The Commuter (2018)
“Jumanji” is likely to take in between $15 million to $20 million in its fifth frame, which will lift its total domestic take to around $320 million — making the action-comedy one of the top 60 domestic performers of all time, with plenty of drawing power in the weeks to come. International performance for the Dwayne Johnson-Kevin Hart vehicle has been impressive with $385 million so far.
“12 Strong,” produced by Alcon Entertainment, Black Label Media, and Jerry Bruckheimer, will pose the greater threat, with tracking showing an opening in the $14 million to $17 million range at 3,002 locations — including Imax, premium large format, and Dolby Cinema. Warner Bros. is handling distribution through its output deal with Alcon.
Chris Hemsworth and Michael Shannon star in “12 Strong” in a
Another year, another uncynical, riotously entertaining Liam Neeson action thriller. Which means, another chance we have of sitting down with the man himself. This time he was in London promoting the release of The Commuter, his fourth collaboration with director Jaume Collet-Serra.
Neeson discusses the unadulterated, unrelenting nature of the picture, in which he plays a regular guy thrown into irregular circumstances; tasked with uncovering the identity of a passenger aboard a train before it’s too late. Given the narrative there are plenty of big action sequences too, and we asked the Irish actor about getting in to shape for the role – particularly given he had to lose weight for Scorsese’s Silence.
We then speak about whether he misses being a commuter, just somebody who can blend in and not be stopped. This leads into a chat about the challenges in observing everyday human behaviour
Liam Neeson has become known over the last decade as one of Hollywood’s most reliable action leads, whether he’s cracking human skulls or punching a wolf in the face. His latest movie, The Commuter marks his fourth collaboration with Spanish director Jaume Collet-Serra, who also directed Neeson for Unknown, Non-Stop and Run All Night.
Neeson plays the eponymous train traveller, who is visited on the day of his sacking by a new passenger, who poses an unusual challenge. There is someone on board the train who doesn’t belong there and Neeson must identify them. If he does so successfully, there’s a hefty financial reward, but if he doesn’t, there are consequences for him and everyone he loves.
See Also: Read our review of The Commuter here
HBO will begin production on a TV adaptation of Alan Moore’s seminal graphic novel at some point this year, with Wilson expressing his desire to reprise the role of Daniel Dreiberg, saying “It was such a joy shooting that movie, I wanted there to be more of them”.
It’s doubtful that he’ll be involved with showrunner Damon Lindelof’s iteration, even though he jokingly states, “I certainly think we’re all more age appropriate now!” adding “I’m sure they want to stay as far away from us as possible, but I love Damon Lindelof.
For the latest Liam Neeson-led thriller the action star reunites with his Non-Stop, Unknown and Run All Night director for The Commuter. Collet-Sera came to the attention of many with his 2009 twisted horror film Orphan, a genre he returned to seven years later with the marvelous shark movie The Shallows.
Our man in New York, James Kleinmann, sat down with the director to talk about his latest movie The Commuter in which he cast Liam Neeson, Patrick Wilson, Vera Farmiga and Sam Neill.
In the interview they discuss how he got ideas by watching people on the train, why it’s such a joy working with Liam Neeson and Vera Farmiga and what we can expect from his next movie Jungle Cruise.
Jaume Collet-Serra Interview
The Commuter Movie Synopsis
Insurance salesman Michael is on his daily commute home, which quickly becomes anything but routine. After being contacted by a mysterious stranger,
Liam Neeson is currently out promoting his latest movie The Commuter, and he was recently asked about a possible return as Qui-Gon Jinn in the Obi-Wan Kenobi movie, which is currently in the very early stages of development. Neeson admitted that he did not even know that the project had been announced and much like Ewan McGregor,
Liam Neeson’s newest action thriller, The Commuter, debuted with a tangible $16.4 million, which was good enough for third place in this week’s top ten. Meanwhile, the Hugh Jackman vehicle, The Greatest Showman held onto the fourth spot, bringing in $15.3 million to raise its four-week total to $98.4 million. Although Star Wars: Episode VIII—The Last Jedi fell to fifth place just behind The Greatest Showman with $15.3 million, the film’s five-week total of $595.6 million is probably leaving everyone involved with it smiling these days.
“Jumanji” will finish the holiday with $291.6 million in 29 days, now ranking as the eighth highest grosser released in 2017. The action-comedy, starring Dwayne Johnson and Kevin Hart, has won the first two weekends of 2018 after debuting Dec. 20 in the shadow of “Star Wars: The Last Jedi” — and began significantly outperforming forecasts.
“Jumanji” has been the key factor in keeping overall business for the four days solid in the $197 million to $200 million range, up at least $10 million from the 2017 total. That leaves the year-to-date domestic total at $560 million through Monday — 4.9% ahead of the same point last year, according to comScore.
“Jumanji” could win its third straight box office crown during the upcoming weekend when new entries include Warner Bros.’ Afghan war drama “12 Strong,
His latest feature, The Commuter, finds him collaborating with one of the great directors of today’s thrillers, Jaume Collet-Serra, and working carefully in the confines of a single train car. Through a custom rig and well-executed trickery, he expands the scope of this location while still adhering to lucid spatial coherence, something Collet-Serra can pride himself on film after film.
I spoke with the cinematographer about the utterly brilliant opening sequence, utilizing the new technology of Cinefade, the custom rig he built, his collaboration with Michael Mann and Tony Scott, his early film-going memories, and more.
Let’s start at the beginning.
