(Photo by Warner Bros. / courtesy Everett Collection)

All Will Smith Movies Ranked

It’s now 20 years into the Willennium, and how has our reigning Fresh Prince fared since the 1990s? On the Oscars front, Will Smith notched two Best Actor nominations for 2001’s Ali, and then for The Pursuit of Happyness in 2006. He’s adapted two genre literary classics into blockbusters (I Am Legend and I, Robot), and he was there during the 2008’s summer of superheroes with Hancock, which released one month after Iron Man and one before The Dark Knight and Hellboy II.

Of course, that’s not to say Smith was slacking in the ’90s (though if he was, certainly no one would have noticed), which saw a diversified pop culture portfolio that includes a beloved TV show at the beginning of the decade, and a slew of hip-hop crossover hits at the end. Sandwiched in between were films like Independence Day, which at the time felt like the biggest movie event ever, and Men in Black, which got its first Smith-less sequel in 2019.

But on the subject of sequels that didn’t disappoint, and even surprised: Bad Boys For Life, which reunited Smith with Martin Lawrence for some Certified Fresh throwback buddy action. Next, you can see him in the inspirational family drama King Richard. Now, we’re ranking the best Will Smith movies by Tomatometer!

#30

After Earth (2013)
11%

#30
Adjusted Score: 19471%
Critics Consensus: After Earth is a dull, ploddingly paced exercise in sentimental sci-fi -- and the latest setback for director M. Night Shyamalan's once-promising career.
Synopsis: People were forced to leave Earth a millennium ago to establish a new home on Nova Prime. Now, Gen. Cypher... [More]
Directed By: M. Night Shyamalan

#29

Winter's Tale (2014)
13%

#29
Adjusted Score: 18402%
Critics Consensus: Winter's Tale tries to retain the grandiose sweep of its source novel, but fails to fill it in with characters worth rooting for or a sensible plot.
Synopsis: One night in early 20th-century New York, master thief Peter Lake (Colin Farrell) breaks into a Central Park mansion --... [More]
Directed By: Akiva Goldsman

#28
#28
Adjusted Score: 24348%
Critics Consensus: Well-meaning but fundamentally flawed, Collateral Beauty aims for uplift but collapses in unintentional hilarity.
Synopsis: When a successful New York advertising executive (Will Smith) suffers a great tragedy, he retreats from life. While his concerned... [More]
Directed By: David Frankel

#27

Wild Wild West (1999)
17%

#27
Adjusted Score: 22332%
Critics Consensus: Bombastic, manic, and largely laugh-free, Wild Wild West is a bizarre misfire in which greater care was lavished upon the special effects than on the script.
Synopsis: When President Ulysses S. Grant (Kevin Kline) learns that diabolical inventor Dr. Arliss Loveless (Kenneth Branagh) is planning to assassinate... [More]
Directed By: Barry Sonnenfeld

#26

Bad Boys II (2003)
24%

#26
Adjusted Score: 30485%
Critics Consensus: Two and a half hours of explosions and witless banter.
Synopsis: The drug ecstasy is flowing into Miami, and the police want it stopped. Police Detective Marcus Burnett (Martin Lawrence) and... [More]
Directed By: Michael Bay

#25

Gemini Man (2019)
26%

#25
Adjusted Score: 45941%
Critics Consensus: Gemini Man's impressive visuals are supported by some strong performances, but this sci-fi thriller is fatally undermined by a frustratingly subpar story.
Synopsis: Henry Brogan is an elite 51-year-old assassin who's ready to call it quits after completing his 72nd job. His plans... [More]
Directed By: Ang Lee

#24

Suicide Squad (2016)
26%

#24
Adjusted Score: 50932%
Critics Consensus: Suicide Squad boasts a talented cast and a little more humor than previous DCEU efforts, but they aren't enough to save the disappointing end result from a muddled plot, thinly written characters, and choppy directing.
Synopsis: Figuring they're all expendable, a U.S. intelligence officer decides to assemble a team of dangerous, incarcerated supervillains for a top-secret... [More]
Directed By: David Ayer

#23

Bright (2017)
27%

#23
Adjusted Score: 34870%
Critics Consensus: Bright tries to blend fantasy, hard-hitting cop drama, and social commentary -- and ends up falling painfully short of the mark on all three fronts.
Synopsis: In an alternate present day, humans, orcs, elves and fairies have been coexisting since the beginning of time. Two police... [More]
Directed By: David Ayer

#22

Seven Pounds (2008)
27%

#22
Adjusted Score: 34242%
Critics Consensus: Grim and morose, Seven Pounds is also undone by an illogical plot.
Synopsis: A life-shattering secret torments Ben Thomas (Will Smith). In order to find redemption, he sets out to change the lives... [More]
Directed By: Gabriele Muccino

#21

Made in America (1993)
31%

#21
Adjusted Score: 32812%
Critics Consensus: No consensus yet.
Synopsis: An honor student (Nia Long) discovers her father (Ted Danson) is a flashy car salesman and sperm-bank donor her mother... [More]
Directed By: Richard Benjamin

