture 2007: The Expanded Ten

Earlier this summer, I completed a blog series on a particular piece of speculative Oscar history. From 2009 to the present, there has been anywhere from 8-10 Best Pictures nominees at the Academy Awards. The number has been set at 10 for the past couple of years and fluctuated previously. Before 2009, it was a quintet of films competing for the prize. I penned 14 posts making predictions on which five pics would have made the cut if it had stayed at that smaller number. **Click on that Oscar History tab on the blog to access all of them!

Now my speculation turns to the reverse. What if the Academy had always honored 10 motion pictures? From 1944-2008, there were always five vying for attention. For a completist view, there were five for the first two Oscars (1929 and 1930). We had eight in 1931. From 1932 to 1943, it was ten.

This series will project the other five that I believe would’ve gotten in. It started with 2008 and that post can be accessed here:

Best Picture 2008: The Expanded Ten

We now move to 2007. And we, of course, know five movies that would make the cut. That would be the quintet of pics that got nominated. No Country for Old Men from the Coen Brothers was the night’s big winner with four victories: Picture, Director, Supporting Actor (Javier Bardem), and Adapted Screenplay. It also nabbed four additional nominations.

Tying Country for the most mentions is Paul Thomas Anderson’s There Will Be Blood with 8 nods and two wins for Actor (Daniel Day-Lewis) and Cinematography.

The other three contenders all took home one Oscar. Joe Wright’s Atonement received 7 noms and was victorious for the Original Score. Jason Reitman’s Juno tallied 4 mentions and a win in Original Screenplay. Tony Gilroy’s Michael Clayton achieved 7 nods with Tilda Swinton taking Supporting Actress.

Moving to the five pictures that I believe would’ve joined an expanded cut, Pixar strikes again. For 2008, I picked Wall-E as an addition. For 2007, the acclaimed Ratatouille had five nominations and a win for Animated Feature. I believe that’s enough that we would’ve seen it included.

The same goes for Julian Schnabel’s The Diving Bell and the Butterfly. Schnabel was in the mix for Best Director and it was also up in heavy hitter races Adapted Screenplay, Cinematography, and Film Editing. It could’ve been #6 on the board.

After that, it gets a little tricky. There are a few films that generated a couple of important nods, but didn’t manage to break out elsewhere. Away from Her saw Julie Christie in contention for Actress plus an Adapted Screenplay mention. The Savages saw Laura Linney in Best Actress along with Original Screenplay. The Assassination of Jesse James by the Coward Robert Ford made two lists for Supporting Actor (Casey Affleck and Cinematography). Yet its reputation has grown in time. Elizabeth: The Golden Age saw Cate Blanchett in Actress and it won Costume Design. 3:10 to Yuma was up for Original Score and Sound Mixing. Ultimately I decided none of these would make the dance.

The hardest film to leave off was The Bourne Ultimatum. The third chapter in Matt Damon’s action franchise went 3 for 3 by taking both Sound races (they’ve since been combined) and Film Editing. However, I just couldn’t pull the trigger on it finding a spot among the ten.

The second toughest to leave off is La Vie en Rose for which Marion Cotillard took home Best Actress (as well as a Makeup victory). It didn’t, on the other hand, score well in precursors.

So what other three pictures get in? Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street won Art Direction and was up for Actor (Johnny Depp) and Costume Design. It also nabbed a Critics Choice nod and won the Golden Globe for Musical/Comedy (over Juno).

The Globes and Critics Choice also found room for Ridley Scott’s American Gangster. It underperformed at Oscar with two inclusions for Supporting Actress and Art Direction. Yet I suspect it might’ve just made it.

Into the Wild from Sean Penn is my final pick. It was another underwhelming performer with two spots for Supporting Actor (Hal Holbrook) and Film Editing. The Critics Choice inclusion puts it barely over some of the aforementioned hopefuls.

https://www.youtube.com/watch?v=1U_GoiFy6kw

There you have it! That means my expanded ten 2007 lineup consists of:

American Gangster

Atonement

The Diving Bell and the Butterfly

Into the Wild

Juno

Michael Clayton

No Country for Old Men

Ratatouille

Sweeney Todd: The Demon Barber of Fleet Street

There Will Be Blood

2006 will be up next!

2022: The Year of Jenna Ortega

My posts covering actors who had an impactful 2022 continues with a new Scream Queen.

