A Reel Opinion: King of the Box Office World

James Cameron has done it again. 

 

Last week, Cameron’s newest film, AVATAR: FIRE AND ASH, crossed the $1 billion mark at the international box office. That makes Cameron the first director in history to have four consecutive films reach that $1 billion mark. Although he is still behind Steven Spielberg as the second-highest grossing director of all time, right now it seems Cameron is the king of the box office. 

 

How did he get there? 

 

The writing was on the wall in 1991, when his sci-fi thriller TERMINATOR 2: JUDGMENT DAY wowed audiences and critics on its way to becoming the third-highest grossing film of its time. Audiences loved his sense of spectacle, action, and emotional hook. He would capitalize on that five years later, when his beloved epic TITANIC became the highest-grossing film of all time while earning a boatload of awards. TITANIC would be the first film in history to hit $1 billion. 

 

Despite rising ticket prices, TITANIC would hold on to that top spot for an impressive twelve years. And it turned out that the only director who could topple a James Cameron film would be…James Cameron. His own sci-fi epic AVATAR would take that spot in 2009. The sequel, THE WAY OF WATER would hit that billion mark in 2022, and now FIRE AND ASH has done it. TITANIC and the three AVATAR films would give him that special, and impressive four film run of $1 billion each. 

 

It's a feat that can’t be praised enough. Directors such as Spielberg, Christopher Nolan, and Peter Jackson haven’t done it, and in age where movie theatres struggle, any box office hit has to be considered a significant win. 

 

And how does it do it? It’s a question that has perplexed many movie fans. Cameron blends spectacle, emotion, and technological ambition better than anyone, and he pushes new filmmaking tools so well that audiences know they will always see something new. But it is not all spectacle. His visuals serve simple, universal stories about love, survival, and moral choices that translate across cultures and are timeless. He also builds immersive worlds that reward repeat viewing and belong on larger IMAX screens. His films have become global events, and the world will be ready when the king returns for a fifth try at the billion. 

A Reel Preview: The Year in Film 2026 - Episode I

2026 is about to land, and it arrives as a packed year with new films from big-time directors with names like Spielberg, Nolan, and Villeneuve, along with the return of Earth's Mightiest Heroes. It also brings significant anniversaries such as ROCKY (50 years), THE FELLOWSHIP OF THE RING (25 years), and Pixar’s CARS (20 years). 

 

But before we get to all that, we need to get through Movie Siberia; the first two months of the year where low-expectation films are dumped to die. Here is what’s falling on the big screen for January: 

 

THE PLAGUE – In this psychological thriller, a young boy is pulled into a cruel tradition at camp. Joel Edgerton stars. 

GREENLAND 2: MIGRATION - In this sequel to the 2020 disaster film, a family leaves the safety of their underground bunker after a comet collision to find a new home. Gerard Butler (300), and Morena Baccarin (SERENITY), star. 

 

 

WE BURY THE DEAD – Daisy Ridley (THE FORCE AWAKENS), stars in this horror flick where she searches for her husband in the aftermath of a zombie apocalypse. 

 

 

IS THIS THING ON? – Bradley Cooper directs and stars this comedy-drama about a couple that splits and enters the world of stand-up comedy. Laura Dern and Will Arnett co-star. 

 

 

28 YEARS LATER: THE BONE TEMPLE – The fourth installment of the 28 DAYS LATER post-apocalyptic horror series, serving as a direct prequel to 28 YEARS LATER from last year. Ralph Fiennes stars, and it is directed by Nia DaCosta (THE MARVELS). 

 

 

HAMNET – Oscar winning director Chloe Zhao (NOMADLAND), helms this historical drama centered around the marriage of William Shakespeare. It stars Jessie Buckley and Paul Mescal (GLADIATOR II). 

 

 

H IS FOR HAWK – Claire Foy stars in this drama about a woman caring for a pet hawk after the death of her father. 

 

 

MERCY – In this unique blend of sci-fi and legal thriller, a detective stands on trial for murder, and must convince an A.I. judge of his innocence. The cast includes Chris Pratt, Rebecca Ferguson, and Annabelle Wallis. 

