Blog: The Billion Dollar Movie Car Club (Highest Grossing Movie Cars!)

Blog: The Billion Dollar Movie Car Club (Highest Grossing Movie Cars!)

All Things Film Blog The Blogs

They’ve starred in some of the highest grossing movies of all time, now Hollywood’s biggest four wheeled stars have been named for the very first time.  New research by motoring experts LeaseCar.uk has revealed a handful of motors who qualify for an exclusive Billion Dollar Movie Car Club – vehicles which played a significant role in a billion-dollar movie or movie franchise.

Surprisingly many of Hollywood’s most iconic car movies failed to qualify for the club as only those grossing a billion or more at the box office were deemed worthy of inclusion.  The nine cars which made the cut can be considered the highest earning movie motors of all time – and there are some surprises amongst them.  Researchers carefully calculated exactly how much screen time each car received and worked this out as a percentage of the movie’s run time.  This figure was then used to calculate the exact revenue the cars could have been considered to ‘earn’ at the box office – creating a definitive list of the highest grossing cars in Hollywood history.

 

Billion Dollar Movie Car Club: motors and box office takings for their time on screen

 

  1. Jurassic Park Jeep: $200,940,000
  2. Fast & Furious 7, Dodge Charger: $189,000,000
  3. Back to the Future (Pts 1,2,3) Delorean: $148,393,100
  4. Transformers: Age of Extinction, Chevrolet Camaro, $67,100,000
  5. Harry Potter, Ford Anglia: $44,829,000
  6. Skyfall, Aston Martin: $37,400,000
  7. Titanic, 1912 Renault Coupe: $27,300,000
  8. Star Wars, Luke’s Landspeeder: $26,363,600
  9. Batman v Superman, Batmobile: $24,416,000

 

The focus on box office takings meant some of the best-known car movies didn’t get a look in. The Italian Job, for example, took only $10m in 1969 and its remake managed $176m in 2003 – far below the threshold required for the Billion Dollar Movie Car Club.

 

Surprisingly the research revealed that the biggest car movie star of all time is the humble Jeep from the Jurassic Park movie franchise.  Perhaps most famous for the T-Rex attack scene in the very first Jurassic Park movie starring Jeff Goldblum, a combination of serious screen time and sky high box office takings took the Jeep to the top of the chart when it came to cash generated while on screen. It fought off stiff competition from more iconic car stars such as the Dodge Charger from The Fast and the Furious franchise, the Delorean from Back to the Future and James Bond’s Aston Martin.

 

The Jeep played an important role in many of the Jurassic Park movies and was on screen for a lengthy 24mins and 26 seconds, or 19.7%, of the film which kicked off the franchise. The franchise has grossed a massive $4.1 billion to date with the first movie alone generating $1.02billion. With the Jeep on screen for 19.7% of the movie researchers attributed a massive $200,940,000 to it making it the highest earning car movie star of all time.

 

The only other car to give the Jurassic Park Jeep a serious run for its money is the Dodge Charger from the Fast and the Furious franchise.  The Fast and Furious series has become perhaps the best-known car movie franchise in the world with global box office of $5.1billion. The Dodge, or rather a succession of them, is driven by character Dominic Toretto, played by actor Vin Diesel.  Researchers focused on Fast & Furious 7, a smash which took $1.5billion at the cinema. The Dodge was on screen for a lengthy 17min and 38 seconds, or 12.6% of the movie’s total run time, which meant the car alone ‘earned’ an impressive $189,000,000.

 

Harry Potter is the biggest movie franchise of all time with global box office takings of $8.5billion. The most famous car in the Harry Potter movies is the flying Ford Anglia which plays a key plot role in Harry Potter and the Chamber of Secrets, which took an impressive $879m at the cinema.  The flying Ford Anglia was on screen for 8mins 55 seconds, or 5.1% of the movie, which was the second instalment of JK Rowling’s Potter series. Researchers calculated the car’s appearance was worth $44,829,000 dollars – 5.1% of the box office takings.

 

Star Wars, the second highest growing movie franchise of all time with takings of $7.5billion, is better known for spaceships than land vehicles but Luke Skywalker’s Landspeeder from original movie A New Hope was included in the research. Luke’s main ride on his home planet Tatooine, the Landspeeder is on screen for a total of 4mins and 17 seconds or 3.4% of the movie, making it responsible for $26,363,600 of the film’s total box office figure of $775.4m.