Before we get to her, I came close to giving Jamie Lee Curtis her own dedicated write-up. The OG SQ might nab a first Oscar nomination for her supporting work in Everything Everywhere All at Once and she finished up her iconic role (probably right?) as Laurie Strode in Halloween Ends.

Just as Curtis was concluding her participation in a vaunted horror franchise, 20-year-old Jenna Ortega was making her presence known in another. Some viewers first saw her on the CW series Jane the Virgin. In 2021, Ortega drew acclaim for her more grown-up performance in the HBO Max drama The Fallout. It was this year that she broke out in another genre via January’s Scream. With over $80 million in its domestic coffers, she’ll be back in March for Scream VI.

More kudos followed in March for Ti West’s exploitation homage X. Ortega played a crew member on a porn set who gets more than she bargained for out of the experience. X marked the spot for many critics with its 94% on Rotten Tomatoes.

Ortega’s frighteningly good ’22 went into overdrive with Netflix’s Wednesday. From Tim Burton, the blend of comedy and horror and its 8 episodes cast the actress as Wednesday Addams from the The Addams Family. Debuting last month, it shot to #1 on the streamer in over 80 countries and holds the record for most hours viewed for a series in the first week of release. In others words, it’s a phenomenon every day of the week.

Needless to say, a second season is already in the planning stages. With her Scream sequel on deck and a role in the thriller Finestkind with Ben Foster and Tommy Lee Jones coming up, Ortega should continue to make her spooky presence known. My Year Of posts will continue with another actor who started out on the CW and had a whole lot shaking on the silver screen this year…

Summer 2012: The Top 10 Hits and More

My look back at the cinematic summers of 30, 20, and 10 years ago culminates with 2012. A decade ago, the Marvel Cinematic Universe went from a successful franchise to the phenomenal juggernaut that it remains today. That’s due to the release of a little something called The Avengers. On a side note, it’s worth mentioning that the biggest grosser 30 years ago (Batman Returns), two decades ago (Spider-Man), and in this post all share comic book roots.

Before we get to Iron Man and company, I’ll recount the other features in the top ten moneymakers before covering additional notable titles and some flops. If you missed my write-ups about the seasons of 1992 and 2002, you can find them here:

Summer 1992: The Top 10 Hits and More

Summer 2002: The Top 10 Hits and More

10. Prometheus

Domestic Gross: $126 million

Some three decades after Alien terrified audiences, Ridley Scott returned to the franchise. However, this was more of a mixed bag in terms of critical and audience reaction. The production design and Michael Fassbender’s performance were praised while the script drew its share of critics. Nevertheless Scott would be back in the mix five years later with Alien: Covenant. 

9. Snow White and the Huntsman 

Domestic Gross: $155 million

Hot off the Twilight franchise and hot off playing Thor in The Avengers, Kristen Stewart and Chris Hemsworth battled Prometheus costar Charlize Theron’s evil stepmom in this fantasy adventure. Reviews were so-so but it performed well enough to warrant a less appreciated prequel The Huntsman: Winter’s War in 2016.

8. Ice Age: Continental Drift 

Domestic Gross: $161 million

The fourth entry in the animated franchise featuring the vocal stylings of Ray Romano and John Leguizamo kept the grosses hot. Sequel Collision Course would follow four years later.

https://www.youtube.com/watch?v=zocutif0cQY

7. Men in Black 3

Domestic Gross: $179 million

The third teaming of Will Smith and Tommy Lee Jones (with Josh Brolin playing a convincing younger version of him) earned $11 million less than 2002’s part II. That sequel made less than the 1997 original. The series was revamped in 2019 with Men in Black: International with none other than Chris Hemsworth, but audiences tuned out.

6. Madagascar 3: Europe’s Most Wanted

Domestic Gross: $216 million

Ben Stiller and Chris Rock returned for the third time voicing their respective lion and zebra. Spin-off Penguins of Madagascar came out two years later while a proper fourth entry never materialized from DreamWorks.

5. Ted

Domestic Gross: $218 million

Moving from Fox’s hugely successful animated sitcom Family Guy the big screen, Seth MacFarlane’s story of Mark Wahlberg and his crude talking bear Ted was the breakout comedy of the season. Follow-ups A Million Ways to Die in the West and the Ted sequel were not as well received.

https://www.youtube.com/watch?v=bc84pYZICbk

4. Brave

Domestic Gross: $237 million

The first Pixar film led by a female hero is also the inaugural studio entry (co)directed by a woman. It would go on to win Best Animated Feature at the Oscars.

