Box Office Breakdown of 2019

The success of certain films over a year is of great interest to film producers but should also be of note to the public: what they pay to see, and what draws the most crowds will ultimately decide how the big studios will operate over the next few years, and the public, as consumers, can expect what they will be pushed to go and see in the future. 

2019 was a record breaking year on a vast scale; 2015 had the record for most billion dollar grossing films in a year (five) but 2019 is (at the time of writing) on its way to a potential nine films grossing a billion dollars. Avatar was finally dethroned from its worldwide record and we got new highest grossing films in the live-action, animated and R rated departments. Here is the 2019 worldwide list with breakdowns of the performances:

10. Fast and Furious Presents: Hobbs and  Shaw - $758,910,100
Poor Hobbs and poor Shaw: the only film stopping 2019 having a clean sweep of billion dollar grossers. But 3/4 of a billion is not to be sniffed at when considering its a spin-off that is predominantly aimed at teenage boys on their summer holidays. I haven't seen the film but it is clear that the teaming of Dwayne Johnson and Jason Statham was vital for marketing, as well as the semi-tongue in cheek humour and massively overblown set pieces.

9. Star Wars: The Rise of Skywalker - $1,005,323,801 (and counting)
Episode 9 could either have been the second film on this list or not at all. It was immensely hard to predict how this film would do: The Last Jedi saw a $700 million decline from The Force Awakens, fan reception was massively divided with threats of a boycott, Solo was a flop and appetite for the brand has steadily declined as the novelty has worn off. And then there is the film itself: neither satisfying for the people who loved TLJ and not satisfying enough for those that hated it. It stumbles about trying to make as many people happy as possible that the final result is a 'meh' film that feels conventional and cowardly and does not fully wrap up the messy sequel trilogy. It is the first of the Disney bunch that I did not feel inclined to go and see again, a sentiment held by a great deal of friends too. It gave Disney their seventh billion dollar hit of the year but this is not a film that will be remembered, and the fact that other films on this list grossed more is enough evidence for a diminishing franchise. Watch The Mandalorian instead. 

8. Aladdin - $1,050,693,953

At the start of the year if someone had said "Joker will gross more than Aladdin" then I would've shrugged and I said "probably." Aladdin had polarising trailers and did not seem like a juggernaut. And then it exploded around the world. Now if someone had said to me in September that "Joker will out-gross Aladdin" I would have scoffed. It seemed like an impossible feat. Both those statements turned out true and the studio executives for both films should be pretty pleased with the two films on this list that I would have argued a year ago would not make it. The film proved Will Smith is still bankable and audiences will see Disney remakes if they keep banging them out. 

7. Joker - 

By far the biggest success story of the year, Todd Phillips' psychological thriller about Arthur Fleck's descent into becoming Joker is a zeitgeist-tapping breakout. The fantastic trailers and marketing kicked off the anticipation for this, and then the post-film-festival controversy and media assault began, drawing the film deeper into the public's perception. This was a film used by the media for scaremongering; in reality it led to people watching it to decide for themselves and have an opinion on it. What followed was a gigantic October opening, and then an impressive -43% drop in its second weekend, showing its staying power and word of mouth. Joker's success can be attributed to a variety of reasons: the media outcry that labelled it as violent and upsetting, the hype around Joaquin Phoenix's potentially Oscar winning performance and, probably most importantly, it is a terrific film. It offers something new and refreshing to younger cinema goers; showing an evolution in the superhero genre. Also, the film's deluded protagonist and smart direction means that not everything in the film is fact, something which in conversations after watching it will only encourage repeat viewings to help your own theory and understanding of the film. Joker is the biggest R rated film ever, and by quite a significant margin at that. The fact that it made over a billion dollars without a Chinese release is phenomenal. Joker is a studio's dream: an old school style drama made on a budget of around $60 million that did not need a Chinese release to become the most profitable comic book film of all time. 

