Month: November 2021

Oscar Predictions: Tick, Tick… Boom!

Out in limited release tomorrow before its Netflix premiere on November 19, Tick, Tick… Boom! marks the long awaited big screen directorial debut of Lin-Manuel Miranda. The Hamilton sensation already has the EGT (Emmy, Grammy, Tony) in the EGOT (the O is for Oscar obviously) and he has multiple projects in 2021 to contend for it.

Tick is an adaptation of Jonathan Larson’s own autobiographical Off Broadway musical and features Andrew Garfield portraying the late creator of Rent. Having screened at the AFI Fest, reviews are trickling in. Some of the critical reaction is not overly gushing, but there’s enough praise that it could contend in multiple races. First and foremost is Best Actor with Garfield and I’m feeling more confident that he could snag one of the five spots. If so, it would mark his second nod five years after Hacksaw Ridge. His chances in lead, in my view, are greater than in supporting with The Eyes of Tammy Faye. 

Garfield’s inclusion is the only competition where I’m relatively confident. That said, the Academy could fall for Miranda’s first foray behind the camera and that could open up Picture and maybe even Supporting Actor (where Robin de Jesus is generating some solid ink). I don’t look for much chatter for remaining supporting cast which includes Alexandra Shipp, Vanessa Hudgens, Judith Light, and Bradley Whitford. I’m also skeptical Adapted Screenplay comes into the mix, but it’s not outside the realm of possibility.

Miranda’s strongest shot at his own nomination could come with another project: Disney’s upcoming animated Encanto in the Original Song derby. In the Heights, the reworking of his acclaimed play that faltered at the box office over the summer, has seen its prospects dim.

Bottom line: Garfield has likely played his way into Best Actor while attention elsewhere seems questionable. My Oscar Predictions posts for the films of 2021 will continue…

King Richard Box Office Prediction

**Blogger’s Note (11/18): On the eve of its premiere, I’m revising my King Richard estimate down from $11.2M to $9.2M

Will Smith may be primed for his first Oscar win in King Richard, which is served up for audiences on November 19th in theaters and HBO Max. The sports drama casts its lead as Richard Williams, father of tennis superstars Venus and Serena. Reinaldo Marcus Green directs with a supporting cast featuring Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, and Jon Bernthal.

Following its September premiere at Telluride, awards buzz started immediately and it currently sits at 91% on Rotten Tomatoes. With a new autobiography out this week, Smith has been highly visible as Richard is set for release.

Adult themed dramas have struggled mightily during the COVID era and the pic’s availability on HBO’s streamer could certainly eat into the grosses. However, with the Oscar chatter going, I do think this could top the $10 million estimate that’s out there (though probably not by much). It should also manage to play well over subsequent weekends.

King Richard opening weekend prediction: $9.2 million

For my Ghostbusters: Afterlife prediction, click here:

Ghostbusters: Afterlife Box Office Prediction

Ghostbusters: Afterlife Box Office Prediction

It’s in with the old and in with the new as Ghostbusters: Afterlife debuts in theaters November 19th. This was originally scheduled to haunt multiplexes in the summer of 2020 before numerous COVID delays. Jason Reitman directs and there’s some family legacy involved as dad Ivan made parts I and II in 1984 and 1989. Newcomers to the series include Carrie Coon, Finn Wolfhard, Mckenna Grace, Tracy Letts, and Paul Rudd (not to mention Stay Puft Marshmallow Minis according to the trailer). Returnees from the 80s are Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and Sigourney Weaver.

If rebooting this franchise sounds familiar – that’s because it happened five years ago to middling results. The Paul Feig helmed remake led by Melissa McCarthy and Kristin Wiig took in $46 million on its opening weekend but fizzled quickly due to so-so reviews and audience reaction. It also featured the OG Busters making cameos. This new iteration serves as a direct sequel to the first two.

Some estimates have Afterlife beginning at $50 million or above. That’s certainly doable, but I’m not so sure. While it’s obviously a well-known property and the ’84 original is rightly considered a classic, both follow-ups have been letdowns. The 71% Rotten Tomatoes score is OK, but its actually below the 74% that greeted the ballyhooed 2016 pic.

I’m projecting that this makes it to $35-$40 million and doesn’t get to the number we saw just a half decade back.

