Skip to main content

I kinda thought we would just wing it, you know.


Box Office Comment
January-February 2013


It’s the last week of February and, unsurprisingly, few contenders for box office glory have been released so far. Only two films (Die Hard 5 and Safe Haven) featured in my 2013 predictions and I usefully managed to omit Identity Thief, which is close to $100m in the US.

But who can predict hits, let alone comedy hits? Released at another moment, a Jason Bateman comedy would be a bomb. True, Seth Gordon topped $100m with both his previous features (Horrible Bosses and Four Christmases), and a savaging by critics is no impediment to a responsive mass audience. But no one was really expecting it to hit this big; the trailers, in particular, were horrible.

So, logic suggests this is the Melissa McCarthy factor; her first starring role after stealing Bridesmaids, and audiences clearly want to see her being obnoxiously crude and bovine. It bodes well for the prospects of the upcoming pairing of McCarthy with Sandy Buttocks in The Heat; my top-end estimate of US $120m now looks quite low. That said, give it 18 months and audiences will likely have tired of her.

The most notable run of disappointments in the year to date have been with action movies. Arnie’s return stiffed (The Last Stand) despite some favourable comments regarding Jee-woon Kim’s direction, and thus far it hasn’t been making up numbers in the rest of the world. But neither this, nor Stallone’s solo, non-franchise Bullet to the Head ever seemed to have much prospect of reward.

Schwarzenegger has been on hiatus governating for a decade and was a dimming bulb even before his descent into politics. Stallone has shrewdly spent the past decade reviving franchises and creating one that doesn’t rely solely on him (The Expendables). When it came to him doing his thing solo, no one wanted to know. Just like ’94-2004, then. Maybe The Tomb will do better as they team up. While I didn’t expect either of these to be hits, I didn’t expect quite such failures.

It hasn’t been good news for younger “icons” either. Mark Wahlberg may be a patchy leading man, but he’s a very Midas-like producer. The failure of Broken City is his first significant misstep since 2008’s Max Payne (the director of which will be mentioned shortly). Wahlberg tends to wisely make medium-budget starring vehicles, and had a very good year last year (Ted and Contraband), although he’s an actor whose following is mainly US-based. If teaming with Russell Crowe didn’t work out this time, there’s always Denzel coming up (2 Guns).

With the likes of Dwayne Johnson and Jason Statham it’s very much about lowered expectations anyway. As long as these guys make action pictures on a certain budget they can guarantee a certain level of return. Statham’s profile has been elevated by his support in The Expendables, following the profitable Transporter trilogy. But can anyone recall The Mechanic, Killer Elite or Safe (the middle one of which was more costly than he is used to, and suffered accordingly)? So now we have a new iteration of Parker, which looks to yield similar returns to the last few efforts. He’ll continue to get work, but the rare perfect fit of personality and interesting material (The Bank Job) now seems like an aberration.

Johnson has also prospered within (other people’s) franchises (Fast Five, Journey 2) but floundered on his own. Snitch looks set to follow the underwhelming Faster with Stat levels of box office. He has Fast 6 and G.I Joe 2 coming up, so they will insulate him for a while. But, like Statham, no one is really expecting his star vehicles to become break-out hits.

This glut of testosterone has also seen the one expected juggernaut crash and burn. Albeit, how much it was expected by Fox is questionable given the lack of advance screenings. A Good Day to Die Hard was roundly molested by critics and trampled into the dirt by fans of the franchise.

Reportedly, it had good responses from the general audience on its first weekend (B+) but its second week plummet suggests otherwise. If Live Free and Die Hard met with resistance from the fans who said it betrayed the franchise, there’s no denying that it was a word-of-mouth hit that came as something of a surprise. In contrast, Die Hard 5 will end up nearly $100m lower than its nearest franchise competitor when adjusted for inflation.

It’s another example of Fox having no idea how to make movies diligently. Slap a hack (John Moore, an in-house director who made all five of his films with the studio; what hold do they have over him, and why do they want him given the middling returns his pictures have yielded?) on a picture and quality be damned. And presumably Bruce Willis approved him (although Willis has always had negligible quality control, both in scripts and directors).

I don’t want actually this to bomb, because I’d like to see a worthy Die Hard 6 conclude the “double” trilogy. With John McTiernan returning.  Worldwide, the film is nearing $200m, and could well reach about $275m before it pegs out. As it cost $90m a sixth installment is possible, but I’m sure no one wants the stink of another one like this on them. I predicted $350m worldwide low-end if it didn’t stink. Alas, it did.

A Nicholas Sparks adaptation seems like a sure thing; reasonably cheap and an assured return. That’s why even a bidding war on his novels is a no-brainer. About two-thirds of the gross for these romantic melodramas comes from the US, however, so the $50m Safe Haven has made so far will likely finish up around, or just over, $100m worldwide.