6. Toy Story 4 - $1,073,3948,593

When it opened in America, Toy Story 4 grossed 'only' $120 million over the weekend and at the time landed the biggest worldwide opening for an animated film with $244 million (since overtaken twice). Articles circulated that this was a disappointing result for Pixar, and that it showed a fatigue or lack of love for a new Toy Story film. But is that really the case? Finding Dory made over $130 million in its domestic opening weekend, landing the biggest animated opening. In 2018, Incredibles II destroyed that record with $180 million. It is these two films, recent Pixar sequels to beloved classics, that perhaps set a standard for this fourth installment. The key word there is 'fourth'- Woody and Buzz have had sequels before, and there was an 11 year gap between the 2 and 3, which lead to a juggernaut box office success for the third. The novelty of seeing these characters again decreases the more they are seen; if Incredibles had two more sequels I would predict that they wouldn't open bigger than the second. The novelty fades. And any animated film hitting over $100 million in a weekend is a breakout hit. Unadjusted for inflation, this film actually made slightly more than Toy Story 3 which is what you hope a sequel will do. I am glad this film was a big hit, it's fantastic and a poignant ending not just to Woody and Buzz, but also for Pixar's sequels as this was to be their final one. 

5. Captain Marvel - $1,128,274,794

February seems like a new sweet spot for Marvel releases, with this stand-alone film coming a year after Black Panther accumulated $1.3 billion in the same release window. Again, this had the 'social novelty' of being Marvel's first female led film, similar to the first black-led Marvel film a year prior. The two big factors for this film's success is the female-led USP and that 2018's Infinity War set up Captain Marvel with its post-credits scene; implying her importance and a need to see her origin film before watching Endgame. Because the film itself is average; probably better than most others in the franchise and I found its quieter scenes far more engaging than its spectacle, which seems forgettable. And no, Brie Larson's disastrous comments did not lead to a boycott or box office failure. I would expect more from this character in the future. 

4. Spider-man: Far From Home - $1,131,927,966

In seven months Marvel made $5 billion worldwide. Let that sink in. Far From Home capitalised on Endgame's success big time; using it in marketing and being sold as an epilogue to the Infinity Saga. This was a clever move, butting bums in seats by saying that this was a final bit of closure for characters like Tony Stark. The previous Spider-man film, Homecoming, made $880 million back in July 2017. In that time, Peter Parker got some of the most memorable lines and scenes in the two colossal Avengers films; in many ways being the heart and soul of the story. It was inevitable this film would earn more, and if you add in Jake Gyllenhaal as Mysterio you have a solid recipe for success. Again, this was a mostly fine Marvel film. It had entertaining sequences, comedy and a welcome surprise in its credit scenes. Another new leading face for the MCU moving forward. 

3. Frozen II - $1,267,812,364 (and counting)
Whilst not surprised that it is a gigantic success, I will admit I was taken aback that Frozen II overtook its predecessor. Back in 2013, Frozen was that ubiquitous film with instantly iconic new characters, an inescapable selection of songs and a female friendly property. It played in cinemas in months, complete with sing-a-long versions too. Six years is a while between sequels but promising trailers and familiarity have ensured that Frozen II became another breakout, all the more surprising considering I have not heard the more popular songs being played and sung as much as Let It Go was back in the day. But its a win for female audiences and Disney. 

2. The Lion King - $1,656,813,149
I expected this to crack the top three easily, and I also expected it to become the biggest of the Disney remakes. 1994's The Lion King is unquestionably the most popular Disney animation; it is the highest rated, one of their biggest successes, as an eternally playing London show and is always in conversation for the 'what scenes make you cry' question. Throw in James Earl Jones returning as Mufasa, Beyone as Nala and Donald Glover as Simba, and you have a talented of-the-time cast to go with the striking visuals. Of course audiences wanted to see the story told again and hear the famous score and soundtrack, regardless of critical response. And the prime mid-July weekend is always economically beneficial, giving the tent pole films a good two weeks run before the next summer release. It did not deserve to make this much money as it offered nothing new, but it is obvious how it did. 

1. Avengers: Engdame - $2,797,800,564

A monolith of a film if ever there was one. It has been all too frequently documented how and why this epic conclusion became the highest grossing film of all time. But as briefly as possible here goes. Infinity War was universally loved and praised by audiences and critics; it had a riveting new villain, a shocking, cliffhanger finale and the promise of revenge. Audiences knew this was the end of the story, and the end of some of their characters. The theorising was non-stop and people just could not wait, so they all booked tickets opening weekend. Infinity War had the biggest domestic opening ever with $257 million, and the biggest global opening with around $640 million. Endgame launched to $350 million domestic and $1.2 billion worldwide. That is a ludicrous increase, and a record I just cannot fathom ever being topped. The film was emotionally satisfying, had some of the most rewarding moments in fan-service history, and has a pulsing momentum towards an unforgettable conclusion (especially if you saw it in a packed cinema). Then there was a whole social media movement that aimed at removing Avatar as the no.1 film in favour of something more worthwhile. Is it more worthwhile? Well with Avatar I think more people went to see it, whereas Endgame was perhaps driven more by repeat viewings of its fans. One is a technical gimmick, the other a decade long closure to a generation defining franchise. And yes, Marvel did cheat by adding extra scenes and Far From Home material to later releases in order to get it over Avatar, but then again so did James Cameron. What is interesting is that after those two films is Titanic with $2.1 billion. That means there is a nearly $700 million difference and the top two are separated by a puny $10-20 million. 

