It was a repeat at the top of the box office this past weekend as Shazam! came in first place for the second weekend in a row. The film dropped 53% bringing in an estimated $25.1 million to bring its domestic total to $94.9 million. The film also earned $35.9 million internationally to bring that number to $163.9 million for a worldwide total of $258.8 million.
In second place was Little which debuted with an estimated $15.5 million. Internationally the film opened in 11 markets with $1.9 million. Domestically, the film received a “B+” CinemaScore with a crowd that was 65% female and 56% aged 25 or older. The crowd was also 43% African American.
In third place was Hellboy which struggled in its debut with just $12 million. It was anticipated the film would earn $17-20 million. Negative reviews did not help. The audience was 56% male and 64% aged 25 or older. From the opening crowd the film earned a “C” CinemaScore.
In forth place was Pet Sematary which dropped 59% in its second week. The film earned an estimated $10 million to bring its domestic total to $41.1 million. Internationally, the film added $12.6 million to bring its international total to $35.7 million for a worldwide total of $76.8 million.
Dumbo rounded up the top five with an estimated $9.18 million to bring its domestic total to $90 million. It also added $22 million internationally to bring that total to $177 million and a global total of $267 million.
When it comes to other comic films….
Captain Marvel slipped one spot to come in at #6 with an estimated $8.6 million to bring its domestic total to $386.5 million.
We’ll be back in an hour for a deeper dive into the comic releases of 2018 and 2019.
Shazam! won the weekend debuting with a higher than expected earning of $53.5 million domestically. Leading up to the film’s release expectations pegged the film at $40 million. The use of early release events, which net the film $3 million, and early preview screenings created a positive word of mouth that helped boost the film.
The film is well received with an “A” CinemaScore and 92% from critics and 90% from the audience on RottenTomatoes. The audience was 57% male and 55% aged 25 or older.
Internationally, the film earned $102 million from 79 markets. It opens in Japan on April 19. Worldwide the film has earned $158.8 million so far. With a budget of just $100 million, the film is in a nice place going forward.
The movie has two weeks to really bring in the word of mouth dollars as Avengers: Endgame then opens. It’s possible the film will receive a slight boost from that as people want to see “comic” films and Endgame will be sold out, but more likely just Captain Marvel will see a boost.
I second place was the remake for Pet Sematary which earned an estimated $25 million. That’s about expectations. Internationally the film earned $17.3 million from 46 markets. The film has received fairly negative reviews with a “C+” CinemaScore. The audience was 52% female and 58% was aged 25 and older.
Dumbo dropped to third place in its second week earning an estimated $18.2 million, a 60.4% drop. Internationally the film earned an estimated $39.6 million from 55 markets and a worldwide earning of just short of $214 million so far.
Us dropped to fourth place with an estimated $13.8 million domestically and $10.3 million internationally. The film has earned an amazing $216.6 million worldwide so far off of a $20 million budget.
Rounding out the top five was Captain Marvel which earned an estimated $12.7 million to bring its domestic total to $374.1 million after five weeks. It also added $14.1 million internationally to bring its worldwide total to $1.037 billion moving the film into the top 30 films of all-time.
In other comic films….
Alita: Battle Angel dropped from #15 to #20 adding $170,000 to its domestic total and bringing it to $85.3 million after eight weeks.
We’ll be back in an hour for a deeper dive into this year and last year’s comic adaptations.
Dumbo was unable to meet the studio and and industry expectations with an estimated $45 million. The studio’s expectation was $50+ million while others predicted $60+ million. The film did receive an “A-” CinemaScore from opening day audiences which were 53% female and 54% were age 25 years and older.
Internationally, the film debuted with an estimated $71 million. With a reported budget of $170 million, this is a film that looks like it’ll need to lean on the international market to make a profit.
Us dropped to second place with an estimated $33.6 million that brings the domestic earning to $128.2 million after 10 days. Internationally the film added 14 markets to bring that total to 60 and it brought in an estimated $22.6 million to bring that total to $46.3 million. The film has already earned $174.5 million on a budget of just $20 million.
Captain Marvel dropped to third place with an estimated $20.5 million domestically to bring that total to $353.8 million. Internationally the film added $26.4 million from 54 markets to bring that total to $636.8 million and a worldwide total of $990.6 million. It’ll absolutely cross the $1 billion mark during this week.
In fourth place was Five Feet Apart which earned an estimated $6.25 million to bring its domestic total to $35 million. It also added $6.2 million from 39 markets for an international total of $14.8 million.
Rounding out the top five was Unplanned which eanred $6.1 million. The film received an “A+” CinemaScore from opening day audiences which were 58% female and 70% aged 25 years or older. It’s the latest success for religious focused films.
In other comic related films…
Alita: Battle Angel came in at #15 earning an estimated $500,000 to bring its domestic total to $84.9 million.
Spider-Man: Into the Spider-Verse slipped one spot to #21 earning an estimated $180,000 to bring its domestic total to $190.2 million.
We’ll be back in an hour for a deeper look into this year and last year’s comic film adaptations.
You’ve seen a housefly, you’ve seen a dragonfly, but have you ever seen a live-action remake flop? Ladies and gentlemen, boys and girls of all ages (and shout out to all the gender non-binary/non-conforming people, too!), prepare yourselves for disappointment and to leave theaters scratching your heads wondering exactly what you just watched. It’s Tim Burton‘s remake of the Disney animated classic Dumbo!
