Daddy’s Home, the second teaming of Will Ferrell and Mark Wahlberg, is perfectly content to coast on its own innocuous brand of humor. This PG-13 laugher from a director and stars often known for R rated material takes its simple premise and often manages to squeeze the most out of it. That’s not saying a whole lot, but if you want a watered down and passable experience this holiday season, you could do worse.
The pic pits step dad vs. real dad as Ferrell’s Brad is a committed yet overly emotional radio executive raising two precocious kids with his wife (Linda Cardellini). He’s making headway with them in the step dad department until biological pop Dusty (Wahlberg) enters the picture. Dusty is a careless muscle bound character (who might be Special Forces) who still cares for his children at least as much as his abs. In fact, there are times when Brad reminds chiseled Dusty to put a shirt on, just like Steve Carell admonished him in Date Night. Soon our two leads are competing for their affection with ponies, playoff tickets to Lakers games (quite an unrealistic prospect currently), and tricked out tree houses with corporate sponsors.
Nothing in Daddy’s Home has much edge to it, even when it seems to be trying. We get supporting players like Thomas Haden Church as Brad’s sleazy boss and comic Hannibal Buress as a handy man who takes Dusty’s side in the dad wars. Both might’ve been more fun in a movie that wanted to push the envelope but that’s not what we have here.
Instead, Daddy’s Home drifts on the personality traits of Ferrell and Wahlberg that we usually see in their comedies. Director Sean Anders and his cowriters have no real fascination with exploring any real issues involved with absentee dads or the step fathers that coddle them. That screenplay frequently has the actors doing things that only make sense to move things along (Cardellini’s emotions in particular often veer wildly from segment to segment). The humor is wrung out of the opposite effect of what these two guys look like without their shirts on. Some of this material is undeniably amusing and often rather bland. The leads elevate it about as high as it can get.
When I think of Ferrell and Wahlberg together on the silver screen, it’ll be 2010’s raucous and quite hilarious The Other Guys that springs to mind. Daddy’s Home is the Other Movie, but it isn’t bad.
Five and a half years after their successful collaboration The Other Guys, Will Ferrell and Mark Wahlberg team up once again for Daddy’s Home, out Christmas Day. The tale pitting stepdad (Ferrell) vs. real dad (Wahlberg) looks to bring in comedy fans over the holiday weekend. Costars include Linda Cardellini, Hannibal Buress, and Thomas Haden Church.
It has the advantage of being the only straight up comedy (Joy has elements) opening, but it will have to contend with competition from the second frame of Sisters starring Ferrell’s former SNL costars Tina Fey and Amy Poehler. With so many other movies in the marketplace, Daddy’s Home stands no realistic shot at matching the $35 million debut for The Other Guys or the $33 million premiere of Ferrell’s last outing Get Hard, which had the advantage of also starring Kevin Hart. The more likely scenario is making about half those numbers out of the gate.
As I see it, this stands a real shot at having the highest opening of the five Christmas Day features, but that still may only mean a gross in the mid to high teens as it hopes to experience small declines in future weekends.
Daddy’s Home opening weekend prediction: $16.5 million
A Deadly Adoption marks by far what has been one of the more intriguing movie experiences in recent times. In April of this year, news leaked that Will Ferrell and Kristin Wiig were making a Lifetime flick. And not just making… it had already been shot and was supposed to air in secret and let the channel’s viewers discover on their own that a pair of film comedy’s biggest stars were in it. The audacity factor alone is commendable and Ferrell was reportedly upset when the leak occurred. For two months, we’ve been left wondering whether A Deadly Adoption would play more like a spoof or if the filmmakers would commit to truly shooting a run of the mill Lifetime pic.
The answer is the latter and it’s about as disconcerting as it sounds. Here we have Ferrell as Robert, a well known financial advice author with Wiig’s Sarah as his organic food stand owning wife. As we open, Sarah is pregnant with the couple’s second child. The baby is lost when she has a slow motion accident slipping off the dock of their fancy New England home. It scars them both, but leaves Robert overly protective of his first born daughter who is, of course, diabetic.
Soon they have the possibility of adopting a baby boy from the six months pregnant bombshell Bridget (Jessica Lowndes). She moves in with the couple and soon, in Lifetime fashion, twists and turns keep coming. When I say true Lifetime fashion – I mean it. This is the 25th year that the network has been in the movie business and their hundreds of efforts are mostly interchangeable. A Deadly Adoption stands out solely because of surprising talent that chose to be involved. Yet it’s played straight with all the time tested cliches we’ve come to anticipate. In addition to the diabetic youngster, there’s the gay best friend. The bad cell phone reception. The alcoholism and infidelity.
