| Best known as a Screenwriter based on credits in that role in 10 films, with $690,884,778 worldwide aggregate box office (rank #451) |
| Best-known technical roles: Arrival (Screenwriter), Arrival (Executive Producer), Lights Out (Screenwriter), Lights Out (Producer), A Nightmare on Elm Street (Screenwriter) |
| Most productive collaborators: Amy Adams, Denis Villeneuve, Jeremy Renner, Teresa Palmer, David F. Sandberg |
| Movies | Domestic Box Office | International Box Office | Worldwide Box Office | ||
|---|---|---|---|---|---|
| In Technical Roles | Screenwriter | 10 | $300,499,349 | $390,385,429 | $690,884,778 |
| Producer | 2 | $67,268,835 | $81,628,547 | $148,897,382 | |
| Executive Producer | 1 | $100,546,139 | $101,695,214 | $202,241,353 | |
| Director | 1 | $0 | $1,722,399 | $1,722,399 |
See the Acting Credits tab for all Acting Box Office Records and the Technical Credits tab for all Technical Box Office Records.
March 1st, 2020
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The box office had mixed results during February with Birds of Prey missing expectations by a huge margin, but Sonic the Hedgehog did well enough to almost make up the difference. This March, there are three films that will almost certainly reach $100 million domestically: Onward, A Quiet Place: Part II, and Mulan. In fact, all three at least have a slim shot at $200 million domestically. By comparison, last March Captain Marvel was released, which earned more than $400 million, while Us and Dumbo earned close to $300 million combined. I don’t think the top three films this year will match last year’s top three, or even come particularly close, and I fear 2020 will fall behind 2019 in the year-over-year comparison. So much for that lead 2020 built up in January.
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February 26th, 2017
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It’s Oscar night and we were live blogging the show. Read on the the highlights of what turned out to be a crazy night.
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February 26th, 2017
It’s Oscar night and we will be live blogging the show. Before that, let’s take a last look at the nominations with a few annotations. Nominees in italics are those that have received the most votes from our readers so far in our Oscar contest (which is open to new entries until noon, Pacific, today—enter now!). Bold films are those films I think will win. Meanwhile, those that are Underlined are those I want to win. Not all categories have underlined nominees, because not all categories have someone I’m cheering for, or because there are two nominees I couldn’t pick between.
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February 22nd, 2017
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With our annual Oscar Prediction contest underway, now is the best time to look at the nominees and try and figure out who the favorites are and which films should just feel honored to be nominated. Today we look at the two Screenwriting Categories, finishing with Best Adapted Screenplay. This is a harder category to judge, because the consensus favorite, Moonlight, was considered an original screenplay by nearly everyone else.
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February 19th, 2017
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The Writers Guild of America are the late major guild group to announce winners before the Oscars. We could see a small change in Oscar chances with a couple of winners tonight.
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January 24th, 2017
The Oscar nominations were announced starting at 5:18 am Pacific time. Nothing is good that early in the morning. Worse still, it’s a boring year for nominations with very few surprises worth talking about, especially in the biggest categories. Leading the way was La La Land with 14 nominations, tying the record.
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January 11th, 2017
The BAFTA nominations were announced and it should come as no surprise what film lead the way... La La Land with 11 nominations, Nocturnal Animals and Arrival are tied for second with nine nominations a piece.
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January 4th, 2017
The Writers Guild of America is the latest group nominees to be announced. There are a lot of categories that WGA hand out awards, but only three of them are theatrical releases. The list of nominees include several major Awards Season players, like Hidden Figures, but there are also some surprises.
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November 1st, 2016
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October turned out to be a mixed month. On the one hand, not one movie earned $100 million, or even came close. However, it was also a more steady month than last October and the last two weeks really helped 2016 in the year-over-year comparisons. In November, we have five films with at least a shot at $100 million, three of which should have no trouble getting to at least $200 million. A little while ago, I thought Fantastic Beasts and Where to Find Them would be the biggest hit of the month, but the buzz took a hit recently. More on that below. Meanwhile, Doctor Strange’s reviews are currently 90% positive and that should help it out at the box office. The third very likely $200 million hit is Moana. There is certainly precedent for an animated movie to be a monster hit at this time of year, but there is also a lot of competition. Last November was similar in strength, with five films that earned more than $100 million and two films that earned more than $200 million. None earned more than $300 million, so that’s the goal for this November. If we can get one $300 million and / or three $200 million movies over the month, then it will be seen as a victory.