#20

Shark Tale (2004)
35%

#20
Adjusted Score: 42995%
Critics Consensus: Derivative and full of pop culture in-jokes.
Synopsis: Underachiever Oscar (Will Smith) is a pint-sized fish with grand aspirations. When mob-connected great white shark Frankie (Michael Imperioli) is... [More]

#19

Hancock (2008)
41%

#19
Adjusted Score: 50171%
Critics Consensus: Though it begins with promise, Hancock suffers from a flimsy narrative and poor execution.
Synopsis: A scruffy superhero named Hancock (Will Smith) protects the citizens of Los Angeles but leaves horrendous collateral damage in the... [More]
Directed By: Peter Berg

#18

Bad Boys (1995)
42%

#18
Adjusted Score: 45970%
Critics Consensus: Bad Boys stars Will Smith and Martin Lawrence have enjoyable chemistry; unfortunately, director Michael Bay too often drowns it out with set pieces and explosions in place of an actual story.
Synopsis: Miami-Dade detectives Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) blow a fuse when $100 million worth of heroin... [More]
Directed By: Michael Bay

#17
Adjusted Score: 47760%
Critics Consensus: Despite the talent involved in The Legend of Bagger Vance, performances are hindered by an inadequate screenplay full of flat characters and bad dialogue. Also, not much happens, and some critics are offended by how the film glosses over issues of racism.
Synopsis: During the Great Depression, Georgia socialite Adele Invergordon (Charlize Theron) announces a publicity-garnering high-stakes match at her struggling family golf... [More]
Directed By: Robert Redford

#16

I, Robot (2004)
56%

#16
Adjusted Score: 65943%
Critics Consensus: Bearing only the slightest resemblance to Isaac Asimov's short stories, I, Robot is still a summer blockbuster that manages to make viewers think -- if only a little.
Synopsis: In 2035, highly intelligent robots fill public service positions throughout the world, operating under three rules to keep humans safe.... [More]
Directed By: Alex Proyas

#15

Focus (2015)
56%

#15
Adjusted Score: 65221%
Critics Consensus: Focus may have a few too many twists and turns, but it nearly skates by on its glamorous setting and the charm of its stars.
Synopsis: Nicky (Will Smith), a veteran con artist, takes a novice named Jess (Margot Robbie) under his wing. While Nicky teaches... [More]
Directed By: Glenn Ficarra, John Requa

#14

Aladdin (2019)
57%

#14
Adjusted Score: 80006%
Critics Consensus: Aladdin retells its classic source material's story with sufficient spectacle and skill, even if it never approaches the dazzling splendor of the animated original.
Synopsis: Aladdin is a lovable street urchin who meets Princess Jasmine, the beautiful daughter of the sultan of Agrabah. While visiting... [More]
Directed By: Guy Ritchie

#13

Concussion (2015)
58%

#13
Adjusted Score: 65278%
Critics Consensus: Concussion lands a solid, well-acted hit on its impressively timely subject matter, even if its traditional sports drama structure is a little too safe to deserve a full-on dance in the end zone.
Synopsis: While conducting an autopsy on former NFL football player Mike Webster (David Morse), forensic pathologist Dr. Bennet Omalu (Will Smith)... [More]
Directed By: Peter Landesman

#12
#12
Adjusted Score: 74704%
Critics Consensus: Will Smith's heartfelt performance elevates The Pursuit of Happyness above mere melodrama.
Synopsis: Life is a struggle for single father Chris Gardner (Will Smith). Evicted from their apartment, he and his young son... [More]
Directed By: Gabriele Muccino

#11

Independence Day (1996)
68%

#11
Adjusted Score: 71486%
Critics Consensus: The plot is thin and so is character development, but as a thrilling, spectacle-filled summer movie, Independence Day delivers.
Synopsis: In the epic adventure film "Independence Day," strange phenomena surface around the globe. The skies ignite. Terror races through the... [More]
Directed By: Roland Emmerich

#10

Ali (2001)
68%

#10
Adjusted Score: 72998%
Critics Consensus: Though perhaps no film could fully do justice to the fascinating life and personality of Muhammad Ali, Mann's direction and Smith's performance combine to pack a solid punch.
Synopsis: With wit and athletic genius, with defiant rage and inner grace, Muhammad Ali forever changed the American landscape. Fighting all... [More]
Directed By: Michael Mann

#9

I Am Legend (2007)
68%

#9
Adjusted Score: 78598%
Critics Consensus: I Am Legend overcomes questionable special effects and succeeds largely on the strength of Will Smith's mesmerizing performance.
Synopsis: Robert Neville (Will Smith), a brilliant scientist, is a survivor of a man-made plague that transforms humans into bloodthirsty mutants.... [More]
Directed By: Francis Lawrence

#8

Men in Black 3 (2012)
68%

#8
Adjusted Score: 78563%
Critics Consensus: It isn't exactly a persuasive argument for the continuation of the franchise, but Men in Black III is better than its predecessor and manages to exceed expectations.
Synopsis: Even though agents J (Will Smith) and K (Tommy Lee Jones) have been protecting the Earth from alien scum for... [More]
Directed By: Barry Sonnenfeld

#7

Hitch (2005)
68%

#7
Adjusted Score: 75417%
Critics Consensus: Despite Hitch's predictability, Will Smith and Kevin James win praise for their solid, warmhearted performances.
Synopsis: Dating coach Alex "Hitch" Hitchens (Will Smith) mentors a bumbling client, Albert (Kevin James), who hopes to win the heart... [More]
Directed By: Andy Tennant