 

 

SEND HELP – Sam Raimi (EVIL DEAD, SPIDER-MAN), helms this survival thriller where a worker and her boss become stranded on a desert island. Rachel MacAdams and Dylan O’Brien star. 

 

 

SHELTER – Jason Statham plays a former assassin forced to kill his old employers. 

 

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Next month, Reel Speak previews the month of February. 

A Reel 10: STAR WARS - THE FORCE AWAKENS

“There has been an awakening…”

 

This month marks the 10th anniversary of STAR WARS – EPISODE VI: THE FORCE AWAKENS. 

The seventh episode of the series and a legacy sequel to RETURN OF THE JEDI (1983), THE FORCE AWAKENS was the first film produced by Disney after creator George Lucas sold the franchise in 2012. Picking up 30 years after the fall of the Empire, AWAKENS follows a scavenger and a former stormtrooper in their search for the vanished Luke Skywalker, with the hope that his return will fight off the First Order; the successor to the Empire. 

 

THE FORCE AWAKENS began production after Disney acquired the property from Lucas, who served as a creative consultant in the early stages. In the director’s chair would be J.J. Abrams, who had dazzled audiences with his STAR TREK revival in 2009. The script would be written Abrams, Michael Arndt, and Lawrence Kasdan…who was a co-writer on the Original Trilogy. John Williams would return to provide the score. 

 

Filming began in 2014 at Pinewood Studios in England, and on location in Abu Dhabi, and Ireland. The cast would include Daisy Ridley as the scavenger, John Boyega as the former stormtrooper, and Adam Driver as Kylo Ren; leader of the First Order. The rest of the cast would be rounded out by STAR WARS veterans Harrison Ford, Carrie Fisher, Mark Hamill, Anthony Daniels, and Peter Mayhew…along with Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, and Max von Sydow. 

 

THE FORCE AWAKENS would open to critical acclaim and would gross over $2 billion worldwide, becoming the biggest hit of 2015 and the third-highest grossing film of all time at the time of its release. It would be nominated for five Oscars and be followed by THE LAST JEDI (2017), and THE RISE OF SKYWALKER (2019). 

 

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It is rare for this Blogger to write up a 10-year anniversary, but for STAR WARS, exceptions will always be made. Long-time readers of Reel Speak know that this was the film that brought my wife and I together. And in 2019, we made the magnificent climb up the Jedi steps at the breathtaking Skellig Michael off the coast of Ireland; the now famous filming location for the new home of Luke Skywalker (read about that journey HERE). For this Blogger, THE FORCE AWAKENS flies close to the heart. 

 

From a filmmaking point of view, THE FORCE AWAKENS is a film that really moves. The editing and pacing have a rhythm to it, creating a sense of forward momentum with endless energy. Visual effects, sound editing, and John Williams’ magnificent score brings back the awe and wonder that STAR WARS does so well. 

 

In that galaxy far, far away, THE FORCE AWAKENS expands and goes deeper. It shows the impact that galactic politics and war can have on even the smallest of beings; Rey’s journey from lowly scavenger to hero of the Resistance strikes that chord inside all of us…the chord that always tells us we are meant for something more. As the first new STAR WARS film in decades, it revitalized the franchise with new heroes such as Rey, while combining them with nostalgia from the old Galactic Civil War. It honors what came before while setting up another ten years of STAR WARS content…with more films, video games, and streaming series. There was an awakening in 2015, one that brought us back into a galaxy of adventure and timeless optimism.

 

“It’s true. All of it.”

 

Rob Reiner 1947 - 2025

Actor and filmmaker Rob Reiner has passed away at 78. 

 

The son of entertainment legends Carl and Estelle Reiner, he was born in the Bronx and received his early training at the Bucks County Playhouse in New Hope, PA. In the late 1960’s he acted in small roles in TV shows such as BATMAN, THE ANDY GRIFFITH SHOW, and THE BEVERLY HILLBILLIES. In 1971 he had his breakout role as Mike “meathead” Stivic in the sitcom ALL IN THE FAMILY. 