Ghostbusters: Afterlife opening weekend prediction: $38.1 million

For my King Richard prediction, click here:

King Richard Box Office Prediction

Oscar Predictions: House of Gucci

While its official embargo isn’t up until two days before its unveiling on November 24th, MGM has lifted the curtain on social media reactions for House of Gucci. They are something to behold as critics are wildly divergent in their takes. There are some consistencies – it’s overlong (157 minutes), all over the place in tone (switching from camp to quite serious), and that the performances of Lady Gaga and Jared Leto will garner plenty of ink as well as memes.

So how will this play in the House of Oscar? There appear to be plenty of naysayers for the pic’s overall quality (the word “mess” has been bandied about). Enough negative reviews could certainly downgrade the chance of a Best Picture nod and I don’t see director Ridley Scott or the screenwriters (Becky Johnston and Roberto Bentivegna) making the cut in their races. For Sir Ridley, this is his second at bat for awards attention this year after The Last Duel. Its minuscule box office earnings seem to have sunk its chances.

Besides Makeup and Hairstyling and Costume Design (where Gucci could easily show up), the Academy’s primary focus here should be the performances. The cast is filled with Oscar winners and nominees, but don’t expect much chatter for Adam Driver, Al Pacino, Jeremy Irons, or Salma Hayek. Driver has been lingering at the bottom of my ten Best Actor hopefuls for weeks. I’d anticipate him dropping this weekend when I update my projections.

The two performers that should vie for the ballot are Lady Gaga and Jared Leto. Three years after her Actress nod in A Star Is Born, the pop superstar’s inclusion once again seems probable. That said, don’t expect her to top the frontrunner Kristen Stewart (Spencer) and she also might be a tad behind Jessica Chastain (The Eyes of Tammy Faye).

Leto won Supporting Actor eight years ago for Dallas Buyers Club and likely fell just short of a second nomination last year for The Little Things. The buzz for his work is that he wildly overacts in Gucci. Whether it’s tremendously entertaining or embarrassing depends on whose Tweet you lay eyes on. It’s entirely feasible that his role might be memorable enough that he gets in (especially since Supporting Actor seems wide open in 2021).

Bottom line: I’ve had House of Gucci in my top ten Picture contenders the whole way. Today I’m more skeptical it makes it. As for Gaga and Leto, their chances are stronger. My Oscar Prediction posts for the films of 2021 will continue…

Nobody Review

Bob Odenkirk is one of the all-time great yellers. Go back and watch his marvelous comedy sketch series Mr. Show from 25 years ago if you don’t believe it. When Gene Hackman hollers, it can be terrifying. With Odenkirk, it’s unexpected and hilarious. The idea of casting him in a John Wick type of role (from the writer of the franchise no less) screams for more than what’s presented onscreen in the very brief runtime of Nobody. Post watch, I couldn’t escape the idea that a lot of cool stuff might happen following the events of what I’d just witnessed. What’s presented is effective in spurts and  occasionally dull and repetitive in chunks.

Dull and repetitive aptly describes Hutch’s existence as the opening montage shows. He works a boring job. His marriage to Becca (Connie Nielsen) is devoid of any spark. Like clockwork, he forgets to take out the garbage. The middle class tedium is disrupted by a home burglary where Hutch catches the intruders redhanded but decides against using his golf clubs to take them down. From the police to his spouse to his kids, he’s seen as a weakling. However, when he discovers his little girl’s kitty cat bracelet was lifted, his true identity surfaces.

Hutch was once an “auditor” for the government. Not the numbers crunching kind. More of the bone crunching variety. He’s a former assassin that comes from a line of them including dad (Christopher Lloyd). RZA is also part of the clan (he’s heard more than seen because he’s in hiding). No longer content to hide his own particular set of skills after the bracelet heist, Hutch sets out to find the thieves and rough up anyone else who stands in the way.

One of the audited victims turns out to be the brother of a Russian mobster (Aleksei Serebryakov) who moonlights as an aspiring nightclub singer. With Hutch on his wanted list, the Wick-ish violence commences. If this all sounds like a tremendous amount of strange fun, it should. Doc Brown as an octogenarian renegade? Check. Our Breaking Bad standout breaking skulls? Check.

Sometimes it is. When Hutch first lets down his guard on a bus, it’s a violent delight. It never really tops that sequence that arrives early. Derek Kolstad (who wrote all three Wick flicks) is behind this (along with Hardcore Henry director Ilya Naishuller). The screenplay hints at our lead’s backstory. It gives us reason to believe Odenkirk and Lloyd and RZA have been on some wild adventures. The world building that’s become such an integral part of Keanu Reeves and his headshots isn’t present in Nobody. This is far more contained and that applies to Odenkirk’s performance. He’s a terrific comedic presence and, as mentioned, a glorious wailer. Those skills aren’t at the forefront in this though he commendably looks comfortable offing Euro baddies. I just didn’t find the concept sizzling enough to sustain itself before it kinda burnt out.

