Adam Robitel’s new horror flick, Escape Room, surprised at the box office, taking the No. 2 spot over last weekend with $18 million in sales over its first three days of release (against a budget of just $9 million). Horror continues to be the most profitable genre (outside of the whole superhero thing).
Mary Poppins Returns is proving to be a slow burn of a hit film, taking the No. 3 spot at last weekend’s box office, selling another $16 million, bringing the flick’s 17-day sales total to $139 million in the U.S. and $258 million worldwide. The film is also getting some pretty good reviews and is basically thriving off word-of-mouth. Don’t be surprised if this one just keeps on selling and ends up getting a whole lot of Oscar love.
Spider-Man: Into the Spider-Verse and Bumblebee rounded out the box office’s Top 5 with $13 million and $12.8 million in sales, respectively.
The Golden Globes
This past year wasn’t the best year for big films, with the majority of the year’s best movies (e.g. Leave No Trace) going largely unseen, reinstating an underground/Hollywood dynamic unlike any we’ve seen since the early ’90s. That’s sort of exciting, isn’t it? It is, but only if top talent continues to make small films for small audiences, and the small audiences keep looking for the hidden gems.
This year’s Golden Globe awards celebrated big Hollywood movies made by big Hollywood studios and names. Green Book and Bohemian Rhapsody, two poorly reviewed films, took the Best Picture awards, while Roma (which wasn’t nominated for Best Picture) went home with the Best Director, Best Screenplay, and Best Foreign Film awards.
The narrative for months now has been that A Star Is Born is the one to beat. The Golden Globes squash that theory, instead suggesting that Bohemian Rhapsody, Green Book, and Roma are the frontrunners.
I’m not sure I buy it. I still think the Oscars will belong to A Star Is Born (though I would very much prefer a Roma sweep to a Bradley Cooper sweep).
Also, hosts Andy Samberg and Sandra Oh did an OK job, especially Samberg, who was his painfully weird self in a way that very much seemed to work. Mostly, though, the Globes were a confusing mess of an awards show, with nothing feeling predictable. That’s fun, right? Frustrating fun.
Last weekend I told you about five Hollywood films coming out in 2019 that I think might be very much worth looking forward to.
Here’s the word on a handful of other promising Hollywood films coming in 2019:
Godzilla: King of Monsters will be big and wild and fun.
Avengers: Endgame might top Avatar as the most
financially successful film of all-time.
Hellboy will be the coolest, most overlooked comic book film of the year.
James Gray’s Ad Astra legitimately might surprise us all and be the best film of the year.
Captain Marvel will no doubt catch a buzz off the
success of Endgame.
New adaptations of The Lion King, Aladdin, and Pet Sematary will grab both young viewers and nostalgic viewers and make loads of bank.
Wonder Woman 1984, X-Men: The New Mutants, and X-Men: Dark Phoenix will help keep the comic book era chugging full-steam-ahead.
Rocketman, a biopic about Elton John, will feed off the success of both A Star Is Born and Bohemian Rhapsody.
M. Night Shyamalan’s Glass will be really awful and make a lot of money.
Jordan Peele’s Get Out follow-up, Us, will tell us whether or not he truly has the goods or not.
Dumbo will be dumb.
David Robert Mitchell’s It Follows follow-up, Under the Silver Lake, will be fun and smart and cool.
John Wick 3 will fill seats and thrill action movie lovers.
The new Men in Black film will be well produced, well attended, and quickly forgotten.
Zombieland 2 will kill at the box office and probably be extremely fun and funny.
The Goldfinch had better be good, considering its great source material, incredible cast, and a hungry director named John Crowley (Brooklyn, Boy A, Intermission).
And then, of course, there’s Seth Rogen and Jonathan Levine’s Flasky, which sees the duo once again attempting to enter James L. Brooks “Oscar comedy” territory.
Could be a great year.
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