 

In the 1980’s he made the move to directing, and helmed some of the most iconic films of the last 40 years. His debut came in 1984 with the mockumentary THIS IS SPINAL TAP. Next came the coming-of-age drama STAND BY ME (1986), and the fantasy THE PRINCESS BRIDE (1987). 

 

He continued to direct hits through his Castle Rock Entertainment. The romantic comedy WHEN HARRY MET SALLY from 1989 has been regarded as the best of its genre. In 1990 he would direct the thriller MISERY, which earned Kathy Bates an Oscar for Best Actress. In 1992 he helmed the ensemble courtroom thriller A FEW GOOD MEN, which was nominated for Best Picture. Other films included THE AMERICAN PRESIDENT (1995), GHOSTS OF MISSISSIPPI (1996), and THE BUCKET LIST (2007). His final film would be THIS IS SPINAL TAP II from 2025. 

 

He continued to act and appeared in THROW MOMMA FROM THE TRAIN (1987), SLEEPLESS IN SEATTLE (1993), PRIMARY COLORS (1998), and THE WOLF OF WALL STREET (2013). His career would bring three Directors Guild of America awards and four Golden Globes nominations for Best Director. 

 

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Rob Reiner leaves behind a legacy of films that have stood the test of time. Everyone knows the thundering courtroom sequence of A FEW GOOD MEN, the swordfights from THE PRINCESS BRIDE, the tension of MISERY, and the romance of Harry and Sally. With his perfect yet delicate balance of drama and comedy, he made films that clicked something inside of us and stayed there. With THIS IS SPINAL TAP, he drew the curtain back on the world of rock n’ roll bands, poking fun at them in an honest way that no headbanger could argue. He was the most human director we have seen in the last 40 years, and cinema will miss him. 

A Reel 20: KING KONG

“Kong! The eighth wonder of the world!”

 

This month marks the 20th anniversary of Peter Jackson’s KING KONG. 

 

An epic monster/adventure film, KING KONG was the second remake of the 1933 film, and the first film from Peter Jackson after his historic and successful THE LORD OF THE RINGS trilogy. Like the 1933 version, it followed an ambitious filmmaker who tricks his cast and crew into voyaging to the mysterious and hidden Skull Island, where they encounter prehistoric creatures and the mythical giant gorilla known as Kong. 

 

The voyage to KONG began back in 1995, when Universal Pictures approached Jackson to direct a remake of the classic 1933 film. The project stalled after a few years in development, as several monster movies were being made at the time and Jackson was planning on forging THE LORD OF THE RINGS. Once the One Ring was done, Universal came back to Jackson in 2003, who finally accepted. 

 

Filming began in 2004 in New Zealand. Naomi Watts would step into the role of Ann Darrow, and Jack Black was cast as the ambitious film director, Carl Denham. The rest of the cast would include Adrien Brody, Colin Hanks, Jamie Bell, Kyle Chandler, Evan Parke, and Thomas Kretschmann. Andy Serkis would provide the motion-capture for Kong. Howard Shore was originally hired to compose the score but was replaced by James Newton Howard. 

 

On release, KING KONG received acclaim and was a box office hit, finishing as fifth highest grossing film of the year. It would win three Oscars: Best Sound Editing, Sound Mixing, and Visual Effects. 

 

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Peter Jackson’s KONG stomps in as a visually stunning and emotionally charged epic that elevates the classic tale. The film blends heartfelt character moments with spectacular action, delivering breathtaking sequences such as the and the dizzying finale at the Empire State Building, and Kong fighting three (!) T-Rex’s. The T-Rex fight is a cinematic stunner, followed a creepy and crawly Spider Pit sequence that is the stuff nightmares are made of. 

 

As a monster movie, it certainly delivers, and it also works as a drama and tragedy. Naomi Watts brings depth and sincerity to Ann, making a powerful bond with Kong in a love story that seems ridiculous on paper. And it’s a love story that clicks all the right boxes; they quarrel, separate, and find each other again. By embracing the Beauty and the Beast tale, and visual effects that dazzle 20 years later, Peter Jackson’s KONG has one paw in the past and one in the future. 