The fear from me is that this experiment would feel like that and only that. It often holds true, but I’ll be damned if the sight of Ferrell and Wiig doing this isn’t occasionally humorous. Does it sustain its novelty factor for 85 minutes? Not really, but the final scene pays off by being the only one going for genuine laughs and it worked for me. There’s also a moment when the organic loving Sarah has to turn down Bridget’s food request for a big bowl of ice cream. She feels bad turning down the guilty pleasure hunger desires of her expectant guest. For a quarter century, these Lifetime movies have been a lot of people’s big bowl of ice cream. Seeing the two leads join in the ridiculousness is surreal but works better than it probably should.
Get Hard is a limp premise that wastes the pairing of two talented stars of the genre in a sea of dated jokes. In this film’s world, gay and racial humor is displayed in full force and the writers seem to believe it’s edgy just because it exists on the page and its high profile performers are saying the lines. It doesn’t connect and the result is a pic that will soon be easily forgotten on both Will Ferrell and Kevin Hart’s resumes.
James King (Ferrell) is a hedge fund manager who’s engaged to his boss’s (Craig T. Nelson) materialistic and cliched money grubbing daughter (Alison Brie). Darnell (Hart) runs the car wash business that services King’s building. When King is wrongfully convicted of embezzlement, he enlists Darnell to help him cope with his upcoming ten year stint at San Quentin. You see, King assumes Darnell has done hard time because… well, he’s black and he believes statistically there’s a likelihood of it. When Darnell is promised $30,000 to assist with King’s request, he is perfectly OK with misleading him.
This sets up elaborate scenes in which Darnell simulates prison riots and instructs King on how to stand up for himself. Mostly it involves advice on how not to get raped in the joint. Lots and lots of jokes about it, which are all stale. The filmmakers even go as far as putting King in a situation where he must learn to, um, service a man should he have to. It’s more uncomfortable than funny. Like the entire idea of this venture.
Get Hard is not anywhere close to as dangerous as it wants to be. It must waste some of its running time investigating who really is behind the crimes King is charged with and that part is dull. The rest of the way is gay joke, racial joke, gay joke, racial joke. Mixed in occasionally is tired commentary on how corporate America contains the real bad guys, a thread also common in much more rewarding Ferrell fare like The Other Guys and The Campaign. Even what purports to be the pic’s comedic highlights, like Ferrell accidentally getting injured by a weapon, only reminded me of when he did it better like in Old School. And let’s face it – how many times have we already seen Will use his naked body as a punchline? It’s here too! The main side effect of taking the journey to Get Hard in this case is absence of laughter.
This evening brings the beginning of the end for the longest tenured late night host in the history of the television medium. After 33 legendary years, David Letterman’s final run of programs kicks off tonight with five and a half weeks and 28 shows left.
A CBS press release confirmed what many suspected: the final Dave shows will be a very star studded affair. Many Letterman regulars will make their pilgrimage over the next month and change (his swan song is Wednesday, May 20).
That impressive list includes Bill Murray, Oprah Winfrey, Tom Hanks, Julia Roberts, Howard Stern, Steve Martin, Jerry Seinfeld, Robert Downey Jr., Sarah Jessica Parker, Martin Short, Don Rickles, Ray Romano, George Clooney, Scarlett Johannson, Will Ferrell, Alec Baldwin, Michael Keaton, Jack Hanna, John Travolta, Bruce Willis, Tina Fey and Billy Crystal, among others. Not too shabby. Musical guests include Elvis Costello, Mumford and Sons, and Dave Matthews Band.
The press release promises more names not yet revealed over the last 28 hours of Letterman’s TV existence. Who could that be? Let’s start with the easy. Foo Fighters are Dave’s favorite band and it is likely they could be the final musical performance. I also wouldn’t be surprised to see Dave’s late night brothers come to pay their respects. That list includes Jimmy Fallon, Jimmy Kimmel, Jon Stewart and Letterman’s successor Stephen Colbert. I also anticipate an appearance by Jay Leno – something that would truly be an event after their over 20 year history of being rivals and their battle for The Tonight Show after Dave’s idol Johnny Carson retired in 1992.
Furthermore, it wouldn’t surprise me to see politicos such as Hillary or Bill Clinton or even President Obama appear. I will have one more post timed to Letterman’s departure to pontificate on what his show has meant to me and, frankly, my sense of humor. It’s not insignificant.
Until then, it’s going to be an interesting few weeks of Dave bidding America farewell.
