We could analyze why The Flash barely made a flicker at the box office all day long. There’s all of the controversy surrounding star Ezra Miller, it coinciding with the wave of “superhero fatigue”, the plan for it to “reset” the DCEU thus giving fans less reason to care…And you could take any or all of those stances, really. But for director Andy Muschietti, it comes down to something more direct: The Flash himself.
Appearing on Radio TU (via DC Films News), Muschietti said that while a number of the aforementioned problems nudged The Flash towards failure (although he does say he enjoyed working with Miller), he also pointed out that the character just couldn’t hit every demographic the studio wanted him to. “Years later, I started learning about other things, like how when a movie like this is made, there’s an expectation to appeal to all four quadrants of the audience. And this is a movie that, apart from everything else I mentioned, I think failed in the sense that it didn’t appeal to all four quadrants of the audience. When a $200 million movie is made, the studio expects to bring everyone, even your grandmother, to the theater. And in private conversations later on, I learned things like how a lot of people weren’t interested in the Flash as a character. Half of those four quadrants — the two female quadrants — many women didn’t care about Flash as a character.”
Full translation. Thank you @ReelAnarchy working with me on this:
“It’s the result of a mental health situation, you know. It turned out the way it turned out, let’s say. I mean, they were dealing with a mental health situation, and well, when you make a movie, there are things…
Andy Muschietti’s The Flash may have opened at #1, but it fell more than 70% in its second week, its total worldwide box office haul $271 million against a budget pegged upwards of $220 million. That drop points to a level of word of mouth that had no shot of ever getting grandmothers to the theater. And it didn’t exactly leave its mark on streaming, either, as it saw about 1.1 million viewers on its Max debut weekend; that’s less than what Black Adam and half of what Wonder Woman 1984 saw in their own premiere outings.
The Flash does indeed have its champions, but no doubt the studio and Muschietti are best moving forward, which they’ll be able to do as the “soft reboot” that The Flash set up kicks off this summer with James Gunn’s Superman. Also part of the Gods and Monsters chapter will be Muschietti’s own The Brave and the Bold, which we recently learned won’t be featuring Robert Pattinson as Batman.
Now far enough removed from its release, what are your thoughts on The Flash? Do you agree with Andy Muschietti’s take on why it failed?
Toy Story changed it all in the animation game. As the first entirely computer-generated feature, it meant that studios were going to have to up their game. Take a look at the highest-grossing animated films ever and the top 50 maybe has three, all of them from the Disney Renaissance. So it’s an understatement to say that Toy Story (and Pixar) is the chief reason. But if you thought traditional animation was threatened, what about stop-motion? Nick Park – creator of the Wallace & Gromit series – remembers that it put him and his studio on high alert.
Nick Park – a key player at Aardman Animations – recalled that Pixar’s rise in the animation world was a moment of reckoning for both himself and the artform in which he cultivated. As he told Inverse, “Back when Toy Story first came out in the ’90s, a studio like us, we’re thinking, ‘Oh, boy, how long do we have left?’” So what did Nick Park and company do? They pressed on, refusing to let new technology have a say in their storytelling. “But we kept going. As long as you’re telling good stories, compelling stories with compelling characters, then it’s just the technique really.”
Thanks to Toy Story – which was given a Special Achievement Academy Award, a rarity for an animated film – and the influx of (computer-)animated features in the industry, the Academy of Motion Picture Arts and Sciences introduced the Best Animated Feature Oscar in 2002. Just a few years later, Wallace & Gromit: The Curse of the Were-Rabbit won as the first stop-motion film to do so, although it wasn’t competing against Pixar. (Interestingly, it did have another stop-motion film, Tim Burton’s The Corpse Bride, up for the award.) However, with Wallace and Gromit: Vengeance Most Fowl likely to get a nomination this year, it will put it in direct contention with Inside Out 2…although my money is on Latvia’s Flow taking home the Oscar.
Now, we’re not trying to pit one against the other, but we have to point out that Nick Park is one of the most crucial voices in ensuring that stop-motion animation isn’t forgotten, even as technology and artificial intelligence develops. With that – and Vengeance Most Fowl being one of the best films of 2024 (read our 9/10 review here) – a lot of people are pulling for another stop-motion victory at the Oscars.
The killer AI-powered doll movie M3GAN (which gets its name from the fact that the doll is a Model 3 Generative Android) reached theatres back on January 6, 2023 – but months before the movie was even released, we were hearing that Universal Pictures was so pleased with it, sequel discussions were already underway. And less than two weeks after M3GAN made its way out into the world, Universal officially announced that we’ll be getting M3GAN 2.0 in 2025. The release date has changed a couple of times since then, moving from January 17 to May 16 to June 25, but the project has made its way through production and looks likely to stick with that June release date. In anticipation of the killer doll’s return, we have now put together a list of Everything We Know About M3GAN 2.0.
