Category Archives: Uncategorized

Movies opening and streaming in Connecticut – Weekend of October 13th, 2017


Theatrical releases

Marshall: Chadwick Boseman is future Supreme Court Justice Thurgood Marshall in this legal drama from long lost Director Reginald Hudlin. Kate Hudson, Dan Stevens and James Cromwell co-star. RT: 86%

Hudlin has actually had an enormously successful career in television and comic book writing (he actually ran BET for some period of time) but he’s still probably best remembered for his early 90’s comedies like House Party and Boomerang.  This is his first feature in 15 years.

Professor Marston and the Wonder Woman: True story about how the relationship between a psychologist (Luke Evans), his wife (Rebecca Hall) and their lover (Bella Heathcote) resulted in the creation of the superhero, Wonder Woman. RT: 87%

We’re two-for-two here with Directors who are making a return to features after an extended break.  Like Hudlin, Robinson has primarily been doing television work in recent years and hasn’t directed a film since 2005’s Herbie: Fully Loaded.  Yes, the director of a forgotten Lindsay Lohan film has made one of the better reviewed films of the year.

Side note: I really enjoyed Robinson’s short film, D.E.B.S. (a clever, sapphic Charlie’s Angels parody).

Happy Death Day: Great premise (Groundhog Day…as a horror film!), a perfect release date and in a nice surprise, an above average quality film should open #1 this weekend. Frankly, it would be a little embarrassing if it didn’t.  RT: 68%

The Foreigner: This Jackie Chan / Pierce Brosnan action picture is somehow opening wide (I’m unsure whether STX is aware that it is not 2002) but hey, good for them I guess. Martin Campbell (Casino Royale, Goldeneye) is behind the camera, although that doesn’t mean much nowadays. RT: 56%

New and notable streaming

The Meyerowitz Stories: Noah Baumbach’s latest stars Adam Sandler (in a widely-praised performance), Ben Stiller, Dustin Hoffman and Emma Thompson. RT: 91% (Netflix)

The Babysitter: McG (Charlie’s Angels, This Means War) directs this teen-centric horror picture starring Bella Thorne. The screenplay made the 2014 Black List, which is something, I guess. RT: 60% (Netflix)

Security: Antonio Banderas made a DTV, non-comedic version of Paul Blart: Mall Cop and it really doesn’t look that bad. Bonus: they were able to pay Ben Kingsley’s quote!  RT: No Reviews (Netflix)

Not a film, but…

Mindhunter: David Fincher and Charlize Theron produce this Netflix drama about the early days of the FBI’s Criminal Profiling Program. Fincher also directs the first two episodes. RT: 96% (Netflix)


Opening in Connecticut – Weekend of 10/6/17


Blade Runner 2049: Well-received sequel to the 1982 sci-fi classic starring Ryan Gosling and Harrison Ford.  The film’s opening is going to be disappointing based on the budget (some 170m), but I’d expect to see it re-released during Awards season.  The film’s failure to attract audiences under 30 makes me think this might have been better positioned, branding-wise, as a new property set in the same universe (ala Prometheus) rather than as a direct follow-up.

Personal interest factor: 9

The Mountains Between Us: Almost exactly 20 years ago, Fox released David Mamet and Lee Tamahori’s The Edge, a terrific thriller about two men attempting to survive the wilderness (and each other) following a plane crash. While there are some superficial similarities between that picture and this weekend’s Kate Winslet/Idris Elba starrer, I’m doubtful whether anyone will remember this in two weeks, let alone two decades.

Anyone wondering why Kate Winslet would want to lock herself into four Avatar pictures only needs to look at how this is performing (critically and financially) for the answer.

Personal interest factor: 2

My Little Pony: The Movie: This probably would have done gangbusters as a DTV title released at the height of the MLP renaissance. For the life of me, I have no idea what Lionsgate was thinking going wide theatrical with it in 2017.

Personal interest factor: 0

Opening in Las Vegas, September 29, 2017


Battle of the Sexes (73) is reviewed by our own Marco below. I saw it, too, and it’s a good movie but not a great one.

American Made (65) looks like it might be fun, but seems like a rental. When Cruise plays characters like this, a pilot turned smuggler, he’s at his best. Doug Liman directs.