#6
#6
Adjusted Score: 76561%
Critics Consensus: An entertaining, topical thriller that finds director Tony Scott on solid form and Will Smith confirming his action headliner status.
Synopsis: Corrupt National Security Agency official Thomas Reynolds (Jon Voight) has a congressman assassinated to assure the passage of expansive new... [More]
Directed By: Tony Scott

#5
#5
Adjusted Score: 94674%
Critics Consensus: Loaded up with action and a double helping of leading-man charisma, Bad Boys for Life reinvigorates this long-dormant franchise by playing squarely to its strengths.
Synopsis: The wife and son of a Mexican drug lord embark on a vengeful quest to kill all those involved in... [More]

#4
#4
Adjusted Score: 83141%
Critics Consensus: A cheerfully undemanding animated adventure that's elevated by its voice cast, Spies in Disguise is funny, fast-paced, and family-friendly enough to satisfy.
Synopsis: Super spy Lance Sterling and scientist Walter Beckett are almost exact opposites. Lance is smooth, suave and debonair. Walter is... [More]
Directed By: Troy Quane, Nick Bruno

#3
#3
Adjusted Score: 38402%
Critics Consensus: No consensus yet.
Synopsis: King (Dermot Mulroney) is a young man, but he's already a veteran of life on the streets of Los Angeles.... [More]
Directed By: Marc Rocco

#2
Adjusted Score: 89101%
Critics Consensus: Though it betrays its theatrical roots, Six Degrees of Separation largely succeeds thanks to astute direction and fine performances -- particularly from an against-type Will Smith.
Synopsis: Privileged art dealers Flan (Donald Sutherland) and Ouisa (Stockard Channing) are hosting a dinner party when Paul (Will Smith), a... [More]
Directed By: Fred Schepisi

#1

Men in Black (1997)
92%

#1
Adjusted Score: 97654%
Critics Consensus: Thanks to a smart script, spectacular set pieces, and charismatic performances from its leads, Men in Black is an entirely satisfying summer blockbuster hit.
Synopsis: They are the best-kept secret in the universe. Working for a highly funded yet unofficial government agency, Kay (Tommy Lee... [More]
Directed By: Barry Sonnenfeld

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A wave of new product hits the marketplace at a time when exciting films are desperately needed to end the current box office funk. The science fiction thriller I Am Legend leads the way but will be joined by the family comedy Alvin and the Chipmunks and the romantic comedy The Perfect Holiday. For only the second time all year, just two films managed grosses of more than $5M last weekend. Hollywood critically needs this weekend to turn things around if it wants to end the year on a happy note.

Gunning for his seventh consecutive number one opening, Will Smith headlines the sci-fi thriller I Am Legend, the latest Hollywood film based on the classic 1954 novel of the same name. The PG-13 entry finds the superstar playing the last man alive on Earth after a virus wipes out the entire human population in the not-so-distant future. Legend could prove to be Smith’s greatest box office challenge to date since there are no famous co-stars, no big director, and the novel it is based on is not exactly a hot item in today’s era. This film is Will’s to make or break.

But for millions of movie fans, the former Fresh Prince plus action equals a definite trip to the local multiplex. The actor is right at the top of the current A list and is arguably the most bankable star alive consistently drawing in audiences that cut across all race, gender, and age barriers. Will Smith can bring out paying audiences for sci-fi (I, Robot), comedy (Hitch), drama (The Pursuit of Happyness), action (Bad Boys II), and animation (Shark Tale). With Legend he now flirts with the boundaries of horror as battling killer zombies that attack at night is a far cry from being a date doctor.

Warner Bros. has good timing for I Am Legend. The marketplace has been about as dead as the world depicted in the film and audiences are hungry for an event film to get them back into the habit of moviegoing. Competition will not be much of a factor and business will be coming in from many directions with teens and young adults leading the way and fans of sci-fi and action delivering a big bang too. The studio’s massive marketing push will do the trick and adding more bite will be the simultaneous Imax release where higher ticket prices ($16 in New York City) will give the grosses a boost. Plus the strategic move of playing the new prologue for next summer’s much-anticipated Batman flick The Dark Knight with the Imax release of I Am Legend just fuels more excitement and guarantees more asses in the seats.

Will Smith is looking to score one of the biggest December openings ever for a non-Peter Jackson flick. A big drop next weekend is likely, but for now consumers are keeping all eyes on I Am Legend which attacks 3,606 theaters on Friday. An opening weekend gross of about $50M could result.


Will Smith and friend in I Am Legend

Some younger moviegoers may not be in the mood for flesh-eating mutants. Luckily, Fox had the bright idea of getting jiggy with its new kidpic Alvin and the Chipmunks which will give parents and smaller children some harmless fun for the holidays. The PG-rated film is the latest big-screen treatment of a popular kids property from yesterday that gets a makeover for today’s sensibilities. When done right, ticket sales pour in from multiple generations. But when done wrong, you get disasters like The Adventures of Rocky and Bullwinkle.

