‘Aquaman’ And Co. To Feast On Big Christmas Leftovers, Leaving ‘Vice’ And ‘Holmes & Watson’ With Crumbs: Box Office Predictions

Written by Dapo Olowu

The post-Christmas Box Office weekend is usually a lucrative one, creating entire meals out of the festive midweek scraps. This time last year saw films out of the top 10 actually increase their weekend earnings after the previous one, including ‘Jumanji’, ‘The Greatest Showman’, and ‘Ferdinand’.

It’s no different this year, as many of last weekend’s inclusions look to beat their efforts of seven days ago. Competition comes in the form of debutants ‘Vice’ and ‘Holmes and Watson’, which both opened on Christmas Day.

The latter is studio Annapurna’s latest offering, a biographical comedy/drama starring Christian Bale as American politician, businessman, and former Vice pPresident of the United States, Dick Cheney. It’s McKay’s second venture into the niche genre, as well as his second partnership with Christian Bale – both films being 2015s ‘The Big Short’.

It’s ‘The Big Short’ that we’ll be using as a basis for our predictions. Both came out in the Christmas period, and although ‘The Big Short’ had a platform release (i.e. limited to wide opening), it didn’t stop a solid $2.3m on its opening Wednesday in 1,585 screens, on its way to a $10.5m weekend.

Signs point to ‘Vice’ at least doubling this opening, considering it made $4.8m on Tuesday, and enters cinemas wide immediately. It’ll definitely need to, at least for Annapurna’s sake; the studio sank a whopping $60m into this political drama before marketing costs too.

However, considering the difference in critical reception (‘The Big Short’s 88% on RT vs. ‘Vice’s 65%) and audience feedback (A- vs. C+ on Cinemascore), we’re not hedging our bets on ‘Vice’ beating ‘The Big Short’ by much this weekend, with an $11m gross being likely.

Will Ferrell and John C. Reilly lead together for the 3rd time in this weekend’s other new release, ‘Holmes and Watson’, but unlike ‘Step Brothers’ and ‘Talladega Nights’, Sony’s latest comedy is one of the most critically-reviled movies of in recent memory, pulling in a dreadful 6% on Rotten Tomatoes, and a D+ on Cinemascore.

The film sees Ferrell and Reilly play Sherlock Holmes and Dr. John Watson, the detective duo created by the late Sir Arthur Conan Doyle. They’re joined by Rebecca Hall, Ralph Fiennes, Rob Brydon, and Pam Ferris, and at $42m, it’s one of the more expensive comedies of the year.

This only makes things worse for those at Sony, who are now pinning hopes on a big opening weekend to offset the inevitable poor word of mouth, and thus short Box Office run, to follow. It made a strong $6.4m on Christmas day, but won’t be able to solve the mystery of how to break-even however, as it looks to earn a disappointing $9m from Friday to Sunday.

Last weekend’s winner ‘Aquaman’ comes into the weekend fresh from a massive Christmas feast, as it earned $22.1m on Tuesday for the 6th biggest X-Mas day grosser ever, behind ‘The Force Awakens’, ‘The Last Jedi’, ‘Rogue One’, ‘Sherlock Holmes’, and ‘Avatar’. Jason Momoa and co stand tall at a domestic total of $122.6m currently and $600m worldwide, and should add another $55m this weekend for good measure.

Finally, ‘Mary Poppins Returns’ and ‘Bumblebee’ continue to battle for the 2nd and 3rd spots, and will earn an estimated $29m and $24m each in their pursuits of Box Office runs to match last year’s musical ‘The Greatest Showman’, and adventure-comedy ‘Jumanji’.

‘Aquaman’ looks to reign supreme again, while ‘Bumblebee’ and ‘Mary Poppins Returns’ remain untroubled by the new entrants of the week. Can ‘Aquaman’ be the first of the DCEU to hit the $1bn mark? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled.png

Advertisements

‘Aquaman’ Is King With $67m As Christmas Delivers A Mixed Bag Of Presents: Box Office Report

Written by Dapo Olowu

Father Christmas was in a giving mood in the penultimate Box Office weekend of the year, gifting our seven new releases a combined gross of $125.7m between Friday and Sunday.