A few of the films released so far have achieved surprising yields. Mama was an expected PG-13 horror hit, with Guillermo Del Toro attached as producer and nestled in the traditional January horror window. It had better legs than the one-week Texas Chainsaw 3D prequel and will end up about $100m worldwide. Another horror-tinged hit is Warm Bodies, a romantic zombie movie that has found an audience I wasn’t expecting (it helps that the reviews have been kind, of course). In contrast, Beautiful Creatures, a botched Young Adult adaptation, bombed and can be added to the ever-increasing pile of Twilight/Hunger Games-wannabe failures. The other horror-ish release has been Hansel and Gretel: Witch Hunters. Delayed and labelled a piece of shit, the medium-budgeted horror comedy has proved a success worldwide, certainly more so than anyone consigning it to the early January rubbish heap expected ($163m an counting).

The other hit that deserves a mention completely failed to make an impression in the States, although it nabbed Naomi Watts a Best Actress nod. The Impossible made a negligible $18m at the US box office, but its worldwide take stands at $161m. There’s little doubt that the film wasn’t cheap, and critical reaction has been lukewarm, but it’s interesting to see a release where the US response is so divergent – nine times lower (Resident Evil might be a similar comparison where the overall take is about six times the US one).

Escape from Planet Earth is the Weinsteins just about justifying their animation investment (see also Hoodwinked!) but not really having the understanding of the genre. Still, no one expected great things and it’s doing reasonable business.

The other area to note is the performance of Oscar nominees. As usual, films have received a bump from all the attention; Silver Linings Playbook in particular. Argo too, had pretty much finished its run when it got a second wind of another $30m+ from all the awards attention. The worldwide versus US grosses are something worth considering this year, as there are significant disparities in both directions.

Unsurprisingly, Lincoln has made three-quarters of its money in the US. At best, that will end up as two-thirds. In the current landscape, US takings would be expected/hoped as a third-ish of a film’s overall box office at maximum (in terms of the increasing appetite for cinema outside of America). Zero Dark Thirty has seen even less interest outside of America, with only just over a tenth of its gross (the reverse of The Impossible, which might highlight the US-centric subject matter and viewpoint, except that The Impossible went out of its way to give us white Caucasian leads). Now awards season has finished, that’s unlikely to change.

So too, Silver Linings Playbook ($107m, $160m overall) and Argo ($130m, £207m overall) look to finish up with two-thirds US and a third rest-of-the-world.

Django Unchained ($158m, $380m overall) and Les Miserables ($146m, $395m overall) are both heading in the direction of the third US/two-thirds rest-of-the-world ratio, but there’s some distance to go yet.

But the only film (and most of the nominees this year are significant hits on some level, so everyone will be happy) to truly hit the new model is Life of Pi. $113m in the US but $583m worldwide. That’s only a fifth of its take coming from America.

Beasts of the Southern Wild and Amour are both very much art house inclined, and successes on that basis (which will likely be increased from the attention they get as rentals).

March sees would-be hits make themselves known, including the delayed Jack the Giant Slayer, Oz the Great and Powerful, The Incredible Burt Wonderstone, Olympus has Fallen, Admission (Fey and Rudd), The Croods, G.I. Joe Retaliation, The Host and (for US audiences) Tyler Perry’s Temptation. A couple of films could break out bigger than their budgets would normally allow, notably Wayne Blair’s feel-good ‘Nam girl group film The Sapphires. There’s also Derek Cianfrance’s The Place Beyond the Pines, but that’s more likely to garner critical kudos alone. 

Comments

Popular posts from this blog

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Espionage isn’t a game, it’s a war.

The Avengers 3.3: The Nutshell
Philip Chambers first teleplay (of two) for the series, and Raymond Menmuir’s second (also of two) as director, The Nutshell is an effective little whodunit in which Steed (again) poses as a bad guy, and Cathy (again) appears to be at loggerheads with him. The difference here is how sustained the pretence is, though; we aren’t actually in on the details until the end, and the whole scenario is played decidedly straight.

Set mostly in a bunker (the Nutshell of the title), quarter of a mile underground and providing protection for the “all the best people” (civil servants bunk on level 43; Steed usually gets off at the 18th) in the event of a thermo-nuclear onslaught, the setting is something of a misdirection, since it is also a convenient place to store national security archives, known as Big Ben (Bilateral Infiltration Great Britain, Europe and North America). Big Ben has been stolen. Or rather, the microfilm with details of all known double agents on bot…

This is no time for puns! Even good ones.

Mr. Peabody and Sherman (2014)
Perhaps I've done DreamWorks Animation (SKG, Inc., etc.) a slight injustice. The studio has been content to run an assembly line of pop culture raiding, broad-brush properties and so-so sequels almost since its inception, but the cracks in their method have begun to show more overtly in recent years. They’ve been looking tired, and too many of their movies haven’t done the business they would have liked. Yet both their 2014 deliveries, How to Train Your Dragon 2 and Mr. Peabody & Sherman, take their standard approach but manage to add something more. Dragon 2 has a lot of heart, which one couldn’t really say about Peabody (it’s more sincere elements feel grafted on, and largely unnecessary). Peabody, however, is witty, inventive and pacey, abounding with sight gags and clever asides while offering a time travel plotline that doesn’t talk down to its family audience.

I haven’t seen the The Rocky & Bullwinkle Show, from which Mr. Peabody & Sh…

Ah yes, the legendary 007 wit, or at least half of it.