CREATIVE TEAM
The story for the original M3GAN originated from producer James Wan, with Wan’s Malignant and The Nun II collaborator Akela Cooper fleshing the idea out into a screenplay. In case you need a refresher, the first movie had the following synopsis: She’s more than just a toy. She’s part of the family. From the most prolific minds in horror — James Wan, the filmmaker behind the Saw, Insidious and The Conjuring franchises, and Blumhouse, the producer of the Halloween films, The Black Phone and The Invisible Man — comes a fresh new face in terror. M3GAN is a marvel of artificial intelligence, a life-like doll programmed to be a child’s greatest companion and a parent’s greatest ally. Designed by brilliant toy-company roboticist Gemma, M3GAN can listen and watch and learn as she becomes friend and teacher, playmate and protector, for the child she is bonded to. When Gemma suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady, Gemma’s unsure and unprepared to be a parent. Under intense pressure at work, Gemma decides to pair her M3GAN prototype with Cady in an attempt to resolve both problems — a decision that will have unimaginable consequences.
Gerard Johnstone (Housebound) directed M3GAN and has returned to the helm for the sequel. Details on the plot of M3GAN 2.0 are being kept under wraps, but Entertainment Weekly was able to learn the story was crafted through combining “a kernel of an idea” from Wan with an idea Johnstone had for the first movie. Johnstone said, “I had actually a different idea for the ending of M3GAN, which would’ve been interesting but probably not as satisfying. The good thing about doing a sequel is I got the chance to expand on that idea into a longer narrative. The idea James had fit really well with that. So, it was just a really good marriage of those two things.“
Before M3GAN was released, Wan hinted, “I always think of a bigger world. I don’t just think of that one story; I think of the bigger world. So if we’re fortunate enough to tell any other stories, we can pull from the bigger world.“ He also talked about the “bigger world” in an interview with Collider, “What I will say to that is, in any of my movies, whether it’s The Conjuring Universe, or Saw, or Malignant, or M3GAN here, we like to think of a bigger world. For me, it’s about creating the world, and knowing who the characters are, where the story could potentially go, and then building this bigger world, and then going into that and going, ‘Okay, I’m telling this particular story, but I know other stuff that’s going on.’ So if we’re fortunate enough to have sequels, then we have an idea of where we want to go.” And when he saw that the film had a successful opening weekend, he wrote on social media, “Hopefully what all this means is that we get the chance to explore the bigger world of A.I. and perhaps witness — M3gan’s Revenge?“
During an interview with Empire Magazine, Wan said we can expect to see the sequel lean further into exploring concerns about AI. “M3GAN is coming back in a big way. The first film came just at the right time [when concerns about AI were mounting], and we’re definitely leaning into that on the next one. We’re exploring the AI universe even further.“
Before work began on the sequel, Johnstone made sure the creative team got together for a debrief on the first movie, “like a post-game analysis, and look at what worked and how we can do it again.” He told Entertainment Weekly, “It was really important that the sequel is a response to what people really loved about the first movie, but also this evolving conversation and fear that we’re having about how A.I. is changing us and changing our children and changing society. In a way, M3GAN is a personification of all of those fears.“
All we know about the script for M3GAN 2.0, which was written by Akela Cooper, is that is continues the story of “Gemma as a reluctant parent, the Frankenstein’s monster element, and the real-world parallels around A.I.” Of course, M3GAN finds a way to return, and she is said to still be very much obsessed with Cady, who might be taking after her aunt by working on robotics.
M3GAN 2.0 is being produced by James Wan, Jason Blum, and Allison Williams, with Johnstone executive producing alongside Mark Katchur, Michael Clear, Judson Scott, Ryan Turek, Adam Hendricks, and Greg Gilreath.
CAST
M3GAN stars Violet McGraw and Allison Williams are back for the sequel, reprising the roles of Cady and Gemma, respectively. Brian Jordan Alvarez and Jen Van Epps are also returning from the first movie, playing Gemma’s colleagues Cole and Tess. New additions include Ivanna Sakhno (Ahsoka), Jemaine Clement (What We Do in the Shadows), Timm Sharp (Blunt Talk), and Aristotle Athari (Saturday Night Live). When Sakhno was cast, Deadline reported that she had landed “a major part” in the sequel, but details on the character she’ll be playing haven’t been revealed.