Half went to ‘Aquaman’, the film which sees Warner Bros swim further into the shores of the DCEU. Its first 3 days earned them $67.4m – by far the lowest in the franchise so far, but simultaneously the 9th biggest December opening of all time.

It’s a start both unspectacular but impressive; while ‘Aquaman’ may have been expected to open bigger without the looming figure of a ‘Star Wars’ movie in December (it’s the first time since 2014 that we haven’t had one at Christmas), the DCEU suffered a near-fatal blow last year with critical and commercial flop ‘Justice League’. Audiences, it seems, were being cautious.

Those who took the risk liked what they saw from the James Wan blockbuster. It’s A- on Cinemascore is only bettered by ‘Wonder Woman’ in the DCEU, whose 4x opening weekend multiplier (achievable over the winter break) would land ‘Aquaman’ with a commanding $270m domestic total. Coupled with an ever-impressive overseas total – which is currently on $410.7m after a $91.3m weekend – and its okay start this weekend will be long forgotten in the next few weeks.

It was a closer-than-expected affair between Disney’s ‘Mary Poppins Returns’ ($23.5m) and Paramount’s ‘Bumblebee’ ($21.6m), as both remained rooted in ‘Aquaman’s shadow. Both studios will be a little disappointed by the performances thus far, as heavy competition from ‘Aquaman’, and a slew of family-friendly releases (‘The Nutcracker’, for one) caused either one or the other to deliver under forecasts.

All isn’t lost, however. Nothing stops both films from really breaking out in the upcoming weeks and months and having special Box Office performances to wipe away any doubts, especially as both benefit from an A- on Cinemascore – a mark of strong praise.

Last Christmas saw ‘Jumanji’ open to just $36.2m, only to end on a whopping $404.5m, and ‘The Greatest Showman’ start at a poor $8.8m on its way to earning $174.3m. Even ‘Pitch Perfect 3’ opened to $19.9m, only to finish on $104.9m, meaning the festive period and beyond provides perfect fodder for highly-rated movies with low-ish openings.  Only ‘Vice’ and ‘Holmes and Watson’ provide any real competition until ‘Glass’ on January 18th, so both films can look to stretch their legs in the coming weeks.

Internationally, ‘Bumblebee’ will be pleased to have earned $31.1m from 38 markets (not including China) for a $52.7m opening, while ‘Mary Poppins Returns’ made $20.3m from 17 countries, including $9.4m from the U.K.

The less said about both ‘Second Act’ and ‘Welcome to Marwen’ the better. The former, fronted by Jennifer Lopez and produced by STX, floundered at the Box Office, earning $6.5m off of a $16m budget. Perhaps a case of a poor release date, the film will now struggle to claw back its budget in coming weeks. Still, it’s nothing compared to ‘Welcome to Marwen’, who somehow did worse than our pessimistic expectations of $4.3m with just $2.4m for 9th place.

Finally, it was a close-call between ‘Mary Queen of Scots’ and ‘The Favourite’ for 10th spot. Both award-hopeful royalty-focused period-dramas were practically tied coming into Sunday night, with ‘Mary’ just edging the fight with $2.3m, versus ‘The Favourite’s $2.1m.

The Christmas competition didn’t disappoint, and the big day itself sees ‘Vice’ and ‘Holmes and Watson’ enter wide to add more fun to the mix. How will the two fair against the competition? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled

 *includes gross from Amazon previews

**includes gross from Wednesday onwards

 

 

‘Aquaman’ To Be Crowned Christmas King While ‘Poppins’ Swoops In With $35m On A Weekend Of Eight Releases: Box Office Predictions

Written by Dapo Olowu

It’s Christmas time, and the Box Office bells aren’t so much jingling than crashing in with a deafening roar as a record eight new wide releases sound in the weekend.

