So, from here on out we'll be hitting our "Year in Review" lists which will include a few exciting box office deep dives on niche topics. So let's retire the regular box office charts of the weekend for 2019 with one last blowout of EVERYTHING still in wide release (there's just 13 films on that many screens at the moment and boy is the last of 'em unlucky). And, as per usual, their counterparts in limited release where the more interesting movies usually are. That said you'll notice the platform section of the chart is not yet complete. That's because those numbers rarely come in comprehensively or correctly before Monday evening so we'll update again then.
What did you see this weekend?
Weekend Box Office
December 13th-15h (ACTUALS)
🔺 = new or expanding / ★ = recommended |
WIDE RELEASE (800+ screens)
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PLATFORM TITLES
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1 🔺 JUMANJI: THE NEXT LEVEL $59.2 *new*
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1 PARASITE $632k on 306 screens (cum. $20.3 PODCAST, CLASS, BONG, SAG CAST★ |
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2 FROZEN II $19 (cum. $366.4) REVIEW
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2 🔺 UNCUT GEMS $537k on 5 screens *new* REVIEW ★ |
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5 🔺 BLACK CHRISTMAS $4.2 *new*
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5 HONEY BOY $240k on 387 screens (cum. $2.6) REVIEW, PODCAST ★ |
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| 6 FORD V FERRARI $4 (cum. $98.1) REVIEW, PODCAST ★ |
6 WAVES $102k on 281 screens (cum. $1.3) |
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7 QUEEN & SLIM $3.5 (cum. $33.1)
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7 NO SAFE SPACES $108k on 165 screens (cum. $1) |
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8 A BEAUTIFUL DAY IN... $3.2 (cum. $49.2) REVIEW, PODCAST ★
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8 EN BRAZOS DE UN ASESINO $67k on 160 screens (cum. $372k) |
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9 DARK WATERS $1.8 (cum. $8.7) REVIEW
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9 PANIPAT $62k on 104 screens (cum. $461k) |
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10 21 BRIDGES $1.1 (cum. $26.3)
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10🔺 A HIDDEN LIFE $50k on 5 screens *new*
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12 PLAYING WITH FIRE $665k (cum. $43.2)
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12 THE LIGHTHOUSE $48k on 50 screens (cum. $10.6)
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13 PLAYMOBIL THE MOVIE $143k (cum. $966k)
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13 🔺 63 UP $43k on 20 screens (cum. $100k) *new*
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Jumanji opened huge as expected but we're a bit sad about it because obviously it will end up in the year's top ten booting out the ONLY original film currently there (Jordan Peele's Us) making it an all franchise top ten yet again. Sigh). In just its fourth week, Frozen 2 has lept over both Joker and Aladdin to become the 6th highest grosser of the year. The next films in its sights are Spider-Man Far From Home and Captain Marvel. Elsa's kind of a superhero herself so it figures.
At the other end of the wide release spectrum, we don't know anything about Playmobil, the toys or the movie, but it's the biggest animated flop of the year in a rough year for animated films in general. In its second weekend it had a per screen average of just $61. You read that right -- Sixty-one dollars; theaters were cavernously empty. I can't recall ever hearing of a movie in wide release doing that poorly. Obviously whichever theaters booked it were required to keep it for two weeks since it had an abysmal opening last weekend and screens are always in high demand this time of year.
In limited release Bombshell and Uncut Gems both had impressive first weekends, buoyed in no small part, by their awards buzz. That same conversation didn't help Richard Jewell much which becomes Clint Eastwood's lowest grossing opening weekend in decades. Ouch.
Sunday, December 15, 2019 at 11:42PM 
Reader Comments (26)
Awkwafina in The Farewell > Awkwafina in Jumanji 2
RIP Anna Karina.
Just because I haven't seen it yet doesn' t stop me from being over the moon that Clint Eastwood flapping his right-wing gums at an empty chair is a huge flop.
Saw Irishman finally, and my god is the de-aging confusing. Just cast a younger actor! There are dozens of next-De-Niros out there.
Otherwise lots to like. Am I the only person who can't help saying Irish-Man, like it's a Marvel movie?
I would estimate that 15-25% of "The Mule"'s gross came from advertising Bradley Cooper's tight t-shirt costuming. That's why I saw it on the big screen. Spectacle is alive!
That said, I wouldn't count "Richard Jewell" out just yet. Old people love to give their faves legs.
