In cartoons and comedies, we’ve grown accustomed to watching animals with human qualities and it doesn’t phase us one bit. Same goes for horror movies and it’s usually played for laughs or with cartoonish violence. That is surely not the vibe of Valdamir Johannson’s fable Lamb, which treats its baby sheep and real baby hybrid with total tonal sincerity. It’s not the first movie to do it (though not with that combo). It’s jarring nonetheless.
Maria (Noomi Rapace) and Ingvar (Hilmir Snaer Guonason) are remote farmers who tend to their flock amidst the scenic mountains of Iceland. Their rather mundane days are given a jolt when the couple deliver a creature with anthropoid qualities.
The blended family scenario provides immediate joy to the parents who suffered a previous tragedy in their conception attempts. A disconcerting aspect of the screenplay is how normally their situation is treated. That’s until Ingvar’s deadbeat brother Pétur (Bjorn Hlynur Haraldsson) drops in and his reaction mirrors the WTFery of the viewer.
While Maria and Ingvar stubbornly adhere to maintaining the new routine, Ada (and the dog) sense an outside presence lurking. Mom and Dad aren’t questioning how this mythical being came to be. The animal instincts of others are on alert.
A24 specializes in artsy horror flicks though I struggle to say Lamb is of that genre. It’s not scary. Eerie, including its picturesque though foreboding atmosphere, is a better word for it. This is prime example of either buying the concept or wanting to run for the hills. For a while, I was intrigued by its bizarre nature. Rapace’s committed performance (I’m tempted to say she really has the chops) helps.
When some of the mysteries are clarified in the third act, it felt a bit sudden and anticlimactic. The presentation is certainly unique but the overriding theme of grief is recognizable. That’s not to say there aren’t genuine surprises that occur. The shock value seems a little diluted after watching this sweater clad wooly oddity assisting with breakfast.
Benjamin Cleary’s Swan Song is told through the eyes of two characters in a near future setting. In years approaching, it seems that our contact lenses serve as cameras allowing remote bystanders to witness the interactions of others. This comes into play with a tale of clones and impending loss.
Cameron Turner (Mahershala Ali) is facing a quandary that’s slightly less believable than his disposable camcorders. Diagnosed with a terminal illness, he struggles with how to tell his wife Poppy (Ali’s Moonlight costar Naomie Harris in another fine performance). With a young child and another on the way, an alternative solution is presented. Kindly Dr. Scott (Glenn Close) can make an exact copy of him. Cameron would face his final days at a lush and remote medical facility. Poppy and the rest of the family would have no idea.
At Dr. Scott’s locale, he meets patient #2 Kate (Awkwafina). He would be third. Away from it, Cameron is introduced to her engineered doppelgänger. That interaction helps push him to the yes column. Yet when he meets the clone called Jack (also played by Ali, naturally) – doubts are cast.
Song features plenty of flashbacks showing Cameron’s existence in healthier days. This includes his meet cute with Poppy involving a candy bar. It gets more dramatic when his eventual spouse is dealt a devastating loss.
The new technology would prevent that from happening and Cleary’s screenplay mostly succeeds in navigating the sticky wicket ethical issues presented. A two-time Oscar winner given his first sole leading role, Ali is excellent. He has the assignment of playing two characters. They may be the same person, but they have different motivations at various times. That’s not an easy feat to pull off and Ali passes the test impressively with subtle grace.
Swan Song is indeed with a tearjerker that manages to earn them with much credit to its lead(s). Cleary is not overly clear about how this enterprise of Xeroxing yourself came to be. It actually works in the picture’s favor. I’m not sure those explorations could have been more revelatory from those we’ve seen in other sci-fi tales with similar themes. Instead we are presented with Cameron’s predicament in real time and with the understandable conflicts he undergoes as his decision clock winds down before our eyes.