 

James Bond’s Aston Martin DB5 is another contender for the most iconic movie car of all time but it is far behind the Jurassic Jeep and the Fast & Furious Dodge in terms of movie earnings. The Bond franchise has certainly done the business at cinemas with global box office of $7.07 making it the third highest grossing movie franchise behind Harry Potter and Star Wars. Researchers from motoring experts LeaseCar.uk focused on the car’s appearance in Skyfall – a stand-alone billion-dollar movie with takings of $1.1billion. The car shared the screen with Daniel Craig for 4mins 50 seconds or 3.4% of the movie run time, meaning it ‘earned’ $37,400,000 of the takings.

 

Another favourite movie car, the time travelling Delorean from the Back to the Future movies, managed to clinch third place on the list of highest grossing cars.  Researchers found that while the entire franchise took $1billion in total, the car really was the star with significant screen time – just under 15% across all three instalments – to earn a box office total of $148,393,000.

 

Other cars included in the billion-dollar club included the 1912 Renault Type CB Coupe de Ville from the movie Titanic. Despite not being part of a franchise the movie alone took a whopping $2.1billion at the box office. The car was on screen for 2mins 30 seconds, or 1.3% of the run time, earning a still impressive £27,300,000.  The Transformers movies have earned $4.3billion in total. The Age of Extinction instalment made $1.1billion alone. Researchers focused on ‘Bumblebee’ a Chevrolet Camaro, which was on screen for 10mins and 5 seconds or 6.1% of the film, meaning it was responsible for $67,100,000 of the take.   The Batman movies have taken a total of $4.6billion with Batman vs Superman taking $872m. The iconic Batmobile was on screen for 2.8% of the movie giving its appearance a value of $24,416,000.

 

A spokesman for motoring experts LeaseCar.uk, who completed the study, said: “Cars have played an important part in Hollywood since the days of silent movies. Some vehicles have become almost as famous as the characters and the actors who drive them.

 

“Everyone associates James Bond and Daniel Craig with the Aston Martin and you can’t think about Michael J Fox or Marty McFly without thinking about the Delorean.”  said LeaseCar “Other movies have put cars at the centre of the action and the Fast and the Furious franchise has become popular with petrolheads around the world.

 

“For our study though we wanted to find out once and for all which cars were the biggest stars of all time when it comes to Hollywood blockbusters. We decided to focus both on box office takings and on screen time and crunched the numbers to reach a definitive list. The results might surprise some people. Few would have predicted the Jeep from Jurassic Park was the biggest car movie star of all time but the numbers tell their own story. If there was an Oscar for Highest Grossing Car the Jurassic Jeep would win it hands down. Best Supporting Car would go to the Dodge from Fast and Furious. ”

They continue “Our personal favourite is the Delorean from Back to the Future but you have to add all three movies up to qualify for the Billion Dollar Movie Car Club. Maybe the time travelling car could get an Oscar in Lifetime Achievement category?”

 

Skyfall: A Quick Capsule Review (Revisited)

Skyfall: A Quick Capsule Review (Revisited)

Quick Review

Phil’s Quick Capsule Review:
Hold the phone.  o07 is back and this time he’s bloody near perfect.  Yes that’s right Skyfall is exactly as good as the hype suggest, a film that returns Bond to the classic figure we know and love whilst throwing in enough action, heartache and shootouts to be a damn good action thriller in it’s own right.  From the Aston to the fight in a lizard pit (yes really!), this is Bond at the best he’s been for a long time.  In fact hype aside this could well be the best Bond film ever.  Highly re-watchable, massively fun.  A must watch.

Best Bit: Cameras
Rent, Borrow, Buy, Stream: Buy
 
If you like this try: Casino Royale; License To Kill;  Quantum Of Solace

Rating: 

Podcast: Ross And Phil Talk… Tomb Raider & Video Game Movies

Podcast: Ross And Phil Talk… Tomb Raider & Video Game Movies

Ross and Phil Talk Movies

This episode Ross & Phil Talk… Tomb Raider & Video Game Movies.  Yup with Tomb Raider fresh in the cinema Phil gives some every brief thoughts on the film and then we talk about ComicBook.com’s frankly ludicrous Best Video Games Adaptations Of All Time List  which features maybe one decent film.