The weakest part of this film is that it is trying to update and remake Dumbo, a beautiful but problematic animated film whose running time is a scant 64 minutes, and probably only 40 minutes or so once you remove all of the objectionable elements. And so Burton’s updated version here actually zooms through most of what we think of as the Dumbo story in the first hour of the film, leaving room for an additional story where our baby flying elephant goes to work for a big city circus led by Michael Keaton. Here he’s paired with a French acrobat Colette (Eva Green) and expected to make big bucks for the big circus, which transforms into a messy third act that seems to simultaneously indict capitalism and the circus as an institution as Dumbo’s human friends (of course led by two plucky children!) and a team of circus folk plot a rescue for Dumbo and his mother to set them free.
Blame screenwriter Ehren Kruger for this mess, as he is also responsible for the travesties of the worst of the Transformer movies (Revenge of the Fallen, Dark of the Moon, and Age of Extinction) Yes, the guy who gave us problematic racist sterotype robots was asked to reshape Dumbo and its problematic racist stereotype crows. PS- the film just skips over the crows.
But in skipping over some of the glaring imperfections, we’re also left with an incredibly hollow and predictable story. All of the parts of this film that are uniquely Dumbo were better done in the animated film. Pink Elephants on Parade gets a Circue de Soleil type reimagining with acrobats and giant bubble machines and pink lights put on for a cheering audience. But gone is the charm and menace of this being a hallucination brought on by a baby elephant getting drunk on champagne. Baby Mine is still sad and heartbreaking, but isn’t adding anything that the original didn’t already have.
Despite all those negatives, there are some nice spots in the film. The central idea of the precocious misfit kids (the girl wants to be a scientist like Marie Curie! How progressive!) and their bond with the misfit baby elephant is still charming. The actors’ performances are doing all they can with this lackluster script. Eva Green is as captivating as always, even if her part is woefully underwritten. And then into the third act saunters Alan Arkin as a rich investor and steals every moment he’s on screen.
Some of the best moments come from the on-screen chemistry between rival and then partner circus ringmasters Danny DeVito and Michael Keaton. They’re both a joy to watch, even if they occasionally take me out of the film reminding me this isn’t the first time I’ve seen them paired up against one another in a Tim Burton film.
And therin lies part of the crux of the problem with Dumbo. As I’ve said, the parts that are uniquely Dumbo are simply better done in the original animated film. And what’s left? Well, perhaps it would have been better as an original Tim Burton movie about a creepy circus and an attempt to free the animals from subjugation. It’s where the movie actually really shines and the only place where it feels like a Tim Burton film as we get into the cool art deco design of the (intentionally/subversively?) Disneyland-esque “Dreamland” park, and especially “Nightmare Island” where the “dangerous creatures” are kept.
There are even two long, lingering shots of Dreamland selling Dumbo plush toys, as though Burton is trying to send us a coded message that he knows this is all a pretense to sell merchandise. There are also a couple of waaaaaay inside jokes aimed at people with an intimate knowledge of the Disneyland parks of yesteryear. That’s where this movie shines, where it feels subversive and like Burton is poking fun at the cashgrab nature of his enterprise. I’m here for that Tim Burton for days. But then he intersperses it with cringeworthy moments like a cameo from Michael Buffer, and if you are familiar with his work. . . you know what’s coming. And it’s terrible.
And also, for god’s sake, don’t waste Danny Elfman‘s talents asking him to redo the 1941 score. It’s the most underwhelming waste of his talents since his Age of Ultron score, which he famously complained about being so limited because he was just asked to ape a temp track. It feels very much the same here.
And so, unfortunately, all I’m left with is a weird feeling that I wish I’d just watched Big Fish and the original Dumbo instead. Those are great movies: even despite Dumbo‘s problematic elements, it’s still a classic. This. . . this is just not.
I’ve been fine with most of the previous Disney live-action remakes. Each of them, up to now, at least brought something new or different to the party. Despite occasional flashes of brilliance, this does not. As so we’re left to ask, who exactly is this movie for? Fans aren’t going to get what they want, and this is by no means new or innovative or interesting enough to warrant your hard-earned money (reminder that taking a family of four to a full-price movie plus snacks can cost almost as much as a single Disneyland ticket). Stay home and pop in your copy of the original or Big Fish and enjoy yourself.
Embark on a grand adventure with the cutest baby elephant in the world. For nearly 80 years, Dumbo the circus elephant has charmed audiences and with his 2019 live action film, he’s sure to inspire even more admirers. The Pop! infant elephant is too cute for words as Fireman Dumbo wearing a fire department hat. And Dreamland Dumbo is the stuff of sweet dreams with his blue and gold headwear and shawl.
A Dreamland Dumbo with red and gold accessories is available as a Walmart exclusive.
On March 29, 2019, fans of all ages will experience the magic of Disney’s beloved classicDumbo like never before on the big screen with a live-action adaptation by the one and only Tim Burton. Ahead of this highly anticipated family feature is a graphic novel from Disney and Dark Horse Books expanding on the story of the world’s favorite flying elephant!
Written by John Jackson Miller with art by Giovanni Rigano, Alberto Zanon, Paola Antista, and Michela Bovo, this anthology takes off to inspire with the magic of Disney Dumbo. The beloved story of Dumbo the flying elephant and all his circus friends continues in five interconnected tales at Max Medici’s circus—a place full of curiosity, wonder, and awe. Follow Dumbo and friends on a path of discovery where differences are celebrated, and dreams soar!
Disney Dumbo: Friends in High Places TPB goes on sale March 26, 2019. This 72-page trade paperback retails for $10.99.