The comedic stylists of Will Ferrell and Kevin Hart converge in Get Hard, the R rated entry that opens Friday. The two stars have been hitting the publicity circuit hard over the past few weeks. Both Ferrell and Hart have their legions of fans and their pairing should result in a solid debut. The premise sells itself with Hart teaching white collar Ferrell how to survive an upcoming prison stint. Alison Brie and rapper T.I. are among the supporting cast. Reviews have not been kind as it sits at only 22% on Rotten Tomatoes, but that shouldn’t hurt it too much.
I do not expect Get Hard to reach the current best $47 millon career best opening for Ferrell that was Talladega Nights or the $41 million that Hart reached last year for Ride Along. A premiere around $30 million seems the most likely scenario.
Get Hard opening weekend prediction: $30.3 million
The central theme of The LEGO Movie is ultimately about allowing one’s creative impulses to be set free and not conforming to the set ways of the world. That statement could apply to the directors and writers of this picture, Phil Lord and Christopher Miller. A movie based on the timeless LEGO toys might have made its studio a lot of money regardless of its quality. Yet Lord and Miller allow their creativity to run wild and what results is a highly entertaining experience that no doubt will serve as the building block (so to speak) of a new franchise.
We begin in the community of Bricksburg, where regular old construction worker Emmet (Chris Pratt) is perfectly happy with the micro-managed society that’s run with an iron fist (or acrylonitrile butadiene styrene fist, to be technically accurate) by President Business (Will Ferrell). The truth is that the dastardly President has plans to end the LEGO Universe and that Emmet may or may not be The Special or Master Builder (think Chosen One) who must save the world. Emmet’s journey partners him with Wyldstyle (Elizabeth Banks), a hipster who would be the traditional love interest if she weren’t dating Batman… yes, Batman (voiced marvelously by Will Arnett). There’s also a wise old wizard who is naturally voiced by Morgan Freeman and a humorous “good cop/bad cop” character figure voiced by Liam Neeson. The team of resistors to President Business’s schemes journey through visually splendid other worlds such as The Old West and Middle Zealand and even come across friends from a galaxy far far away. This is in addition to a little help from the 2002 NBA All Stars, which includes Shaquille O’Neal.
In case you’re already picking it up, The LEGO Movie is jam packed with pop culture references. There’s a lot here to keep adults smiling as much as the kids. Miller and Lord also get in their digs at corporate culture – many are quite clever, some are a bit well-worn. The voice over work is filled with smart choices and Chris Pratt now has two 2014 film heroes that youngsters will idolize.
There’s a “twist” later in the proceedings that truly did surprise me and it creates a level of emotion that I didn’t expect. It isn’t quite Pixar when it reaches its heart tugging heights (think another animated franchise about toys or Up), but it works very well. Emmet’s main problem for awhile is not believing he has the capability to be exceptional in a world that prides itself in conformity. President Business and others don’t want to allow for the innovations of others. The LEGO Movie shows its audience how important it is to strive to be unique and also be part of a team and that’s a good message for all of us. And kudos to Warner Bros. for allowing its filmmakers the chance to take what could have been an assembly line cash cow and make it something… well, pretty special.
As we’re moving deep into the 2014 Summer Movie Season – on this here blog I’ve been reflecting on what has come in the summers before us. Days ago, I wrote a post reflecting on the hits, notable pictures, and flops from 20 years ago in 1994. Today – we focus on the season from a decade ago with 2004’s summer entries.
We’ll start with the Top Ten, but what is notable is some of the comedies that weren’t on that list that spawned endless catchphrases and became massive cult classics:
Onto the Top Ten:
10. Dodgeball: A True Underdog Story
Domestic Gross: $114 million
Vince Vaughn and Ben Stiller teamed up for this well-received sports comedy which received 70% positive support on Rotten Tomatoes. While this was a solid hit, Vaughn’s biggest comedy would come one summer later with a certain pic costarring Owen Wilson.
9. Fahrenheit 9/11
Domestic Gross: $119 million
It’s not often you see a documentary in the top ten summer hits, but in the summer of 2004 the country was focused on an upcoming Presidential election between Bush and Kerry. Michael Moore’s examination of the Iraq War struck a chord with viewers and became the highest grossing documentary of all time.
8. Van Helsing
Domestic Gross: $120 million
Don’t let its #8 ranking fool you because Van Helsing starring Hugh Jackman was considered a major flop upon release. With a reported $160 million budget, it couldn’t recoup that stateside and a potential franchise for Jackman stalled immediately. Good thing he’s got another character he can go back to time and time again.