Source: Universal Pictures
UK Top Five Rank Film / Distributor Weekend Gross (Fri-Sun)Running Total Week 1 Darkest Hour (Universal) £4.04m £4.04m 1 2 Jumanji: Welcome To The Jungle (Sony) £2.5m £29.9m 4 3 Three Billboards Outside Ebbing, Missouri (Fox) £2.16m £2.35m 1 4 The Greatest Showman (Fox) £2.14m £13.53m 3 5 Coco (Disney) £1.88m £1.88m P*
Today’s Gbp to Usd conversion rate - 1.38. *P = previews.
Gary Oldman-starring Churchill biopic Darkest Hour opened to a strong £4.04m from its 607 locations this weekend. Universal’s awards contender posted a hefty screen average of £6,656.
The debut is comfortably director Joe Wright’s best UK opening, far ahead of Pan (2015) on £2.74m and Pride & Prejudice (2005) on £2.53m. Pride & Prejudice remains his best total on £14.57m, ahead of Atonement (2007) on £12.4m, and Darkest Hour will be looking to surpass those figures, particularly as the film continues to attract awards buzz. Gary Oldman starrer
Elsewhere on the show, we review The Commuter, starring Liam Neeson, Vera Farmiga, Patrick Wilson and Sam Neill. That’s right, there’s another high-stakes Liam Neeson action movie coming out that takes place on a mode of transportation.
Later on, the Cinemaholics catch up on some other films and shows we’ve been waiting a while to talk about. Jon and Maveryke rave about The End of the F****** World, a new series on Netflix, while Will recommends a great new 2018 pic that’s flying under the radar called Blame,
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M4A: The Film Stage Show Ep. 279 – The Commuter
00:00 – 16:05 – Introductions
16:06 – 41:17 – The Commuter review
41:18 – 01:38:57 – Spoilers
The Film Stage is supported by Mubi, a curated online cinema streaming a selection of exceptional independent, classic, and award-winning films from around the world. Each day, Mubi hand-picks a new gem and you have one month to watch it. Try it for free at mubi.
January 15 Update: A second consecutive weekend at the top for Sony’s Jumanji: Welcome To The Jungle saw it dominate the four-day Martin Luther King Jr. weekend as an estimated $35.4m propelled the tally to $291.6m after four weekends, ahead of debuts by The Commuter, Paddington 2, and Proud Mary.
DreamWorks/Participant’s The Post from Steven Spielberg vaulted 13 slots to number two through Fox following a theatre expansion from 36 to 2,819 as it added $23.4m for $27.9m in the fourth session.
Studiocanal’s Liam Neeson thriller The Commuter debuted solidly in third place on $16.4m in 2,892 sites. Warner Bros opened Paddington 2 at number six on a decent $15m in 3,702 venues – the $10.9m three-day portion down 21.4% on the $18.9m January 2015 launch of Paddington through Weinstein/Dimension.
Screen Gems opened the action thriller Proud Mary starring Taraji P. Henson at number eight on $12m in
A second consecutive weekend at the top for Sony’s Jumanji: Welcome To The Jungle saw it dominate the three-day Martin Luther King Jr. weekend as an estimated $27m propelled the tally to $283.2m after four weekends, ahead of debuts by The Commuter, Paddington 2, and Proud Mary.
The adventure smash is expected to gross around $34m over the four-day holiday period.
DreamWorks/Participant’s The Post from Steven Spielberg vaulted 13 slots to number two through Fox following a theatre expansion from 36 to 2,819 as it added $18.6m for $23.1m in the fourth session. The four-day haul is forecast to come in around $22m.
Studiocanal’s Liam Neeson thriller The Commuter debuted solidly in third place on $13.5m in 2,892 sites. Warner Bros opened Paddington 2 at number seven on a decent $10.6m (rising to around $14.5m over four) in 3,702 venues – down 21.4% on the $18.9m
Expanding to 2,800 theaters, Speilberg’s The Post finished second at the domestic box office earning an estimated $18 million. The Post is lead by an all-star cast which includes Meryl Streep, Tom Hanks, and Sarah Paulson among others. While not the box office results the filmmakers were expecting, The Post was able to hold off all three new wide releases.
Of the three new releases, The Commuter, Paddington 2 ($10.6 million), and Proud Mary ($10 million), only the Liam Neeson
A weekend result that puts the Dwayne Johnson family fantasy $15-million ahead of the latest “Star Wars” juggernaut suggests the days may be waning for “Star Wars” as the dominant franchise far above all the rest. For the first time, its fifth weekend fell below the comparable “Rogue One” last year.
And yet overall grosses are up — if not at the level of last week’s 20 per cent increase. This weekend’s overall results are close to a carbon copy
Sony’s surprise seasonal smash-hit Jumanji: Welcome to the Jungle earned another estimated $27m, pushing its total towards the $300 million mark. Bonus points were also earned from the film’s opening in China, where it debuted with $40 million, for a worldwide cume of $667 million.
Hoping to make it ‘game over’ for Jumanji was the wide expansion of critically acclaimed Pentagon Papers drama The Post. Steven Spielberg’s potential Oscar botherer raked in an estimated $18.6 million for a second place finish.
This meant that Lionsgate’s Liam Neeson on a train thriller The Commuter (read our review here) had to settle for third, delivering $13.45 million, which is about on-par with the actor’s
Figures reported in this article are for the Friday to Sunday period.
There’s no slowing down the Jumanji express as the Sony blockbuster earned an estimated $27 million from 3,849 theaters, a 28% decrease from last week. After one month of release, Jumanji: Welcome to the Jungle has commanded a massive $283 million so far.
Within the next two weeks, the Jake Kasdan feature should pass the $337 million brought in by last summer’s Spider-Man: Homecoming to become Sony’s biggest 2017 release. Overseas, Jumanji has earned a great $383 million so far.
Fox used the Mlk holiday frame to successfully launch
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