**1/2 (out of four)

Box Office Predictions: Weekend of November 12-14

The eyes of box office prognosticators will be focused on the second frame for Marvel’s Eternals. It should have no trouble repeating in the top spot, but its drop could be significant following mixed audience and critical reactions. We do have some newcomers: Clifford the Big Red Dog and potential Oscar favorite Belfast from Kenneth Branagh (debuting on roughly 600 screens). You can find peruse my detailed prediction posts on them here:

Clifford the Big Red Dog Box Office Prediction

Belfast Box Office Prediction

Clifford is getting a jump on the weekend by opening Wednesday (with early previews Tuesday). That could be a shrewd move considering kiddos are off on Thursday for Veterans Day. It should firmly plant itself in the #2 spot after Eternals. 

As for Belfast, the awards chatter should help it achieve a decent per theater average. It will look to play steadily for weeks over the Oscar season. My $2.3 million estimate leaves it outside the top five.

Back to Eternals. The B Cinemascore grade is rather troubling for its sophomore outing (most MCU titles get an A). With audiences clearly not digging it in the way they typically greet the studio’s material, a drop in the low to even high 60s seems where this is headed.

Holdovers Dune, No Time to Die, and Venom: Let There Be Carnage should fill the rest of the top five and here’s how I see it going down:

1. Eternals

Predicted Gross: $23.2 million

2. Clifford the Big Red Dog

Predicted Gross: $11.8 million (Friday to Sunday); $17.6 million (Wednesday to Sunday)

3. Dune

Predicted Gross: $4.9 million

4. No Time to Die

Predicted Gross: $4.3 million

5. Venom: Let There Be Carnage

Predicted Gross: $3.4 million

Box Office Results (November 5-7)

The shaky WOM for Eternals undoubtedly impacted its earnings as the Chloe Zhao effort took in $71.2 million, under my $77.8 million projection. That would be a fantastic debut for almost anything not MCU related. However, Eternals premiere is the smallest for Marvel since 2015’s Ant-Man. As mentioned, it could be headed for a precipitous drop in weekend #2.

Dune slipped to second after two weeks on top with $7.7 million (I said $7.2 million). The sci-fi epic has amassed $84 million in three weeks.

No Time to Die held up very well for third in its fifth go-round at $6 million – higher than my $4.8 million take. Total is $143 million.

Venom: Let There Be Carnage hit the four spot at $4.4 million compared to my $3.8 million projection. It’s nearing the double century mark with $197 million.

Ron’s Gone Wrong, which I was wrong about staying in the top five, was fifth at $3.5 million for a two-week total of $17 million.

The French Dispatch from Wes Anderson expanded its screen count and made $2.5 million for sixth place with $8 million overall.

Halloween Kills fell hard with its namesake holiday having passed. The $2.3 million gross for seventh (I was more generous at $3 million) brought the earnings to $84 million.

Finally, the Princess Diana biopic Spencer with Kristen Stewart couldn’t reach my prognosis. Starting out in nearly 1000 venues, the $2.1 million haul was just over half of my $4.1 million prediction. It will hope that Oscar buzz for its lead will contribute to small declines in coming days.

And that does it for now, folks! Until next time…

2021 Oscar Predictions: The State of the Best Picture Race

I’m closing out my deep dives of the major Oscar races with the granddaddy of them all – Best Picture. If you missed my posts covering Best Director and the four acting categories, you can find them here:

2021 Oscar Predictions: The State of the Best Director Race

2021 Oscar Predictions: The State of the Best Actress Race

2021 Oscar Predictions: The State of the Best Actor Race

2021 Oscar Predictions: The State of the Supporting Actress Race

2021 Oscar Predictions: The State of the Supporting Actor Race

Unlike the previous several years where the Picture nominees could fluctuate between 5-10 (though 8 and 9 were the magic numbers), 2021 brings fluidity with a set 10 films being honored (I’d like to thank the Academy for that).

As I’ve done with the others, let’s take a look back at how I was performing in the early November time frame from 2019 and 2020. Two years ago, I had 8 of the eventual 9 movies pegged: winner Parasite, 1917, Ford v Ferrari, The Irishman, Jojo Rabbit, Little Women, Marriage Story, and Once Upon a Time in Hollywood. The other – Joker – was mentioned in Other Possibilities.