My three favorites were:
Beautiful Day in the Neighborhood -- the oscars don't deserve Marielle Heller
Atlantics --what a debut!
Uncut Gems -- I actually hated spending time with these characters, but the movie itself is brilliant
Less successful:
Let It Snow -- watchable but asserted no reason for existing
Jumanji -- only succeeded when Awkafina joined the story and when Jack Black was the Valley Girl
Complete emotional torture porn: Temblores
Say Goodbye to Bates Oscar chances.
I finally have a personal favourite to cheer for this Oscar season, alongside THE FAREWELL (which is only on the brink of its nominations) - I saw JOJO RABBIT on the weekend. Always felt Waititi was working towards something this magnificent. Hilarious but, bu God, does it rip your heart out in one scene. And the ending is close to perfect.
Also saw FORD V FERRARI (good move about blokes and their bullheadedness) and THE IDEAL PALACE (fine, but I am willing to bet that I will have forgotten it by this time next year and will need prompts (like watching a trailer) to remind myself that I have seen it. Jacques Gamblin is great as always, though).
Clint Eastwood is more of a box office draw as an actor than as a director. With the exception of American Sniper and Sully, which had the benefit of movie stars and more galvanizing subject matter, his biggest hits of this century are starring vehicles for him. (Doesn’t Richard Jewell feel like something that ought to have been made 15-20 years ago?)
Honesty shocked about Richard Jewell. I have to think that it is a combination of a real life incident that people don’t remember/know about + a leading actor most people have never heard of.
The Irishman: As intent as I was on hating this movie on GP, I have to admit that I was pleasantly surprised by the end. Ultimately, it wound up being inoffensively mediocre as opposed to just plain bad. Despite its 3.5-hour run time, it really doesn't say or do much, and not even necessarily in a "big themes" way. De Niro sleep walks; Pacino does his blustery, screamy thing; and although Pesci does find inspiration enough not to retread one of his prior Scorsese roles, it's not enough to save the movie from mundanity. It just kind of hangs there.
However, amidst all of that there is a fascinating story about the women on the periphery of this tale -- all of whom show up more vividly in their brief glimpses than the men whom they orbit -- which I would love to have seen. I would have paid movie-theater money for a film about Frank Sheeran's (lack of) relationship with his daughters because that's the piece that provided all of the emotional heft for me. Too bad Scorsese doesn't appear interested in centering women in his directorial efforts nowadays.
Marriage Story: I just finished this one a couple of hours ago, so I'll need to sit with it a little more before trying to firm up my thoughts. I will say, though, that I do like it. At least it feels real. One thing I can say for certain is that if supporting actress comes down to Dern and Lopez, my pick is Lopez.
I saw “A Beautiful Day in the Neighbourhood”.
Wow, that Marielle Heller is so deft and accomplished, so clever and thoughtful, so unafraid of emotion and paces everything so beautifully. She has the best actors, and the supporting cast all look realistic, focused, and well-lit.
Marielle Heller takes a theme as knotty as a Zen koan, and makes it seem straightforward and understandable.
Everyone who said Marielle Heller is great was absolutely right. One of the best directors of the year.
Fake Peggy, you're back! Only you could pay a ticket see Jumanji 2.
I saw The Two Popes. Not what I expected. More political than sentimental (which is good). Loved Juan Minujín, the argentine actor.
Ford v Ferrari- I enjoyed this way more than I thought I would. Sound and editing should be up for contention. I also thought the cast was very solid. Lots of supporting actor possibilities- Tracy Letts, Noah Jupe, Ray McKinnon, etc
Harriet- Cynthia Erivo's performance is the main draw, but the movie itself is very good. Janelle Monae should be considered for supporting actress in a just world- my goodness that woman has presence.
Deception- 1946 with Bette Davis and Paul Henreid. This movie took a long time to almost do something interesting.
Knives Out -- It is my favorite social commentary and satire on class warfare set in a large mansion of the year!
Seriously hope it will get a little Oscars attention. Rooting hard for best original screenplay.
I saw "Judy" and thought it was ok. Renne Zellweger deserves an Oscar nomination but Garland deserved a better movie. The script is a collection of cliches and apart from the musical numbers and the scenes with the children it's all very predictable. The flashbacks to young Judy are dull and historically wrong. The actor playing Mayer is too tall and acts more like Harvey Weinstein. This the Zellweger show and she delivers- this lady has earned her Oscar
I saw Portrait of a Lady on Fire which was incredible. The cinematography looked like an oil painting, Haenel is a young Kate Winslet and Merlant is a phenomenal actor. Sciamma truly found grandeur in the intimate.