 

“It was beauty killed the beast..”

 

A Reel Preview: The Year in Film 2025 - Episode XII

The final month of 2025 is upon us and it is looking to go out strong; with theatres receiving films from the horror genre, animation, and the return of the King of the Box Office. Here are the notable big screen releases for December: 

 

FIVE NIGHTS AT FREDDY’S 2 – The sequel to the 2023 horror film, based on the popular video game. Set a year after the first film, Abby reconnects with her animatronic friends, revealing the origins of Freddy Fazbear’s Pizza. The cast includes Josh Hutcherson, Elizabeth Lail, Matthew Lillard, Wayne Knight, and McKenna Grace. 

 

 

KILL BILL: THE WHOLE BLOODY AFFAIR – Quentin Tarantino’s masterpiece of revenge returns to the big screen as a single film (originally released in two parts). 

 

 

SILENT NIGHT, DEADLY NIGHT – The second remake of the 1984 holiday slasher film and the seventh in the series. 

 

 

 

AVATAR: FIRE AND ASH – Box office King James Cameron returns with the third installment of his sci-fi series, this time with Jake Sully and his family meeting a war-like tribe who has aligned with their human enemies. The cast includes Sam Worthington, Zoe Saldana, Stephen Lang, Kate Winslet, and Sigourney Weaver. 

 

 

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS  - The fourth theatrical trip for this series, this time seeing SpongeBob travelling to the depths of the ocean to face off against the Flying Dutchman. 

 

 

 

THE HOUSEMAID – Paul Feig (BRIDESMAIDS), directs this psychological thriller where a young woman with a troubled past becomes a housemaid for a wealthy family. The cast includes Sydney Sweeney and Amanda Seyfried. 

 

 

ANACONDA – This comedy/horror serves as a meta-reboot of the cult classic film of the same name from 1987, which tracks the adventures and mishaps of the film crew as they set out into the jungle to make that 1987 film. 

 

 

MARTY SUPREME – In this sports drama, Timothee Chalamet plays American table tennis player Marty Reisman. 

 

 

SUNG SUNG BLUE – Craig Brewer (HUSTLE AND FLOW), directs this drama about a real-life Neil Diamond impersonator and performer. Hugh Jackman and Kate Hudson star. 

 

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Next month, Reel Speak previews the first month of 2026.

 

A Reel 100: THE PHANTOM OF THE OPERA

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“If I am the Phantom, it is because man’s hatred has made me so.”

This month marks the 100^th anniversary of the 1925 silent film version of THE PHANTOM OF THE OPERA. 

Directed by Rupert Julian and based upon the 1910 novel of the same name by Gaston Leroux, THE PHANTOM OF THE OPERA told the tale of a deformed phantom who haunted the Paris Opera House, causing chaos to turn the woman he loved into a star. 

The phantom began its ascent in 1922, when Carl Laemmie, the president of Universal Pictures, visited Paris and met author Gaston Leroux. Taken by the story and the grandeur of the Paris Opera House, Laemmie secured the film rights as a vehicle for actor Lon Chaney. A French art director who had worked at the Opera House was brought on to design the lavish sets. Chaney was allowed to do his own makeup. 

Production began at Universal Studios in 1924. After a troubled shoot where Chaney and the rest of the cast had strained relations with director Rupert Julian, the film was completed and then went through several re-edits and reshoots. Chaney’s look was kept a secret until after the premier. 

THE PHANTOM OF THE OPERA premiered in September of 1925 in New York ahead of its wide release in November. Critical response was mostly positive, with high praise for the production and Chaney’s makeup, which reportedly had audience members fainting. Today it is considered to be one of the greatest horror films of all time, and in 1998 was added to the United States Film Registry. 