Some 13 years after Taken kicked off a whole new action phase for its star, Liam Neeson is back in revenge mode with Blacklight (out February 11th). And this time… wait for it!… it’s his granddaughter who’s been snatched by nefarious criminals. Mark Williams, who worked with Neeson in Honest Thief, directs and the supporting cast includes Emmy Raver-Lampman, Taylor John Smith, and Aidan Quinn.
One look at the Blacklight trailer illuminates Neeson in his late career comfort zone. Post Taken, that’s resulted in moneymakers like Unknown, Non-Stop and, of course, the Taken sequels.
Lately, however, the grosses have slowed. Some of that might have been a result of releases that occurred in this COVID era. The aforementioned Thief in fall 2020 premiered to only $3.6 million. Last year, The Marksman took in $3.7 million over the four-day MLK frame. Pre pandemic, in 2019, Cold Pursuit started with $11 million (still far off from earlier efforts).
I don’t see a compelling why Blacklight would approach double digits (or even high single ones) and it won’t help that male viewers will be distracted by the Bengals vs. Rams on Sunday of its debut weekend. It might outdo Thief and The Marksman, but maybe not.
This is it! After months of speculation that began all the way back in a time known as August 2021, the guesswork grinds to a halt. It’s time for my FINAL Oscar predictions for the 94th Academy Awards. Nominations are out Tuesday (February 8th) with the big show airing March 27th.
I’ve penned thousands of words discussing the various feature film categories that will be revealed. The speculation ends today. For each race, I will give you my picks along with a runner-up and a second alternate. On Tuesday, I’ll have reaction up with my thoughts and, of course, how I did with the prognostications. I’m also giving you how I fared in the previous two years with each category.
So… pencils down. Let’s get to it!
Best Picture
2019 Performance: 9/9
2020 Performance: 7/9
***There are 10 fixed nominees now***
Predicted Nominees:
Being the Ricardos
Belfast
CODA
Don’t Look Up
Drive My Car
Dune
King Richard
Licorice Pizza
The Power of the Dog
West Side Story
Runner-Up: Tick, Tick… Boom!
Second Alternate: The Tragedy of Macbeth
Best Director
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Paul Thomas Anderson, Licorice Pizza
Kenneth Branagh, Belfast
Jane Campion, The Power of the Dog
Steven Spielberg, West Side Story
Denis Villeneuve, Dune
Runner-Up: Ryusuke Hamaguchi, Drive My Car
Second Alternate: Sian Heder, CODA
Best Actress
2019 Performance: 5/5
2020 Performance: 5/5
Predicted Nominees:
Jessica Chastain, The Eyes of Tammy Faye
Olivia Colman, The Lost Daughter
Lady Gaga, House of Gucci
Nicole Kidman, Being the Ricardos
Kristen Stewart, Spencer
Runner-Up: Penelope Cruz, Parallel Mothers
Second Alternate: Alana Haim, Licorice Pizza
Best Actor
2019 Performance: 4/5
2020 Performance: 5/5
Predicted Nominees:
Javier Bardem, Being the Ricardos
Benedict Cumberbatch, The Power of the Dog
Andrew Garfield, Tick, Tick… Boom!