Competition should not be too bad since Enchanted which is going into its fourth session is the only family film generating any decent dough right now. Instead, holiday shopping may be the real threat as many parents will wait until a little later before heading to the cinemas for this one. The property is not popular enough to create any true sense of urgency. But this is common in mid December. Last year, Charlotte’s Web got off to a slow start with a $11.5M bow but went on to make seven times that amount with a final tally of $82.6M. Fox’s marketing push has been aggressively targeting young kids and the studio knows that little success lies with teens and young adults. Going very wide with 3,476 playdates on Friday, Alvin and the Chipmunks could gross about $15M this weekend but hold on well over the holidays.


Alvin, Simon and Theodore

Christmas fun hits the multiplexes in another package with The Perfect Holiday from Yari Film Group. Morris Chestnut and Gabrielle Union star as single folks whose love lives cross while Queen Latifah and Terrence Howard play naughty and nice spirits along for the ride. The PG-rated film will play primarily to an African American audience which will make it a tricky sell at this moment in time. Though a very different film, Legend will steal away many in the target demographic and others who just saw This Christmas may not be looking for another story from the same category so soon. Poor reviews will also cause some box office headaches. Opening Wednesday in 1,306 locations, The Perfect Holiday could bow to about $7M over three days and $9M over five days.


The Perfect Holiday

Adding to the end-of-year frenzy that arthouse films find themselves in during awards season, Paramount Vantage’s The Kite Runner opens in 35 theaters in selected cities on Friday hoping to appeal to fans of the best-selling novel. The R-rated film in English and Dari tells of two young boys in Afghanistan whose lives take two very different paths after a violent incident right before the Soviet invasion of the country. Kite Runner has been included on some recent ten-best lists and scored two Golden Globe nominations. Reviews have been generally positive.


The Kite Runner

Following its not-so-explosive debut, The Golden Compass will have tough work cut out for it during the sophomore frame. The New Line adventure will see the sci-fi audience abandon ship and line up for Will Smith while parents looking for some fun for their kids will have some talking chipmunks to consider. A 50% drop could be in order for Compass which would give it about $13M for the weekend and a ten-day tally of $45M.

Disney’s Enchanted, which earned a pair of Golden Globe nominations, is slowly but surely making its way towards the $100M mark. Another moderate 35% decline would give the fairy tale pic around $7M which would push the sum up to $93M. Sony’s This Christmas will face direct competition from The Perfect Holiday so a 40% dip may result giving the pic $3M and $47M to date.

LAST YEAR: The man in black beat out some tough competition to conquer the box office. Will Smith’s The Pursuit of Happyness led a wave of new releases with its top spot debut grossing $26.5M for Sony. The feel-good smash played well over the holiday season surging to $162.6M domestically and $294M worldwide – an impressive sum for a Smith vehicle not driven by guns or special effects. Fox’s fantasy actioner Eragon bowed close behind in second with $23.2M on its way to $75M from North America representing only 30% of the global take. Overseas the numbers were much stronger with $175M in ticket sales for a powerful $250M tally worldwide. Third place also featured a new release. Paramount’s family film Charlotte’s Web debuted to the tune of $11.5M but reached a solid $82.6M by the end of the run. Rounding out the top five were the penguin toon Happy Feet with $8.4M and the romantic comedy The Holiday with $8M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

After having a grand old time shooting Ghost Rider in Melbourne, it looks like producer Avi Arad wants to bring more superhero movies down to Austrlia. Plus, word is that an Aussie might be helming the Silver Surfer spin-off.

First things first: According to an article at MSN.com, director Alex Proyas is being discussed as the guy to direct the inevitable Silver Surfer spin-off. Mr. Proyas is best known for Dark City and I, Robot.

Obviously no contracts have been signed yet, but having the silver dude spin off from the Fantastic Four sequel seems like sort of a no-brainer. Plus Proyas has shown his skills around the FX work, so it’d probably be a good match.

Arad promised to bring future Marvel properties down to Australia, and then he finished up with a plug for his latest project: Bratz: The Movie. Ugh.

Source: nineMSN.com

Two stories in one, both of which deal with science fiction and Will Smith.

First off, it looks like "Battlestar Galactica" producer Ronald Moore is penning a sequel to the Will Smith sci-fi flick "I, Robot." It seems to be in the very early stages, so don’t get all angry just yet. (Moore’s film credits include "Mission: Impossible 2," "Star Trek: First Contact," and "Star Trek: Generations.")

In other (much bigger) news, the first trailer for Will Smith’s apocalyptic thriller "I Am Legend" has hit the ‘net and you can check it out right here. Based on the classic story by Richard Matheson and directed by "Constantine" helmer Francis Lawrence, "I Am Legend" hits theaters on December 14th. And based on this trailer, it looks like it could be pretty darn cool.

Source: Collider.com, Apple Movie Trailers

Curious to know who’ll be directing the next James Bond flick? Join the club. One source has a short list of potential helmers, all of whom would be pretty … distinctive.