7. Troy
Domestic Gross: $133 million
Wolfgang Peterson’s Trojan War saga starring Brad Pitt, Orlando Bloom, and Eric Bana under performed a bit domestically (with its reported $175 million budget) but made it up overseas.
6. I, Robot
Domestic Gross: $144 million
While not reaching the heights of his previous summer hits Independence Day or Men in Black – Will Smith’s I, Robot did respectable business. Based on a short story by Isaac Asimov, it received mixed reviews from critics and a planned sequel never materialized.
5. The Bourne Supremacy
Domestic Gross: $176 million
Goodwill left over from the 2002 original The Bourne Identity propelled this Matt Damon sequel to gross over $50 million more than its predecessor. A third Bourne feature would follow three years later before Damon left the franchise and Jeremy Renner took over in 2012.
4. The Day After Tomorrow
Domestic Gross: $186 million
Roland Emmerich returned to doing what he does best (showing the world getting destroyed) and audiences rewarded him for it. Starring Dennis Quaid and Jake Gyllenhall, Tomorrow is the highest non-sequel on the list and it took in over half a billion worldwide.
3. Harry Potter and the Prisoner of Azkaban
Domestic Gross: $249 million
Alfonso Cuaron took over directing duties from Chris Columbus in this third franchise entry. While many (including myself) consider this the best of the series, it surprisingly has the lowest domestic gross of all eight Potter flicks.
2. Spider-Man 2
Domestic Gross: $373 million
Generally considered one of the best superhero movies of all time and the best of this particular franchise, Spider-Man 2 was a massive hit even though it couldn’t quite match the $403 million performance of the 2002 original.
1. Shrek 2
Domestic Gross: $441 million
DreamWorks Animation easily ruled the summer as the sequel featuring the vocal work of Mike Myers, Eddie Murphy, and Cameron Diaz took the top spot. Of the four Shrek entries, it is the biggest grosser and outshined its predecessor by nearly $180 million dollars.
Beyond the top ten, there are four particularly notable pictures which achieved major cult status:
14. Anchorman: The Legend of Ron Burgundy
It made a decent $85 million upon release, but as we all know, the Will Ferrell comedy has gone onto to becoming one of the most quoted flicks in memory. A 2013 sequel followed.
15. The Notebook
Based on the Nicholas Sparks novel, The Notebook caused audiences to fall in love with Ryan Gosling and Rachel McAdams and brought in $81 million.
27. Napoleon Dynamite
With a tiny $400,000 budget – the quirky comedy Napoleon Dynamite with Jon Heder came out of nowhere and posted a $44 million domestic gross. Like Anchorman, it became an endlessly quoted picture.
38. Harold and Kumar Go to White Castle
It made a meager $18 million upon release, but this stoner comedy became an instant cult classic and spawned two sequels.
And now we move to the flops of the summer:
21. The Stepford Wives
Frank Oz’s remake of the 1975 film cost $90 million to make and earned just $59 million. Critics weren’t impressed and audiences ignored the sci-fi comedy starring Nicole Kidman, Matthew Broderick, and Christopher Walken.
25. King Arthur
Training Day director Antoine Fuqua teamed up with Clive Owen and Keira Knightley for this retelling of the medieval legend. With a $120 million budget, Arthur tanked stateside with only $51 million.
29. Catwoman
Warner Bros. surely regrets spending $100 million on this critically lambasted Catwoman feature which starred Halle Berry and Sharon Stone. It earned only $40 million. The silver lining for the studio: one summer later, a certain Chris Nolan would reinvigorate their superhero fortunes with Batman Begins.
And that’s what was going on ten years at the multiplexes, my friends!
The new year at the box office will be rung in with a pretty sturdy horror franchise in the form of Paranormal Activity: The Marked Ones, opening Friday. Unless it greatly doesn’t match expectations, the fifth entry in the series should open atop the charts with the rest being filled by holiday leftovers. You can find my detailed prediction post on The Marked Ones here:
Christmas holdovers usually fall in the 30s to low 40s during the first weekend of the next year and I expect we’ll see that occur here. My predictions reflect Disney’s Frozen having one of the lower declines which should allow it to remain at #2 while The Hobbit: The Desolation of Smaug should end its three-week reign at number one and fall to third. I expect American Hustle and Anchorman 2 to round out the top five. This means Martin Scorsese’s The Wolf of Wall Street should drop out of the top five in its second weekend. While it had a healthy debut (grossing $34 million over five days), audiences were polarized by it, evidenced by its weak C Cinemascore average.