3. The Amazing Spider-Man

Domestic Gross: $262 million

After not moving forward with a fourth title directed by Sam Raimi and starring Tobey Maguire, the Spidey franchise was rebooted with Marc Webb behind the camera and Andrew Garfield donning the red. The dollars followed although reviews were mixed and a 2014 sequel was widely considered a disappointment.

2. The Dark Knight Rises

Domestic Gross: $448 million

While perhaps not quite reaching the heights of 2008’s The Dark Knight, the culmination to Christopher Nolan’s trilogy sent Christian Bale’s Caped Crusader off in stirring fashion and with hugely profitable earnings.

1. The Avengers

Domestic Gross: $623 million

Setting record after record upon release, the melding of Iron Man, Thor, Captain America, Hulk, Black Widow, and Hawkeye transfixed filmgoers. It’s been Marvel’s world and we’ve been living in it ever since.

And now for some other pics worthy of discussion:

Magic Mike

Domestic Gross: $113 million

Steven Soderbergh’s saga of male exotic dancers was based loosely on Channing Tatum’s real life experiences. It turned him into a superstar while giving Matthew McConaughey a memorable showcase. The micro budgeted pic (a reported $7 million) spawned a 2015 sequel and there’s a third scheduled to hit HBO Max next year.

The Bourne Legacy

Domestic Gross: $113 million

Audiences weren’t clamoring for Jeremy Renner to replace Matt Damon in this franchise, but the stateside and overseas grosses were still pretty acceptable. That said, Renner’s tenure lasted this pic and this pic only.

The Best Exotic Marigold Hotel

Domestic Gross: $46 million

While it performed even better overseas, this British import with Judi Dench  was a sleeper hit stateside that begat a 2015 sequel.

Moonrise Kingdom 

Domestic Gross: $45 million

Wes Anderson scored with critics and crowds with this coming-of-age dramedy that premiered at Cannes and then found an audience in the weeks that followed.

Beasts of the Southern Wild

Domestic Gross: $12 million

This indie drama from Benh Zeitlin was truly a little movie that could. Shot for under $2 million, it eventually nabbed Oscar nods for Picture, Director, Actress (Quvanzhane Wallis at age 9), and Adapted Screenplay.

They’re not all winners so let’s get into some critical and/or commercial failures from the period:

Dark Shadows

Domestic Gross: $79 million

Johnny Depp’s box office happy days were beginning to fade as his 8th collaboration with Tim Burton was perhaps the least memorable. This horror comedy failed to enlighten viewers.

Battleship

Domestic Gross: $65 million

Action fans weren’t taken with this Peter Berg directed board game adaptation starring Liam Neeson and Rihanna with a bloated budget of over $200 million.

Total Recall

Domestic Gross: $58 million

And your action sci-fi fans weren’t signing up for Colin Farrell taking over for Arnold Schwarzenegger in this unneeded remake.

Rock of Ages

Domestic Gross: $38 million

Based on the Broadway musical, there was a deaf ear turned to this adaptation despite Tom Cruise getting solid notices for his performance. Lucky for him, he’d rule this current summer with Top Gun: Maverick. 

That’s My Boy

Domestic Gross: $36 million

Adam Sandler and Andy Samberg’s comedic partnership drew a 20% Tomatoes meter and ambivalence from usually devoted Sandler fans.

The Watch

Domestic Gross: $35 million

That wasn’t the only high-profile comedic flop as this sci-fi mashup with Ben Stiller, Vince Vaughn, and Jonah Hill fared even worse in numbers and rotten reviews (17% RT).

And that’ll close it out, ladies and gents! It’s been a pleasure revising these cinematic seasons of days past.

Summer 1992: The Top 10 Hits and More

1989 was unquestionably the Summer of the Bat as Tim Burton’s take on the Caped Crusader broke records. For 1992, it’s a bit more murky but we could call it The Summer of the Cat based on the sequel being the season’s biggest blockbuster.

As I have every season on the blog, I’m recounting the top 10 hits as well as some notable pics and failures from the summers of 30, 20, and 10 years ago. For 1992, it was a time of no crying in baseball, a Best Picture winner being discovered, and audiences refusing a biopic about a discoverer of America.

We begin with the moneymakers from #10 on up before moving to additional hits, misses, and those somewhere in between.

10. Housesitter

Domestic Gross: $58 million

While not the blockbuster he’d had just six months prior with Father of the Bride, Steve Martin had a midsize performer with this rom com costarring Goldie Hawn.

