Ipickthiswhiterose

I'm assuming that this answer means that your figures are Domestic? In which case I genuinely can't tell if you're trolling or not. You're "being conservative" to say that Detective Pikachu will earn twice as much as Frozen 2? Will earn 400m more than Incredibles 2 - a juggernaut movie with the biggest animated opening in history, more than the first new carte-blanche Star Wars movie for over 30 years made (plus another 60m-odd), twice as much as the sure-thing remake of one of the most beloved animate movies in history. I mean, I find that idea astonishing, and I write this as someone who thinks Detective Pikachu will likely do incredibly well. Can I ask what your reasoning is for thinking Detective Pikachu will be a more anticipated movie in the US than Star Wars:Force Awakens?

Is this worldwide or US Domestic only? I can't tell. Because if it's worldwide I don't see how by any of the remotest measures Avengers doesn't break 800m and even less how Frozen 2 doesn't break 500m. But if it's domestic.....I mean I suppose the Lion King can be just about stretched to being described as an ultra-bold call but Detective Pikachu? I mean I think it's going to be a bit hit but bigger than The Force Awakens? More than 300m more than Black Panther or Infinity War?

I really don't understand why Bohemian Rhapsody's success is considered anything of a slight against A Star Is Born - a movie that is going to have made x10 its budget when all is said and done. The two are barely comparable (original drama featuring original songs v semi-fictionalised biopic that essentially is a stream of music videos of pre-existing massively popular songs), and regardless it's like trying to claim that Avatar outgrossed Jurassic World, ergo the latter is a failure.

It's already at 2m (47.5) for the long weekend as of Friday, so the whole weekend will be closer to 5 (50.5m) given it's been having relatively high performing Sat/Sun numbers relative to Fridays. It's actually starting to have pretty decent late legs relative to its overall performance and its placement as a holiday film that wasn't released in the holidays looks like it might kick in a bit and keep it collecting decent change for a while. It just never had anything like a big enough start to do what it needed to do. As I've said elsewhere I think the problem hasn't been the people who've seen it (I adore it, and even those who didn't seem to think it's at least okay). Will probably outperform Wrinkle in Time worldwide by the end of the weekend, which is at least a relatively small mercy.

I'm actually going to call it on this one and say that in 10-15 years or so this will be considered a classic holiday film. Pretty much to Christmas what Hocus Pocus is to Halloween. In fact it's notable that lots of the criticism of Hocus Pocus back in the 90s is very similar to what Nutcracker got ("How could ***** do THAT? What a waste of their talent", "It's a (ill-defined) mess!". It was always going to have an impossible task audience wise. Disney virtually abandoned it, it was in a terrible release date and there was clearly little confidence in it. It's just too bold for people to know what to do with - everything people SAY they want, but actually run a mile when they get it unless it's timed absolutely perfectly. But it's actually a rather audacious, innovative, excellent film. Genuinely. I have a pretty good track record with this having said similar at the time about Labyrinth, Neverending Story, Event Horizon and the aforementioned Hocus Pocus. The only one I'm still trying to get people to reconsider and have never seen much of a perception shift on is Mystery Men.

I won't be so naive as to think that when AM & TW's release was delayed for the UK they didn't realise that they'd be dealing at least partially with a Mamma Mia juggernaut that simply won't exist in any other major market. But I do think they may have miscallibrated the demographic of Mamma Mia's audience in the UK and written it off as mostly older females who aren't really going to cross over into the potential Demo for AM & TW. Which isn't entirely untrue in terms of MM seeing plenty of that demo in the theatres, but I do think it massively underestimates how popular Abba and this movie is with the standard cinema going audience in general. Families, Couples, young people are all right in the firing line for it, and I really don't see how AM & TW wouldn't have been far better keeping the in-World Cup date and risking it rather than head into this storm. Heck, it hasn't just affected the AM & TW box office - it's even affecting the MI box office.

Long time occasional lurker on the site but since this is in my wheelhouse thought I'd sign up and put my two-penne'rth in. I'll be coming back to this before the deadline so will just leave a Top 30 for now with movies that I know for sure will be on the list, there may be a lot of variation in the lower positions, as well as the numbers here may change. 1. Suspiria 2. The Exorcist 3. Martyrs 4. Psycho 5. Candyman 6. Event Horizon 7. The Shining 8. Hellraiser 9. Jaws 10. Blood on Satan's Claw 11. The Mothman Prophecies 12. The Thing 13. The Devil Rides Out 14. Alien 15. The VVitch 16. You're Next 17. Rosemary's Baby 18. The House of the Devil 19. Witchfinder General 20. The Skin I Live In 21. The Neon Demon 22. Texas Chainsaw Massacre 23. Don't Look Now 24. Hereditary 25. Frankenstein Created Woman 26. The Borderlands 27. Nosferatu 28. The Innocents 29. Kill List 30. Night of the Hunter There are a few others that will very likely get on, but I'll leave it there for now just in case I forget to ever come back. I won't comment on films that others have mentioned, nor is it really my place as a newcomer to the board to foist any choices on folks, but it will always confuse and escape me as to how Candyman isn't higher on the average list of this kind.

Horror has unique spectatorship in that fans of it will not only never agree on what is and isn't a good horror film - they can't even agree on what horror is FOR. Hence why films like Hereditary (on one side of things) and Hostel (on another) are considered borderline classics by some and utter trash that is barely recognisable as horror by others. It also means that many established 'classics' in the genre are less genuinely great films but are just the least contentious in terms of nobody being able to claim they're 'bad' from a dramatic point of view (ie. Silence of the Lambs, The Omen)