1917 (an ode to the one shot)

My favourite scene in 2015's Spectre is the opening shot. The camera starts above a crowded street in Mexico, pushing forwards and down until it finds James Bond. Bond sets off, the camera following him into a building, up an elevator and into his room where upon he lives his female accomplice and steps out onto the rooftop with a gun in hand before setting up to eavesdrop on his targets. It runs at four minutes and supposedly contains four 'cuts' that are seamlessly woven together. The movement of the camera, combined with the score and Bond's casual yet assured physicality, makes for an utterly immersive start. It was achieved through the ambition and precision of its director, Sam Mendes, and its cinematographer, Hoyte van Hoytema. Over four years later and that scene just looked like a trial for the one shot technique, as Mendes' new film, 1917, pulls out the stops to appear as one or two shots. 

Hoyte van Hoytema did not return for the war film, with Mendes opting for the legendary Roger Deakins who he had previously used on Skyfall and Revolutionary Road. Fans of Deakins will know that he is a man of the silhouette and a man of orange light with a greater focus on handsomely crafted stills. Single takes or one shots do not often appear in his work, instead Emmanuel Lubezki is best known for long tracking shots that are invisibly stitched together. When it comes to tracking shots used to tell entire movies there are several examples: Hitchcock's Rope, 2014's Best Picture winner Birdman (Lubezki) and Victoria (2015) are all told in 'one' shot. But Deakins adds another string to his quite entangled bow by not only accomplishing the continuous shots in this film, but by doing it on an entirely different scale. 

With huge sets, swarms of extras and a lot of action, one can only imagine the preparation and rehearsal that went into the shoot. Mendes has how outdone himself here, achieving a technical prowess on the level of Nolan or Kubrick. It is seriously impressive and, most importantly, immersive. This is not a gimmick rather a method or tool to enhance the storytelling. The story tells of two young men sent on a mission behind enemy lines to deliver a message that will save 1,600 soldiers' lives, including the brother of one of the two. But in reality, there are three soldiers. The audience becomes more than a spectator; they are a third soldier following the other two around, taking cover when they do and wincing when they do. 

Much like Dunkirk, every aspect of filmmaking involved is masterful. From the period correct sets to Thomas Newman's trembling score (with a little whiff of Hans Zimmer's work from The Thin Red Line), to the hidden editing and intense sound design. But before the camera there is also a brilliant performance from George McKay, and Dean Charles Chapman continues to fashion himself a hopefully bountiful career post-Game of Thrones. There is also a cornucopia of British talent in small supporting roles: Colin Firth, Benedict Cumberbatch, Andrew Scott, Mark Strong and Richard Madden all step in and leave some sort of impression. 

Towards the end of the film there is an utterly fantastic piece of direction where the audience realises the non-verbal decision playing in a character's head, leading to whitened knuckles as the music begins to rise. It is one hell of a cinematic moment. 

And whilst the more learned film viewers may find themselves trying to look for the joins and cuts in Deakins' camera (and therefore lose some of the intended immersion), the overall look, feel and sound of the film is a transcendent experience. The film has been out a week but to see the cinema gradually get filled out with families of all ages, and to hear the excited conversations as they left afterwards, is magical. There is a beauty to this film and whilst it does not have anything overtly new to say about war, the messages and the way they are emotionally executed is potent enough to draw a tear from the eye. 

By default, one of the best WW1 films going. 

A Selection of My Favourite Movie Shots

1. Mirror shot- Contact
One of those watch-then-rewind shots that comes out of nowhere. I never want to know how this was accomplished but Robert Zemeckis, hats off for the creativity.

2. Descent into the dark- Sicario
Roger Deakins at is best, showing less is more. The beautiful sky, clear silhouettes, pulsing music and the gradual transition into the darkness makes for enchanting cinema.

3. The HALO jump- Mission: Impossible- Fallout
It is well documented how many times Tom Cruise jumped from that plane just to get the perfect shot, but this thrilling sequence has gorgeous twilight skies and is a phenomenal feat.