Then there’s M3GAN, and Williams told New York Comic Con attendees that M3GAN herself is a diva. “Animatronics are, you know, temperamental. Sometimes she is rolled onto set. The vibe shifts in the room. It gets way spookier. It was fun to do it the second time. ‘Okay, so we know how this is achieved. We know how to do it.’ We can have a little bit more fun with it. And make it bigger and more expansive, without giving too much away.“ Attendees were also shown a video from M3GAN, who said, “Hi, New York Comic Con! Miss me? Sorry I couldn’t be there, because I’m slaying on set for my killer new film M3GAN 2.0. I’ve been upgraded. See you nerds in June.“
M3GAN will be sporting some new looks this time around because, as Johnstone said to Entertainment Weekly, “She’s a living doll, and part of the fun of having a doll is being able to play dress-up. We had a couple of looks in the first film, but I wanted 10 different looks for M3GAN. For the sequel, I felt like here’s a chance to do that.“
FRANCHISE
Whether or not M3GAN 2.0 is a financial success at the box office, the franchise is still going to expand, as Wan’s company Atomic Monster and Blumhouse are making a movie called SOULM8TE, which is set in the same world as the M3GAN films. Wan, his wife Ingrid Bisu, and Rafael Jordan (Salvage Marines) crafted the story for this one, with Jordan writing the first draft of the screenplay. Kate Dolan (You Are Not My Mother) is on board to direct the film and has done her own rewrite of the script. SOULM8TE will show us what happens when a man acquires an Artificially Intelligent android to cope with the loss of his recently deceased wife. In an attempt to create a truly sentient partner, he inadvertently turns a harmless lovebot into a deadly soulmate. David Rysdahl (Oppenheimer) is playing the man, while Lily Sullivan (Evil Dead Rise) plays the android. Claudia Doumit (The Boys) is also in the cast, playing an unspecified role. SOULM8TE is set to reach theatres on January 2, 2026, about six months after M3GAN 2.0. James Wan and Jason Blum are producing SOULM8TE, while Michael Clear and Judson Scott of Atomic Monster serve as executive producers with with Ingrid Bisu. Alayna Glasthal is the executive leading the project for Atomic Monster.
If M3GAN 2.0 is a success, chances are good that we’ll see M3GAN again, because Wan and Blumhouse have brought the world several franchises with multiple installments. There have been jokes about Chucky, Annabelle, and even Fast & Furious crossovers, but those don’t seem likely. Instead, we’ll probably just see M3GAN continue to dance and kill as the years go by. Johnstone knows what sort of sequel he would like to see down the line: “Just jokingly, whenever the producers asked me what I think about a sequel, I’ve always said M3GAN 3000. M3GAN in a Mad Max universe. I would absolutely line up to see that.“
Lionsgate, which had a disastrous 2024 thanks to duds like Borderlands and The Crow, are having a good start to 2025, with Den of Thieves 2: Pantera opening in first place at the box office. With Deadline reporting a $15.5 million gross, it opened in line with the 2018 original (not adjusted for inflation). It likely would have performed even better were it not for the horrific wildfires currently decimating large parts of Los Angeles. The movie marks Gerard Butler’s strongest opening since Angel Has Fallen back in 2019, proving once again that he’s a consistent draw in these meat-and-potatoes action flicks.
Mufasa: The Lion King didn’t hold up quite as well post-holidays as we thought it would in our predictions, with it falling 50% to an $11.7 million weekend and a $187 million domestic total. That’s only a fraction of the $600 million plus grossed by its 2019 predecessor. Sonic the Hedgehog 3 came in third with $8.67 million for a $200 million plus total, making it the highest-grossing entry in the series thus far.
Meanwhile, Focus Features is proving to have a major hit with Robert Eggers’s Nosferatu, which grossed $6.3 million for an $81 million total. It’s currently Focus Features’s third highest-grossing domestic release of all time, behind Downton Abbey and Coraline. Moana 2 was right behind with $5.9 million for a $434 million total, while Wicked continued to pull in impressive numbers, with a $4.55 weekend and a massive $458 million total.
Searchlight’s A Complete Unknown was in seventh place this weekend, with the $4.5 million gross pushing it past $50 million, making it the studio’s highest-grossing domestic release in many years. While it hasn’t been a massive hit like director James Mangold’s previous biopic, Walk the Line, it will turn a handsome profit for the studio and should play well into award season. A24’s Babygirl has also proven to be a solid success, making $2.9 million for a $21 million domestic gross. While that’s not a huge number, it’s one of the most successful indie releases of the season, with it outgrossing a lot of the year’s more lauded awards fare. Ninth and tenth place is too close to call, with the Indian film Game Changer and the Pamela Anderson comeback film The Last Showgirl both making $1.5 million. Meanwhile, the $100 million Robbie Williams biopic Better Man landed with a thud outside the top 10, grossing $1 million.