Here’s who Latino Review mentions as possible "Bond 22" directors:

Marc Forster ("Monster’s Ball," "Finding Neverland," and "Stranger Than Fiction")

Tony Scott ("Man on Fire," "Top Gun," and "Crimson Tide" — among many others)

Alex Proyas ("Dark City," "I, Robot," and "The Crow")

Jonathan Mostow ("Breakdown," "U-571," and "Terminator 3")

Our source seems to think that Mr. Forster is among the front-runners for the job, which is a little odd considering he’s the only one who’s never directed an action scene. (Good director, tho.) Personally I’d love to see what a Tony Scott 007 flick would look like.

We’ll let you know when the Bondmakers decide on the director they choose to follow "Casino Royale."

Source: Latino Review

A few years back the heaviest Hollywood hitters (actor-wise) were Tom Cruise, Tom Hanks, and Mel Gibson. Nowadays it’s guys called Ben Stiller and Johnny Depp — both of whom are trying to catch up with the $4.4 billion dollar man: Will Smith.

Seems that, according to MSNBC, Mr. Smith is in a class completely by himself. (They say his movies make more than Adam Sandler‘s and Will Ferrell‘s combined … and that’s pretty damn amazing.) Crossing demographics is what Will Smith seems to do best: "He’s the black Jimmy Stewart," says an industry insider. "He invites the white community in, yet he’s credible with the black community."

Unlike many of his high-profile and mega-bankable colleagues, Smith crosses genres as easily as he demolishes the box office. Comedies, action flicks, sci-fi adventures, dramatic films… The guy gets his finger in a lot of different pies. And he’s consistent, too. (He hasn’t had a real bomb since "Wild Wild West" — and even that flick managed to gross over $220 million worldwide.

For the record, here are the worldwide numbers for Will Smith’s last several movies:

"The Pursuit of Happyness" (2006) — $302m
"Hitch" (2005) — $368m
"Shark Tale" (2004) — $363m
"I, Robot" (2004) — $347m
"Bad Boys 2" (2003) — $273m
"Men in Black 2" (2002) — $441m
"Ali" (2001) — $87m
"The Legend of Bagger Vance" (2000) — $39m
"Wild Wild West" (1999) — $222m
"Enemy of the State" (1998) — $250m
"Men in Black" (1997) — $589m
"Independence Day" (1996) — $816m
"Bad Boys" — (1995) $141m

Not bad for a kid from Philadelphia.

Sources: MSNBC.com, Box Office Mojo

Oscar-winning screenwriter Akiva Goldsman is allegedly earning a $4 million dollar paycheck for his adaptation of Dan Brown‘s "Angels & Demons," which features the character played by Tom Hanks in an adventure that predates what went on in "The Da Vinci Code." Yeah, just like what happened with "Indiana Jones and the Temple of Doom."

From Deadline Hollywood Daily: "Akiva Goldsman, who adapted Dan Brown’s worldwide bestseller into a $755.6 mil hit pic, is receiving $4 million for the Da Vinci Code sequel in the works by both Imagine Entertainment and Sony Pictures. Not only is that major moola, but agents are telling me this represents a new $$$ high for hiring a screenwriter (not buying a spec script) — and not even an original screenplay, but an adaptation of a book. And, no, Goldsman isn’t getting a producer credit, so this is for straight scribbling."

Click here for the rest of the report, but before you do that, let’s all take a look at Akiva Goldsman’s batting average: "The Client" (1994), "Silent Fall" (1994), "Batman Forever" (1995), "A Time to Kill" (1996), "Batman & Robin" (1997), "Lost in Space" (1998), "Practical Magic" (1998), "A Beautiful Mind" (2001), "I, Robot" (2004), "Cinderella Man" (2005), "The Da Vinci Code" (2006), and the upcoming "I Am Legend."

The Johnny Depp juggernaut Pirates of the Caribbean: Dead Man’s Chest remained the most popular film in North America for a second weekend easily defending its box office crown against two new comedies that fought bitterly for the runnerup spot.

According to studio estimates, Sony’s Little Man narrowly edged out Universal’s You, Me and Dupree opening in second and third, respectively. With less than $400,000 separating the two new releases, chart positions could change when final numbers are tabulated on Monday.

Disney shattered more box office records with its runaway smash Pirates which hauled in an estimated $62.2M in its second weekend in theaters to boost its ten-day total to an eye-popping $258.2M. That’s the largest ten-day start of any film in history and the fastest any movie has cracked the quarter-billion dollar mark beating the old records which were both set last summer by Star Wars Episode III. The final Jedi sequel collected $236.9M in its first ten days and surged to $255.6M in its eleventh day.

Pirates did suffer a sizable 54% drop from its record-breaking opening weekend, however a large decline was widely expected since it had already absorbed such a massive amount of business when it entered its sophomore frame. Second weekend declines for the summer’s other big-budget tentpole pictures were larger including 56% for The Da Vinci Code, 59% for Superman Returns, and 67% for X-Men: The Last Stand. In just ten days, Dead Man’s Chest has quickly become the top-grossing film of 2006 and now sits at number 34 on the list of all-time domestic blockbusters ahead of Monsters, Inc. which grossed $255.9M in 2001.

The high seas adventure also enjoyed the third best second weekend gross ever trailing the $72.2M of 2004’s Shrek 2 and the $71.4M of 2002’s Spider-Man. Pirates is already the seventh biggest film ever for Disney and the fourth largest among live-action pics for the studio. The Mouse House also scored its 13th film to top the $200M mark which is the most of any Hollywood studio.Where can Captain Jack Sparrow sail to from here? The triple-century barrier should come crashing down by next weekend as the megablockbuster sequel continues on a trajectory that could see it loot $350-400M from the domestic market alone.