In another of a series of unnecessary remakes, Flatliners (30) will make no one forget the original, which was a decent sci-fi effort. I’m waiting for Ellen Page to fulfill the promise of Juno, and so far it hasn’t happened. She’s been mostly making indie films, which is noble, and I suppose she did this film to subsidize them.

Review: Battle Of The Sexes


BOTSGoing by the title, one would think the prime focus of the Jonathan Dayton/Valerie Faris directed film ‘Battle Of The Sexes’ would be the bizarre only-in-the-70s tennis match between top women’s player Billie Jean King and 55 year-old former tennis champ Bobby Riggs that caught the public’s imagination and became seen as a defining event in feminism of that era.

And yet over the course of the film it’s clear the filmmakers are more interested in other issues and the match itself almost feels like a subplot as opposed to the central narrative it’s treated as. It’s one of the reasons the film doesn’t have the impact it could’ve.

The film begins with King (Emma Stone) acclaimed as the best tennis player in the world and winning another Grand Slam title, but major challenges are on the horizon. Firstly, the blatant sexism of tennis authorities who almost gleefully pay women considerably less than men sees King spearhead the daunting challenge of launching a separate women’s tour. As well, a chance meeting with hairdresser Marilyn Barnett (Andrea Riseborough) forces King to confront her lesbianism and the difficulties that entails for her marriage to Larry (Austin Stowell) and as a public figure in 1970s America.

With the pressures amounting rapidly, an offer from openly chauvinist long-retired tennis player Bobby Riggs (Steve Carrell) to play a match as a literal battle of the sexes seems like the last thing that would interest her; but instead she accepts and it becomes one of the triumphant events in her life.

The only time BOTS really comes alive is when it covers the romantic relationship King has with Marilyn as the contradictions in her personal life become untenable. It would’ve been much easier for her due to her public profile, career and happy marriage to deny her true self, but the sheer magnetism she feels for Marilyn makes it impossible. BOTS effectively conveys how all the conventions one is supposed to adhere to in life can become irrelevant when you meet the right person and the romanticism that takes hold.

Apart from these segments, BOTS feels disappointingly rote and by-the-numbers. This is especially so for the plot involving the breakaway women’s tour which King led which could’ve been a fascinating topic but the treatment here is dispiritingly superficial, as if they just did a summary of the key points from a Wikipedia page on it.

Also, the film seems merely happy just to recreate the 1970s gaudiness of the actual ‘Battle Of The Sexes’ tennis match itself without even delving into any of the issues surrounding it. For example, we constantly see how seriously King takes her tennis and wants the sport to be taken serious (and women playing it as being respected). Yet she is taking part in a match that feels like something PT Barnum dreamt up (King arrives in on a float) that almost feels like its mocking tennis in more ways than one. Also, why did an event so corny and gaudy become one of the defining cultural events of its era? Alas, the film doesn’t event attempt to look into these issues.

The film is a bit more interesting when focussing on Bobby Riggs whom it portrays surprisingly sympathetically. They don’t really portray him as a genuine sexist pig, but as a rather sad middle-aged man playing up that angle knowing that will get the maximum attention and publicity from someone who desperately misses the adulation and spotlight he had in his tennis career.

In truth, it feels like the filmmakers really wanted to make a biopic of King but that would’ve been a harder sell than the more box office concept of making a film about an iconic 1970s event.

As it is, BOTS feels limited by the sheer clunkiness of its script. There’s an early scene where King (meeting sexist tennis authorities) just blurts out they’ll start their own women’s tour; it comes across as inauthentic and heavy-handed because the film wants a lazy, shorthand way of telling the audience what will happen in the film next. There’s also a family dinner scene with a bored Riggs where his son wonders how many peppercorns there are in the salt shaker. Knowing before watching the film that Riggs was a notorious gambler, I knew that this was put in solely so Riggs could react and eventually ask his son whether he wanted to bet on it with his disapproving wife looking on (an ongoing theme throughout the film). Again, it just felt like a script too heavy-handed and lazy in pushing the film’s themes.

I don’t want to be too negative on BOTS. It’s a relatively easy film to watch with a few nice scenes and Stone and Carrell are fine in their performances (although I doubt they’ll be awards-worthy). And from a technical perspective, the film looks convincing in the finale as you really believe it’s them playing the tennis match.

But overall, BOTS could’ve and should’ve been a better film than it is.

AGEBOC IX Finale: Jackrabbit Slim Wins!


