Emily Blunt Updates: Emily Blunt, unlike many of today’s top actors, has mainly avoided franchise material. She isn’t afraid of big-budget tentpoles, as “Edge of Tomorrow” and “The Huntsman: Winter’s War” demonstrate, but she’s mostly starred in films geared at adults that aren’t designed to be continuous tales.
This propensity was evident in her breakout film, “The Devil Wears Prada”: It was a big sleeper hit, but it wasn’t designed to support a continuing cinematic world. Embracing these types of films means Blunt has never starred in a film that grossed more than $1 billion globally — but it also means she’s created a diverse career that encompasses a wide range of genres.
These films do not include a Marvel Studios or “Hunger Games” logo: In reality, much of their popularity stems from the deep bond that viewers have established with Emily Blunt herself. There’s no better moment to reflect back on Blunt’s most lucrative ventures than now when her career is as strong as it’s ever been.
Let’s have a look on Emily Blunt Movies
The Wolfman
It took some time for “The Wolfman” to find a good place on the release schedule since it changed about a lot between 2008 and 2009. The studio hoped that the inclusion of big-name actors like Emily Blunt and Benicio del Toro would help the film become a scary-big blockbuster, which was a realistic expectation.
It’s also a true tribute to Universal’s monster movies’ lasting appeal. The issue here is that the picture cost an astonishing $150 million to create, a price that no R-rated horror film not featuring Pennywise the clown could possibly hope to recoup.
The Huntsman: Winter’s War
Emily Blunt plays an ice queen in “The Huntsman: Winter’s War,” released in 2016. Could this fresh take on the “Snow White” mythology become a franchise with all of its star power?
With a global total of $164 million, the response is a loud “no.” “Winter’s War” generated nothing near enough money to justify its $115 million budget. “Winter’s War’s” lack of an engaging plot or action sequences guaranteed that not even Emily Blunt could make this one work at the box office.
Rotten Tomatoes“This time travel nonsense will split your brain open like an egg,” Jeff Daniels says in the teaser for 2012’s “Looper.” This is due in part to the project’s excellent hook: an assassin who kills people from the future is suddenly charged with assassinating his own future self. You don’t need a Ph.D. to grasp all of the fascinating possibilities in that type of tale.
“Looper” grossed $176 million worldwide as a result of all of these factors. In today’s film industry, that’s an amazing haul for an original sci-fi film.
The Girl on the Train
“The Girl on the Train” was hardly the next “Gone Girl,” but it was a strong box office success, grossing $173 million worldwide.
Gnomeo and Juliet
After several production issues, “Gnomeo and Juliet” eventually made it to the big screen in 2011… and was treated as an afterthought by Disney. This adaptation of Shakespeare’s most famous lovers, starring Emily Blunt as the eponymous Juliet and released via the company’s Touchstone Pictures subsidiary with no marketing, had all the makings of a box office flop.
Then something strange happened. “Gnomeo and Juliet” didn’t go down without a fight, grossing $193 million worldwide on a $36 million budget, making it a hugely profitable enterprise for everyone involved. What caused this to happen? A lack of family films in the marketplace contributed significantly to the success of “Gnomeo and Juliet.” Furthermore, it’s a simply explainable concept (it’s “Romeo and Juliet,” but with gnomes! ), which stood out among a slew of animated films starring talking animals. It turns out that Elton John was on to something when he pushed so hard for the continuation of this oddball segment.
Into the Woods
Emily Blunt co-stars with everyone from James Corden to Meryl Streep in the star-studded ensemble cast of 2014’s “Into the Woods.” Even with that in mind, it remained to be seen if audiences would flock to this product until it entered theatres. Postmodern interpretations of fairy tales had already proven successful, but they also brought a new problem: Had the countless “Shrek” sequels and knock-offs assured that moviegoers would shun more “realistic” depictions of princesses and huge, scary wolves?
It helped that the film’s marketing positioned it as a premium Christmas musical in the manner of 2012’s “Les Miserables,” rather than a sarcastic twist on fairy tales. “Into the Woods” finally made $212 million worldwide, a profit as remarkable as the actors.