2020 was trickier at this stage, but I identified 5 of the 8 hopefuls: winner Nomadland along with The Father, Mank, Minari, and The Trial of the Chicago 7. Judas and the Black Messiah was named as a possibility while I didn’t have Promising Young Woman or Sound of Metal yet in the 15 selections.

For 2021 – I feel confident that four already screened entries will make the dance. We begin with Kenneth Branagh’s Belfast, the 1960s set coming-of-age drama that could be looked at as the soft frontrunner. It’s been listed at #1 in my estimates for several weeks.

Belfast displaced The Power of the Dog from Jane Campion in that spot, but I still see the Netflix title having no trouble securing its placement among the contenders.

King Richard should find its way as the inspirational sports flick that will have audiences on its side. Furthermore, Will Smith appears in position to possibly win Best Actor. You have to go back to Jeff Bridges (Crazy Heart) twelve years ago where the Oscar winning actor didn’t see his movie recognized in Picture.

Then there’s Dune. The sci-fi epic from Denis Villeneuve got the box office and critical kudos it needed to storm the competition. The filmmaker could make a victory play for his direction while the picture itself seems destined for a nod here and tech wins elsewhere.

In past years, the bulk of nominees in Picture were screened at festivals. In 2021, that dynamic could shift as there’s a slew of unscreened material that seems like Oscar bait. That list includes Guillermo del Toro’s Nightmare Alley, Paul Thomas Anderson’s Licorice Pizza, Steven Spielberg’s West Side Story, Ridley Scott’s House of Gucci, Lin-Manuel Miranda’s Tick, Tick… Boom!, and Adam McKay’s Don’t Look Up. 

The first four of the six are ones I’ve had in my ten for a bit and I’m not changing it today. That said, this could be altered quickly once their official reviews are up (and that will be soon). Some prognosticators are more confident with Don’t Look Up. I’ll believe it when I see it.

With the pics that have been seen, Pablo Larrain’s Spencer is sure looking like it will garner Kristen Stewart her first ever nod with a solid chance at a victory. I do believe the Princess Diana tale will manage to make the cut, but it could go either way.

This also holds true for Joel Coen’s The Tragedy of Macbeth, which should also manage some tech recognition and for its lead Denzel Washington and maybe Frances McDormand.

I will admit that it seems strange to leave off any titles that screened early at Sundance. After all, last year there were 3 pics from the fest (The Father, Minari, Promising Young Woman) that got in. There’s a trio that could do the same in 2021 and they’re all listed in Other Possibilities: CODA, Flee, and Mass. Of that group, Flee (which I do have predicted in Animated Feature, Documentary Feature, and International Feature Film) may have the strongest chance.

Foreign flicks could factor in and they include A Hero, The Hand of God, Parallel Mothers, and The Worst Person in the World. I wouldn’t completely discount Netflix hopefuls such as The Lost Daughter and Passing. 

Then there’s high profile fare where the luster has been lost either to mixed reviews or poor box office. That list includes Wes Anderson’s The French Dispatch, Ridley Scott’s The Last Duel, and certainly Chloe Zhao’s Eternals. 

The bottom line is this – in 2021, with two months left to go in the calendar, there’s a lot yet to be determined. Here’s my take for now:

Best Picture

Predicted Nominees:

1. Belfast (Previous Ranking: 1)

2. The Power of the Dog (PR: 2)

3. King Richard (PR: 3)

4. Dune (PR: 4)

5. Licorice Pizza (PR: 6)

6. Nightmare Alley (PR: 5)

7. West Side Story (PR: 7)

8. House of Gucci (PR: 8)

9. Spencer (PR: 9)

10. The Tragedy of Macbeth (PR: 10)

Other Possibilities:

11. Flee (PR: 13)

12. Don’t Look Up (PR: 11)

13. Mass (PR: 12)

14. Tick, Tick… Boom! (PR: 15)

15. CODA (PR: 14)

And that wraps the detailed looks, folks! Next weekend I’ll be back with updated estimates…

2021 Oscar Predictions: The State of the Best Director Race

After four posts focusing on the acting races at the 2021 Oscars, it’s time to turn to Best Director. If you missed those entries on the lead and supporting performer derbies, you can find them here:

2021 Oscar Predictions: The State of the Best Actress Race

2021 Oscar Predictions: The State of the Best Actor Race

2021 Oscar Predictions: The State of the Supporting Actress Race

2021 Oscar Predictions: The State of the Supporting Actor Race

With the directing category, I do believe there’s three filmmakers that have likely punched their ticket to a nomination. Before we get there, let’s take a look at how my projections panned out at the same early November time frame in 2019 and 2020.

