Moana Soundtrack Vs Frozen Soundtrack: Which Disney Movie Has Better Songs And Lyrics

Moana Soundtrack Vs Frozen Soundtrack: Which Disney Movie Has Better Songs And Lyrics
Elsa From Frozen and Moana

While Disney animation has had more than its share of hits over the years, there's been nothing quite like Frozen. It's the highest-grossing animated movie around the world the studio has ever had. While a great deal of that success comes from the film's story, which subverts many of Disney's own tropes, you can't overlook the importance of the music in Frozen either.


The soundtrack to Frozen became the first soundtrack album to accumulate one million downloads. It's incredibly successful, but is it actually the best Disney soundtrack?


A couple of years after Frozen, Disney's next "princess" would debut on the big screen in Moana. While Moana would not set the records that Frozen did, it still became an incredibly popular film, in large part because of its music. Let's take a look at the soundtracks and see which one truly is the best.




Frozen Soundtrack


Let It Go: You can't talk about Frozen without discussing "Let it Go." The song is far and away the biggest hit in either movie from a popularity standpoint. There's a reason for that: it's really, really good. Elsa sings the song after leaving home as she decides that she's going to embrace her magic rather than hide it. It's an anthem and it's an inspiring song as any song of this ilk should be.


Do You Want To Build A Snowman?: One of the earliest songs heard in Frozen, "Do You Want to Build a Snowman" is the song the movie uses to jump us forward in time. After Elsa has been sequestered away, Anna sings it as she tries to reconnect with her sister. It's an interesting song because what starts out as the fun and lighthearted romp from a child transforms over the course of the song into an absolutely melancholy tune sung be a young woman. The question, "do you want to build a snowman?" starts out as a joyous invitation and becomes a tearful plea.


For The First Time In Forever: Every great animated Disney movie, and most musicals in general, have what's called the "I Want" song. The song in which the protagonist sings about their dreams which will drive the plot of the story. In Frozen, that song is "For the First Time in Forever." It's mostly sung by Anna as she revels in the excitement of seeing the castle gates opened for the first time in years. However, it also shows us what Elsa wants, which is for all this to just end, showing how the sisters will conflict later in the story.




Love Is An Open Door: Sung by Anna and her new beau Hans, "Love is Open Door" is one of the more interesting pieces of music in Frozen because it fulfills two roles that we normally see songs have in Disney movies. First, it's the love song, as the pair sing about how they're falling in love with each other. However, it's also the villain song. Disney villains almost always get great songs to sing and if you pay attention to the lyrics, you realize that what Hans is really saying is that Anna's love is an opportunity that he can take advantage of.


In Summer: Whether you like or loath "In Summer" is going to depend entirely on how you feel about Olaf the Snowman as a character. Olaf's childlike innocence might not work for everybody, but for those who would like to give Olaf a warm hug, the song is great. The boundless enthusiasm Olaf has for something he knows nothing about, the heat of summer, is hilarious and the tune has the wittiest lyrics of any song on the Frozen soundtrack.


Fixer Upper: The final song to appear in Frozen is sung by the side characters the trolls. It sort of works like a secondary love song, though it's played exclusively for laughs rather than to build romance in any meaningful way. It's a cute tune with some funny lines, but it's probably not anybody's favorite song.




Frozen Heart: The first song in Frozen is an underrated tune because it's the one that actually sets the tone for the entire movie. "Frozen Heart" opens the entire movie as a group of men sing while they work harvesting ice. The booming male voices off set the female voices that dominate the rest of the film. And the song's repeated title line "beware the frozen heart" hints at the larger conflicts that will come later in the movie.


For The First Time In Forever (Reprise): The reprise of "For the First Time in Forever" is the moment when Anna realizes that her sister truly needs her help. Elsa only wants Anna to go away, continuing to believe that's the only way to keep her safe. It's a brief interlude but an interesting juxtaposition on the previous version of the song.


Reindeer(s) Are Better Than People: It's brief and its silly, but it's also fun. Frozen doesn't have talking animals the way many Disney movies do, so when it comes to Sven, Kristoff speaks for him. Kristoff performs the song as entertainment for himself and his reindeer while they find a place to sleep for the night.