Will Smith, King Richard
Denzel Washington, The Tragedy of Macbeth
Runner-Up: Leonardo DiCaprio, Don’t Look Up
Second Alternate: Peter Dinklage, Cyrano
Best Supporting Actress
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Caitriona Balfe, Belfast
Ariana DeBose, West Side Story
Kirsten Dunst, The Power of the Dog
Aunjanue Ellis, King Richard
Ruth Negga, Passing
Runner-Up: Ann Dowd, Mass
Second Alternate: Cate Blanchett, Nightmare Alley
Best Supporting Actor
2019 Performance: 5/5
2020 Performance: 4/5
Predicted Nominees:
Bradley Cooper, Licorice Pizza
Ciaran Hinds, Belfast
Troy Kotsur, CODA
Jesse Plemons, The Power of the Dog
Kodi Smit-McPhee, The Power of the Dog
Runner-Up: Jared Leto, House of Gucci
Second Alternate: Ben Affleck, The Tender Bar
Best Original Screenplay
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Being the Ricardos
Belfast
Don’t Look Up
Licorice Pizza
Parallel Mothers
Runner-Up: King Richard
Second Alternate: C’Mon C’Mon
Best Adapted Screenplay
2019 Performance: 5/5
2020 Performance: 3/5
Predicted Nominees:
CODA
Drive My Car
Dune
The Lost Daughter
The Power of the Dog
Runner-Up: West Side Story
Second Alternate: Passing
Best Animated Feature
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Encanto
Flee
Luca
The Mitchells vs. the Machines
Raya and the Last Dragon
Runner-Up: Belle
Second Alternate: Sing 2
Best International Feature Film
2019 Performance: 3/5
2020 Performance: 2/5
Predicted Nominees:
Drive My Car
Flee
A Hero
Playground
The Worst Person in the World
Runner-Up: The Hand of God
Second Alternate: Prayers for the Stolen
Best Documentary Feature
2019 Performance: 3/5
2020 Performance: 3/5
Predicted Nominees:
Faya Dayi
Flee
Procession
The Rescue
Summer of Soul
Runner-Up: The First Wave
Second Alternate: Ascension
Best Cinematography
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Belfast
Dune
The Power of the Dog
The Tragedy of Macbeth
West Side Story
Runner-Up: Nightmare Alley
Second Alternate: Licorice Pizza
Best Costume Design
2019 Performance: 3/5
2020 Performance: 4/5
Predicted Nominees:
Cruella
Dune
House of Gucci
Nightmare Alley
West Side Story
Runner-Up: Cyrano
Second Alternate: Licorice Pizza
Best Film Editing
2019 Performance: 4/5
2020 Performance: 4/5
Predicted Nominees:
Belfast
Don’t Look Up
Dune
Licorice Pizza
The Power of the Dog
Runner-Up: West Side Story
Second Alternate: King Richard
Best Makeup and Hairstyling
2019 Performance: 3/5
2020 Performance: 4/5
Predicted Nominees:
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci
The Suicide Squad
Runner-Up: Coming 2 America
Second Alternate: Cyrano
Best Original Score
2019 Performance: 5/5
2020 Performance: 4/5
Predicted Nominees:
Don’t Look Up
Dune
Encanto
The French Dispatch
The Power of the Dog
Runner-Up: Parallel Mothers
Second Alternate: Spencer
Best Original Song
2019 Performance: 3/5
2020 Performance: 4/5
Predicted Nominees:
“Be Alive” from King Richard
“Dos Oruguitas” from Encanto
“Down to Joy” from Belfast
“Just Look Up” from Don’t Look Up
“No Time to Die” from No Time to Die
Runner-Up: “Here I Am” from Respect
Second Alternate: “Beyond the Shore” from CODA
Best Production Design
2019 Performance: 4/5
2020 Performance: 3/5
Predicted Nominees:
Dune
The French Dispatch
Nightmare Alley
The Tragedy of Macbeth
West Side Story
Runner-Up: Belfast
Second Alternate: Licorice Pizza
Best Sound
2020 Performance: 5/5
***Sound races were split into Editing and Mixing prior to 2020
Predicted Nominees:
Belfast
Dune
No Time to Die
The Power of the Dog
West Side Story
Runner-Up: A Quiet Place Part II
Second Alternate: Spider-Man: No Way Home
Best Visual Effects
2019 Performance: 5/5
2020 Performance: 3/5
Predicted Nominees:
Dune
Godzilla vs. Kong
The Matrix Resurrections
No Time to Die
Shang-Chi and the Legend of the Ten Rings
Runner-Up: Spider-Man: No Way Home
Second Alternate: Ghostbusters: Afterlife
And this means my FINAL tally of total nominations for these films are as follows:
11 Nominations
Dune, The Power of the Dog
9 Nominations
Belfast
7 Nominations
West Side Story
5 Nominations
Don’t Look Up, Licorice Pizza
4 Nominations
Being the Ricardos, King Richard
3 Nominations
CODA, Drive My Car, Encanto, Flee, House of Gucci, No Time to Die, The Tragedy of Macbeth
2 Nominations
Cruella, The Eyes of Tammy Faye, The French Dispatch, The Lost Daughter, Nightmare Alley
1 Nomination
Faya Dayi, Godzilla vs. Kong, A Hero, Luca, The Matrix Resurrections, The Mitchells vs. the Machines, Parallel Mothers, Passing, Playground, Procession, Raya and the Last Dragon, The Rescue, Shang-Chi and the Legend of the Ten Rings, Spencer, The Suicide Squad, Summer of Soul, Tick, Tick… Boom!, The Worst Person in the World
Come Tuesday – visit the blog for reaction to the nominations!