By comparison, The Brutalist, which is only playing on 68 screens compared to Better Man’s wide release, managed to outgross it with $1.35 million, boding well for its gradual expansion over award season. One of the reasons A24’s The Brutalist is having a slow roll-out is the fact that it’s getting a roadshow release in 70mm at elect venues before a conventional release. With it earning multiple Golden Globes, it will likely earn a ton of Oscar nominations this Friday, and should help it turn into a solid hit for the studio despite the grim subject matter. It’s a masterfully made film, so if you can see it in 70mm, I highly recommend it.
Next weekend sees the release of The Wolf Man, which should easily take the top spot. Let us know in the comments if you plan to check it out!
Den of Thieves 2: Pantera officially kicked off 2025 as far as new release movies go. Here at JoBlo, we’ve extensively previewed all the movies coming up this year, with articles devoted to upcoming blockbusters, and horror flicks. But what are you most excited to see? Now’s the time to take our poll and let us know!
Certainly, there are a ton of movies coming out this year that seem like a sure thing, but if you take a deep dive into the schedule, you’ll see there are some gambles. One of the biggest is that Disney and Warner Bros are both gambling that superhero fatigue isn’t a real thing. Disney is coming out with no less than three massive Marvel movies this year, while Warner Bros is hoping to kickstart James Gunn’s DCU with the ultra-ambitious Superman. There are also some surprisingly big-budget auteur movies, including Paul Thomas Anderson’s $100 million plus The Battle of Baktan Cross, starring Leonardo DiCaprio, as well as not one but two Frankenstein movies (Maggie Gyllenhaal’s The Bride and Guillermo del Toro’s Frankenstein).
Take our poll and let us know what movie has you the most hyped!
We movie fans are used to the calendar getting shifted around: this sequel is getting pushed back to a new weekend, this guy’s new film is moving up to avoid competition, etc. But when we hear that a movie is being shelved, gloves come off: What do you mean we’re no longer getting Coyote vs. Acme? (Sorry, I’m still not over that one yet.) And while sometimes the word is true, other times it’s what is commonly called “BS.” And that’s exactly what has happened with the sequel to A Simple Favor, as Paul Feig has been forced to defend the status of the movie as rumors somehow developed that Amazon wouldn’t be releasing it.
Responding to an unsubstantiated claim that the sequel to A Simple Favor was being shelved and that there was much “tea” to be spilled, Paul Feig wrote, “This is total BS. Sorry. The movie is finished and coming out soon. Don’t believe anything you read on social media these days.”
This is total BS. Sorry. The movie is finished and coming out soon. Don’t believe anything you read on social media these days. https://t.co/UDkWZzbIvp
The poster continued to press Feig on just why there has been so much quiet on Amazon’s end for the A Simple Favor sequel – particularly when it comes to a release date or any promotional materials. To this, Feig gave him a little lesson on how films are made: “My friend, it’s called post production, which generally takes over half a year at least when you factor in editing, scoring, special effects, sound mixing, close captioning and all the technical quality control that has to be done. Our post schedule always had us finishing everything by mid-January. Movies don’t come out the second they’re finished because the studio spends the previous year deciding the best date to release it. We’ve always planned on something in the spring/summer of this year. That’s how movies work. I hope this helps.”
Sure, cameras started rolling in March 2024 and filming wrapped last May, but like Feig said – and like all of us movie lovers know – a motion picture takes so much time well after the last “Cut!” is yelled. And since a sequel to A Simple Favor doesn’t exactly have the prestige of a summer blockbuster, either, then there’s no point in slapping a confirmed release date this far out.
Are you looking forward to the sequel to A Simple Favor? What did you think of the first? Let us know below!
This week, our tips and recommendations hodgepodge will point you toward a 4K Blu-ray sale at Amazon that you don’t want to miss, help you get the most out of your PlayStation Portal, and suggest which of Marvel Rivals’ Vanguards will most effectively give you the edge over the competition. Click on for all this and…
This week, our tips and recommendations hodgepodge will point you toward a 4K Blu-ray sale at Amazon that you don’t want to miss, help you get the most out of your PlayStation Portal, and suggest which of Marvel Rivals’ Vanguards will most effectively give you the edge over the competition. Click on for all this and…
Welcome to CES 2025, where tech companies are showing off their latest innovations — some more practical than others. From $60,000 transparent TVs to RGB-lit RAM sticks, this year’s show is all about pushing boundaries (and price tags). Let’s take a look at some of the most eye-catching announcements and one fashion…
Welcome to CES 2025, where tech companies are showing off their latest innovations — some more practical than others. From $60,000 transparent TVs to RGB-lit RAM sticks, this year’s show is all about pushing boundaries (and price tags). Let’s take a look at some of the most eye-catching announcements and one fashion…