Moana Soundtrack


How Far I'll Go: "How Far I'll Go" is Moana's "I want" song. It's all about the call the young Moana feels pulling toward the ocean. What makes this song a bit more unique in Disney history is that Moana is more torn than the usual Disney heroine. She knows she has responsibilities at home and she wants to live up to those responsibilities. She doesn't want to leave her life behind, she wants both, and she's not sure how to make that happen. She almost wishes she didn't feel the need to voyage, but she just can't help it.


You're Welcome: Who would ever guess that one of the catchiest Disney songs in recent memory would come from The Rock? And yet, Maui's one solo tune in Moana, "You're Welcome" is the biggest ear worm on the Moana soundtrack. It's got a great tune and punchy lyrics, and isn't short on ego, so of course it works for The Rock.


Shiny: Moana doesn't have a traditional villain that our heroes battle and defeat at the end of the story, so the closest thing to a villain song comes from the giant crab Tamatoa voiced by Flight of the Conchord's Jemaine Clement. It's the biggest musical number in the film and Clement owns the performance, going full glam rock with it.




Where You Are: "Where You Are" is the Moana song that gives you all the backstory you need to understand the story. In just a few minutes you have a complete understanding of Moana's life on the island. We learn what is expected of her, and begin to see that she's conflicted about it. It's got a great melody, too. Similar to one of Frozen's songs, it take us through multiple time periods, and emotions, from the beginning to the end.


We Know the Way: Sung by the great Opetaia Foa'i and Lin-Manuel Miranda, who co-wrote much of the Moana soundtrack, the song comes in two parts. One part is a combination of Samoan and Tokelauan, and the other half is written in English. It's a great piece that uses native languages of the South Pacific in order to properly set the story. It's a wide, sweeping, and open song that feels like you're traveling the wide open ocean.


How Far I'll Go (Reprise): While the original rendition of the song is girl conflicted about what the right choice is, the reprise to "How Far I'll Go" is a woman who has made her choice. She's both excited to be setting off on her journey and determined due to its nature. There's no turning back from this moment and you can feel it in the way Moana sings.




I Am Moana (Song of the Ancestors): At her darkest point, Moana is visited by the spirit of her grandmother. Finally, Moana's torn soul -- that wants to help her and also travel the sea -- finds peace by realizing that she can do both. She understands who she is now, and she chooses to continue her journey. It's an incredible song that will stir something inside you every time you hear it.


We Know the Way (Finale): Moana's finale piece is a return to the voice of Lin-Manuel Miranda in a triumphant finale song that seems Moana and her family traveling the oceans looking for new islands to settle. Moana's people have entered a new era in their lives and Moana is the reason.


An Innocent Warrior: "An Innocent Warrior" probably isn't a song you're going to sing in the car unless you're fluent in several polynesian languages, but the fact that you don't know the words doesn't make the song any less beautiful. Played as Moana has her first encounter with the ocean as a living entity, we see the baby Moana having fun playing with the water, but while she is playing the lyrics of the song tell us about the journey that stands in front of the girl and how important it will be.




Logo Te Pate: Another song you can't sing along to unless you speak Tokelauan, "Logo Te Pate" is the montage song that plays over a collection of scenes that shows Maui training Moana to become a wayfinder. It's an upbeat number and the lyrics, even if you don't understand them, give you a feeling of excitement. We know things are looking better for our heroes.


Know Who You Are: All of Moana is about the title character finding out who she is. In the end, success in her quest comes from helping somebody else find themselves. Te Fiti, whose heart Moana needs to restore, is also the monster who has been blocking Moana's path. The young girl finally realizes this and we get a soulful song that's liable to bring a tear to your eye.


Tulou Tagaloa: The first song of Moana is only played over the opening Disney logos, and isn't technically part of the movie, but it is part of the soundtrack, and it's a lovely (albeit brief) tune. Translated from Samoan, the lyrics are about welcoming you so that you may witness and understand how beautiful this world is, make this song the perfect way to start the story of Moana.




Which One Is Better?


This certainly is a tough call. With Frozen you have one of the most iconic songs that Disney has ever produced in "Let it Go" and if we were judging based on which soundtrack at the best single song, that would determine our winner.