Opening in second place with an estimated $21.7M was Little Man starring Marlon and Shawn Wayans from director Keenan Ivory Wayans. The $64M Sony release averaged a stellar $8,567 from 2,533 theaters and tells the story of a diminutive crook who masquerades as a toddler in order to retrieve a stolen diamond. Teens and young adults made up the core crowd as studio data indicated that 59% of the audience was under the age of 25. Women slightly outnumbered the guys with 53% of the crowd. Reviews were mostly negative.

Little Man enjoyed an opening that was similar to that of the last effort by the Wayans brothers, White Chicks. That Sony comedy bowed on a Wednesday in June 2004 with a Friday-to-Sunday take of $19.7M as part of a $27.2M five-day launch on its way to $69.1M. The studio reported encouraging exit polls for Man with 85% marking it "excellent" or "very good." If estimates hold, it will be the third consecutive second place opening for Keenan Ivory Wayans after 2001’s Scary Movie 2 and White Chicks which were also summer comedies.

Close behind with an estimated $21.3M debut was Universal’s new comedy You, Me and Dupree. The PG-13 film averaged a solid $6,815 from 3,131 theaters and stars Owen Wilson as a houseguest who crashes in the home of a newlywed couple played by Kate Hudson and Matt Dillon. The $54M film played mostly to young adults in their twenties and thirties and skewed more towards women. Studio research indicated that 58% of the audience was under the age of 30 and 58% was female. Reviews were not very favorable. Dupree opened below the levels of Wilson’s previous hits like Starsky & Hutch which bowed to $28.1M in March 2004 and the $33.9M of Wedding Crashers which debuted one year ago this weekend.

While both new comedies opened with roughly the same weekend gross, and chart positions could change on Monday, it was Little Man that clearly delivered the more impressive performance. Playing in 600 fewer theaters, the Wayans brothers attracted enough of an audience to still sell the same amount of tickets and generated a per-theater average that was 26% stronger than Dupree’s. The Owen Wilson film however, cost $10M less to produce as it did not need to rely on costly special effects.

In its third battle against the forces of box office evil, the big-budget super hero flick Superman Returns fell to fourth place with an estimated $11.6M. Off a moderate 47%, the Warner Bros. pic lifted its cume to $163.7M after 19 days. The Man of Steel is well behind the $192.4M that War of the Worlds collected over the same period last year, but a bit ahead of Men in Black II‘s $158.1M from July 2002. However, those pricey pics posted stronger third weekend grosses of $15.2M and $14.6M, respectively. Superman Returns remains on a course to fly to $190-200M domestically which is less than what most in the industry were expecting from the Bryan Singer film.

Superman flew into over a dozen new countries around the world this weekend and grossed an estimated $38M from 36 markets to boost its international cume to $77M. In most territories, the comic book pic rocketed straight to number one, however in the United Kingdom it scored a solid number two bow behind the sophomore weekend of Pirates.

Despite competition from two new comedies, Meryl Streep held up well with her hit The Devil Wears Prada which grossed an estimated $10.5M in its third session. Down a little more than 30%, the Fox release has commanded an impressive $83.6M and is heading for the vicinity of $115M.

For the third straight weekend, the Disney/Pixar toon Cars enjoyed the smallest drop in the top ten and slipped less than 30% to an estimated $7.5M. After its sixth weekend, the G-rated blockbuster has upped its cume to a sturdy $219.7M passing The Da Vinci Code to become the third highest grossing film of the year after the Pirates and X-Men sequels. Cars is running 6% behind the pace of Pixar’s last film The Incredibles after the same amount of time, but is 3% ahead of the company’s Monsters, Inc. Those pics ended up with $261.4M and $255.3M, respectively. Cars looks to have enough gas in its tank to be able to reach $250M. Barring any surprise megahits, that would give Disney the two biggest blockbusters of the summer season. Coincidentally, the studio also ruled the 2003 summer contest with the first Pirates and Pixar’s Finding Nemo both crossing the $300M threshold.

Adam Sandler followed close behind in seventh with Click which fell 41% to an estimated $7M in its fourth frame. With $119.7M in the bank, the Sony release is still running a bit ahead of the studio’s 2003 Sandler vehicle Anger Management which collected $115.3M at the same point on its way to $135.6M. Click should be able to reach $135-140M.

The Lake House starring Keanu Reeves and Sandra Bullock grossed an estimated $1.6M, off 45%, for a $48.9M total. The Warner Bros. romance should end with a respectable $53M. Paramount’s Nacho Libre laughed up an estimated $1.5M, down 54%, putting its sum at $77.1M. Jack Black‘s wrestling comedy looks to go home with around $81M.

Warner Independent Pictures expanded its animated crime drama A Scanner Darkly from 17 to 216 theaters nationwide and hit the top ten with an estimated $1.2M. Richard Linklater‘s R-rated film averaged a healthy $5,486 per location and raised its cume to $1.8M. The Keanu Reeves-starrer will stay in roughly the same number of locations this coming weekend.