Two years back, I correctly identified four of the five contenders: winner Bong Joon-ho (Parasite) as well as Sam Mendes (1917), Martin Scorsese (The Irishman), and Quentin Tarantino (Once Upon a Time in Hollywood). Todd Phillips (Joker) was mentioned in Other Possibilities. 2020 was more unpredictable with two months left to go and that resulted in only two directors being accurately named: Chloe Zhao (Nomadland), who took the gold, and David Fincher (Mank). Lee Isaac Chung (Minari) was in Other Possibilities while neither Emerald Fennell (Promising Young Woman) or surprise nominee Thomas Vinterberg (Another Round) were yet listed in my top ten.

Back to 2021 and the three individuals who I believe stand probable shots at making the cut. They are Jane Campion (The Power of the Dog), Kenneth Branagh (Belfast), and Denis Villeneuve (Dune).

It was 28 years ago that Campion was nominated for The Piano. If it hadn’t been for Oscar juggernaut Schindler’s List, she likely would’ve been making a speech. Upon its premiere in Venice, Campion took the Silver Lion (equivalent to this competition) for Dog. I don’t see her being left off the ballot.

Belfast is the current frontrunner for Best Picture and it’s hard to envision  writer/director Branagh not making it in. If so, it would be his first nod in directing since Henry V some 32 years back.

Dune is being heralded for its technical wizardry and it should pick up numerous down the line wins and nominations. Five years after his behind the camera work was recognized for Arrival, Villeneuve should be a factor again.

Interestingly, I don’t feel there’s a clear favorite to win. There are plausible scenarios for any member of this trio to emerge victorious. Campion, Branagh, and Villeneuve constitute my top 3 (in that order), but it’s more of a 1a, 1b, and 1c at press time.

As for the other two slots, there’s a few contenders stemming from unseen product. There’s big names in that bunch: Guillermo del Toro (Nightmare Alley, who won four years ago for The Shape of Water), Paul Thomas Anderson (Licorice Pizza, a two-time nominee for There Will Be Blood and Phantom Thread), Ridley Scott (for House of Gucci and not The Last Duel), Adam McKay (Don’t Look Up, previously nominated for The Big Short), Lin-Manuel Miranda (Tick, Tick… Boom!), and Steven Spielberg (West Side Story,  a two-time winner for Schindler’s List and Saving Private Ryan).

Any of these gentlemen could bubble up to the surface once their pictures are screened. I’m sticking with the two I’ve had in my five recently: del Toro and Anderson.

King Richard has a chance to win Best Picture, but I’m skeptical its maker Reinaldo Marcus Green makes it here. The sports drama seems destined to be recognized more for its performances, but if the Academy really falls for it, Green could be theoretically be swept in. That holds true for Joel Coen (The Tragedy of Macbeth) and Pablo Larrain (Spencer) as well.

Lastly, Thomas Vinterberg’s nod in 2020 for Another Round came out of nowhere. While it was pegged to take International Feature Film (which it did), Round was not nominated in Best Picture. There’s a slew of directors who could fill the “surprise” slot this time around (many from foreign features): Pedro Almodovar (Parallel Mothers), Julia Ducournau (Titane), Asghar Farhari (A Hero), Paolo Sorrentino (The Hand of God), Joachim Trier (The Worst Person in the World). I wouldn’t completely count out Rebecca Hall for Passing. Yet none of these upset selections are in my top ten.

The one that is: Jonas Poher Rasmussen for festival darling Flee. While I don’t have it nabbing a Best Pic nom at the moment, I do foresee the Danish doc contending in Animated Feature, Documentary Feature, and International Feature Film. That kind of attention could cause the voters to include him.

