The Warner Animation Group sets the Legos aside momentarily when Smallfoot debuts next weekend. The 3D computer animated comedic musical (a twist on the Bigfoot story) comes from director Karey Kirkpatrick. He made the well-received Over the Hedge over a decade ago and the not so well-received live-action Eddie Murphy pic Imagine That in 2009. Channing Tatum, James Corden, LeBron James, Zendaya, Common, Danny DeVito, and Gina Rodriguez are among the voices heard here.
As mentioned, the current animation department at Warner Bros has mostly been giving us Lego titles as of late. One exception was 2016’s Storks. It also opened in September and made $21.3 million for its start. That is likely a far better comparison that anything involving those famous blocks.
A low 20s to mid gross should put this in second place next weekend behind the Kevin Hart/Tiffany Haddish comedy Night School.
Michael Gracey’s TheGreatestShowman doesn’t burden itself with much historical accuracy or being a full-fledged look at its title subject. Its pleasures are of the surface level variety. At one point, a stuffy critic begrudgingly tells P.T. Barnum that his show has succeeded in bringing joy to people. So does this musical in many moments.
Hugh Jackman is Barnum, an endless promoter who grew up poor and never forgot how he was treated by New York’s elite. He marries his childhood sweetheart Charity (Michelle Williams), who came up with wreath and privilege. After some career misfortune in the 19th century era Big Apple, Barnum develops his greatest idea: a stage experience featuring society’s freaks. This includes a bearded lady (Keala Settle) with a beautifully booming voice and a dwarf (Sam Humphrey) who dresses as a general. He teams up with playwright Phillip Carlyle (Zac Efron), who also hails from the aristocracy but feels more at home among these outcasts. Phillip also finds love of the forbidden kind with the show’s trapeze artist (Zendaya).
While Barnum finally finds the financial success he’s longed for, it doesn’t buy him respect and that’s a consistent through line in the screenplay. Both the wealthy class and hecklers who lurk around the theater believe the freak show atmosphere is a disgrace. Barnum tries to combat this by touring with famed European opera star Jenny Lind (Rebecca Ferguson). Both his family and circus employees feel the neglect.
The brisk 105 minute running time features 11 song and dance numbers that move the plot along, often in montage fashion. Even a cursory Wiki read of Barnum’s grand life reveals that Jenny Bicks and Bill Condon’s script aren’t making a biopic. Like the man it’s about, this picture is style over substance. The message of inclusion and acceptance is unmistakable and frequently touching. Most importantly, the musical numbers (from the team behind LaLaLand) produce plentiful happy feels.
With his theater background, Jackman is more than well suited to play the man in the top hat. He’s the focal point in many of the song and dance interludes. Yet it’s “Rewrite the Stars”, a gorgeously choreographed sequence with Efron and Zendaya, that proved most memorable for me.
A stuffy critic could gripe that a rewrite should have explored more of Barnum’s real existence. However, the joyous vibe while I was watching is enough to justify admission here.
20th Century Fox waited until the last minute to lift their review embargo off The Greatest Showman, which is out in theaters today. That’s usually not a great sign and that’s been mostly proven. The musical drama featuring Hugh Jackman as circus leader P.T. Barnum is garnering mixed notices and it stands at only 43% on Rotten Tomatoes.
For the last several months, Showman hasn’t been considered much of a factor in the Oscar mix. The reaction out this morning solidifies that notion. Even though it was nominated for Golden Globes in Best Musical/Comedy and Actor for Jackman, I expect neither to be possible when it comes to the Academy. The same, by the way, can be said for Jackman’s more acclaimed work in Logan.
Reviews have noted that Showman is more successful as an exercise in style than substance. For that, it could factor into some technical categories. Costume Design, Production Design, and Sound Mixing are all feasible nominations, but there’s a good chance that never materializes with any of them. The Globes did nominate “This is Me” for Song and Oscar could follow suit there.
Bottom line: The Greatest Showman will not play in the major categories, but down the line technical recognition is still on the table.
20th Century Fox is hoping moviegoers will be in tune with their offering The Greatest Showman over the long holiday when it opens next Wednesday. The musical period piece casts Hugh Jackman in the role of circus master P.T. Barnum with a supporting cast that includes Zac Efron, Michelle Williams, Rebecca Ferguson, and Zendaya. It marks the directorial debut of Michael Gracey.
Mr. Jackman has found Christmastime success in this genre before five years with Les Miserables. Expectations aren’t quite as high here, but the reported $84 million production will try to bring in an adult female audience that could be slightly under served. Showman received three Golden Globe nods just yesterday for Best Motion Picture (Musical or Comedy), for Jackman in Best Actor, and for Original Song.
That said, there is some direct competition in the form of Pitch Perfect 3, which arrives two days later and Downsizing, which is also looking to attract an older crowd. I’ll say Showman manages a mid to possibly high teens gross for the four-day weekend that includes Christmas and low to possibly mid 20s for its six-day take.