However, when taken as a complete soundtrack, the edge has to go to Moana over Frozen. Everything on the Frozen soundtrack feels like something that would belong at home on the Broadway stage, and of course, Frozen is now a successful Broadway show as well as a movie, and while that's not a bad thing by itself, Moana's soundtrack just has more variety.


In addition, the fact that the lyrics to many of Moana's songs include actual Polynesian lyrics, gives the songs a better sense of place. No matter when or how you hear the soundtrack to Moana, you feel like you've been transported back to the movie when you hear somebody sing in Tokelauan.




Both Frozen Moana have soundtracks that will undoubtedly stand the test of time. But in my opinion, Moana's is ever-so-slightly better.


Booksmart’s Olivia Wilde Reveals The Teen Comedies That Inspired Her In This Exclusive Featurette

Booksmart’s Olivia Wilde Reveals The Teen Comedies That Inspired Her In This Exclusive Featurette

In their own way, teen comedies have the capacity to demonstrate the very real power of cinema. Those who grew up with a close relationship to movies can likely rattle off a series of fantastic titles they saw through their high school years, and it’s because of the significant impact of watching characters your own age struggle with similar issues – while also experiencing wacky, hilarious hijinks. Every living generation has their personal examples of this, and now Olivia Wilde has contributed to this wonderful legacy with her directorial debut, Booksmart.


At the same time, though, hearing some wonderful comparisons to legitimate classics has really amazed the filmmaker in the run-up to the release of her movie – which is something she joyously explains in this exclusive new featurette:


As she explains in the video, Olivia Wilde was excited to make Booksmart as her first directorial effort because of her own personal love of teen comedies – and she performs a bit of title rattling herself, with a special focus on the many classics from writer/director John Hughes. Her intention was to evoke the very special feeling of being young and the freedom that comes with it, and it’s apparently been a thrilling experience getting feedback with that reaction from audiences that have already seen the film. Said Wilde,





The reason I wanted to make Booksmart is because I love these high school classics. I love these generational anthems. I think about movies like The Breakfast Club, Sixteen Candles, Ferris Bueller's Day Off, Clueless… I wanted to make something that celebrates the kind of freedom of youth, but to hear people say like, 'Oh, this movie makes me feel how I felt when I watched Clueless' is kind of mind-boggling.



Based on an original screenplay by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman, Booksmart tells the story of Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) - two overachieving, anti-social high school seniors who are exceptionally proud of the hard work they’ve done and the high grades they have earned. They are both set for extremely bright futures, but the wind gets totally taken out of their sails when they discover that many of their party-loving classmates are also getting ready to go to some of the best colleges in the country. Feeling like they’ve missed out on a key part of the teenage experience, they vow to make the most of the night before graduation by attending a party being thrown by one of the most popular kids in school.


The movie very much shares a kindred soul with the wonderful titles mentioned earlier, and Olivia Wilde hopes that it it’s a film that connects with audiences of all ages – both the young people who are currently experiencing similar tribulations as the protagonists, and those who are older and can reflect on having those same experiences in their youth:





I wanted to make [teenagers] something that acknowledges how awesome they are, while also making something for the rest of us to just look at and feel super nostalgic.



Booksmart, which co-stars Will Forte, Lisa Kudrow, Jason Sudeikis, Jessica Williams and more, arrives in theaters this Friday, May 24th.


James Gunn's Return To Disney Goes Beyond Guardians Of The Galaxy Vol. 3

James Gunn's Return To Disney Goes Beyond Guardians Of The Galaxy Vol. 3
Rocket in Guardians of the Galaxy - Mission: Breakout

When big news hits, as you might imagine, things at CinemaBlend go a little bonkers. Everybody goes slightly crazy as we all try to make sure we have all our bases covered. Things went crazy like that last summer when the word came down that Disney had dropped James Gunn from Guardians of the Galaxy Vol. 3, and they went that way again just now as the news came out that he's back. While this news is huge for the Marvel Cinematic Universe, the fact is that Gunn's involvement with these characters went beyond two, and now one day, three movies. James Gunn's return is going to be very good news for Disney's theme park business as well, because the Guardians of the Galaxy are a big part of that.


