Tag Archives: wicked

BOX OFFICE: “Avatar” Wins Again, “Zootopia” earns away, “Song Sung Blue” holds, “We Bury the Dead” cracks Top Ten

Posted on January 3, 2026 by Roger Moore

The box office for the first weekend of 2026 is up by a fair amount over last year, thanks to the release of another “Avatar” sequel and the holding piwer of a Disney animated sequel, with help from Sydney Sweeney … Continue reading →

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Movie Review — “Wicked: For Good” does Dorothy Wrong

Posted on November 21, 2025 by Roger Moore

I said at the start that turning “Wicked” the musical into a two-part big screen epic was a mistake. Just how big a mistake is obvious as this bloated beast staggers to the end of the Yellow Brick Road in … Continue reading →

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BOX OFFICE: “Mufasa” finally wins a weekend, “Sonic” slides, “Nosferatu” becomes a horror blockbuster

Posted on January 4, 2025 by Roger Moore

New movies rarely roll out between Christmas and the second Friday in January, and so it is this year, with Jan. 10 (next weekend) serving up Oscar contenders and the first action pic of 2025. But the holdover films in … Continue reading →

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BOX OFFICE: “Moana 2” sails past “Moana 1,” “Wicked” clears $300 million, Kyle Mooney blows A24’s rep with “Y2K”

Posted on December 7, 2024 by Roger Moore

Disney’s “Moana 2” is on a pace to surpass the box office take of 2016’s more charming “Moana” by midnight Sunday. A 55-60% falloff from its opening extended weekend (just shy of $140 million over Thanksgiving) means a $52 million … Continue reading →

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BOX OFFICE: “Moana 2” breaks records, “Black Friday” is one for the books

Posted on November 30, 2024 by Roger Moore

“Moana 2” opened Wednesday, and a fall that has been STARVED for animated family film fare (save for the limping-along “Wild Robot”) was finally sated over the long Thanksgiving holiday weekend. It earned over $221 million over the five day … Continue reading →

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Movie Review: “Wicked” girlfriend, you’ve put on an awful lot of weight

Posted on November 22, 2024 by Roger Moore

“Wicked” moves from the Broadway stage to the cinema, an epic that transitions from “musical” to “intellectual property” in a bloated, lumbering, gear-grinding crash. Whatever Disney or most any other producing studio might have done to this beloved prequel to … Continue reading →

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