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July 1st, 2016
It's July 1st, which is Canada Day. To celebrate, I wanted to give a gift to my American readers down south, so here's a bunch of "u"s. U, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u, u. Now you can spell words like "colour" and "neighbour" correctly. As for the July preview... June wasn't a good month, despite Finding Dory being on pace to become the biggest hit of the year so far. Most other films failed to match expectations and as a result, 2016's lead over 2015 has nearly evaporated. In fact, ticket sales are below last year's pace. So how does July look in comparison? Well, last July, there were five films that earned more than $100 million, led by Minions, which earned more than $300 million. This July, there are five films that should earn more than $100 million, led by The Secret Life of Pets, which should earned around $250 million. I don't think July 2016 will live up to July 2015, but it should be close. Maybe if one of the expected midlevel hits is a surprise $100 million hit, or if two more of the $100 million hits crack $200 million, then the month will look great. Or one of the expected $100 million hits could flop and 2016 will actually fall behind 2015, even without taking into account ticket price inflation.
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| Release Date | Title | Role | Domestic Box Office | International Box Office | Worldwide Box Office |
|---|---|---|---|---|---|
| May 11, 2021 | Morgue | Producer | $90,872 | $90,872 | |
| Mar 13, 2020 | Bloodshot | Screenwriter | $10,021,787 | $27,141,267 | $37,163,054 |
| Dec 13, 2018 | Bird Box | Screenwriter | |||
| Jul 27, 2018 | Extinction | Screenwriter | $2,360,000 | $2,360,000 | |
| Nov 11, 2016 | Arrival | Screenwriter Executive Producer |
$100,546,139 | $101,695,214 | $202,241,353 |
| Jul 22, 2016 | Lights Out | Screenwriter Producer |
$67,268,835 | $81,537,675 | $148,806,510 |
| Dec 13, 2013 | Hours | Director | $1,722,399 | $1,722,399 | |
| Oct 14, 2011 | The Thing | Screenwriter | $16,999,934 | $10,573,144 | $27,573,078 |
| Aug 12, 2011 | Final Destination 5 | Screenwriter | $42,587,643 | $112,423,522 | $155,011,165 |
| Apr 30, 2010 | A Nightmare on Elm Street | Screenwriter | $63,075,011 | $54,654,607 | $117,729,618 |
| Averages | $50,083,225 | $43,577,633 | $76,966,450 | ||
| Totals | 10 | $300,499,349 | $392,198,700 | $692,698,049 | |
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| Dec 13, 2013 | Hours | $1,722,399 | ||||
| Averages | n/a | n/a | n/a | $1,722,399 | 0.0% | |
| Totals | 1 | n/a | $1,722,399 | |||
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| May 11, 2021 | Morgue | $90,872 | ||||
| Jul 22, 2016 | Lights Out | $21,688,103 | 2,835 | $67,268,835 | $148,806,510 | 45.2% |
| Averages | $21,688,103 | 2,835 | $67,268,835 | $74,448,691 | 45.2% | |
| Totals | 2 | $67,268,835 | $148,897,382 | |||
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| Mar 13, 2020 | Bloodshot | $9,176,695 | 2,861 | $10,021,787 | $37,163,054 | 27.0% |
| Dec 13, 2018 | Bird Box | |||||
| Jul 27, 2018 | Extinction | $2,360,000 | ||||
| Nov 11, 2016 | Arrival | $24,074,047 | 3,115 | $100,546,139 | $202,241,353 | 49.7% |
| Jul 22, 2016 | Lights Out | $21,688,103 | 2,835 | $67,268,835 | $148,806,510 | 45.2% |
| Oct 14, 2011 | The Thing | $8,493,665 | 2,997 | $16,999,934 | $27,573,078 | 61.7% |
| Aug 12, 2011 | Final Destination 5 | $18,031,396 | 3,155 | $42,587,643 | $155,011,165 | 27.5% |
| Apr 30, 2010 | A Nightmare on Elm Street | $32,902,299 | 3,332 | $63,075,011 | $117,729,618 | 53.6% |
| Averages | $19,061,034 | 3,049 | $50,083,225 | $98,697,825 | 44.1% | |
| Totals | 8 | $300,499,349 | $690,884,778 | |||