James Gunn was directly involved in the development of Guardians of the Galaxy - Mission: Breakout, the first marvel themed attraction at a Disney theme park. In fact, he directed the video sequences of the ride while he was in production on Guardians of the Galaxy Vol. 2.


Right now, a major new E-ticket attraction is under construction at Epcot at Walt Disney World. It's a Guardians of the Galaxy themed roller coaster. While most of the details of the experience itself have yet to be confirmed, beyond some cool technical stuff, we fully expect the MCU versions of these characters to feature prominently. The initial indication was that James Gunn and the Guardians actors would film whatever sequences were required for the attraction while Guardians of the Galaxy Vol. 3 was in production. When Gunn left the job and the movie was put on indefinite hold, it was far from clear what that meant for the theme park attraction.





The ride has something of a hard deadline. While no official opening date has been given, the ride has been promised to be open in time for Walt Disney World's 50th anniversary, which will be in 2021.


While we have no idea at this point when Guardians of the Galaxy Vol. 3 will be going into production, we do know that it will happen sometime after The Suicide Squad aka Suicide Squad 2 is completed. With that film looking at a summer 2021 release date, Gunn might not even get around to Guardians 3 until the end of 2021 or so.


Still, I would fully expect James Gunn to spearhead whatever production is necessary for the new Epcot attraction. This means that Gunn's first work back with Disney might not actually be Guardians of the Galaxy 3, it could actually be whatever theme park work is required. It likely can't wait until the movie goes into full production and will probably be handled separately.





The Guardians of the Galaxy are an important part of Disney's plans for Marvel, as the team is one of the few parts of the Marvel Cinematic Universe that Disney can use freely due to old agreements Marvel made with Universal theme parks before the company was purchased by Disney. At the same time, no part of the MCU is as closely tied to a single creator as the Guardians are to James Gunn.


One of the nice things about Guardians of the Galaxy - Mission: Breakout is that the structure of the experience allows for new content to be filmed and added to the ride over time. This is now that much more likely happen now that Guardians 3 is back on and Gunn is back involved. This will give the attraction the ability to stay relevant for a longer period of time, and keep guests going back.


What the future holds for the Guardians of the Galaxy at Disney Parks is far from clear, but there is now a brighter future to be sure.





Aladdin’s Will Smith Really Wanted To Pay Homage To Robin Williams

Aladdin’s Will Smith Really Wanted To Pay Homage To Robin Williams
Aladdin trailer 2019 has Will Smith as blue genie

It’s been a while since Will’s Smith musical career was as hot as his acting gigs, so it would be easy to forget the man’s capable of bringing a lot to the table in the way of music. In the case of Disney’s live action Aladdin, Smith has revealed that it was through the movie’s musical components that he was able to channel and pay homage to late actor Robin Williams.


Previously, Will Smith has talked about how he was able to lend a hip-hop influence to songs like “Friend Like Me,” but in a recent interview he took this explanation further, explaining how playing with the BPM range allowed for both his vision and Robin Williams’ original to shine through. He said:



The music was really how I saw my way in to be able to play the Genie. That first day messing around with ‘Friend Like Me,’ I noticed that it was in the BPM range of old-school hip-hop. So when I started playing with it, it was like, ‘Oh man — this really lends itself to a tempo and a flavor that I really understand.’ And that showed me how I could pay homage to Robin and not change the songs so much, so people would have the nostalgic value, but then also be able to come with my own flavor.





Of course Robin Williams’ version has a lot of energy and enthusiasm. It’s a big number and it even won a nod for best song at the 65th Academy Awards, so it's no real surprise Will Smith would tell Variety that he looked at the iconic performance and what it did while he was crafting his own version. But first, here's the Williams version:


Along with the in-movie song, a separate rap version with DJ Khaled is incorporated into the end credits of Aladdin. Will Smith also brings his own energy to the performance, as he has shown to the press in the weeks leading into Aladdin.


The original animated Aladdin was one of Robin Williams’ most notable performances, winning awards and nods when it came out back in 1992. With Disney remaking a lot of its live action properties, it was only a matter of time before Aladdin got the call.