We start with Disney’s ‘Mary Poppins Returns’, the big-budget sequel to Robert Stevenson’s 1964 classic. Over half a century after ‘Mary Poppins’ wowed the world, Disney faces the joint task of appealing to the original fans while introducing a new generation of youngsters to the magic of P. L. Travers’ creation.

The mega-studio seem to be appealing to all so far, with the film earning a solid 77% on the Tomatometer, alongside an A- on Cinemascore. ‘Mary Poppins Returns$4.8m Wednesday opening may insignificant next to its hulking $130m budget, but we mustn’t forget how ‘The Greatest Showman’s entire opening weekend of just $8.8m preceded a whopping $174.3m total this time last year. A leggy run is possible, especially for a well-received family musical released at Christmas.

Let’s make this clear, however: Rob Marshall’s ‘Mary Poppins Returns’ is no ‘Greatest Showman’. It’s Friday to Sunday opening, for one, is more likely to finish in the $35m region than below $10m (similar to ‘A Wrinkle in Time’), and won’t have the extraordinary 20x opening weekend multiplier that ‘Greatest Showman’ had.

Still, the film, which sees Poppins (Emily Blunt) return to the Banks’ (Ben Whishaw, Emily Mortimer) after 30 years, will hope that Mary’s counter-programming magic will see it defeat Paramount’s ‘Bumblebee’ for second place this weekend, behind James Wan’s ‘Aquaman’.

Both ‘Aquaman’ and ‘Bumblebee’ enter U.S. cinemas looking to become the catalysts for their respective franchise’s revivals. Both come from properties struggling in recent years, where their latest releases barely made over $600m from $200m+ budgets. While the DCEU still has a breath of fresh air in ‘Wonder Woman’, the name ‘Transformers’ became Box Office poison after last summer’s ‘The Last Knight’ grossed half a billion less than its 2014 predecessor.

Aquaman’s position is much less precarious than ‘Bumblebee’s. After last year’s ‘Justice League’ earned a disappointing $657.9m worldwide off a $300m budget, ‘Aquaman’ has seemingly bounced the DCEU back from the brink, already grossing $332m outside the U.S. in a matter of weeks, including a Warner Bros best $209.5m from China. The film has set its sights seriously on becoming the first DC movie since ‘The Dark Knight Rises’ to hit $1bn.

Bumblebee’, on the other hand, has had to completely reboot the franchise and even remove all mention of ‘Transformers’ from its name, an indication of Paramount’s intention to start anew.

It isn’t just the name that’s different. For the first time, a ‘Transformers’ film is critically adored (not that that’s ever affected its Box Office takings), with ‘Bumblebee’ boasting a franchise-best 94% on the Tomatometer. Similarly, ‘Aquaman’ is getting the plaudits with 64% (and an audience score of 86%) – only behind ‘Wonder Woman’ in the DCEU’s best reviews films. The film is a continuation of the events in ‘Justice League’, and sees Jason Momoa as the title character, who must fight his half-brother on behalf of the surface world.

While it’s clear that ‘Aquaman’ will top the Box Office with ease this weekend, with around $83m from Friday to Sunday (just over ‘Venom’s $80m from October), forecasting ‘Bumblebee’s performance remains a bit of a mystery. It doesn’t benefit from the counter-programming of a Disney musical like ‘Mary Poppins Returns’, but instead appeals to a very similar demographic to ‘Aquaman’, as both aim to please those looking for big-budget spectacle over the holidays.

Bumblebee’ sees Hailee Steinfeld as Charlie, who befriends and must protect the aforementioned Autobot Transformer against agent Jack Burns (John Cena) of Sector 7, a government agency that investigates aliens on earth.

Its interesting premise won’t necessarily translate into high Box Office takings in its first weekend with just $26m, but Paramount can bank on the film to restore some faith in the failing franchise in coming weeks to potentially push the film into profitability. Remember, if ‘Jumanji: Welcome to the Jungle’ could finish on $404.5m after opening to $36.2m, there’s hope for ‘Bumblebee’ yet.