The Greatest Showman opening weekend prediction: $16.1 million (Friday to Monday), $22.4 million (Wednesday to Monday)
For my Jumanji: Welcome to the Jungle prediction, click here:
Spider-Man: Homecoming is the third reiteration of the web slinger franchise that began a decade and a half ago. It arrives three years after the first reboot with Andrew Garfield sputtered in its second entry. That franchise faded away being plagued by the same issues that Sam Raimi and Tobey Maguire’s trilogy suffered at its end – too many villains and generally trying to cram too much superfluous material. It’s a pleasure to report that Homecoming doesn’t suffer the same problems.
In fact, our third Spidey helping soars the most when Peter Parker stays grounded. Tom Holland is the title character, getting his stand-alone pic after a brief appearance in last summer’s Captain America: Civil War. Yes, Spidey/Peter is now part of the vast Marvel Cinematic Universe and he’s a pupil of none other than Tony Stark/Iron Man (Robert Downey Jr.). Well, sort of. After assisting in one epic battle in Civil War, Peter wrongly assumes he’s part of The Avengers. Yet Stark isn’t exactly quick to enlist him, tasking his trusty bodyguard Happy Hogan (Jon Favreau) to keep tabs on him but not involve him in their day-to-day world saving activities.
That leaves Peter doing his Spidey thing on a much smaller scale, busting carjackers and ATM thieves in New York City while hiding his identity from Aunt May (Marisa Tomei) and his high school buddies. That consists mostly of just one classmate Ned (Jacob Batalon), a fellow nerd. Peter also has a serious crush on Liz (Laura Harrier), the lovely captain of the academic decathlon team. There’s another female student, played by Zendaya, that you suspect will become more important as the franchise continues. Homecoming does something that other Spidey flicks never really bothered to do. It makes Peter Parker a credible high school student. Part of the problem in the first two series was that you never bought Maguire or Garfield as underclassmen. With Holland, his youthful exuberance and awkwardness sell it. Of the trio we’ve seen thus far, he is probably the best Spider-Man. He’s definitely the best Peter Parker.
One of Spidey’s busts while waiting for Tony Stark to call with bigger projects leads him to Toomes (Michael Keaton), whose backstory is explained in the opening sequence. He’s a former small business owner gone disgruntled after more powerful interests (Mr. Stark and his empire) took his livelihood away. Toomes retaliates by using some stolen materials to develop weapons. Just as Peter is an everyday guy who becomes a superhero, Toomes is a once normal Joe who becomes a super villain. With Keaton playing him, it’s a pleasure to watch. One often deserved knock on the Marvel Cinematic Universe is that a solid villain is about as common as a Marvel Cinematic Unicorn. As with Loki, this offers an exception and Keaton is the reason why.
The scenes in the high school are handled with a often light, humorous and believable touch. Our grand action set pieces are expertly handled, but not much different than anything else we see multiple times a year (one at the Washington Monument is pretty nifty though). Homecoming does a commendable job at remembering that our hero is a neighborhood Spider-Man. Even though we know a much larger universe awaits him, it’s a treat to watch him working in relatively more grounded reality.
It was 15 summers ago when Spider-Man scored the largest domestic opening of all time (at that juncture) and helped kick off the comic book adaptation bonanza that has yet to let up today. We are now on our third web slinger iteration as Spider-Man: Homecoming swings into theaters next weekend.
Of course, this is not our first time seeing Tom Holland as the new Spidey. He first appeared in last summer’s Captain America: Civil War. In this first solo effort, none other than Robert Downey Jr.’s Iron Man is appearing alongside him. Jon Watts directs with a supporting cast that includes Michael Keaton as the villainous Vulture, Marisa Tomei, Donald Glover, Jon Favreau, and Zendaya.
This co-production of Columbia Pictures and Marvel Studios comes with a reported $175 million budget and lofty expectations. The second reboot of the beloved superhero series certainly is benefited by the new Spidey’s place in the Marvel Cinematic Universe and his Avenger friends.
Homecoming is the sixth overall flick headlined by Spider-Man. Let’s take a trip down franchise lane, shall we?
In looking at the opening grosses of the five previous entries, it’s a bit of a web since some opened over long holiday weekends. The 2002 original made the aforementioned record-setting sum of $114 million out of the gate and $403M overall domestically. The 2004 follow-up opened over a five-day July 4th weekend with $88 million from Friday to Sunday, $151 million from Wednesday to Sunday, and $373M when all was said and done. 2007’s Spider-Man 3 (marking the final appearance of Tobey Maguire in the title role) set the franchise record opening of $151 million, but grossed $336M in total – the lowest of the trilogy. Five years later when Andrew Garfield inherited the tights, The Amazing Spider-Man rolled out over a long six-day July 4th frame with $62 million in the traditional weekend and $137 million over the long weekend. It would go on to make $262M. 2014’s sequel made $91 million for its start and a series low $202M overall.
Got all that? OK! So where does Homecoming stand in comparison? Let’s leave its predecessors alone for just a second as it’s unlikely this will match the overall grosses of this summer’s previous comic book tentpoles Guardians of the Galaxy Vol. 2 and Wonder Woman. Both of those pics look to near $400 million domestically and place first and second for the season’s top earners. At one time, projections for the new Spidey were as high as $135 million, but they’ve since steadily declined. I believe this will reach over just over what the first picture accomplished a decade and a half ago.
Spider-Man: Homecoming opening weekend prediction: $117.8 million
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