It would have taken a pretty special performer to even try to measure up to the voice work Robin Williams put in. Of the choices, Will Smith is a big, bold personality with his own ideas.


Related: In Defense Of Will Smith’s Big, Blue Genie In Aladdin


Will Smith has also mentioned that he almost said no to taking on the role, specifically because Robin Williams knocked it out of the park when he played the Genie nearly thirty years ago. Ultimately, the hip-hop narrative is what drove the actor to say “yes” and the rest is history.




The kind of history that makes $86 million domestically and $207 million worldwide on opening weekend. It seems like people dig whatever Will Smith and co. are doing.


6 Great Reasons Marvel Should Bring Back The One Shots

6 Great Reasons Marvel Should Bring Back The One Shots
Ms. Marvel Kamala stands defiantly in her costume

There was an idea that Marvel Studios could maintain its Marvel Cinematic Universe with a series of MCU shorts that could tell stories that the movies never could. At least, not at the times they were released. They were called Marvel One Shots: shorts exclusively created for the home video release of each Marvel film from 2011 until 2014, and dedicated to taking the still fledgling franchise everywhere it could go, without having to spend a feature length budget each trip.


Before Team Darryl from Thor: Ragnarok, it had been a while since we’d seen anything close to being known as a One Shot. And even then, the comedic short explaining Thor’s absence from Captain America: Civil War wasn’t technically branded as a One Shot. But it does embody the spirit of the One Shot, and its success helps remind us of just why they should exist.


As we approach Avengers: Endgame, the long-awaited finale of the Infinity Saga, here are six reasons why Marvel Studios should go back to the practice of doling out One Shots with each home video release.




It Could Help Set Up Crucial Characters And Plot Points For Phase Four


Avengers: Endgame is about to wrap up eleven years of storytelling that make up the first arc of the Marvel Cinematic Universe. While there’s definitely a plan in play for Phase Four to introduce new franchises like The Eternals and Shang Chi in the near future, as well as handing off the leadership reins to Captain Marvel, that’s only just the beginning.


If Phase Four is going to be more diverse -- and more ambitious -- than the first three phases, it’s going to need a lot of new and exciting content to do so. Which means, the One Shots could very easily help do a little of the heavy lifting by supplementing characters and plot points that start in mid or end credit sequences, and bridge into new films.


Imagine if Kamala Khan’s Ms. Marvel finally had an opportunity to show up, without the need of a TV series or a full film. That short could lay the groundwork for her character, and keep her in play until she’s used in either capacity. Meanwhile, she’d finally be onscreen, ready to return at a moment’s notice in a natural context.




They’re A Great Way To Tell Additional Stories Outside Of The Films


As we saw with the One Shot All Hail The King, the continuation of the story involving Trevor Slattery and his guise as The Mandarin in Iron Man 3 was eventually used to twist the character in another way. Were Marvel to pursue the eventual fallout of this short, with Slattery being brought to meet the actual Mandarin, there would be a potential to tell an entire story in One Shots.


What if the “true” Mandarin’s story was a serialized happening, scattered throughout home video releases of Marvel Studios titles? Instead of just being a juicy tease for a massive retcon of Iron Man 3, it could be an entire story that adapts the character closer to the comics.


Or, say the idea of telling the stories of jailed villains caught on? You don’t need a full Iron Man movie to tell that story, or at least not to start off. You could bring back Justin Hammer, or the Vulture, or even Colonel Zemo for one short and round off their stories in captivity. Of course, were they popular enough, there would always be the chance to expand further.




One Shots Help Test The Popularity Of Potential Concepts And Characters


Peggy Carter of the Captain America series is the best example of how testing the popularity of a character before launching them into greater things can work perfectly in the One Shot laboratory. While she was pretty beloved in Captain America: The First Avenger, as well as her guest appearances on Marvel’s Agents of S.H.I.E.L.D., her One Shot short Agent Carter provided the best piggyback for her character to jump into her own TV series.


Again, the foundation was laid out in a short that, at the very least, would have stoked fan support for the character. But at the most, you find the people that really get the fans riled up and ready to come back to the fold, which indicates that it’s a good time to jump back into TV and Movies with said character.