Jennifer Lopez-fronted rom-com ‘Second Act’ looks to finish STX Films’ torrid time at the Box Office this year on a high note with a $10m opening, similar to that of ‘Love Simon’ ($11.8m) and ‘Aloha’ ($9.7m). Benefiting from half the budget of STX’s biggest domestic grosser of the year ‘I Feel Pretty’, ‘Second Act’ should find little trouble in at least breaking even by the time its theatrical run is done.

A flop was always expected with such a high number of new releases, and in this case, it falls to the ‘Downsizing’ of 2018, ‘Welcome to Marwen’, starring Steve Carrell and directed by Robert Zemeckis. Made on inflated $39m budget, we’re forecasting this to open below last Christmas’ ‘Downsizing’ ($5m), at around $4.3m.

Finally, period dramas ‘The Favourite’ and ‘Mary Queen of Scots’ hit 800 cinemas each in their wide releases, but won’t trouble the top ten, earning around $2m each. War documentary ‘They Shall Not Grow Old’ opened on a special one-day release on Monday to $2.3m, and will be re-released on the December 27th.

Untitled

 

‘Spider-Man’ Soars To $35m In Mixed Weekend: Box Office Report

Written by Dapo Olowu

After two weeks of no new major releases, we’d be forgiven for expecting ‘Spider-Man: Into the Spider-Verse’ to open big this Box Office weekend, or at least break the $40m barrier.

Still, it swung in at $35.4m, meaning it takes the record as December’s biggest ever animated start anyway, beating out the likes of ‘Sing’ from 2016 ($35.3m). ‘Sing’ makes for an apt comparison – its $75m budget is just a shade under ‘Spider-Man’s $90m, and the musical’s eventual $270.4m domestic finish potentially signals a long, leggy ‘Jumanji’-like run for the Sony animation.

For such a run to be had, however, ‘Spider-Man’ must benefit from overwhelmingly positive word of mouth reviews – which it has in excess. Boasting 97% on the Tomatometer and an A+ on Cinemascore, the film, which stars the voices of Shameik Moore, Jake Johnson, Hailee Steinfeld and others, could breakout in coming weekends, although heavy competition in the form of ‘Aquaman’ and ‘Bumblebee’ should definitely stifle its attempts.

Internationally, ‘Spider-Man’ earned $21m from 44 markets, yet won’t be making the front pages just yet, due to the continued runaway success of Warner Bros’ ‘Aquaman’, which brought in a whopping $126.4m in its second weekend overseas.

To date, its non-U.S. total stands at $261.3m, and includes a DCEU-record $190m from China. To put this into perspective, it’s already Warner Bros’ second biggest film there ever (after ‘Ready Player One’), and only ‘Age of Ultron’, ‘Venom’, and ‘Infinity War’ stand in its way of becoming the country’s biggest superhero movie of all time.

With its U.S. release perfectly timed for this coming Friday, we could genuinely see ‘Aquaman’ swim to levels never before seen by the DCEU, and could even hit the $1bn mark.

With much smaller ambitions comes Clint Eastwood’s crime drama ‘The Mule’, which opened to a solid $17.5m. It’s an opening that marks Eastwood’s 5th biggest as a director, and 3rd biggest as an actor (inflation aside), as well as his biggest of the year, comfortably seeing out his February effort ’The 15:17 to Paris’ ($12.6m).

While many may balk at its seemingly pricey $50m production cost, Eastwood and those over at WB will be quietly optimistic at the potential for it grow in coming weekends, as it looks to appeal to a crowd uninterested in upcoming (and current) major action blockbusters. Its A- on Cinemascore implies a film highly-rated among audiences that were practically all (88%) over the age of 25, so perhaps we may see a ‘Book Club’-type performance here.

It wasn’t all good news in the Box Office, however. Universal’s ‘Mortal Engines’, the YA steampunk dystopian adaptation of the 2001 novel, failed to get started at the domestic Box Office, spluttering in with a miserable $7.6m.

Two things of note here: firstly, that ‘Mortal Engines’ has somehow outdone ‘Robin Hood’ as the flop of the season, and secondly, that Universal and co. decided it wise to spend $100m+ on a YA dystopian, as if ‘The Darkest Minds’, ‘The 5th Wave’, and ‘Allegiant’ haven’t already put the struggling genre out of its misery in recent memory. Regardless, it’ll be a real surprise to see this one reach $30m, or even be around by early January.