Following an astonishing season-long run in which he racked up points every single week, Jackrabbit Slim has decimated the competition to become this year’s champion!

Thanks to everyone for playing! HAGEBOC 2017 kicks off in early November.

Final scores:

Jackrabbit Slim – 92
James – 85
Juan – 67
Marco – 40
Joe – 33
Filmman – 12
Rob – 8

AGEBOC IX – Week Nineteen




Predict the grosses of the films opening the weekend of September 8th-10th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, September 8th at 12:00 pm (EST).  

Note: This is the FINAL week of AGEBOC 2017.  Thanks for playing!  

    1. What will IT earn this weekend? (4 points for the closest guess, 2 points for second closest. Within 500k earns a 2 point bonus)
    2. What will Home Again earn this weekend? (4 points for the closest guess, 2 points for second closest)
    3. What will IT earn from Thursday PM/Midnight shows?  (4 points for the closest guess, 2 points for the second closest guess)
    4. A gambling question for those who are game: While IT is on track to have a historic opening weekend for a horror film, will it beat the ADJUSTED opening weekend of 1994’s Interview with the Vampire at $77.4m?  (6 points if you answer “Yes” and the film achieves this.  MINUS 4 points if you answer “yes” and the film does not.  No points awarded for “no”.)

Current rankings:
Jackrabbit Slim – 86
James – 67
Juan – 61
Marco – 40
Joe – 33
Filmman – 12
Rob – 8

Oscar 2017: Paradigm Shift

Daniel Day-Lewis in “Phantom Thread”

I think it’s fair to say that at this time last year, no one had Moonlight as the favorite to win Best Picture. The question becomes, did the diversity push in membership change the paradigm of what an “Oscar bait” movie is? One year does not make a trend, but it is a giant leap for a film that cost less than two million dollars to make (the lowest-budgeted Best Picture of all time, adjust for inflation), has no stars, no white actors, and a gay theme to take the top prize. Even more than ever, it’s like the old William Goldman quote about predicting Oscars: “Nobody knows anything.”

But that won’t stop me from trying. Going over the slate of films to be released this fall and winter I don’t see anything that stands out as a favorite for the Oscar. Usually I get about five of these, but I wouldn’t be surprised to do far worse than that this year. Last year I certainly didn’t have Moonlight on my horizon.

In alphabetical order:

Battle of the Sexes (Jonathan Dayton, Valerie Faris) Sep. 22. The film opens at Telluride tomorrow, so this may be out of the running quickly. The story of the tennis match between Billie Jean King (Emma Stone) and Bobby Riggs (Steve Carell) was a gaudy circus (I’m old enough to have watched it) and these are the directors of Little Miss Sunshine, so they have Oscar pedigree. I’d be interested to see if they touch upon the rumor that Riggs threw the match because of massive debts.

Dunkirk (Christopher Nolan) Jul. 21. Though I was underwhelmed by this war film, it is in the right quadrant–big box office and near universal critical acclaim. After several weeks it is still in the top ten. The Academy has been gun shy about Nolan–he’s never been nominated for Best Director, and only Inception has been nominated for Best Picture. It all depends on how many good films are coming–if they aren’t too many, Dunkirk will be remembered.

The Greatest Showman (Michael Gracey) Dec. 26. It’s hard now for films released too late in the year to get nominated, and this musical was postponed an entire year (to avoid conflicting with La La Land). It stars Hugh Jackman as P.T. Barnum. The trailer makes it look like he was a lovable character, but remember, he’s the guy who said “There’s a sucker born every minute.” If it’s a whitewash of who he was I don’t like its chances.

Goodbye, Christopher Robin (Simon Curtis) Oct. 13. Now here’s a movie that has the old “Oscar bait” all over it. It’s literary–about the creator of Winnie the Pooh, A.A. Milne, and his experiences in World War I, and an emotional tale about fathers and sons. The only question that remains is is it any good?

The Killing of a Sacred Deer (Yorgos Lanthimos) Oct. 27. Two of Lanthimos’ previous two films, Dogtooth and The Lobster, received Oscar nominations. Will this Greek director who has a different perspective than most crack into Oscar respectability? I don’t know anything about the plot of this film. It stars Colin Farrell and Nicole Kidman.