The Marvel Comics universe is so vast that no one is a guaranteed hit, so using One Shots as the test kitchen to cook up further adventures of side characters that are primed for a spinoff makes a lot of sense. If Inhumans had been a One Shot rather than an expensive theatrical event/season of TV, Marvel’s approach to the material, as well as the viability of the property itself, could have been tested in a less costly manner.




The Shorts Are A Nice Extra To Tide Fans Over Between Films


While Marvel Studios seems pretty set with its three-films-a-year layout, they tend to be front-loaded into the earlier part of the year. In 2019, March, April, and July all see the release of an entry into the MCU, leaving the rest of the year untouched except for home video releases.


Should those three films have additional One Shot content on each of those shelf loving physical copies, fans would have at least three more times to get excited about a new gem of information or a new character to fall in love with. It would basically be giving fans extra content in the off season.


Why should the comic movie fan be content with merely switching to another comic company’s films, when Marvel can keep its name in everyone’s minds with fresh supplies of events and characters? And what about the die hards who don’t even touch the competition? Those true believers deserve something extra for this devotion, in my opinion. Besides, it’s not like there’s a shortage of ideas in the One Shot canon.




There Are Already Unused One Shot Scripts That Can Be Made


It has been mentioned on multiple occasions that there were One Shot scripts that simply never got made, post 2014’s All Hail The King. Producer Kevin Feige, and even Marvel creative player Drew Pearce both talked about ideas that were laid out, but never executed for different reasons.


However, with Disney having more clout and position in the entertainment world to call its own shots, some reasons such as budget and effort could theoretically be overcome quite easily. While this isn’t a reason to advocate spending an obscene amount of money on a young Loki or Nick Fury short, it’s also a call to move past such limitations.


Should Marvel spend more money on the studio’s One Shot projects, that would mean that home video might not be the best or only home that those shorts should inhabit. If only there were a streaming platform that Disney owned, that could use such content to entice subscribers.




One Shots Past And Future Could Be Great Disney+ Exclusives


Perhaps the greatest reason that Disney and Marvel should resurrect the One Shot initiative is, quite simply, that Disney+ needs content. While the What If animated series, as well as plenty other spin-offs of popular characters are coming to the platform, there’s so much more potential here.


This new streaming home could take all of the lessons learned above, and turn them into gold. With Loki already getting a spin-off series, the problem of cost involving any Asgardian shorts is solved. Just use the assets already provided with that series.


Think Agent Carter is worth another spin? Make a short that shows us what Season 3 would have looked like, and see where the public lands! Having merely the test shorts of such concepts on Disney+ would be enough to start winning those hungry for more Marvel, all the time. And if Chris Hemsworth wants a TV show between Thor and his human roommate Darryl, you can practically chalk that success up to the unofficial success of the One Shots that was Team Darryl!




There is a tremendous opportunity to expand the depth and scope of the Marvel Cinematic Universe through the redeployment of the One Shots. All that has to happen is for the studio to see the possibilities, and make them happen in reality. For now, we may have to content ourselves with other longform streaming projects.


Which means it’s time for you True Believers, you Marvelous Mavens, to take a poll below and let your voices be heard. Do you want more One Shots, or do you think their day has come and gone? Vote and decide, and don’t forget to explain your choice in the comments below.


In the meantime, Avengers: Endgame will be upon us in early showings on April 25th, so there’s still time to cram a very specific MCU catch up session into your schedule.




Jordan Peele Says Us Has Enough Fun For Non-Horror Fans

Jordan Peele Says Us Has Enough Fun For Non-Horror Fans
Jason and Pluto in Us

The horror genre has been in a renaissance the past few years, as filmmakers bring new and exciting concepts to the silver screen, and scare the crap out of moviegoers in the process. Rather than stale franchises and torture porn, the genre is thriving thanks to the unique perspective of its contributors. And there's no one quite on top of the game like Jordan Peele.


Jordan Peele made his directorial debut with 2017's Get Out, which he also wrote and produced. The film was a massive critical and financial success, and Peele even earned an Oscar for Best Original Screenplay. All eyes were on what would be his follow-up, and this weekend Us finally arrives in theaters. Us has been teased to be much scarier than Get Out, but Peele thinks that the movie is still accessible for moviegoers who aren't necessarily horror buffs. As he tells it,



I think this is a scarier movie than Get Out, but I'm being told that people who don't like horror movies still like this movie. I think the fun outweighs the scary.