Hosted by Award winning Filmmaker Ross Boyask and blogger/writer/failed filmamker Phil Hobden.

Films Discussed: Super Mario Bros, Prince of Persia: Sands of Time, Resident Evil, Lara Croft: Tomb Raider, Silent Hill, Assassin’s Creed, Warcraft, Max Payne, Hitman, Mortal Kombat, Mute, Cloverfield Paradox, Netflix, Danny Boyle, 007, Bond, Video Game Movies, Tomb Raider (2018)

#RossAndPhil #RossAndPhilTalkMovies #MoviePodcasts #Podcasts

For more subscribe on iTunes or check out www.philhobden.co.uk

For more on Phil Hobden check out www.philhobden.co.uk
For more on Ross Boyask search @RossBoyask on Twitter, Instagram or Facebook

   

Podcast: Ross And Phil Talk… Spectre, 007 & Daniel Craig

Podcast: Ross And Phil Talk… Spectre, 007 & Daniel Craig

Ross and Phil Talk Movies

This episode Ross & Phil Talk… Spectre, 007 & Daniel Craig!

This episode we keep it current by taking about a 3 year old film.  Yup after talking about it previously we decide to drill down on why Spectre just didnt work, about the future of the franchise and why License To Kill did it better.

Hosted by Award winning Filmmaker Ross Boyask and blogger/writer/failed filmamker Phil Hobden.  For more subscribed on iTunes or check out www.philhobden.co.uk

For more on Phil Hobden check out www.philhobden.co.uk
For more on Ross Boyask search @RossBoyask on Twitter, Instagram or Facebook

   

Phil’s Top 5… Bond Films

Phil’s Top 5… Bond Films

Other Cr*p Top 5

Each week Phil, from Phil’s Quick Capsule Review, takes a look at a different movie or TV related Top Five.  This time out: Bond Films

 

Close but no cigar: Goldeneye, The Spy Who Loved Me, Dr No, On Her Majesty’s Secret Service 

 

5 – Live And Let Die
Live And Let Die saw Bond go darker and more intimate for the first time and at times felt more like a horror film than a Bond film.  A great villain, a kick ass theme and Moore setting the tone of things to come.

 

4 – Goldfinger
The quintessential Bond film, Goldfinger set the template for every Bond film to follow.  The theme, the title sequence, the bad guy… it’s near perfect.

 

3 – Casino Royale
Daniel Craig knocked it out the park with Casino Royale, returning martin Campbell to the franchise and redefining Bond for a new generation.

 

2 – License To Kill  
Dalton was my favourite Bond growing up.  He brought a degree of real to a franchise that had gone very much off the rails. License To Kill showed what a rouge Bond out for revenge would look like.  The first 15 rated Bond, with blood and violence License To Kill  still holds up well.

 

1 – Skyfall
Controversial maybe but Skyfall set a new bar for Bond films.  It was self referential but without slipping to parody, but still original, exciting and dynamic enough to make you believe there was a place for this dinosaur in the 21st century. And then they made Spectre.

 

 

 

My Favourite… Roger Moore Film

My Favourite… Roger Moore Film

My Favourite… Other Cr*p

As death continues it’s relentless march through the gifted and talented of TV and film, My Favourite… celebrates those we have lost by taking a look at a slice of their best work. Well sometimes best, sometimes just the one I like the most.

This time out: My Favourite…. Roger Moore (1927-2017) Film

 

[divider]

LIVE AND LET DIE (1973)

When Bond (Roger Moore) investigates the murders of three fellow agents, he finds himself a target, evading vicious assassins as he closes in on powerful Kananga (Yaphet Kotto). Known on the streets as Mr. Big, Kananga is coordinating a global threat, using tons of self-produced heroin. As Bond tries to unravel the mastermind’s plan, he meets Solitaire (Jane Seymour), a beautiful tarot-card reader, whose magic is crucial to the crime lord.