Last Flag Flying (Richard Linklater) Nov. 3. The plot sounds formulaic–three war buddies attend the funeral of one of their sons–but Linklater may make it better than it sounds. Starring (again) Steve Carell, Bryan Cranston, and Laurence Fishburne, it may tap into the zeitgeist.

Mudbound (Dee Rees) Nov. 17. A film directed by a black woman (the only other film thus directed to be nominated for Best Picture was Selma), it is set in the South post-World War II. It has been seen, at Sundance, and though it didn’t win a prize it was generally well-received.

Phantom Thread  (P.T. Anderson) Dec. 25. Anderson almost always comes up with films that get Oscar nominations, ever since Boogie Nights, but only There Will Be Blood got a nomination for Best Picture. It’s mostly being celebrated as purportedly the last film for Daniel-Day Lewis (though he’s retired before) and set in the London fashion world of the ’50s.

The Post (Steven Spielberg) Dec. 22. Another late release, but it’s hard to bet against the trio of Spielberg, Meryl Streep, and Tom Hanks, telling the story of the Pentagon Papers. Hanks plays Washington Post editor Ben Bradlee, who has already been played by one Oscar-winner, Jason Robards in All the President’s Men.

Three Billboards Outside Ebbing, Missouri (Martin McDonagh) Nov. 10. I was intrigued by the trailer–this may get the usual Coen Brothers slot. McDonagh, a fantastic playwright, has had a checkered career as film director–In Bruges and Seven Psychopaths–but has already won an Oscar for Best Short Film. It stars Frances McDormand as a woman demanding justice for her dead daughter, and seems to be anti-police, which could be another zeitgeist nominee.
Also possible:
Darkest Hour (Joe Wright); Detroit (Katheryn Bigelow); Victoria and Abdul (Stephen Frears); Wonderstruck (Todd Haynes); Suburbicon (George Clooney); Wonder Wheel (Woody Allen).

AGEBOC IX – Week Eighteen


Predict the grosses of the films opening the weekend of September 1st-3rd, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, September 1st at 12:00 pm (EST).  

Note: This is a snoozer of a week with only one wide release (the long-delayed Tulip Fever) that was scheduled at the last minute. AGEBOC 2017 will conclude next weekend with the release of WB’s IT, which has the potential to topple some box office records.

    1. What will Tulip Fever earn this weekend?
    2. Will this weekend’s top twelve grossing films earn LESS than the top twelve grossing films May 8th-10th, 1992 adjusted ($47,352,400)?
    3. What % will Birth of The Dragon fall this weekend (4 points for closest guess, 2 points for second closest)
    4. Here’s a challenging one: what will Marvel’s Inhumans, a cheap-looking ABC television pilot which is (for some reason) premiering on IMAX screens earn this weekend? It will be splitting showtimes with other IMAX movies at most theaters. (4 points for closest guess, 2 points for second closest)
    5. Rank or discuss your favorite (or least favorite) films of the Summer. (1 point)

Current rankings:
Jackrabbit Slim – 82
Juan – 61
James – 57
Marco – 39
Joe – 33
Filmman – 12
Rob – 8

AGEBOC IX – Week Seventeen


Predict the grosses of the films opening the weekend of August 25th-27th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, August 25th at 12:00 pm (EST)

    1. What will Ingrid Goes West earn this weekend?
    2. What will Birth of The Dragon earn this weekend?
    3. What will Good Time earn this weekend?
    4. What will Leap! earn this weekend?

Current rankings:
Jackrabbit Slim – 74
Juan – 57
James – 47
Marco – 33
Joe – 33
Filmman – 12
Rob – 8

Review: Logan Lucky


logan_lucky(Warning: Contains mild spoilers)

Elaborate heists done by a group of people has always been one of my favourite film sub-genres. If done well, the plan’s intricacies, how it works out in reality, the expected and unexpected obstacles and inevitable tensions within the group can make for fascinating and entertaining films.

Clearly veteran director Steven Soderbergh (making his first film after a very brief retirement) enjoys these films as he made a trio of ‘Oceans’ films based around the same concept and now returns to it with ‘Logan Lucky’, albeit in a very different setting and social milieu.

