When Universal scheduled Ted 2, they surely had no idea that Seth MacFarlane’s swearing teddy bear sequel would be squaring off against one of the biggest box office juggernauts of all time...a juggernaut that they themselves had created. So it’s not surprising that Jurassic World topped the box office again and it’s not surprising that Pixar’s Inside Out held onto second place. What is a little surprising is how low Ted 2 opened, falling significantly short of its predecessor’s opening weekend.
Everyone knew that Jurassic World was going to open big, but no one saw this coming. The fourth film in the beloved dinosaur-centric franchise had the second biggest domestic opening of all time, the biggest June opening of all time, and, with $511 million worldwide, the biggest international opening of all time. It also broke a bunch of records that we’ll get to in a few minutes. This was supposed to be the summer of Avengers: Age of Ultron. Unless something goes horribly wrong, this is officially the summer of Jurassic World.
Tomorrowland may have taken the top spot at the box office in its debut weekend, but things still look awfully grim for the George Clooney sci-fi vehicle. Not only did the film open far below expectations, it faced serious competition in Pitch Perfect 2, which continued to kick aca-butt in its second weekend. And it wasn’t the only new release to under-perform, with the Poltergeist remake also falling short of early predictions. If you were a new release this weekend, things were awfully rough.
For the third week in a row, Furious 7 took the top spot at the box office and made it look easy. Not even a trio of newcomers could slow down the latest entry in the crowd-pleasing action series, which has become the fastest film to reach $1 billion worldwide. On the domestic box office, it’s equally impressive. It’s a juggernaut. A cultural event. At the end of the day, Paul Blart: Mall Cop 2 may make some money, but it’s making that money in the shadow of a genuine phenomenon.
What does a movie studio want out of its sequels? Is a sequel a failure if it simply matches its predecessor or does it need to make more money? That’s the big question that’s swirling around Insurgent, which made almost exactly as much as Divergent did one year ago. Seriously: there’s only a $500,000 difference in their opening weekends. So is Insurgent a success or a disappointment?
With some of the year’s biggest movies only a month or two away, the box office seems to have entered a holding pattern. Some of the new releases are minor hits. Others crash and burn. Right now, Hollywood just seems to be crossing their fingers and hoping for the sweet, sweet summer movie season to come along and save them (or at least the April release of Furious 7). In other words, every new release underperformed this weekend.
ScreenCrush wraps up the latest in movies and TV you might have missed. Today, Frozen finally makes its move to Broadway, a Space Invaders movie (!) gets a writer, and a ranking of all of Djimon Hounsou’s sidekick roles.
The massive success of the ‘Despicable Me’ films have created a monster. Monsters, actually. Well, cute, yellow, strange little monsters that countless children (and some adults) all over the world have fallen in love with. Yeah, ‘Minions’ is going to be huge and it’s all going to be thanks to those little guys. However, the presence of a major star like Sandra Bullock can’t hurt and Universal has released the first images of her supervillain character, Scarlet Overkill.
‘Breaking Bad’ may be completely, definitively over, but that doesn’t mean Walter White is ready to leave popular culture alone. Oh, no. As long as Bryan Cranston is alive and as lone as insurance companies are prepared to back dump trucks full of cash up this house, we’ll get to see America’s favorite meth dealer pop up every so often. So while it’s weird to se Cranston play Heisenberg one more time in an Esurance commercial, it’s not that surprising.
Young adult movies are big business. 'The Maze Runner' took over the box office this weekend, proving that the audience for films were young people in science fiction dystopias are forced into violent and terrible predicaments extends beyond the 'Hunger Games' franchise.
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