While Us has been promised to be a terrifying time in the theater, Jordan Peele seems to think that non-horror fans will still enjoy the project. Namely, because there's still moments of fun in the movie that will outweigh the various jump scares and atmospheric tension.


Jordan Peele's comments to E! Online may give some cinephiles a sense of relief. The hype around Us has been significant, and the movie is already a critical darling. The reviews tease just how terrifying the horror movie is, which may scare off moviegoers who don't typically shell out cash to watch a movie while hiding behind their hands.


Smart money says that Jordan Peele includes moments of levity and fun throughout the course of Us (at least before the chaos begins). Get Out certainly let the director use his comedy roots during the film's first two acts, as things around Daniel Kaluuya's Chris began getting gradually more bizarre. It only seems logical that Us would do the same, especially as Peele teases the fun aspect of his sophomore film.





It should also be interesting to see what message Jordan Peele ultimately shares with Us, as his projects usually have deep connections to the real world. Get Out was a social commentary about race in a post-Obama world, while Us' message is still a bit more mysterious ahead of the film's release.


Jordan Peele took the concept of a doppelganger family from his childhood fears, and the movie has been teased to be a parable about self-destruction. But I've got a feeling the director has some more tricks up his sleeve for the highly anticipated horror flick.


Us is in theaters March 22nd. In the meantime, check out our 2019 release list to plan your next trip to the movies.





Avengers: Endgame Already Passed Titanic In Its Second Weekend, Only Avatar Remains

Avengers: Endgame Already Passed Titanic In Its Second Weekend, Only Avatar Remains
Titanic Jack Rose Leonardo DiCaprio Kate Winslet

Well, that was quick! So much for "Never let go," eh, Titanic? Someone needs to get James Cameron on the horn to ask him about Avengers: Endgame. It took the Marvel Studios film just two weekends to topple one of JC's top-grossing films, with an eye on his other, the highest-grossing film of all time -- Avatar.


James Cameron may not care at all, it's not like he has anything left to prove. But wow! Avengers: Endgame just keeps topping expectations when the expectations were already high.


Endgame made over $1 billion in its first weekend at the worldwide box office, and it just topped over $2 billion for its second weekend. The current global tally is $2,188,698,638.




That just squeaked it past Titanic, which had a worldwide gross of $2,187,463,944. You're right, that's not adjusted for inflation. It's not comparing the exact number of tickets sold.


But it does move Avengers: Endgame up the list to dethrone Titanic as the #2 highest-grossing movie of all time. After two weekends. Only Avatar remains.


Avatar is well within reach now, despite naysayers. That doesn't mean it will be easy or happen next weekend. Don't bank on it -- unless you want to, since watching this play out in real time is pretty fun.




Avatar's worldwide gross is $2,787,965,087. That's the most total money a movie has ever made at the theatrical box office. As you can see, Endgame is still about $600 million behind Avatar. Definitely doable. When? Eh. I'll say by the end of May, but that could be off.


There's a lot of competition coming to the box office pretty soon, from Detective Pikachu and John Wick 3 to Godzilla: King of the Monsters and Toy Story 4.


There wasn't much competition at the box office this weekend, which is why Endgame's domestic tickets "only" dropped -59.2% from its massive opening, with a still crazy impressive per-screen average of $31,275.




I can feel people arguing that it's not fair to compare grosses without adjusting for inflation. If we do that, at least for domestic ticket prices, Gone with the Wind is number one, followed by the first Star Wars, then The Sound of Music, E.T., and then Titanic. You don't get to Avatar until #15 and Avengers: Endgame is currently at #74. But that's just domestic, and just so far for Endgame, per Box Office Mojo figures.


We ran a poll last weekend asking if Avengers: Endgame would pass Avatar. Most fans said yes, and I think that case just got stronger. So let's turn the conversation to when and how much for the total worldwide gross. Is $3 billion in the cards? You tell me how much, and when.