With a brutal heat wave hitting much of the country, audiences continued to flock to the hit global warming documentary An Inconvenient Truth which slipped a scant 5% to an estimated $1.1M. Now in its eighth weekend of release, the Paramount Vantage title finished a hair out of the top ten and has taken in a solid $17M.

Three films from the Universal Studios family fell from the top ten over the weekend. The racing sequel The Fast and the Furious: Tokyo Drift dropped 59% to an estimated $1M in its fifth lap pushing its domestic total to $59.7M. The $75M actioner has grossed an additional $42M overseas and continues to open in new countries each week. In North America, look for a final take of $61M.

The Break-Up fell 52% to an estimated $777,000 giving the Vince VaughnJennifer Aniston comedy $116M to date. The $52M production should end its relationship with theaters at $118M. Internationally, Break-Up has grossed $24.5M thus far with major European markets like the United Kingdom, Germany, and Italy still to come between now and September. The Focus Features actioner Waist Deep tumbled 63% to an estimated $695,000 putting its cume at $20.7M. Little more is expected for the inexpensive film which might close with around $22M.

The top ten films grossed an estimated $146.1M which was off 4% from last year when Johnny Depp‘s Charlie and the Chocolate Factory debuted at number one with $56.2M; but up 8% from 2004 when Will Smith‘s I, Robot opened in the top spot with $52.2M.

Author: Gitesh Pandya, www.BoxOfficeGuru.com

Michael Bay already owns his own production company (Platinum Dunes), so obviously he has to own his own FX house! This explains why the "Transformers" director and a partner dropped what must have been a LOT of cash to purchase well-regarded FX company Digital Domain.

Digital Domain, the Academy Award®-winning full-service digital studio and production company responsible for jaw-dropping visual sequences in such films as "Titanic," "The Day After Tomorrow" and "I, Robot" as well as commercials such as the recent Budweiser Super Bowl "Superfan" spot, has been acquired by South Florida-based Wyndcrest Holdings, LLC, a group led by director Michael Bay and investor John Textor.

Carl Stork, a long-time senior Microsoft executive and principal of Wyndcrest Holdings, has been elected chief executive officer and a member of the Board of Directors of Digital Domain, replacing Scott Ross who is stepping down as CEO and remaining a consultant to the company. C. Bradley Call will remain president and chief operating officer. Bay and Textor will co-chair the Board of Directors.

"At a time when every top grossing motion picture is relying on digital visual effects to help tell compelling and entertaining stories, we believe this translates into a bright future for companies in this field, and we believe Digital Domain represented a unique opportunity to invest," said Stork, whose accomplishments at Microsoft included leading the development of Windows® 95/98. "The creative and talented team at Digital Domain has a great reputation in both the feature film business and in the commercial advertising community for high-quality, award-winning work. Adding the expertise, business acumen and diverse relationships of the Wyndcrest principals will allow Digital Domain to capitalize on the rapidly expanding opportunities in the entertainment business.

"On behalf of all involved with Digital Domain, I would like to thank Scott Ross for his remarkable contributions as a founder and leader of the company over the past 13 years," Stork said. "We intend to draw on his advice and counsel over the coming years and we wish him well in his future endeavors."

"Having worked with Digital Domain in the past, I am well aware of the talent and creativity of the team here, and understand first-hand why the company has a well-earned reputation for creative and high-quality work," said Bay. "Rapidly evolving digital visual effects technology is going to allow motion picture directors to tell even more compelling and visually stunning stories in the future, and we believe that Digital Domain is uniquely positioned to take advantage of these new technologies, as well as new distribution channels and platforms."

"Digital Domain is well-positioned with exceptional people and leading technology at a time when reliance on visual effects is increasing in every sector of entertainment," said Textor, who has known Bay since their days at Wesleyan University and has been his business partner for eight years. "We look forward to combining these attributes with a renewed commitment to build the commercial and film industries’ leading director-centric visual effects business. Through the addition of new capital and the appropriate strategic relationships, we are also committed to the extension of the Digital Domain business into the direct development of animated films and effects-reliant live action films."

"While we all believe we’ve accomplished a great deal in the industry, we’re incredibly enthusiastic about the future as we believe this new ownership group will provide the necessary capital and strategic resources to allow us to grow our business profitably in both feature films and in advertising while retaining an environment that encourages our artists to strive for ever-greater heights of creative excellence," said Call, a decade-long Digital Domain executive who assumed the presidency of Digital Domain, as well as day-to-day responsibility for leading the company, in 2002.

"We know that our future depends on continuing to satisfy the creative needs of our clients in a manner, and on a budget, that other competitors cannot match," Call added.

Stork will take over as Digital Domain CEO effective immediately.

–Digital Domain press release courtesy of ComingSoon.net.

In addition to the three titles mentioned above, Digital Domain also provided visual effects for movies such as "True Lies" (their first flick), "Apollo 13," "The Fifth Element," "Armageddon," "Fight Club," "X-Men," "Charlie and the Chocolate Factory," "Stealth," "Aeon Flux," and the upcoming "My Super Ex-Girlfriend."