For the second year in a row, the British Academy Film Awards (or BAFTAs) showed its unpredictable nature with some shocking omissions and unexpected inclusions. The last major precursor before Oscar nominations are unveiled Tuesday, I went 63 of 99 when it comes to races with a correlation to the Academy’s competitions. Truth be told – it coulda been worse considering the surprises we witnessed today.
Let’s break them down one by one with some commentary, shall we?
Film
Nominees: Belfast, Don’t Look Up, Dune, Licorice Pizza, The Power of the Dog
How I Did: 3/5
Commentary: The BAFTAs delivered a great haul for Pizza. It and Don’t Look Up got in over my picks of The Tragedy of Macbeth and West Side Story (which both underwhelmed). Gut reaction says Power is in the lead.
Director
Nominees: Paul Thomas Anderson (Licorice Pizza), Jane Campion (The Power of the Dog), Audrey Diwan (Happening), Julia Ducournau (Titane), Ryusuke Hamaguchi (Drive My Car), Aleem Khan (After Love)
How I Did: 4/6
Commentary: Wow – no Kenneth Branagh for Belfast or Denis Villeneuve for Dune! They miss with Anderson and Diwan taking the spots. Like with Film, Campion could be out in front.
Leading Actress
Nominees: Lady Gaga (House of Gucci), Alana Haim (Licorice Pizza), Emilia Jones (CODA), Renate Reinsve (The Worst Person in the World), Joanna Scanlan (After Love), Tessa Thompson (Passing)
How I Did: 3/6
Commentary: Surprises galore here! No Nicole Kidman for Being the Ricardos or Olivia Colman in The Lost Daughter. I predicted both along with Claire Rushbrook for Ali & Ava. In their slots are Haim (continuing the Licorice love), Jones, and Thompson. I would also note no Kristen Stewart in Spencer after her SAG snub.
Now here’s an interesting stat – since 2013, the BAFTA Leading Actress recipient has matched the Oscar winner. So… are Kidman and Colman in trouble? Could Gaga be on her way to a gold statue? Does this show Haim’s potential strength at getting an Academy mention? Questions abound, but I know one thing – this year’s Actress race is as intriguing as last year’s.
Leading Actor
Nominees: Adeel Akhtar (Ali & Ava), Mahershala Ali (Swan Song), Benedict Cumberbatch (The Power of the Dog), Leonardo DiCaprio (Don’t Look Up), Stephen Graham (Boiling Point), Will Smith (King Richard)
How I Did: 3/6
Commentary: Smith’s inclusion here (which I didn’t project) just might solidify him as the Oscar frontrunner (with Cumberbatch pretty close behind). Academy hopefuls Andrew Garfield (Tick, Tick… Boom!) and Denzel Washington (Macbeth) were left out as was Daniel Craig in his swan song as Bond in No Time to Die. In their place – Smith, Ali (following up on his Globe nominated turn), and DiCaprio.
Side note – somehow, Denzel has never been nominated for a BAFTA.