Here’s how those rankings look at the start of November:

Best Director

Predicted Nominees:

1. Jane Campion, The Power of the Dog (Previous Ranking: 1)

2. Kenneth Branagh, Belfast (PR: 2)

3. Denis Villeneuve, Dune (PR: 3)

4. Guillermo del Toro, Nightmare Alley (PR: 4)

5. Paul Thomas Anderson, Licorice Pizza (PR: 5)

Other Possibilities:

6. Pablo Larrain, Spencer (PR: 6)

7. Steven Spielberg, West Side Story (PR: 7)

8. Jonas Poher Rasmussen, Flee (PR: Not Ranked)

9. Reinaldo Marcus Green, King Richard (PR: 9)

10. Ridley Scott, House of Gucci (PR: Not Ranked)

Dropped Out:

Joel Coen, The Tragedy of Macbeth

Julia Ducournau, Titane

Best Picture is next!

King Richard Review

What does love mean in tennis? In King Richard, it means much more than zero as the film recounts the dogged determination of Richard Williams (Will Smith) to guide daughters Venus and Serena to their dominantly winning ways. It’s an unlikely journey – two Compton kids who eschewed the normal route to athletic excellence. Part of that was their circumstances, but another was their father’s refusal to court familiar paths in their eventual superstardom.

Directed in unfussy fashion by Reinaldo Marcus Green, the film starts approximately three decades ago when Richard’s short shorts were slightly more in style. He works days and nights in SoCal supporting five kids alongside his equally stalwart wife Brandy (Aunjanue Ellis). Constantly referencing his 78 page plan for success for Venus and Serena, Richard’s reaction to rejection (which he gets plenty of) is to look at it as another door opening. His relentless nature for his daughters training and their achievement in the classroom is to shield them from the dangers that exist right outside the front door. The Williams clan lives in a bubble of Richard and Brandy’s own making and one that clearly yielded now universally known results.

In any biopic, there’s picking and choosing of the focused upon details. The screenplay, from Zach Baylin, prefers to center on the positive. The King’s flaws, including hinted at infidelity and a penchant for self promotion, are kept on the periphery. Richard’s public persona is given a makeover here. Given the paradigm shifting accomplishments of his pupils, it’s one worth taking in.

That’s not to say the outsized personality of the title character isn’t occasionally played for humor. When Richard and the family (and his contract stipulates the whole family) arrive in Florida for the prodigies to be trained by Rick Macci (a gloriously mustachioed Jon Bernthal), he eyes a fancy golf cart that he knows he’ll be commandeering. Flash forward to a couple years later and it’s his. This is a subtle and small example of how Richard seems to will situations into existence. The more significant examples deal with the jackpot at the end of the rainbow that everyone knows is coming. It’s about to rain for his kids and Richard opens infuriating umbrellas for negotiators on the other side of the table.

King Richard succeeds in presenting an uplifting tale of persistence. There’s no shortage of lump in throat moments. Some of that comes from Smith’s top notch embodiment of his obsessive character. Plenty of it is also provided by Saniyya Sidney as Venus and Demi Singleton as Serena. It’s a credit to the script and their performances that I found myself desperately wanting them to overcome their obstacles and therefore forgetting that I know they do. As Brandi (who eventually divorced Richard though that isn’t mentioned), Ellis is equally impressive. Her key moments come in quick and frank bursts that will surely score with audiences.

One could quibble with accuracies or the ignoring of certain facts, but Smith and company have hit the mark in stirring an emotional story centered on the benefits of hard work. What does love mean in King Richard? More than just tennis.

***1/2 (out of four)

Belfast Box Office Prediction

Kenneth Branagh has had a varied directorial output over the last three decades plus from his Shakespearian works (Henry V, Much Ado About Nothing, Hamlet) to franchise entries (Thor, Jack Ryan: Shadow Recruit) to adaptations of beloved novels like Mary Shelley’s Frankenstein and Murder on the Orient Express. His latest is Belfast and the coming-of-age tale (which Branagh also wrote) is said to be his most personal pic as it focuses on a young boy growing up in Northern Island during the 1960s. The black and white drama is also a serious Oscar contender and it’s currently the frontrunner for Best Picture. Newcomer Jude Hill stars with a supporting cast (who could all be Academy nominated) featuring Caitriona Balfe, Jamie Dornan, Judi Dench, and Ciaran Hinds.

The Academy hopeful hits 600 screens on November 12th with plans for a lengthy play over the awards season. The Oscar buzz should get it off to a solid start on the relatively low number of screens. Assuming a per screen average in the $4000-4500 range, we could be talking $2-3 million as it’s likely to perform steadily over the next several weeks.

Belfast opening weekend prediction: $2.3 million

For my Clifford the Big Red Dog prediction (which is not the Best Picture frontrunner), click here:

Clifford the Big Red Dog Box Office Prediction