4. Koba hijacks the tank- Dawn of the Planet of the Apes
https://youtu.be/XjV-wXc8-Fg
(skip to 38 seconds)
Mounting a camera onto the rotating turret of tank proves a genius move, showing vicious ape Koba take control over it whilst giving the audience a marvelous panoramic shot of the battlefield.

5. Las Vegas- Blade Runner 2049
Probably the shot that won Deakins his Oscar, this is wallpaper material at its finest. Minimal yet dripping with colour.

6. The train- The Assassination of Jesse James by the Coward Robert Ford
This entire sequence is Deakins at his best but the rippling light from the train, Brad Pitt's swaggering shadow and the symmetry of the tracks beautifully amalgamate.


7. Willard rises- Apocalypse Now
The slow movement, painted face, flashes of lighting and the mist: the apparent completion of Willard's fall. Or is it?



8. Flying past Saturn- Interstellar
This shot needs to be seen on the biggest screen possible. Here it just looks like a smear. But look closely and one will find a tiny silver speck: the Endurance, on its way to a wormhole. It's a beautiful sequence; calm and still yet filled with a sense of wonder and scale that reminds the audience just how alone and insignificant human life is. Wondrous.






9. The Planetarium- La La Land
Some may be turned off by this fantastical shot but others will be mesmerised by the visual poetry on display. The dancing silhouettes and intergalactic back drop makes Mia and Seb the star crossed lovers for the 21st century.

10. Swinging in the snow- Ikiru
Perhaps the most bittersweet sequences committed to celluloid, this shot sees our central hero singing about life whilst swinging alone in the snow in a park that he built just before dying. It is the closure to his story about only finding the power of life when faced with death. It's beautiful in every conceivable way.

 11. Hyper-space ramming- Star Wars: The Last Jedi
The Last Jedi is one of the prettiest Star Wars films, and this unforgettable sequence is probably its zenith. It is a series of stunningly rendered shots that wow visually whilst the sudden depletion of sound makes the image that much more potent. In a full auditorium, the silence was so strong that a guy only whispered "Jesus Christ" and got everyone laughing.

 12. Tornado- Mad Max Fury Road
More breathtaking action, but this time with added sound. The audiences is placed in Max's shoes, watching a car be swept up into a tornado and exploding, as lightning flashes and the crew are tossed to the wind. The whole film finds beauty in destruction, and this moment starts that trend.

 12. Obscuring Henry Fonda- The Ox-bow Incident
A cleverly blocked shot, Fonda's Gil Carter reads out the final words of a wrongly lynched man. His friend's hat conceals the eyes, effectively explaining the blindness of those that did it and the failings of the system as a whole. It is not anything fancy, but it sticks.

13. Drinking milk- Spellbound
The photo does not do it credit, but Gregory Peck drinks milk, with the camera shown looking down it. The milk slowly disappears to reveal the mysterious man before him. It is Hitchcock having fun.






14. Vader arrives- Rogue One
Few shots in modern blockbusters have elicited the same response in a cinema as this did for me. The darkness followed by Vader's breathing was already good enough. The sudden ignition of the lightsaber was godly. The red hallway acts like the elevator doors in The Shining, setting up the forthcoming bloodshed. It is just utterly satisfying.

15. Billy the Kid riding- Pat Garret and Billy the Kid
Sam Peckinpah often creates imagery that just sticks to the brain but this slow pan might be his best work. Billy rides from the left before his shadow merges with the backdrop and is replaced with his reflection in the water. In a film about changing times and the demise of the old, this shot both acts as a metaphor for the whole film and, in many ways, the western genre.

 16. The Revenant
There are too many paintings in this film to choose one, so here are three.

- valley zoom in
The camera starts what seems like miles away, gradually pushing forwards into this monumental landscape. A black spec gets closer and closer and Hugh Glass becomes visible. Much like Interstellar, I love shots that make people seem insignificant, and a love shots of nature. Masterful.

 - a brief rest
An absolutely gorgeous bit of eye candy. Emmanuel Lubezki crafts another wallpaper shot with this twilight photography. And for reasons I cannot quite describe, I have always loved the stick in this shot.

 - reborn
Having spent the night in a horse, Hugh Glass is reborn under the dripping snow. The duration of the still is long, thankfully. Any shorter and I might not have been as aware of it. The sun shines down between two trees, another birth image. The fallen trunk from the night before aligns with the far background. I am running out of adjectives.