After a 2017 that saw a 9.3% drop off at Cineplex’s box office, a financial circumstance that has yet to abate thus far in 2018, box office tragedy for Cineplex is partially mitigated by the success earlier this year of Ryan Coogler’s Black Panther and Jake Kasdan’s Jumanji: Welcome to the Jungle.
Still, Jacob has more than the usual reason for wanting his prediction of a 2018 big summer box office to come true.
The eight Hollywood titles Jacob predicts will do well this summer …

• Ocean’s 8 (June 8), the all-female take on the caper comedy;
• Incredibles 2 (June 15), one of Pixar’s best creations makes its way back into the cinema;
• Jurassic World: Fallen Kingdom (June 22), the long-awaited re-invention of the franchise;
• Ant-Man and the Wasp (July 6), a reprise of the Paul Rudd starring surprise summer 2016 hit;
• Skyscraper (July 13), yet another Dwayne Johnson chest-pounder, this one filmed in Vancouver;
• Mamma Mia! Here We Go Again (July 20). Yes, the girls are back, and so are the boys;
• Mission: Impossible — Fallout (July 27), another Tom Cruise stunt fest (early reviews are good).

While movie-goers have a tendency to overindulge in popcorn movies during the summer movie season, there are alternatives for adults.

What under-the-radar, low-budget films are set to break out in the month of June, films that will demand your attention, and your box office dollars?

On Chesil Beach (June 1). Opening today at Fifth Avenue Cinema, there couldn’t be a better way to kick off indie June than with Saoirse Ronan’s latest knock-out, On Chesil Beach, an entrancing adaptation of Ian McEwan’s novella about a young British couple on their honeymoon in 1962. A lyrical and exquisite film — a repressed passion play, funny, delicate and heartbreaking, the film and the story possess an intoxicating quality of emotional wonder, just the sort of indie film that you want to have lead off your summer of worthy and rapturous indie cinema

Hereditary (June 8). The most anticipated indie film to be released in June, a film that took Sundance by storm, and a film that seems poised to conquer the summer horror box office, a fitting follow-up to John Krasinski’s low-budget breakout A Quiet Place as one of the year’s best horror films. Filled with chilling images, a powerhouse performance by Toni Collette, and one eerie young girl, Hereditary is sure to terrify audiences, and emerge as an unforgettable and scarifying experience at the movies.

Won’t You Be My Neighbour? (June 8). Morgan Neville’s new documentary about children’s entertainer Fred Rogers, a breakout doc at Sundance 2018, offers sanity in an insane world, one of the most hotly-anticipated films of the summer. And there’s more to come: a Tom Hanks-led biopic called You Are My Friend, that will follow this documentary from Oscar recipient and recent Cannes casualty Morgan Neville (20 Feet from Stardom).
More, from Matt Goldberg, writing for Collider …

I did not expect to cry as much as I did during Won’t You Be My Neighbor?, Morgan Neville’s documentary chronicling the life and career of Fred Rogers. As a cretinous youth who preferred the colourful Sesame Street to the staid Mister Rogers’ Neighborhood, it’s only now as an adult that I can fully appreciate what Rogers was doing with his unique TV programme. And yet as Won’t You Be My Neighbor? shows, Rogers, an ordained Presbyterian minister with a background working alongside child psychologists, lived his values and created something special and enduring as a result. Although the documentary derives a large part of its strength simply from watching Rogers in action, it’s still a moving tribute not only to the individual, but to the kindness and compassion he and his programme embodied.

At Sundance, a standing ovation at the end seemed more for Rogers himself than the film. The image that lingers is a shot of Rogers hunched and cold in a tall field, a lone figure fighting the wind. He couldn’t control life’s storms. But he’d show people how to endure them.

Leave No Trace (June 29). The new film from director Debra Granik (Winter’s Bone) means something unexpected and thoughtfully crafted that you won’t want to miss. With quietly wrenching performances from Ben Foster, as a PTSD-afflicted vet, and newcomer Thomasin Harcourt McKenzie, as his estranged daughter, this one’s a keeper. The last time Granik found a teenage actress to anchor her film it was Jennifer Lawrence. Early reviews indicate she’s found another potential breakout talent with the New Zealand-born McKenzie, the director’s latest a mesmerizing tale of life on the margins, a stunner, poignant, delicate, grim and captivating.
If you haven’t seen two other knockout indie films playing this week at Tinselown, get thee on down to Cineplex International Village now, to see …

Disobedience (Grade: B+). A gorgeously well-wrought film, with outstanding performances from Academy Award winner Rachel Weisz, with Rachel McAdams and Alessandro Nivola giving the performances of their lives, Disobedience marks the North American English language début of Chilean director Sebastián Lelio, who picked up the Best Foreign Language Oscar just three months ago for his breakout transgender tale, A Fantastic Woman. A melancholy story involving an often surprising yet deeply felt romantic triangle, from beginning to end Disobedience exerts a powerful grip on the viewer, offering a love story, as beautiful as it is devastating.

RBG (Grade: A+). Must, must, must viewing — if you have a daughter age nine or older, if you’re a young woman with agency attending secondary school, college, university or striking out on your own, if you’re a woman who during the course of her life has lived as a feminist, whether quietly or as a community activist, run right out to the theatre right now, don’t wait, because RBG is essential viewing, a certain nominee for a Best Documentary Oscar, and a film that will see you leaving the theatre on a high, the likes of which you won’t have experienced in years! Go, now.
At the age of 85, U.S. Supreme Court Justice Ruth Bader Ginsburg has developed a breathtaking legal legacy while in recent years becoming an unexpected pop culture icon. But without a definitive Ginsburg biography, the unique personal journey of this diminutive, quiet warrior’s rise to the highest court in the United States has been largely unknown, even to some of her biggest fans — until now.
Funny, sweet-natured, offering a love story for the ages, a women’s movement history lesson that will reside in you for years to come, RBG offers an unapologetic valentine to Supreme Court Justice Ruth Bader Ginsburg, but a sharp and spiky one too, in a fist-pumping, crowd-pleasing documentary that will have you talking with your friends and family for hours afterwards, as I witnessed at a screening last night, when groups of animated filmgoers looked for the nearest coffee shop to continue their passionate discussion of the feminist movement and women’s history and the monumental formal written legacy of a clear-eyed force of nature, the badass but even-tempered Ruth Bader Ginsburg, a figure of immense power in bringing about all that we now seem to take for granted in how women lead their lives, when only 40 short years ago, when many women, far, far too many women, were viewed and lived their lives merely as chattel, the powerless appendages of unremarkable, unforgiving men.
RBG excavates the truth buried below the surface in the late 20th century women’s movement: Ginsburg isn’t just an 85-year-old cultural icon, she’s also an 85-year-old cultural icon who spent a lifetime opting for litigating over protest, for painstaking incremental legal work that took years to bear fruit, who still feels more comfortable in the world of words and text than in the world of fame and notoriety. RBG captures that paradox beautifully.