9. Honey, I Blew Up the Kid

Domestic Gross: $58 million

The return of Rick Moranis and plenty of special effects had shrunken grosses compared to the predecessor. The $58 million tally is less than half of what Honey, I Shrunk the Kids made. Nevertheless a direct to video sequel and TV series followed.

8. Far and Away

Domestic Gross: $58 million

Tom Cruise is ruling summer 2022 with Top Gun: Maverick. It was a different story 30 years ago with this rare misfire. Ron Howard directed the epic Western costarring Tom’s ex Nicole Kidman. The domestic take was less than the reported $60 million budget. Cruise would quickly get back in the good graces of moviegoers later in 1992 with A Few Good Men. 

7. Boomerang 

Domestic Gross: $70 million

While not approaching the earnings of his largest hits, Eddie Murphy’s first foray into romantic leading man territory did decent business. A string of flops would follow before a plus sized comeback four years later in The Nutty Professor. 

6. Patriot Games

Domestic Gross: $83 million

Harrison Ford stepped into the role of Jack Ryan after Alec Baldwin (who played the role in The Hunt for Red October) didn’t return. The result didn’t quite reach the financial or critical levels of its predecessor, but it easily made enough to warrant Clear and Present Danger two summers later.

5. Unforgiven

Domestic Gross: $101 million

Clint Eastwood’s tale of an aging cowboy out for revenge took the August box office by storm and eventually was an awards favorite – winning Picture, Director, and Supporting Actor for the villainous Gene Hackman. Unforgiven is the rare BP winner to release in the summer season and kickstarted an impressive second act for the legendary filmmaker.

4. A League of Their Own

Domestic Gross: $107 million

Penny Marshall’s World War II era baseball comedy was celebrated for its interplay between players like Geena Davis, Madonna, and Rosie O’Donnell in addition to one of cinema’s longest urination sequences from Tom Hanks.

3. Sister Act

Domestic Gross: $139 million

Coming on the heels of her Ghost Oscar, Whoopi Goldberg hit the jackpot with this fish out of water pic putting the comedienne in a convent. A less regarded sequel would follow in December 1993 as well as a Broadway musical.

2. Lethal Weapon 3

Domestic Gross: $144 million

Mel Gibson and Danny Glover’s third go-round in their buddy cop franchise didn’t generate the reviews of its two predecessors, but it had no trouble raking in the bucks. Rene Russo joined the party this time as Gibson’s love interest and fellow officer. Part 4 would come six years later and a fifth is in development right now.

1. Batman Returns

Domestic Gross: $162 million

Breathlessly anticipated and then received with mixed reaction due to its dark tone, Batman Returns is now seen by many as an improvement over the 1989 original. One thing that’s generally agreed upon is Michelle Pfeiffer nailing the role of Catwoman. This would be Burton’s last time helming the series with Joel Schumacher taking the franchise in a far more cartoonish direction for 1995’s Batman Forever.

And now for some other noteworthy selections outside of the top ten:

Unlawful Entry

Domestic Gross: $57 million

Coming on the heels of the Rodney King verdict and the L.A. Riots, this thriller starring the late Ray Liotta as a dirty cop tormenting Kurt Russell felt timely.

Single White Female

Domestic Gross: $48 million

Liotta was the Cop From Hell while Jennifer Jason Leigh was the Roommate From Hell terrorizing Bridget Fonda in this memorable psychological thriller.

Encino Man

Domestic Gross: $40 million

The cinematic era of MTV personality Pauly Shore (as well as Brendan Fraser) began with this caveman comedy that grossed several times its meager $7 million budget.

Universal Soldier

Domestic Gross: $36 million

Action lunkheads Jean-Claude Van Damme and Dolph Lundgren teamed up for this futuristic sci-fi pic that turned a nifty profit and spawned numerous sequels. Four summers later, director Roland Emmerich would dominate the season with Independence Day. 

Honeymoon in Vegas

Domestic Gross: $35 million

With a plot similar to Indecent Proposal that would follow a few months later, Honeymoon in Vegas took the more comedic route and earned decent grosses in the cast led by Nicolas Cage, Sarah Jessica Parker, and the just departed James Caan. Plus… Flying Elvis impersonators!

Buffy the Vampire Slayer

Domestic Gross: $16 million

It did manage to double its meager budget, but this vampire comedy likely wouldn’t be remembered had it not led to a critically acclaimed WB series starring Sarah Michelle Gellar. The title role in the film version belonged to Kristy Swanson with a supporting cast including Luke Perry, Paul Reubens (aka Pee-Wee Herman), and pre double Oscar winner Hilary Swank.