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Years before Andrew Lloyd Webber would take the Phantom to Broadway, THE PHANTOM OF THE OPERA had a legacy of one of early cinema’s most iconic works of horror. Lon Chaney’s transformative makeup and performance set new standards for character creation and sympathetic monsters. The impressive sets and dramatic chandelier crash helped usher in grand-scale productions in Hollywood’s silent era and overall would cement the story in our culture; inspiring countless versions on film…and on stage. 100 years later it is a cornerstone of horror, and a landmark in silent filmmaking. 

“If I shall be saved, it will be because your love redeems me.”

A Reel 20: HARRY POTTER AND THE GOBLET OF FIRE

“Soon we must all face the choice between what is right and what is easy.” 

 

This month marks the 20^th anniversary of HARRY POTTER AND THE GOBLET OF FIRE. 

 

Directed by Mike Newell and based on the fourth book of the same name in the series by J.K. Rowling, GOBLET OF FIRE followed Harry in his fourth year at Hogwarts, as he is mysteriously chosen to compete in the famed and dangerous Triwizard Tournament. 

 

Arriving the year after the successful and heralded third film, THE PRISONER OF AZKABAN, GOBLET OF FIRE went through several directors before production. Chris Columbus, who had helmed the first two films, was on board before deciding to spend more time with his family. M. Night Shyamalan was approached but passed. The task eventually went to Mike Newell, who was known for his award-winning drama FOUR WEDDINGS AND A FUNERAL (1994), and the mob drama DONNIE BRASCO (1997). 

 

Filming began in May of 2004 in England, with the ensemble cast returning: Daniel Radcliffe, Emma Watson, Rupert Grint, Robbie Coltrane, Maggie Smith, Michael Gambon, Jason Isaacs, Gary Oldman, Timothy Spall, and Alan Rickman. Newcomers included Robert Pattinson, Brenden Gleeson, David Tennant, and Ralph Fiennes in his stunning debut as the evil Lord Voldemort. Music was composed by Patrick Doyle. 

 

On release, GOBLET OF FIRE was met with good reviews and was a box office hit, finishing as the highest grossing film of the year. At the 78^th Academy Awards it was nominated for Best Art Direction. It won the BAFTA Award for Best Production Design, making it the first film in the series to win a BAFTA. 

 

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Although THE PRISONER OF AZKABAN went into some dark places, GOBLET OF FIRE marked a point of no return for the series. As the characters aged, the film naturally blended adolescence with the rise of a real danger. The Triwizard Tournament showed great spectacle (the dragon fight still impresses), and Voldemort’s long-awaited chilling debut elevates the stakes. 

 

For this blogger, GOBLET OF FIRE is his personal favorite of the series. The maturity of the characters, the dazzling tournament, and character conflicts give the film a weight. But most of all, the heartbreaking scene of Cedric Diggory’s father mourning his dead child is an emotional high point that the franchise never matched again. It was the first time we had seen a significant death on-screen, and it was a hint of what was yet to come. 

 

“He’s back!”

 

 

A Reel Preview: The Year in Film 2025 - Episode XI

The colder months of November are traditionally where things heat up on the big screen, when awards hopefuls start to roll out. Here are the notable releases coming to theaters in the second-to-last month of 2025. 

 

 

CHRISTY – Sydney Sweeney (ANYONE BUT YOU), plays professional boxer Christy Martin in this biopic drama. Ben Foster co-stars, and it is directed by David Michod (ANIMAL KINGDOM). 

 

 

DIE MY LOVE – In this black comedy, a young couple and new parents struggle with psychological distress and isolation. The cast includes Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, and Sissy Spacek. 

 

 

NUREMBERG – Set during the Nuremberg trials, a psychiatrist (Rami Malek), is tasked with determining if a Nazi (Russel Crowe), is fit to stand trial. John Slattery, Colin Hanks (son of Tom), Michael Shannon, and Richard E. Grant co-star.

 

 

PREDATOR: BADLANDS – In this ninth installment of the PREDATOR franchise that launched in 1987, a young Predator is sent to a remote planet in search of the ultimate adversary. Elle Fanning stars. It is directed by Dan Trachtenberg, who helmed the most-excellent PREDATOR spin-off PREY in 2022. 