Also saw Marriage Story on Netflix which I feel was a perfectly acceptable medium for it. I thought ScarJo was actually best in show - Dern completely nails a one-dimensional role and Driver was very good but kind of uneven. Maybe I just thought the character was insufferable?
I share Nathaniel’s love of Alda but it was a smaller role than I expected.
Richard Jewell deserves to crash and burn. What a horrible movie.
Saw Knives Out with a friend tonight. Enjoyable film with a little meat in the screenplay. There is an odd combination of grainy and high resolution in the overall visage of characters. Whatever it is, I like it. The 2 hour-running time passed by quickly and being a fan of whodunits, I kinda knew who the murderer is going to be but still unprepared for the little deconstruction Rian Johnson did to the genre. Although an ensemble piece, I thought Toni Collette, Chris Evans and Ana de Armas stood out a bit more than others.
I also watched André Téchiné's version of Les Sœurs Brontë on my streaming device. Adjani, Huppert, Pascal Greggory and especially the late Marie-France Pisier were outstanding. Some may quibble at the Gallic vibe of the film and that the focus was a bit more on Branwell Brontë (Greggory), but the 3 ladies are amazing. The film is not usually discussed much anymore other than the rare pairings of Huppert and Adjani (both actresses excel wonderfully) but the way Téchiné framed and narrativised the incipient tragedy and institutional violence against the talented sisters were truly spot on and difficult to dismiss. To me, the film aged well and encourage fellow cinephiles to watch it/watch it again.
I'm sooo with you Troy H.
... hope the change in Academy members (women) might show a less predictable outcome this year (5 years ago Irishman would have swept the Oscars)
Good, glad Richard Jewell is not doing well. I dislike Clint Eastwood, his rightwing politics, and most of all his dreary, joyless movies.
I wish you could trace the impersonator because he's bulling my favorite people.
Us falling out of Top 10 was inevitable unfortunately... don't forget Star Wars is still coming regardless of how Jumanji did.
Jamie - i'm trying. You all probably noticed comment moderation has been turned on. It's an enormous burden for me when every minute is scheduled but something had to give.
Saw Portrait of a Lady on Fire -- Beautiful and captivating. I was expecting to have to do a bit of homework (sorry, Foreign films!), but was surprised by how engaging and...funny this film was. And a perfect ending, even though admittedly I had to do a bit of Googling to understand the significance. I knew there was some sort of call back to earlier scenes, but while watching, I couldn't quite figure it out. Then when I read about it, I was floored. I wish I was a good enough moviegoer to have figured this out while watching, but nevertheless, powerful stuff.
I feel like there are so many movies out that I just don't care to watch, regardless of buzz or any awards potential. Does that make me a snob or lazy moviegoer? I still haven't seen Ford V. Ferrari. I just feel like I've seen it before, if that makes sense? Same with Dark Waters. As much as I love Todd Haynes, something about it doesn't appeal. Maybe because it feels like a routine political thriller?
I think I'm at a point in my life (age, money, time all precious resources) that I don't feel compelled to just watch things for the sake of it. This might be why I still haven't seen Green Book or Bohemian Rhapsody, despite the Oscar wins.
I'm much more interested in seeing Uncut Gems, Little Women, Clemency, and to finally catch up on Waves and Queen & Slim.
I think it's because all of these films seem to be creative visions by auteur filmmakers. I want more of that, and less of the mainstream cookie-cutter stuff, as good as those may be!
I saw the event at the Atanta Oplympics live on TV. Janet Evans was being interviewed on MTV when BOOM it happened.
And Richard Jewell was totally railroaded for it.
It is what happened. It's not a right wing movie. It is what happened.
Paul Walter Hauser nails Jewel's monotone vocal instincts, and Bates and Rockwell are also very very good.
However, Olivia Wilde's character was absolutely awful performance. She could have just as easily wore nothing except a sign saying "Will Screw for Tips".
A flawed movie, but a movie Hollywood doesn't make as much anymore. Even if you don't like the politics.
Nathaniel, sorry about the Comment problem. Disqus works okay for The Avocado? Could that help?