Let’s face it whoever followed Connery was going to find it tough.  But when Lazenby tanked (Best film worst Bond!) and Connery returned for a somewhat half arsed effort, it was TV’s The Saint that would inherit the infamous Walter PPK and gadget packed cars and in turn capture people’s hearts as a very different (but much welcomed) style of Bond.  Yes the scripts got saltier and the films more silly as Moore’s run continued but it was Live And Let Die that captured the right amount of grit carried over from the Connery era and mixed with the new, more suave 007.  It’s voodoo, black magic and mystery all the way in what is a pretty dark film at times.  Oh and other than MAYBE Goldfinger, Live And Let Die still has the best Bond theme for me.

 
See also: Cannonball Run, The Spy Who Loved Me, The Wild Geese 

 

 

Phil’s Top 5… Bond Films

Phil’s Top 5… Bond Films

Other Cr*p Top 5

Each week Phil, from Phil’s Quick Capsule Review, takes a look at a different movie or TV related Top Five.  This time out: Bond Films!

 

Close but no cigar: On Her Majesty’s Secret Service, Goldeneye, Dr No

 

5 – Live & let Die
Far from the late camp of Roger Moore’s era, Live & Let Die is dark and mysterious in places and showed that the producers had finally found a Bond worthy of stepping in to Connery’s shoes.  Shame it all ended in Safari suits and Grace Jones…

 

4 – Casino Royale
Black & white, flash backs, an early pre 007 Bond? Casino Royale took the play book and threw it out.  And damn was it all the better for it.  Consigning the cheese of Brosnan’s later films to history, Casino Royale gave us a Bond film for the 2000’s with a more physical 007 and a more grounded story.

 

3 – License To Kill
Dalton’s two films are much maligned by many but Licence To Kill takes the concept of Bond gone rogue and runs with it.  Darker (it starts with Felix getting eaten by  shark), deadlier and relentless it was the first Bond film to feature Bond getting bloo-y. Awesome villain also.

 

2 – Goldfinger
Goldfinger is the prototypical Bond film.  It set the template for all those that followed and cemented Connery and Bond as icons.  It gave us Bassey, P-ssy Galore and Q’s OTT gadgets.  Bond would never be the same…

 

1 – Skyfall
Skyfall is the perfect Bond film that manages to grow the character of Bond whilst building on the elements we know and love.  So it has gadgets, some top notch action sequences and a camp bad guy.  But it also has heart, charm and reverence to what has gone before.

 

 

Blog: All Things Film – Spectre (*SPOILER FREE*) Reviewed

Blog: All Things Film – Spectre (*SPOILER FREE*) Reviewed

All Things Film Blog Other Cr*p Uncategorized

I am reliably informed that Spectre is a true return to form for die hard Bond fans. I do not consider myself to be in this category, although I have seen them all, but anything pre Dalton becomes a bit mystifying to me; a sort of muddled haze of the days of old.

I don’t know about you, but I go to the Bond movies for the action and the one liners. I guess this is why I have always upheld my belief that Pierce Brosnan has been the best Bond; combining the smooth, suave and sophisticated with the contemporary action and cheesy one-liners that we’ve all come to know and love. Also, not having read any of Ian Fleming’s books, my vision of what Bond looks like and how he behaves is that of Brosnan. Daniel Craig has done an admirable job landing the role in what is probably the most audacious of his entries with Casino Royale. The ante was upped in Skyfall, which I think is the best of the four he’s now starred in. Notice there I’ve totally left out Quantum of Solace, which is just pish.

Back to this whole “truism” of Bond thing, now. I saw Spectre this evening, opening night, with a genuine Bond fan, who marvelled at the entire picture – and made a specific mention of a revelation I shan’t reveal, but which comes in the final act. It won’t come as a surprise to anyone – not even me – that the revelation ties the bind well back in to pre-Dalton days and then some. What is a nice touch with Spectre is that it justifies (or, rather, apologises in some fashion) for any unusual misstep from the previous three Craig entries. With Spectre the writing cogs churn and chug along, trying its best to excuse its inevitable Bourne catch-up episode that was Casino Royale. Jumping ahead now to Skyfall, and Spectre as an organisation suddenly makes a lot of sense; so, from a screenwriting point of view we’re on top form.