And with that, my predictions for the top six at the box office during weekend #1 of 2014:
1. Paranormal Activity: The Marked Ones
Predicted Gross: $26.8 million
2. Frozen
Predicted Gross: $19 million (representing a drop of 33%)
3. The Hobbit: The Desolation of Smaug
Predicted Gross: $16.2 million (representing a drop of 44%)
4. American Hustle
Predicted Gross: $13.1 million (representing a drop of 33%)
5. Anchorman 2: The Legend Continues
Predicted Gross: $12.5 million (representing a drop of 38%)
6. The Wolf of Wall Street
Predicted Gross: $11 million (representing a drop of 41%)
This would be a great time to remind you of the website www.boxofficeace.com – where you can make your own predictions on the opening weekends of new box office entries. This week would be a fantastic time to start (only takes a sec to set up profile) because the competition begins anew with 2014 rolling in. On the site, you can compete against me and see if you can make box office predictions better than yours truly.
And there you have it! Check by Saturday for early updates on the blog’s Facebook page and Sunday with final results!
There was a whole bunch of new movies that opened Christmas Day, but numbers 1-4 were occupied by holdovers. The Wolf of Wall Street was the top newcomer while The Secret Life of Walter Mitty had a just OK opening and 47 Ronin, Grudge Match, and Justin Bieber’s Believe disappointed.
For the third weekend in a row, it was The Hobbit: The Desolation of Smaug at the top spot with $29.8 million – above my $25.7M estimate. The middle chapter in Peter Jackson’s Tolkien trilogy has earned $190 million in its three weeks of release so far.
Disney’s Frozen was close behind with $28.8 million, surpassing my $22.1M projection. The animated feature has grossed an impressive $248 million so far and should go north of $300 million when all is said and done.
Ron Burgundy and company were third with Anchorman: The Legend Continues earning $20.1 million in weekend #2, right in line with my $19.6M estimate. Anchorman has made $83.6 million so far, nearly matching the entire domestic gross of the original.
David O. Russell’s awards contender American Hustle was fourth with $19.5 million – beyond my $14.9M projection. Hustle has grossed $60 million in two weeks and is very likely to cross the century mark at some point.
It was Martin Scorsese’s The Wolf of Wall Street taking honors as top newbie. The three hour sex and drugs fest with Leo DiCaprio made $18.5 million over the Friday-to-Sunday portion of the weekend and $34.3 million since its Wednesday debut. While this is below my respective estimates of $25.4M and $44.2M, this is still a solid opening. Where Wolf could soon falter is with its C Cinemascore average. Audiences are clearly not liking what they’re seeing and there could be rather substantial drop-offs in future weekends.
Saving Mr. Banks with Emma Thompson and Tom Hanks had a big jump in its second weekend with $14 million for sixth, above my $10.6M estimate. It’s earned $37.8M in two weeks.
Ben Stiller’s comedic drama The Secret Life of Walter Mitty was seventh with $13 million over Friday-to-Sunday and $25.5 million since the Wednesday start, outpacing my projections of $11.7M and $19.3M. This opening could best be described as middle of the pack and it’ll be interesting to see how it holds up over the next couple of weekends.
The Hunger Games: Catching Fire was eighth with $10.2 million, above my $7.7M projection. Fire has made $391 million since its November opening, currently sits at #18 for all-time domestic grossers, and still looks to top Iron Man 3 as 2013’s biggest hit.
The martial arts flick with Keanu Reeves 47 Ronin opened at ninth with $9.8 million over Friday-to-Sunday and $20.5 million since Wednesday. It earned under my predicted three-day estimated (I said $11.4M) but over my five-day estimate ($17.8M). Look for it to fade fast.
Tyler Perry’s A Madea Christmas rounded out the Top Ten with $7.4 million (I didn’t predict it would be in the top ten).
This left the Sylvester Stallone/Robert De Niro comedy Grudge Match at #11 with a very poor opening well below my expectations. Match grossed $7.3 million from Friday-to-Sunday and $13.4 million since Wednesday. I thought it would do much better and predicted $13.9M for the three-day and $24.5M for the five-day. Oops. This is Stallone’s third bomb of the year after Bullet to the Head and Escape Plan.
Finally, Beliebers totally failed to turn out for his documentary Believe. It sputtered at #14 with $2 million from Friday-to-Sunday and $4.2 million since the Wednesday start. I predicted it would do $5.8M for the three-day and $10.3 million for the five. Oops again.
Whew. And there’s your Christmas weekend box office results! Be sure to check the blog later today for my prediction next weekend’s only newcomer, Paranormal Activity: The Marked Ones.
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