This graph shows Colin Farrell’s score on our annual analysis of leading stars at the box office. The Star Score represents points assigned to each of the leading stars of the top 100 movies (based on box office) in the current year and two preceding years. For appearing in the number one movie in a year a star gets 100 points, the number two movie 99 points and so on..
Latest Ranking on Selected Box Office Record Lists
As has been the case with many films during the pandemic era, this week’s widest release was originally scheduled to hit theaters last year. Debuting in 4,402 locations, Black Adam positions itself comfortably between Minions: The Rise of Gru (4,391 theaters), and The Dark Knight Rises (4,406 theaters) as the 21st-widest release in history and the fifth widest film to debut this year. Meanwhile, finally making its arrival to North American cinemas, is the George Clooney and Julia Roberts romantic comedy, Ticket to Paradise. The Ol Parker-directed film will show in a respectable 3,543 locations.
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It’s no surprise, but welcome news nonetheless, that this week’s arrival of The Batman in 4,417 locations puts the film not only as the widest release of the week, but puts it in 13th place among the widest releases of all time, nestled between two animated sequels—Frozen II and Incredibles 2—which debuted in 4,440 and 4,410 theaters respectively. As the only wide release to debut this week, the latest in the Batman franchise also eclipses last year’s No Time to Die (4,407 theaters), and Spider-Man: No Way Home’s 4,336 locations to become the widest release of the (post-)pandemic era.
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Situated between the blockbuster releases of Uncharted and The Batman, this week’s newest wide releases are aiming at more targeted demographics, and they couldn’t be more different. Romantic musical Cyrano and horror comedy Studio 666 arrive in theaters this week. Uncharted stays this week’s widest release, keeping its opening count of 4,275 locations.
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With the future of the human race in danger, a group of young men and women, bred for enhanced intelligence and to suppress emotional impulses, embark on an expedition to colonize a distant planet. But when they uncover disturbing secrets about the mission, they defy their training and begin to explore their most primitive natures. As life on the ship descends into chaos, they’re consumed by fear, lust, and the hunger for power.
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It’s the year 2020, the year where we find out how many times you can say, “Well, hindsight is 20/20.” before you get punched. On the positive side, while December wasn’t a great month, it was good enough to help 2019 end on a positive note, a positive note that should continue into January. There are no real potential monster hits coming out this month, but there are three films that have a real shot at $100 million domestically. These are, in alphabetical order, 1917, which will rely on Awards Season to get to the century mark. Bad Boys for Life will have a much, much easier time getting to $100 million, assuming people still care about the franchise 17 years later. Finally, Dolittle is looking like a disaster with a really troubled production; however, a $100 million run isn’t out of the question and if it can get there, it will at least save face. As for last January, Glass was the biggest hit of the month in terms of raw dollars, but The Upside was more impressive, as it is one the biggest hits in STX Entertainment’s history. We need two of the three potential $100 million hits to reach that mark to keep pace with last year, but we also have one more weekend to get there.
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October continued 2018’s phenomenal box office run, for the most part. There were a couple of films that missed expectations by $10 million or more, but on the other hand, Vemon and Halloween were smash hits and are now the first and second biggest October debuts of all time. Furthermore, 2018’s lead over 2017 is, as I’m writing this, just shy of $1 billion and if 2018 can maintain this lead, it will be one of the biggest year-over-year increases of all time. It won’t. The fun times end now. Why is that? Last November was amazing. There were only eight wide releases, but six of them earned more than $100 million. Three of those hit $200 million, including Thor: Ragnarok, which earned over $300 million. This year, there are a lot more movies opening in November, but it is a case of quantity over quality. No movie is expected to come close to $300 million and it would take a bit of luck just to have five $100 million hits. The film I’m looking forward to the most is Ralph Breaks the Internet, while it, Dr. Seuss’ The Grinch, and Fantastic Beasts: The Crimes of Grindelwald are all aiming for $200 million this month. Fortunately, even if 2018 is behind 2017’s pace by around $300 million, 2018 has built up such a large lead that it should still go into December with an insurmountable lead at the box office.
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The Golden Globes nominations were announced and we are starting to see a few names pop up over and over again. La La Land led the way with seven nominations, but Moonlight was right behind with six and Manchester by the Sea earned five. You will be hearing those three names over and over and over again this Awards Season.
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Miss Julie is the fourth adaptation of the play of the same name by August Strindberg, the most recent adaptation coming in 1999. It is also the second film starring Jessica Chastain that I've reviewed in the past few weeks. A Most Violent Year didn't live up to expectations. This film's reviews were only mixed, so my expectations are lower. I expect Jessica Chastain's performance to be great, but will the rest of the movie be the same?
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After a weak start, January rebounded and a couple of films on last month's preview cracked $100 million at the box office. Granted, Lone Survivor is technically a December release, but Ride Along will become one of the rare January releases to reach the century mark. Unfortunately, there doesn't appear to be too many February releases that have a real shot at $100 million. It is very likely that The Lego Movie will reach that milestone, but most of the rest of the movies will be lucky if they reach $50 million. Last February was very similar. We had one surprise $100 million hit, Identity Thief, plus a couple of solid midlevel hits, Warm Bodies, for instance. However, for the most part, the month was one miss after another. This means 2014 could continue its winning ways, or at the very least, shouldn't fall behind 2013's pace.
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I reviewed the 2011 remake version of Fright Night and while I didn't like it as much as the average critic, it was clearly better than its box office numbers would indicate. I am a little surprised that the film is earning a sequel, even a direct-to-DVD sequel. Is this film worth checking out for fans of the original movie? Or is it a sequel in name only and just a cheap cash grab?
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Epic was the first big digitally animated film of the summer, but it wasn't able to become a monster hit. In fact, it will need a bit of help on the home market to break even. Will it get that help? Or is it just a middling family film destined to be forgotten?
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February is over, and for the most part, we should be very happy it is done and buried. The biggest hit of the month turned out to be Identity Thief, which will cross $100 million shortly. There were also a couple of impressive midlevel hits, like Warm Bodies and Escape from Planet Earth, but for the most part, it was miss after miss. This is bad news for March, which is not only dealing with a slumping 2013 box office, but will be compared with a strong March of 2012. Last March started with The Lorax, which earned more than $200 million. There's a good chance no March release this year will reach this milestone. Last March was also the month The Hunger Games opened, which earned more than $400 million. There's a chance the top three films opening this month won't earn that much combined. 2013 is going to take a beating in the year-over-year comparison and it is already $100 million behind last year's pace.
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2012 continues its downward path. After a record-breaking spring, thanks to The Hunger Games, and a record-breaking start to the summer, thanks to The Avengers, the box office hasn't been able to maintain any real momentum. For most of the month, September was no better than August and now the year-over-year gains are just a little more than inflation. October will need to improve or 2012 will be in real trouble. Unfortunately, that might be tough. There's not a single film coming out in October that looks like it will be a guaranteed $100 million hit and there are only two films with a realistic chance, Taken 2 and Paranormal Activity 4. (There's also Cloud Atlas, which is a wild card. That movie could bomb or be the biggest hit of the month and I wouldn't be surprised either way.) There is a chance all three will get to the century mark, but there's a better chance none of them will. Last October, two films cracked $100 million: Paranormal Activity 3 and Puss in Boots, with the latter nearly reaching $150 million. I don't see any film coming close to matching that figure. On the other hand, last year there were six films that one could accurately describe as bombs. So while 2012 is weaker at the top, it could have better depth than 2011 did. Let's hope so, because we can't afford more bad news.
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