Supporting Actress
Nominees: Caitriona Balfe (Belfast), Jessie Buckley (The Lost Daughter), Ariana DeBose (West Side Story), Ann Dowd (Mass), Aunjanue Ellis (King Richard), Ruth Negga (Passing)
How I Did: 4/6
Commentary: Dowd finally shows up! I must say – no huge shockers here as she and Ellis made it over Kirsten Dunst (The Power of the Dog) and Kathryn Hunter (Macbeth). We’ll see if DeBose’s potential sweep continues here.
Supporting Actor
Nominees: Mike Faist (West Side Story), Ciaran Hinds (Belfast), Troy Kotsur (CODA), Woody Norman (C’Mon C’Mon), Jesse Plemons (The Power of the Dog), Kodi Smit-McPhee (The Power of the Dog)
How I Did: 3/6
Commentary: There was a double dose of Dog love for Plemons (who I didn’t predict) and Smit-McPhee (who I did and he could certainly win). I also went with Faist’s costar David Alvarez instead in a last minute switch that I now regret. And young Norman is responsible for the only nod for C’Mon C’Mon. I also went with Benicio del Toro for The French Dispatch and Jamie Dornan in Belfast. At this point, an Oscar nod for Dornan seems like a reach. Also worth noting is that, despite Pizza over performing, no Bradley Cooper.
Original Screenplay
Nominees: Being the Ricardos, Belfast, Don’t Look Up, King Richard, Licorice Pizza
How I Did: 4/5
Commentary: Here’s a list that may absolutely match the Oscar one. I said After Love over Richard (which had a solid day). Like with the Academy, this might be a Belfast v. Pizza showdown and considering how well the latter did, I might lean that way.
Adapted Screenplay
Nominees: CODA, Drive My Car, Dune, The Lost Daughter, The Power of the Dog
How I Did: 4/5
Commentary: Went with West Side Story over Dune. This is Power‘s to lose.
Animated Film
Nominees: Encanto, Flee, Luca, The Mitchells vs. the Machines
How I Did: 3/4
Commentary: Rather predictable list though I said Ron’s Gone Wrong instead of Luca.
Film Not in the English Language
Nominees: Drive My Car, The Hand of God, Parallel Mothers, Petite Maman, The Worst Person in the World
How I Did: 3/5
Commentary: No Flee here or Titane with God and Mothers in. Drive My Car is the favorite.
Documentary
Nominees: Becoming Cousteau, Cow, Flee, The Rescue, Summer of Soul
How I Did: 3/5
Commentary: Summer of Soul did well when factoring in the surprise Editing nod. It made it along with Cousteau over my picks of The Sparks Brothers and The Velvet Underground.
Cinematography
Nominees: Dune, Nightmare Alley, No Time to Die, The Power of the Dog, The Tragedy of Macbeth
How I Did: 4/5
Commentary: Well – Macbeth got something (!) Only miss here was going with Belfast instead of Alley.
Costume Design
Nominees: Cruella, Cyrano, Dune, The French Dispatch, Nightmare Alley
How I Did: 2/5
Commentary: There’s always a pesky 2/5 race where I just whiff. I got Cyrano and Dune right but the others popped up over House of Gucci, Last Night in Soho, and West Side Story. I didn’t predict it, but Cruella could be the main competition for Dune.
Editing
Nominees: Belfast, Dune, Licorice Pizza, No Time to Die, Summer of Soul
How I Did: 3/5
Commentary: Soul‘s aforementioned placement is unexpected – could it possibly follow suit with the Academy? Also didn’t project Pizza. They are in over Last Night in Soho and (you guessed it) West Side Story.
Makeup and Hair
Nominees: Cruella, Cyrano, Dune, The Eyes of Tammy Faye, House of Gucci
How I Did: 4/5
Commentary: Cyrano over The Electrical Life of Louis Wain. Honestly, other than Cyrano, I think any of the hopefuls could take this.