Forgive me if this sounds like a broken record (er, corrupted MP3, sorry) but you know that big-screen adaptation of Richard Matheson‘s "I Am Legend" that’s been threatening to happen for about 432 years? It’s a definite green-light done deal, locked and scheduled. We promise.

According to Variety, "Will Smith will star in "I Am Legend," the long-gestating Warner Bros. adaptation of the Richard Matheson novel to be directed by "Constantine" helmer Francis Lawrence.

Set in post-apocalyptic New York, "Legend" is about the last healthy man following the release of a virus that decimates the population. To survive, he must battle mutants that wreak havoc during the night."


Smith in "I, Robot"

Matheson’s "Legend" has been adapted into flick form twice before: 1964’s "The Last Man on Earth" and 1971’s "The Omega Man." The legendary (pun intended) author was also the writer and/or inspiration for movies like "The Incredible Shrinking Man" (1957), "Duel" (1971), "The Night Stalker" (1971), "Trilogy of Terror" (1975), and "Somewhere in Time" (1980). He also co-wrote "Jaws 3-D," if you can believe it.


The Lawrence directed "Constantine"

Akiva Goldsman, who previously worked with Mr. Smith on "I, Robot," is writing the screenplay. For the whole elaborate history on this project, check out the full Variety article.

Busy young actor Shia LaBeouf is in late-stage talks with Paramount to star in their (and Michael Bay‘s) upcoming big-screen rendition of "The Transformers," says IGN FilmForce. Modern movie fans will recognize the young Mr. LaBeouf from his work in flicks like "Holes," "Charlie’s Angels: Full Throttle," "I, Robot," and "Constantine."

Says IGN FF: The Allspark first reported that 19 year-old actor Shia LaBeouf is in the running to play human protagonist "Sam" in the big-screen version of The Transformers. IGN FilmForce has now confirmed via reliable sources that LaBeouf is indeed in negotiations for the role.

A casting breakdown making the rounds online describes the human characters as follows: "Sam – teenage male, somewhat nerdy, but ultimately heroic. Miguela Barns – teenage female, Sam’s love interest. Cpt William Lennicks – 30s male, leader of the military. Maggie – female, really hot, really smart, works as a codebreaker for the government. John Kellar – 50’s/60’s male, US Secretary of State. Glen Whitman – 20’s male, technogeek, comic relief."

Michael Bay is directing "The Transformers" for Paramount (it was a co-venture with DreamWorks until Par bought the studio). Steven Spielberg is exec producing the film."

I still don’t think a live-action movie can touch the magic that is 1986’s "Transformers: The Movie." (But you know I’ll be there opening night!)

Per the Hollywood Reporter, Shia LaBeouf ("The Greatest Game Ever Played") will star in DreamWorks’ new thriller, "Disturbia," which will be that studio’s first project under the Paramount umbrella; D.J. Caruso will direct.

From the Hollywood Reporter: "Written by Christopher Landon, the story revolves around a troubled high school senior (LaBeouf), still grieving over his father’s death, who is sentenced to house arrest after an outburst of anger at school. While at home, he becomes convinced that his neighbor is a serial killer.

Landon wrote the initial script, and Carl Ellsworth, who wrote "Red Eye" for DreamWorks, did a rewrite. Montecito, which has a first-look deal with DreamWorks, picked up the script as a spec in June."

—–

LaBeouf, whose star has recently begun to take off in memorable sidekick roles in films like "I, Robot" and "Constantine," had leading roles in family flicks "Holes" and the recent period golf drama, "The Greatest Game Ever Played."

Director Caruso’s most recent films are 2002’s "The Salton Sea," "Taking Lives," and "Two For The Money."

International acting stud Javier Bardem and well-rounded movie director Mike Newell are about to bring the Pulitzer Prize-winning "Love in the Time of Cholera" to the big screen for New Line. Adding just a little more pedigree to the mix is screenewriter Ronald Harwood.

Says The Hollywood Reporter: "Javier Bardem is set to star in the epic "Love in the Time of Cholera," which Mike Newell is directing for New Line Cinema. Based on the novel by Nobel Prize-winning author Gabriel Garcia Marquez, "Cholera" follows a romantic young man (Bardem) who loses the girl of his dreams to a wealthier suitor and consequently spends the next 50 years building his life and reputation so that one day he might have her. Other women find this devotion irresistible, so he finds himself with frequent female companionship throughout his wait, but his heart always remains faithful to the woman who first captured his heart."

Mr. Bardem is known best for performances in "The Sea Inside," "The Dancer Upstairs," and "Before Night Falls."

Mike Newell’s films include "Four Weddings and a Funeral," "Donnie Brasco," and "Harry Potter and the Goblet of Fire."

Ronald Harwood wrote "The Pianist," "Being Julia," and Roman Polanski‘s rendition of "Oliver Twist."

Currently in post-production, the Nicolas Cage / Ethan Hawke action movie "Lord of War" has been picked up for North American distribution by Lions Gate Films. Variety fills us in on the plot: it’s "the story of an arms dealer who re-evaluates the morality of his occupation while on the run from an Interpol agent." Written and directed by Andrew Niccol ("Simone," "Gattaca"), "Lord of War" also stars Bridget Moynahan ("I, Robot"), Ian Holm ("Alien"), and Jared Leto ("Fight Club").

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