Surprisingly, however, on modest-but-not-terrific-form is director Sam Mendes. For a while, there, it looked like he wasn’t going to do Spectre. Oh, he teases and fiddles with us during Spectre’s opening foot-chase sequence in Mexico which, depending on how you look at it, is both a genuine and backhanded compliment. The opening sequence is probably among the best in recent memory and done ostensibly in a one-shot deal, although the sheer majesty of it suggests crafty splicing of certain points to seamlessly bring the sequence around. The climax of this scene involves a fight in a helicopter where it looks like it could end terribly for a lot of innocent crowd-gatherers below. Mendez, wisely, forgoes whatever Bond might think of this and has him punch the bad guy to tits – and the pilot.

Sadly, the rest of the film never really lives up to this sequence. The way I feel whenever I sit through Christopher Nolan’s films always reminds me of how Nolan himself must be feeling when he makes the project – particularly with Dark Knight Rises and Interstellar; you know that feeling, as you dink back in your seat and channel the umpteenth shooting week, where Nolan has finally had enough and it manages to psycho-magically signal to your own brain, like some curious cry for help dressed as pseudo movie commentary. I felt precisely this with Spectre. A car chase featuring Craig and Dave Bautista through the streets of Rome feels exceptionally functional and flat. There are a number of action set pieces which, whilst writing, I struggle to remember with any great brevity or fondness.

The best scenes in Spectre feature the characters at their most vulnerable. Take, for example, the grandiose meeting of the criminal minds – featured in the trailer – with a silhouetted Christophe Waltz as Franz Oberhauser (leader of the pack), as he deliberates on his subordinates’ ideas, and whispers to his right and left-hand men. Mendes takes his time with Oberhauser, here. This character, and played by Waltz, is a menacing and chilling combination. If Mendes wanted the audience leaving the film wanting more, then he’s struck gold in consigning Waltz’s character to around fifteen minutes total screen time.

Curious, also, is the treatment of women. Monica Bellucci – a long standing love fantasy of mine since the days of Malena and Dobermann – is to Spectre, what Caterina Murino was to Casino Royale; vixen, shag-fodder with a round four minutes of screen time. Léa Seydoux is the real Bond girl this time around; visibly a clear twenty years Bond’s junior and, in a sort of perversely fresh take, the daughter of a close friend of Bond’s. As always, the sex is viciously implicit – but Craig’s not getting any younger, even though the girls clearly are.

The stone in Spectre’s shoe is that it’s just (drum roll…) too… damn… long. Far, far, far too long. There are countless thuds of deadened exposition and searchlights and sitting around waiting for things to happen. In a recent interview with Craig, he remarked that Mendes was editing and tweaking right up to the last Saturday before release. Does he get his editor to carry out versioning correctly? There are at least half a dozen plot threads that are unnecessary – the main culprit being this new disposable and annoying character named Denbeigh (or “C”) played by Andrew Scott. He’s a sort of multilevel governor who’s inserted into MI6 on behalf of the government, designed to screw with M and Bond. Admittedly, this does give M (Ralph Fiennes) opportunities to spill out some excellent retorts. But the “C” character is just badly written and overplayed and is responsible for one of the most laughably bad exits from any movie, let alone the franchise, in a long, long time.

Overall, I much preferred Skyfall. It was playful, silly, bombastic and utterly preposterous – and yet duly dealt out the pathos and satisfying ending, adding up to a wonderful two hours in the cinema. Spectre tries its hardest to follow that up, but ultimately stumbles too many times to qualify as a bona fide awesome entry in the series.

 

Author: Andrew Mackay

 

To hear more on this review (and others like it) make sure you download the Filmsploitation podcast, part of the All Things Film network. 

Blog: The November Man – A Quick Capsule Review

Blog: The November Man – A Quick Capsule Review

Quick Review

Phil’s Quick Capsule Review:
God this film is dull. It’s not terrible.  But it’s so totally unmemorable that a mere few weeks after watching the film, I can barely remember more than one thing about it.  Brosnan is as charismatic as always and it’s kinda neat seeing an aged Spy back in action.  Think a retired 007.  But other than that there’s very little to recommend here, a slow paced, often quite dull spy thriller that seriously lacks the thrills. One to miss.

Best Bit: Brosnan can still kick arse.

Buy, Rent, Stream, Borrow: Borrow

If You Liked this Try: Goldeneye, The Recruit, Spy Game

 

Author: Phil Hobden