The film’s plot centres around divorced and just-unemployed construction worker Jimmy (Channing Tatum), who decides robbing a stadium during a NASCAR event is the solution to his problems. He needs the help of multiple people including his one-armed brother Clyde (Adam Driver) and criminal Joe (Daniel Craig). Unfortunately Joe is in prison but where there’s a will…

I’ve only seen a handful of Steven Soderbergh’s films and while he’s clearly one of the smartest and skilled directors in Hollywood, his movies tend to feel a bit distant and cold. One admires his films without finding them particularly enjoyable or wanting to rewatch them.

And this is how I felt about ‘Logan Lucky’. It’s a smartly done heist film with some fine performances but I was never terribly engaged in it and it was never as entertaining or clever as it thought it was.

The film’s biggest problem is that the people involved in the heist seem to be operating at two intelligence levels depending on the requirements on the plot. In their regular day-to-day lives, they’re often simplistic, even moronic. Indeed, another set of brothers involved in the scheme (played by Jack Quaid & Brian Gleeson) are so idiotic they reminded me of the trio of yokel brothers from the 1980s Newhart TV show.

And yet we’re supposed to believe that this same group of people are able to carry off a highly elaborate and sophisticated heist, not only outwitting a substantial police and security force but also able to get multiple people in and out of prison without the authorities noticing. Perhaps it could be understood if Soderbergh was making a comment on how people like this apply considerable intelligence to an event like a heist while acting foolishly in the rest of their lives, but that would be giving him too much credit.

The other problem with the heist itself is that it relies a lot on lucky timing and people with no connection to it acting in ways that can’t be predicted. For example, how do they convince the prisoners to stage a riot for the required time the heist is run and how do they know the prison warden will react in the exact way they need to enable them to get back into the prison undetected? It’s a scheme that makes the finale to The Sting seem like child’s play.

As well, the film feels erratic and contradictory in its tone. Initially in the early scenes where we see Jimmy with his children, his job situation and his general struggles, it’s striving for a realistic, natural tone. But at other times when characters like such as the buffoonish NASCAR powerbroker (Seth MacFarlane) or a very monotone and robotic FBI agent (Hilary Swank) appear it has a comic, exaggerated and even goofy tone. There are pleasures to be had from both styles (Swank’s performance is quite amusing) but they don’t mesh which hurts the film overall.

This is not to say that ‘Logan Lucky’ isn’t a well-made film. It is stylishly and thoughtfully directed by Soderbergh as usual and the execution of heist is entertainingly (if unbelievably) done. Also, there are a lot of good performances in a fine cast. Daniel Craig practically steals the film with his delightful portrayal of the charismatic but unpredictable Joe. And I admired Channing Tatum for underplaying the central role when it would’ve been easy to try and share the limelight of the array of colourful supporting performances.

But overall, while ‘Logan Lucky’ has undoubted strengths (and is popular amongst critics), it was never as entertaining or substantial as it could’ve been.

Trivia Note: This is the second film I’ve seen at the cinema this year (after Alien: Covenant) that features both Katherine Waterston and has John Denver’s music as a pivotal part of the plot


AGEBOC IX – Week Sixteen


Predict the grosses of the films opening the weekend of August 18th-20th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, August 18th at 12:00 pm (EST)

    1. What will Logan Lucky earn this weekend?
    2. What will The Hitman’s Bodyguard earn this weekend?

Current rankings:
Jackrabbit Slim – 70
Juan – 57
James – 47
Joe – 33
Marco – 25
Filmman – 12
Rob – 8

AGEBOC IX – Week Fifteen


Predict the grosses of the films opening the weekend of August 11th-13th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, August 11th at 12:00 pm (EST)

    1. What will Annabelle: Creation earn this weekend?
    2. What will The Nut Job 2: Nutty by Nature earn this weekend?
    3. What will The Glass Castle earn this weekend?

Current rankings:
Jackrabbit Slim – 60
Juan – 55
James – 41
Joe – 33
Marco – 25
Filmman – 12
Rob – 8

Forgettable 21st Century remakes of 20th Century cinema


Fame  footloose

A sub-section of 21st century cinema that fascinates me is the remake of a revered/classic film that is considered to be so insipid that a year or two after they’re made it’s as if they don’t exist and the original still thrives.
Below are six standout examples from this century. I haven’t seen any of these remakes so the comments below aren’t my views on it, just an assessment on what the general consensus was on them:

The Omen (2006) – The 1976 horror film was considered a classic of its time and remaking it 30 years on was an ambitious task. But it was backed by a smart marketing campaign which made explicit use of its opening date being 06/06/06. And it had a strong cast, with Mia Farrow in one of her rare post-Woody film roles being particularly noteworthy. But critics were disappointed (27% on RT) and despite it being a modest financial success it was completely unsuccessful in matching (let alone eclipsing) the memory of the original

Fame (2009) – In its capturing the spirit and liveliness of young aspiring New York artists, the original 1980 musical became a defining film of its era (and led to a successful TV series). A remake in 2009 seemed potentially rewarding and even had the curio value of TV’s Frasier & Lilith (Kelsey Grammer and Bebe Neuwirth) both playing prominent roles in the film. Alas, a bad sign was that it was rated PG which stood in contrast to the original film which was quite rough and brutal at times. And the general consensus was it was a bland and plastic remake which would be soon forgotten, which it was.

Fright Night (2011) – The 1985 vampire original had been a surprise popular and critical success. It seemed an odd choice for a remake as the original’s semi-spoof, self-aware, humourous style still made it seem fresh today. Was there an audience for a modern remake of a horror film that still felt modern? As it turned out, No. Despite decent reviews, the Fright Night remake barely made any money anywhere, not even finishing in the Top 5 in its opening weekend in America despite an aggressive marketing campaign.

Footloose (2011) – The 1984 original became a iconic film of its era thanks in no small part to its famous Kenny Loggins title track. In truth it’s a pretty silly film and a remake seemed like a good chance to improve on it, especially when it was helmed by Craig Brewer who’d had notable success with ‘Hustle & Flow’. Alas, despite generally positive reviews the public didn’t warm to it (as a check of the IMDB user reviews shows) and it made little impression. Perhaps people were too affectionate towards the original to accept a remake.

Poltergeist (2015) – For decades the debate over whether the 1982 Tobe Hooper horror film was in fact actually directed by Executive Producer Steven Spielberg has been a fascination for many. Indeed just a few weeks ago a crew member on the film stated that Spielberg in fact directed it.

One thing this recent batch of stories don’t have to mention; that they’re talking about the 1982 version and not the 2015 remake because that’s been forgotten already. Despite being produced by Sam Raimi and having talents like Sam Rockwell & Jared Harris appear in it, the film was critically panned and audiences probably would’ve cared more if it had actually been a documentary about answering the Hooper/Spielberg mystery.

Ben Hur (2016) – Probably the most foolhardy of this list, it was impossible to see how this could ever be a success. For one thing, remaking one of the most iconic Hollywood films of the 20th century is just asking for trouble. Especially when helmed by director Timur Bekmambetov who it’s fair to say doesn’t quite have the reputation of a William Wyler. Also, biblical/Roman epics were hardly box-office gold in 2010s cinema.

The biggest giveaway to this film’s impending doom is the YouTube trailer clip which actually has more dislikes than likes for it. One user observed it as ‘Fast And Furious A.D.’

And to the surprise of no one, the film was not only a critical disaster but a financial one as well as it searched for an audience that wasn’t there and was one of the biggest flops of its year. Amongst the plethora of bad decisions MGM has made in recent decades, this would be one of the worst.

AGEBOC IX – Week Fourteen


Predict the grosses of the films opening the weekend of August 4th-6th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, August 4th at 12:00 pm (EST)

    1. What will The Dark Tower earn this weekend?
    2. What will Detroit earn this weekend?
    3. What will Kidnap earn this weekend?

Current rankings:
Jackrabbit Slim – 56
Juan – 51
Joe – 33
James – 29
Marco – 25
Filmman – 12
Rob – 8

AGEBOC IX – Week Thirteen


Predict the grosses of the films opening the weekend of July 28th-July 30th, 2017

The one who predicts closest to the total Friday to Sunday gross for the #1 film wins 4 points. Runner-up gains 2 points. Predicting within half a million on the first question each week earns 2 bonus points.

Deadline is Friday, July 28th at 12:00 pm (EST)

    1. What will The Emoji Movie earn this weekend?
    2. What will Atomic Blonde earn this weekend?
    3. What will A Very Inconvenient Sequel: 2 Tell the Truth earn this weekend?

Current rankings:
Jackrabbit Slim – 56
Juan – 47
Joe – 29
Marco – 25
James – 19
Filmman – 12
Rob – 8