My final section of the summer 1992 recap gets to the under performers and downright flops…

Death Becomes Her

Domestic Gross: $58 million

This star studded satire from Robert Zemeckis boasted Meryl Streep, Goldie Hawn, and Bruce Willis above the title and some innovative special effects. While it just missed the top ten, the $58 million take barely surpassed the $55 million budget. Audiences and critics were mixed though Death has become a cult favorite in subsequent years.

Alien 3 

Domestic Gross: $55 million

Despite marking the directorial debut of David Fincher and featuring a memorably bald Sigourney Weaver, Alien 3 is considered to be a step-down from its iconic predecessors Alien and Aliens. In spite of the backlash, the franchise has continued and, of course, Fincher went onto brighter (albeit even darker) pastures.

Cool World

Domestic Gross: $14 million

Animator Ralph Bakshi is best known for his X-rated 1972 feature Fritz the Cat. After Cool World, he was still mostly known for Fritz the Cat. This hybrid of live-action and cartoon fantasy starred Kim Basinger and Brad Pitt. Yet it bombed with reviewers and crowds alike and only earned half its budget back stateside.

Christopher Columbus: The Discovery

Domestic Gross: $8 million

No one had interest in discovering this critically drubbed Columbus biopic that had Marlon Brando and Tom Selleck in the cast. Later in the fall, Ridley Scott’s 1492: Conquest of Paradise about the title character would also bomb.

Twin Peaks: Fire Walk with Me

Domestic Gross: $4 million

In 1990, David Lynch’s bizarre TV series was a cultural phenomenon… at least for a season. The movie version arrived after the second and final season and audiences had tuned out.

https://www.youtube.com/watch?v=-BUPUxplvdU

And that’s your look at the cinematic summer from 30 years ago! My recap of 2002 will be available in short order…

Summer 2011: The Top 10 Hits and More

We have arrived at part III of my recaps of the summer seasons that came 30, 20, and 10 years ago. That means 2011 is upon us. If you missed my sizzling throwbacks to 1991 and 2001, you can find them here:

Summer 1991: The Top 10 Hits and More

Summer 2001: The Top 10 Hits and More

As is tradition, I will recount the top 10 hits as well as other notable features and some flops in a season where moviegoers bid a fond farewell to their iconic wizard:

Let’s get to it, yes?

10. Bridesmaids

Domestic Gross: $169 million

Kristin Wiig made one of the most successful jumps from SNL to movie stardom in this critically hailed pic that also earned Melissa McCarthy her silver screen breakout and even an Oscar nomination. It might not be the highest grossing comedy on here, but it’s definitely still the most talked about.

9. The Help

Domestic Gross: $169 million

Based on Kathryn Stockett’s bestseller, the 1960s set period piece from Tate Taylor brought the book’s readers and many others to the multiplex. Four Oscar nods followed including Best Picture and a Supporting Actress victory for Octavia Spencer.

8. Captain America: The First Avenger

Domestic Gross: $176 million

The Marvel Cinematic Universe’s first big branch out occurred during this summer where we would get our first glimpse at this OG avenger in the form of Chris Evans and another one who sits at the throne of spot #6. The sequels actually improved on what we see here, but the Captain gets rolling with this.

7. Rise of the Planet of the Apes

Domestic Gross: $176 million

Rupert Wyatt’s reboot of the franchise is deservedly better regarded than Tim Burton’s re-imagining that transpired in 2001. Debuting the fantastic motion capture work of Andy Serkis, this would spawn two follow-ups that also pleased audiences and critics and did considerable monkey business.

6. Thor

Domestic Gross: $181 million

Chris Hemsworth’s Asgardian heartthrob hammered into the public consciousness alongside Natalie Portman and Anthony Hopkins and managed $5 million more box office bucks than the Captain. The third sequel is currently in production.

5. Cars 2

Domestic Gross: $191 million

Despite grossing nearly $200 million, this Pixar sequel is not one of the studio’s most fondly remembered vehicles with just a 40% Rotten Tomatoes rating. A third Cars did zoom into theaters six years later.

4. Pirates of the Caribbean: On Stranger Tides

Domestic Gross: $241 million

With a reported budget of $379 million, Johnny Depp’s fourth headlining of the franchise still sports the largest price tag of all time. The actor’s final participation in the series would come in 2017 with Disney still looking to reboot it without their signature player.