Original Score
Nominees: Being the Ricardos, Don’t Look Up, Dune, The French Dispatch, The Power of the Dog
How I Did: 3/5
Commentary: Ricardos and Don’t Look Up in; The Green Knight and Spencer out. Probably a showdown of Dune v. Dog.
Production Design
Nominees: Cyrano, Dune, The French Dispatch, Nightmare Alley, West Side Story
How I Did: 3/5
Commentary: Here’s a rare category where I incorrectly had West Side missing. It’s in, along with Cyrano (which had a decent haul with tech races) over Belfast and Macbeth.
Sound
Nominees: Dune, Last Night in Soho, No Time to Die, A Quiet Place Part II, West Side Story
How I Did: 4/5
Commentary: Place over Belfast. Expect Dune to reign supreme.
Special Visual Effects
Nominees: Dune, Free Guy, Ghostbusters: Afterlife, The Matrix Resurrections, No Time to Die
How I Did: 3/5
Commentary: Should be another victory for Dune as Free Guy and Ghostbusters made it over my selections of The King’s Man and Shang-Chi and the Legend of the Ten Rings.
And there’s your recap. As a reminder, my FINAL Oscar predictions (which I’m currently beating myself up over) will be posted tomorrow! Stay tuned…
It’s a scene I’ve returned to many times and one that can’t escape my mind since I saw it over nine years ago. The concluding sequence to Captain Phillips floors me each time I view it. It is simultaneously uplifting and devastating and features quite possibly the best three minutes of acting from Tom Hanks (and that’s saying a lot).
The scene also frustrates me to this day. Not because of anything in it. It reminds me that Hanks was snubbed of an Oscar nomination for the picture. That’s a travesty. I don’t care that he’s won two gold statues and was nominated for four more. He deserved recognition for what he did here.
As a reminder, Phillips from director Paul Greengrass recounts the Somali hijacking of the Maersk Alabama with Hanks in the title role. One of the pirates is played in an Academy nominated performance from Barkhad Abdi and the denoument finds him surviving after U.S. marksmen take out his cohorts. Phillips lives too after begging for his life in a scene that’s expertly constructed and nail bitingly tense (even though we know the outcome).
Yet it’s the aftermath that sticks with me. Phillips is taken to an infirmary after the ordeal. Clearly in shock, the confused Captain is cared for by a Naval medic. What you might not know is that the “actress” playing her (Danielle Albert) was a real sailor enlisted for the scene on the day of the shoot. Her interaction with one of the biggest stars in the world is unforgettable. However, there’s not a moment in it where you’re thinking of Hanks. It feels like you’re experiencing his trauma and his bewilderment when trying to articulate the blood on his body and the pain he feels.
Albert’s work is understandably authentic. This took a few viewings to appreciate her matter-of-fact style. The way she simply and flatly says You’re welcome when Phillips expresses gratitude. He needs to hear a common response to shake him from his nightmare.
This closing chapter wasn’t even in the script. Greengrass and his collaborators figured out that they needed a more potent ending. Mission accomplished and then some. The long journey to safety for Captain Phillips is undoubtedly an example of Movie Perfection.
It’s been 20 years since the heyday of Jennifer Lopez rom coms like The Wedding Planner and Maid in Manhattan, but the actress returns to the genre (with a heavy dose of music) on February 11th in Marry Me. Directed by Kat Coiro, Lopez stars as a spurned pop star who strikes up a romance with Owen Wilson. The supporting cast includes Maluma, John Bradley, and Sarah Silverman.
Originally scheduled for Valentine’s Day weekend 2021 before the inevitable COVID delay, it will be available on Peacock streaming same day. Clearly hoping for a healthy female turnout, plenty of viewers could opt to RSVP from home rather than walk down the theater aisle.
J-Lo’s last foray into this territory was 2018’s Second Act, which debuted over a packed Christmas weekend to only $6.5 million (it legged out decently to nearly $40 million). I’ll project Marry Me manages to top that figure, but it still could struggle to reach double digits. I’ll say it just manages to.