 

 

NOW YOU SEE ME: NOW YOU DON’T – The third installment in the NOW YOU SEE ME heist series. This time the Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher), reunite to steal a large diamond. Morgan Freeman and Rosamund Pike co-star. 

 

 

THE RUNNING MAN – Edgar Wright (BABY DRIVER), directs this new adaptation of the 1982 Stephen King novel. Set in the near future, a working-class man enters a deadly game to save his sick daughter. The cast includes Glen Powell, Josh Brolin, Colman Domingo, Lee Pace, Michael Cera, William H. Macy, and Emilia Jones (CODA). 

 

 

WICKED: FOR GOOD – The second part and conclusion to the adaptation of the Broadway musical, which began last year with the smash-hit WICKED. Set in the Land of Oz before and during the arrival of Dorothy, Elphaba and Glinda embrace their new identities as the Wicked Witch and Glinda the Good. The cast includes Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, and Jonathan Baily. Jon M. Chu directs. 

 

 

ZOOTOPIA 2 – This sequel to the Disney hit has Judy Hopps and Nick Wilde going undercover to solve a case involving a mysterious pit viper. The voice-cast includes Ginnifer Goodwin, Jason Bateman, and Ke Huy Quan. 

 

 

WAKE UP DEAD MAN: A KNIVES OUT MYSTERY – Rian Johnson returns to helm this third entry in the KNIVES OUT whodunit film series, this time with Detective Blanc (Daniel Craig), taking on a new case involving a priest and his congregation. The ensemble cast includes Josh O’Connor, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeney, Thomas Haden Church, and Jeffrey Wright. 

 

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Next month, Reel Speak previews the final month of 2025. 

A Reel Opinion: Unearthing the Music of DRACULA

Happy Halloween, mortals! In this time of scary stories that can only be delivered by celluloid, the question that horror fans have been debating for over 25 years has risen again: which is the best, and proper way to watch the classic horror film, DRACULA from 1931? 

 

In 1998, composer Phillip Glass was commissioned to compose a score for DRACULA, which was originally released without one. Since its release, horror fans have been debating if this was an improvement, or an abomination. 

 

Because of costs that came with producing an original score to a film’s soundtrack in 1931, DRACULA never had its own music, with only an excerpt from Tchaikovsky’s Swan Lake used in the opening credits, and short bits from Wagner and Schubert in a theater scene. In 1998 for a home video release, Glass, who would win an Oscar in the same year for THE TRUMAN SHOW, was brought in to compose an original score for the film. Glass would take a minimalist approach, using the Kronos Quartet. The release came in 1999 on VHS, and later editions on DVD and Blu-Ray would give fans the option of watching with, or without the score. 

 

But which is better? There are good and bad points to both. In its original form without music, DRACULA can be a drag, with longer scenes without dialogue that seem to take forever to unfold…with only the crackle and hiss to keep us company. And film music, as we all know, goes a long way in helping the audience read the tone of a scene. The absence of this makes DRACULA difficult to take in. On the other hand, with no score we are seeing (and hearing), the film as audiences in 1931 did, with eerie silences and sparse sound. There is also an argument that the lack of music makes us focus more on sounds like footsteps, creaking doors, and star Bela Lugosi’s voice. 

 

The voices in support of the Glass score are strong. The added music gives the film a hypnotic vibe and adds a lot of creepy atmospheres. The score fills the silence, giving us a sense of momentum and tension. It also bridges the gap between old and new audiences, making the film more accessible to modern audiences without altering visuals (like colorization or CGI effects). 

 

For this Blogger, the scored version is the way to go. It feels less cobbled together, and the pacing is magically improved. The film is just better. The original version offers a pure sense of cinema history, but if revisiting or showing it to someone new who may struggle with the pacing, the Glass version is a tasteful, and elegant bridge into classic horror. DRACULA is creeping up on its 100th anniversary, and if it is to endure the ages, the scored version is the gateway.