Finally, in the battle for 10th spot between ‘Green Book’, Deadpool-lite ‘Once Upon a Deadpool’, and ‘The Favourite’, it was ‘Green Book’ who prevailed and kept its place in the ranks, earning $2.8m in its 5th weekend of release.

Next weekend sees ‘Aquaman’ come up against the might of ‘Mary Poppins Returns’ and ‘Bumblebee’. Can the latter cause an upset, or will Warner Bros earn its 10th chart-topper of the year? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled.png

‘Spider-Man: Into The Spider-Verse’ To Swing In With $50m, While ‘Mortal Engines’ Can’t Get Started: Box Office Predictions

Written by Dapo Olowu

After two barren weekends without a major cinematic release, the theatrical cobwebs and tumbleweed will be brushed aside as three new films bring an end to the post-Thanksgiving void, and usher in the Christmas period.

Finally.

Kicking off the weekend is ‘Spider-Man: Into the Spider-Verse’, Sony’s latest foray into the world of Marvel’s most beloved hero after releasing the spinoff ‘Venom’ back in October. The film sees teenager Miles Morales (voiced by Shameik Moore) taking up the ‘Spider-Man’ mantle, after teaming up with multiple parallel-universe Spider-Men to defeat crime lord Wilson Fisk.

Its all-star cast, featuring the voices of Mahershala Ali, Nicolas Cage, Hailee Steinfeld, Jake Johnson, and Lily Tomlin among many others, is only bolstered by an equally strong team behind the scenes, with Lord & Miller producing, and the latter getting a co-writing credit.

The quality in production has apparently shone through to the final product; its near-perfect 97% on Rotten Tomatoes, A+ on Cinemascore, and 87 on Metacritic means it’s one of the best-reviewed superhero films in modern memory, perfect fuel for a great Box Office lift-off.

We’re optimistically forecasting a gross just below $50m from Friday to Sunday, considering the recent slew of family-friendly animations (and superhero movies) that have already quenched the thirsts of the general audience. It’s an opening that falls just behind another Lord & Miller production ‘The Lego Batman Movie’ from 2017, which made $53m in its first 3 days, on its way to earning $175.8m domestically.

Next is Clint Eastwood’s second film of the year after February’s ’15:17 to Paris’ – ‘The Mule’. Eastwood directs and stars as Earl Stone, an elderly drug trafficker (based on the true story of World War 2 veteran Leo Sharp). The film also sees Bradley Cooper as DEA Agent Colin Bates, alongside Laurence Fishburne, Michael Peña, Taissa Farmiga, and Andy García.

This R-rated crime flick has the better of ’15:17’ when it comes to critical reception, but this makes little difference for the $50m production, which looks to open at around $14m$1.5m more than ’15:17’. ‘The Mule’, it seems, will need to keep delivering the goods in coming weeks, or else get caught by the chasing pack.

What’s a Box Office weekend without a big budget flop? First-time director Christian Rivers teams up with Peter Jackson (‘Lord of the Rings’, ‘The Hobbit’) to deliver ‘Mortal Engines’, Universal’s steampunk dystopian based off of Phillip Reeve’s 2001 novel of the same name.

Fears of a ‘Robin Hood’-like failure are warranted, given its bloated $100m+ budget and poor response from both critics and audiences (28% on RT, B- on Cinemascore). Therefore, we’re predicting a start of $10.6m, meaning ‘Mortal Engines’ has already stalled upon release.

Finally, Oscar-hopeful ‘The Favorite’, directed by Yorgos Lanthimos, looks to beat out ‘Once Upon a Deadpool’ and ‘Green Book’ for a place in the top ten. Still in a limited release, playing in just 423 cinemas, the historical period-piece, starring Olivia Coleman, Emma Stone, and Rachel Weisz, should earn $3.4m for 10th place.

