Last "Regular" Weekend Box Office Report of the Year!

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 (ESTIMATES)  🔺 = new or expanding / ★ = recommended
WIDE RELEASE (800+ screens)	PLATFORM TITLES
1 🔺  JUMANJI: THE NEXT LEVEL  $60 *new*	1 PARASITE $632k on 306 screens (cum. $20.3 PODCAST, CLASS, BONG, SAG CAST★

2 FROZEN II $19.1 (cum. $366.5) REVIEW	2 🔺 UNCUT GEMS $525k on 5 screens *new*  REVIEW ★

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Christmas Movies of the Moment

by Tony Ruggio

Christmas movies, full of cheer, pretty lights, and sometimes reindeer. I grew up on ‘em, on Home Alone and Christmas Vacation. I continued loving ‘em as a big kid even, with Elf and The Santa Clause holding a special place in my cold heart. They used to be one of those seasonal things Hollywood did best, but as comedy has sunk, so have movies set during the holidays. 

They were on the fast track to extinction, in fact, until streaming came along. Sure, there were Hallmark hate-watches and other network specials gasping for attention. Hallmark still has a certain devoted fan base despite the decline of cable television, but theatrical movie-going has been devoid of the holiday spirit for some time now. Thanks to Netflix, I’ve been able to indulge and Christmas party like it’s 1999, so here are three new Christmas films you may have heard of (there are two more I won’t even mention) that you may or may not want to spend time with this season...

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Animated Feature Contenders: "This Magnificent Cake!"

by Tim

With no more new animated releases coming up for a while, this round-up is changing focus: we'll spend the next few weeks looking at some of the more noteworthy titles eligible for the Best Animated Feature Oscar this year. And "feature" barely feels like the right word to describe the 44-minute This Magnificent Cake!, but it just makes it according to the Academy's rules (which state that a feature is more than 40 minutes long).

So it might make it to "feature" on a technicality, but it's unquestionably noteworthy. This is the longest collaboration to date from Belgian directors Emma De Swaef & Marc James Roels, who have made a cottage industry over the last decade with some of the most distinctive-looking films in the world. Not a claim to make lightly, but it's hard to come up with any other way of putting it. The duo's characteristic style is to fashion puppets out of wool and other craft material, and then give them life through stop-motion animation; it's basically what you'd get if you were told to make a movie using only the things you could find in a fabric store...

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Animated Feature Contenders: "I Lost My Body"

by Tim

I Lost My Body, the first animated film to win the top prize at the Cannes International Critics's Week, is nothing if not distinctive. The "I" of the title is a sapient severed hand, which spends the length of the feature skittering around on its fingers, looking for the human to whom it used to be attached; this is a journey that is by turns bittersweet, sentimental, and horrifying. Director Jérémy Clapin, making his feature debut (he was also responsible for the celebrated 2008 short Skhizein), spent years sheperding this project into existence, and it has the unmistakable feeling of a passion project, one whose odd shifts in tone and moody emotional appeals are wonderfully earnest. While it is probably not the best animated feature of 2019, it's surely the most uncompromised and confident.

The film, adapted by Clapin and Guillaume Laurant from Laurant's novel Happy Hand (his other film credits include Amélie, and the echoes of that story ring very loudly here), divides itself into two strands. One is about that hand, deftly making its way through the all the dangers that reside six inches above the ground in Paris. The other is a quasi-romantic drama about a lost soul, twentysomething sad sack Naoufel (Hakim Faris)...

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It's a very tight race for this year's Annie Awards

by Nathaniel R

Oops. So much was happening this week we completely neglected the Annie nominations. The ceremony will be held on January 25th. There's no clear frontrunner this year with Missing Link and Frozen 2 tied for the most nominations. Their nearest competitors are not far behind. In other words Klaus, How to Train Your Dragon: The Hidden World , I Lost My Body, and Toy Story 4 were also clearly well liked enough to win big. That's 6 features and when it comes time for the Oscar nominations there can be only 5. We can't discount the possibility that another non-American film besides I Lost My Body might prove a darkhouse spoiler with the Academy's animation branch which has proven open to international films (for nominations if not wins) and isn't always keen on blockbuster sequels.  We should also keep a close eye on Japan's International Feature Oscar submission Weathering With You which got some love here at the Annies, too.

The complete list of nominations and a few comments after the jump...

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