3. The Hangover Part II

Domestic Gross: $254 million

Crowds were still clamoring for the drunken exploits of Bradley Copper, Ed Helms, and Zach Galifianakis. Critics weren’t near as kind to part II, but audiences didn’t begin to tire of the hijinks until part III two years later.

2. Transformers: Dark of the Moon

Domestic Gross: $352 million

Michael Bay’s third saga of the Autobots and Decepticons marks Shia LaBeouf’s last appearance in the franchise and includes drop-ins from acting heavyweights John Malkovich and Frances McDormand. Mark Wahlberg would take over starring duties three years later.

1. Harry Potter and the Deathly Hallows – Part 2

Domestic Gross: $381 million

After nearly a decade of enchanting kids and their parents alike, the franchise stemming from J.K. Rowling’s beloved novels received a fittingly massive send-off with this billion dollar plus worldwide earner.

Now for other noteworthy titles from the summer:

X-Men: First Class

Domestic Gross: $146 million

Bryan Singer’s handed over directorial reigns to Matthew Vaughn for this reinvigorating reboot of the series that introduced the younger versions of Charles Xavier, Magneto, and Mystique in the bodies of James McAvoy, Michael Fassbender, and Jennifer Lawrence. Numerous sequels of varying quality followed.

The Smurfs

Domestic Gross: $142 million

Sony Pictures wasn’t blue about the financial returns for this half live-action/half animated adaptation of the popular comics and animated series. A sequel came in 2013.

Super 8

Domestic Gross: $127 million

In between Star Trek pics and before rebooting Star Wars, J.J. Abrams helmed this sci-fi original which paid tribute to the Spielberg efforts of the 1980s. Critics gave it their stamp of approval and it’s notable for one heckuva train crash sequence.

Horrible Bosses

Domestic Gross: $117 million

This raunchy comedy about workers exacting revenge on their wretched superiors showed us a whole different side to Jennifer Aniston and spawned a 2014 sequel.

Crazy, Stupid, Love

Domestic Gross: $84 million

Before their collaboration on La La Land earned lots of Oscar nods five years later, Emma Stone and Ryan Gosling teamed up for this rom com with Steve Carell and Julianne Moore that exceeded expectations with audiences and many critics.

Midnight in Paris

Domestic Gross: $56 million

It was a different time 10 years ago for Woody Allen, who scored his last big hit with this fantastical comedy starring Owen Wilson. Woody would win the Oscar for Original Screenplay and it landed three additional nominations including Picture and Director.

The Tree of Life

Domestic Gross: $13 million

Terrence Malick’s epic philosophical drama won the Palme d’Or at the Cannes Film Festival and was nominated for Best Picture, Director, and Cinematography at the Academy Awards. Not your typical summer fare, but it certainly had reviews on its side.

And now for some titles that didn’t meet expectations commercially, critically, or both:

Green Lantern

Domestic Gross: $116 million

Five years before he entered the comic book flick pantheon with Deadpool, Ryan Reynolds didn’t have as much luck with this critically drubbed flop. Even the star himself has taken to calling it a waste of time for viewers.

Cowboys & Aliens

Domestic Gross: $100 million

Coming off the huge Iron Man pics, Jon Favreau cast James Bond (Daniel Craig) and Indiana Jones (Harrison Ford) in this space western that didn’t impress crowds or critics and earned considerably less than its budget domestically.

Mr. Popper’s Penguins

Domestic Gross: $68 million

Audiences were mostly cool to Jim Carrey’s treatment of the popular late 30s children’s book though it did manage to top its $55 million budget. It probably would have made far more during the star’s box office heyday.

Spy Kids 4-D: All the Time in the World

Domestic Gross: $38 million

A decade after Robert Rodriguez kicked the kiddie franchise off to great results, part 4 marked a low mark for the series.

Larry Crowne

Domestic Gross: $35 million

The star power of Tom Hanks (who also directed) and Julia Roberts couldn’t elevate this rom com from a subpar showing (critics weren’t kind either). This is largely a forgotten entity on both actor’s filmographies.

Conan the Barbarian

Domestic Gross: $21 million

Before becoming known to the masses as Aquaman, Jason Momoa couldn’t fill the shoes of Arnold Schwarzenegger in this bomb that couldn’t swim close to its $90 million budget.

And that does it, folks! I’ll have recaps of the summers of 1992, 2002, and 2012 up for your enjoyment next season!