The Box Office is back in full swing this weekend, with ‘Spider-Man’ leading the way. Will it hit the lofty $50m heights we predict, or will it just fall short? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled

The Smallest Weekend Of The Year Sees ‘Ralph Breaks The Internet’ Score A Hattrick with $16m: Box Office Report

It was always going to be a small weekend.

Friday to Sunday in the Box Office sphere saw just $84.5m grossed from 87 movies across the United States, and was topped by three-time winner ‘Ralph Breaks the Internet’ with $16.3m. Only two films in 2018 have stayed at number 1 in the Box Office charts for longer than ‘Ralph’, and both – ‘Black Panther’ (5 weekends) and ‘Jumanji’ (4 weekends) – became Box Office behemoths in the process.

Ralph’ won’t be following in their footsteps, as its three-peat is the result of a severe lack of Box Office competition than a record-breaking opening or an incredibly leggy run. Although it won’t tip Disney’s balance sheet like ‘Black Panther’ did, it does, however, stand at a respectable $141m after 3 weekends.

Internationally, it added an extra $18m for a worldwide total of $258.9m, and should top ‘Wreck-It Ralph’s $471.2m global gross by the end of December.

All seems well for those at Disney, although the lingering fear that ‘Ralph’s $175m price-tag may harm the potential of theatrical profitability is only heightened by comparisons to ‘The Grinch’, who, after earning $15m this weekend, becomes the 6th biggest domestic film of the year with $222.3m in the bank ($325.2m globally).

This retelling of Dr. Seuss’ ‘How The Grinch Stole Christmas’, produced by ‘Minions’ helmers Illumination, cost $100m less than ‘Ralph’ and sits comfortably behind ‘Incredibles 2’ as the second biggest animated film of the year.

Both studios take vastly different approaches to their productions, with Disney’s focus on improvements in picture quality resulting in ballooning budgets and giant break-even numbers. This may work when ‘Incredibles 2’ earned $1.2bn off of a $200m production cost, but for the smaller releases like ‘Ralph’, it’s the Illumination model that shines the brightest.

Next is MGM’s ‘Creed II’, earning $10m for 3rd place, ahead of ‘Fantastic Beasts 2’ ($7m) and ‘Bohemian Rhapsody’ ($6.1m). A 40% drop edges it ever closer to the century mark domestically, and just $13m away from reaching ‘Creed’s total gross. Its sights are firmly set on ‘Rocky IV’s $127.9m domestic total however, which still stands as the biggest boxing movie gross in U.S. history, 33 years after its release. It’s a title ‘Creed II’ should definitely win, although upsets do happen.

Finally, last weekend’s lonely newcomer ‘The Possession of Hannah Grace’ brought in $3.2m from Friday to Sunday, leaving it on a respectable $11.5m gross overall.

The quiet before the storm; this weekend was the last without any new wide releases before next week’s onslaught. Who is going to suffer the most when 3 new films come into play next weekend? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

 

Untitled.png

JUMPCUT ALL THE WAY: How The Grinch Stole Christmas (2000)

Directed by: Ron Howard
StarringJim Carrey, Taylor Momsen, Jeffrey Tambor, Christine Baranski, Bill Irwin, Molly Shannon

Written by Rhys Bowen Jones

If you can believe it, The Grinch was one of the highest-grossing films of the year 2000, and is to this day the second highest-grossing Christmas film of all-time, behind Home Alone. Despite a fairly mixed reception initially, The Grinch has grown in appreciation over the years and remains a firm favourite in my household every Christmas. Last year, upon rewatch number umpteen, it truly struck me and my mum just how funny the film is. It’s become a staple of the Christmas film season, and for me, rightfully so.

The Grinch stars Jim Carrey in the titular role as a weird, green demon hellbent on ruining Christmas. Adapted by Ron Howard from Dr. Seuss’ classic tale, Carrey terrorises the town of Whoville, of which he used to be a citizen, and vows to ruin Christmas for everyone below his dwelling high in the mountains. What follows is a genuine masterstroke of filmmaking from a character and production design standpoint, all of which is elevated by a classic Jim Carrey performance, the master of physical comedy that he is.