The World is Not Enough (1999)
(SPOILERS) The last Bond film of the 20th century unfortunately continues the downward trend of the Brosnan era, which had looked so promising after the reinvigorated approach to Goldeneye. The World is Not Enough’s screenplay posseses a number of strong elements (from the now ever present Robert Wade and Neal Purvis, and a sophomore Bruce Feirstein), some of which have been recycled in the Craig era, but they’ve been mashed together with ill-fitting standard Bond tropes that puncture any would-be substance (Bond’s last line before the new millennium is one Roger Moore would have relished). And while a structure that stop-starts doesn’t help the overall momentum any, nor does the listlessness of drama director Michael Apted, such that when the sporadic bursts of action do arrive there’s no disguising the joins between first and second unit, any prospect of thrills evidently unsalvageable in the edit.

Taking its cues from the curtailed media satire of Tomorr…

I know what I'm gonna do tomorrow, and the next day, and the next year, and the year after that.

It’s a Wonderful Life (1946)
It’s a Wonderful Life is an unassailable classic, held up as an embodiment of true spirit of Christmas and a testament to all that is good and decent and indomitable in humanity. It deserves its status, even awash with unabashed sentimentality that, for once, actually seems fitting. But, with the reams of plaudits aimed at Frank Capra’s most enduring film, it is also worth playing devil’s advocate for a moment or two. One can construe a number of not nearly so life-affirming undercurrents lurking within it, both intentional and unintentional on the part of its director. And what better time to Grinch-up such a picture than when bathed in the warmth of a yuletide glow?

The film was famously not a financial success on initial release, as is the case with a number of now hallowed movies, its reputation burgeoning during television screenings throughout the 1970s. Nevertheless, It’s a Wonderful Life garnered a brace of Oscar nominations including Best Picture and…

Dude, you're embarrassing me in front of the wizards.

Avengers: Infinity War (2018)
(SPOILERS) The cliffhanger sequel, as a phenomenon, is a relatively recent thing. Sure, we kind of saw it with The Empire Strikes Back – one of those "old" movies Peter Parker is so fond of – a consequence of George Lucas deliberately borrowing from the Republic serials of old, but he had no guarantee of being able to complete his trilogy; it was really Back to the Future that began the trend, and promptly drew a line under it for another decade. In more recent years, really starting with The MatrixThe Lord of the Rings stands apart as, post-Weinstein's involvement, fashioned that way from the ground up – shooting the second and third instalments back-to-back has become a thing, both more cost effective and ensuring audiences don’t have to endure an interminable wait for their anticipation to be sated. The flipside of not taking this path is an Allegiant, where greed gets the better of a studio (split a novel into two movie parts assuming a…

He’d been clawed to death, as though by some bird. Some huge, obscene bird.

The Avengers 5.6: The Winged Avenger
Maybe I’m just easily amused, such that a little Patrick Macnee uttering “Ee-urp!” goes a long way, but I’m a huge fan of The Winged Avenger. It’s both a very silly episode and about as meta as the show gets, and one in which writer Richard Harris (1.3: Square Root of Evil, 1.10: Hunt the Man Down) succeeds in casting a wide net of suspects but effectively keeps the responsible party’s identity a secret until late in the game.

Never compare me to the mayor in Jaws! Never!

Ghostbusters (2016)
(SPOILERS) Paul Feig is a better director than Ivan Reitman, or at very least he’s savvy enough to gather technicians around him who make his films look good, but that hasn’t helped make his Ghostbusters remake (or reboot) a better movie than the original, and that’s even with the original not even being that great a movie in the first place.

Along which lines, I’d lay no claims to the 1984 movie being some kind of auteurist gem, but it does make some capital from the polarising forces of Aykroyd’s ultra-geekiness on the subject of spooks and Murray’s “I’m just here for the asides” irreverence. In contrast, Feig’s picture is all about treating the subject as he does any other genre, be it cop, or spy, or romcom. There’s no great affection, merely a reliably professional approach, one minded to ensure that a generous quota of gags (on-topic not required) can be pumped out via abundant improv sessions.

So there’s nothing terribly wrong with Ghostbusters, but aside from …

Dirty is exactly why you're here.

Sicario 2: Soldado aka Sicario: Day of the Soldado (2018)
(SPOILERS) I wasn't among the multitude greeting the first Sicario with rapturous applause. It felt like a classic case of average material significantly lifted by the diligence of its director (and cinematographer and composer), but ultimately not all that. Any illusions that this gritty, violent, tale of cynicism and corruption – all generally signifiers of "realism" – in waging the War on Drugs had a degree of credibility well and truly went out the window when we learned that Benicio del Toro's character Alejandro Gillick wasn't just an unstoppable kickass ninja hitman; he was a grieving ex-lawyer turned unstoppable kickass ninja hitman. Sicario 2: Soldadograzes on further difficult-to-digest conceits, so in that respect is consistent, and – ironically – in some respects fares better than its predecessor through being more thoroughly genre-soaked and so avoiding the false doctrine of "revealing" …

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.