It’s fair to say that The Grinch wouldn’t have been the success it was without Jim Carrey. In his grotesque green costume with his bizarrely hairy features, protruding stomach, and slightly misshapen face, Carrey delivers a comedic performance for the ages. Every gesture, every grunt, every line is delivered with absolute maximum effort for the comedic impact that is still referenced today; “oooh…ahhh….hmmm….that’s it I’m not going” and “hate, hate hate hate, double hate…LOATHE ENTIRELY!” are two quotes that I reference all year round, regardless of the season. The way he slinks through every scene, high knees and all, never fails to bring a smile to my face. Carrey is reliably great in almost everything he’s in, but The Grinch uses all his comedic power as humanly possible, and it’s a damn delight for doing so.

What truly defines a Christmas film is its sentiment, its overall message, and The Grinch has such a message in abundance. In amongst all of the glorious nonsense is a story of someone struggling with their self-imposed isolation; their true desire is to feel a part of something again. After humiliation as a child at school (a genuinely moving sequence that could’ve sunk like a stone but really works thanks to the young actor committing to being a young Jim Carrey as much as he could), Mr Grinch (per Cindy Lou) cut himself off to punish the town, to try to cast a light on its internal elitism. Truthfully, this angle has never properly struck me until recently, but it’s a very un-subtle metaphor for assumed social hierarchy, and for that, it deserves a lot of credit.

Beyond that though, as is the tradition with most Christmas films, is the discovery of the meaning of Christmas. The Grinch, one could argue, is an anti-materialist venture, showing that Christmas has nothing to do with material gain and presents, but the overall sharing of the season with the ones we love. The ultimate reason the Grinch starts to care again is this very realisation. In a surprisingly spectacular moment in which the Grinch, after robbing the entire town of their Christmas gifts, the Grinch holds the stolen gifts high above his head in a feat of inhuman strength, and declares “I’ve got you, Cindy Lou!” He doesn’t want the satisfaction that he saved the town’s presents, all he cares is his new friend is safe. He’s grown, he’s matured, 3 times over in fact. He’s another embodiment of Ebenezer Scrooge in the form of an actual demon, and it makes me feel absolute joy as the film concludes.

The Grinch is hilarious thanks to Jim Carrey, it’s a marvel in creature design, but most importantly, it’s a faithful Christmas story with a proper Christmas message at its core. That’s what a Christmas film should be.

‘Ralph Breaks The Internet’ Goes For The Hattrick With $15m Weekend: Box Office Predictions

Written by Dapo Olowu

There won’t be any new major releases troubling the Box Office weekend, clearing the way for ‘Ralph Breaks the Internet’ to top the charts for the third consecutive time.

Only fellow-Disney release, ‘Black Panther’, and Sony’s ‘Jumanji’ have stayed at number 1 for longer this year, but ‘Ralph’s forecasted $14.8m will be the 2nd lowest weekend winner of 2018, after ‘Jumanji’s $10.9m saw it beat out ‘Maze Runner 3’ and ‘Winchester’ in early February.

It’s also a gross that’ll draw ‘Ralph’ to within inches of a $140m total, just $4m behind 2016’s ‘Moana’ (another Disney Thanksgiving treat) at the same point in its run, with a view to earning around $220m by the time it ends in cinemas.

That, of course, far exceeds ‘Wreck-It Ralph’s $189.4m domestic total from 2012, but this won’t be the only sequel of the weekend looking to improve upon its predecessor’s success, as ‘Creed II’s $10m weekend should edge it over the $100m domestic mark, leaving the film just a few million short of ‘Creed’s $109.8m total.

Already the 9th biggest boxing movie in U.S. history (after only 17 days in release), the drama should leapfrog ‘Million Dollar Baby’ into 5th spot by Sunday night, with its sights firmly set on ‘Rocky IV’. Reaching the record-holder’s $127.9m gross will surely make for an exciting title fight in itself.

Before ‘Creed II’ this weekend comes ‘The Grinch’, which looks to gross $12m to continue what’s been an impressive Box Office performance so far. Seeing off family-friendly competition in ‘Ralph’ and ‘Fantastic Beasts 2’ (the latter will continue its dizzying drop with a $5.7m weekend) has seen the film rise up the ranks as one of the biggest domestic hits of the year.

Specifically, ‘The Grinch’ sits in 10th place behind ‘Venom’ and ‘Solo’ in 9th and 8th respectively, and in a few days will pass not only them in the yearly list, but also ‘The Lorax’ as Illumination’s 7th biggest film. Reaching ‘Despicable Me’ in 6th with $251.5m, however, may be a step too far for the Seuss-adaptation, which will likely finish in the $240m region.

Finally, last weekend’s only newbie ‘The Possession of Hannah Grace’ won’t be terrorizing its audience for much longer, dropping by over 50% to gross $3m, passing the $10m domestic mark in the process.

Next week sees our films, after two empty weekends, come up against ‘Mortal Engines’, ‘The Mule’, and ‘Spider-Man: Into The Spider-Verse’. How will they fair in the face of actual competition? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled

‘Ralph Breaks The Internet’s $25m Weekend Makes It 14 Number 1’s In 2018 For Disney: Box Office Report

Written by Dapo Olowu

Just the one wide release this weekend in ‘The Possession of Hannah Grace’ meant that ‘Ralph Breaks the Internet’ faced little in the way of competition, ending Sunday night atop the Box Office charts.

Its $25.6m gross was a little on the low side of our $30m forecast, giving it a domestic total of $119.1m – now behind ‘Moana’ in the same point in its run ($119.8m), but ahead of ‘Wreck-It Ralph’ by almost $20m at the same stage. ‘Moana’, of course, went on to earn a remarkable $248.8m stateside, while ‘Wreck-It Ralph’ grossed $189.4m in 2012.

Ralph Breaks the Internet’s weekend marked Disney’s 14th Box Office #1 of 2018 from just 5 films (afterBlack Panther’, ‘Infinity War’, ‘Solo’, andAnt-Man 2’), leaving the studio well clear of nearest competitors Universal and Warner Bros, who both boast 9 weekend winners apiece.

Just 4 weekends remain until 2018 draws to a close, and Disney aren’t finished yet, with ‘Ralph’ looking for a 3rd straight win in a week’s time, and ‘Mary Poppins Returns’ opening on the 19th. Internationally, ‘Ralph’ made $33.7m from 27 countries, including snatching first place in the U.K. This gives the film a worldwide total of $207.1m after just 2 weeks in release, with more to come by the end of the year.

There was a closer fight than expected for second place, involving ‘The Grinch’ and MGM’s ‘The Creed II’. ‘The Grinch’ ultimately won this round, earning $17.9m against ‘Creed II’s $16.6m, but the latter can take solace from the fact that it’s just $20m away from passing the century mark domestically, $30m away from beating its predecessor ‘Creed’s domestic total, and $50m away from becoming the biggest boxing movie in U.S. history.

The Grinch’, meanwhile, crossed $200m in the U.S, sneaking in at 10 on the biggest grossing films of the year list with $203.7m. Now in its 4th weekend, it’s survived threats from ‘Ralph’ and ‘Fantastic Beasts 2’ and can now look to establish itself as the year’s second-biggest animated hit, behind the record-breaking ‘Incredibles 2’.

Finally, the only new release of the weekend came from Sony, as ‘The Possession of Hannah Grace’ haunted audiences across the States to earn an impressive $6.4m from just 2,000 cinemas. Its 17% on the Tomatometer and C- on Cinemascore hint at a film that wasn’t adored by critics or audiences alike, but from just a $9.5m budget, its reception may not prove to be as important when its run is over.

With ‘The Grinch’ working its way into the top ten domestic hits of the year, can it stay there once ‘Aquaman’, ‘Mary Poppins’, and ‘Spider-Man: Into the Spiderverse’ come around? Let us know your thoughts on Twitter and Instagram – we’re at @JUMPCUT_ONLINE.

Untitled2