Marry Me opening weekend prediction: $11.2 million
The last major precursor nominations before Tuesday’s Oscar nods come out tomorrow and it’s the British Academy Film Awards or BAFTAs. Let’s discuss them a bit, shall we? The BAFTAs can be a confusing branch to figure out.
For starters, the number of nominees in each category is a tad puzzling. Best Film has five as do the tech races and screenplay derbies. Director and the acting competitions contain 6 while Animated Film is 4. However, Documentary and “Film Not in the English Language” is 5. Got that?
While past years have matched the Oscars fairly closely in the big categories, 2020 was an exception. While 4 of the 5 Best Film contenders ended up nabbing BP mentions from the Academy, it was just 3 of the directors. For Best Actor, it was also 3 but in Best Actress only two. Same goes for Supporting – 3 in Actor, 2 in Actress.
In other words, projecting the BAFTAs is a major crapshoot but I’ll try. Since it’s British voters, titles such as the BBC’s After Love are expected to perform well in some of the major races.
Another major note – I am only forecasting competitions where there’s a direct correlation to the Academy. Therefore I’m not weighing in on Best British Film, Outstanding Debut by a British Writer, Director, or Producer, or Casting.
For each race, I’ll give you my picks (and I triple checked the numbers) and an alternate. A recap on how I did and my general thoughts are up tomorrow and my final Oscar predictions will be up Friday!
Guillermo del Toro has been making geek shows geared to movie geeks for years. In Nightmare Alley, based on a 1946 novel and the picture that followed it a year later, he gorgeously opens up his stylistic bag of tricks to give us a film noir where the scariest creatures are of the human sort. Geek shows take on a different meaning as the traveling carnivals where we spend the first act features one. That’s where spectators with jaws agape watch a drug addled performer (“geeks” in the show’s vocabulary) bite the heads off of chickens. All for the price of a quarter or two!
We meet Stan Carlisle (Bradley Cooper) in 1939 as he happens upon the larger road show filled with psychics, strongmen, and beautiful ladies with electrical currents running through them. He’s destitute and jobless and picks up menial duties from Clem (Willem Dafoe), who runs the demented circus. Stan is an audacious fellow who’s not fearful of romancing good-natured performer Molly (Rooney Mara) or picking up mentalist tips from the alcoholic Pete (David Strathairn) or his clairvoyant (with help from cue cards) wife Zeena (Toni Collette). He occasionally takes pity on the resident geek (Paul Anderson) but it’s clear Stan is mostly looking out for himself. An opening flashback sequence shows a strained relationship with his deceased father who was also a fan of the drink. While dad, mentor Pete, and that poor chicken feeder suffer from substance abuse, Stan’s vices are hubris and power.
The opening scenes of Alley explore this fascinating world with the exquisite production design, cinematography, and impeccable lighting that we would anticipate from its maker. This is constantly a visually striking experience. When we flash forward two years later, Stan has used the teachings of his colleagues to move up to the big city (Buffalo) and deem himself a psychic. With Molly as his assistant and companion, his dinner theater act attracts the attention of the city’s elite. Dr. Lilith Ritter (Cate Blanchett), a psychologist, tries to unmask Stan’s schemes during such a performance. It only serves to fool more of the attendees. The two decide to team up and swindle movers and shakers like a judge (Peter MacNeill) mourning a son and his devastated wife (Mary Steenburgen). For a price, Stan will convince them that their loved one is with them in spirit. The doctor provides the backstory from such grieving former patients.
Stan and Ritter also engage in therapeutic sessions that occasionally crackle with intensity. The two actors are up to the task with Blanchett picture perfect as the femme fatale and Cooper’s aw shucks Southern drawl cloaking his wild ambitions. Mara’s Molly gets lost in the shuffle as Stan’s pining is not just for a quick buck, but for the bad doc as well.
The ladder climbing of his consultations leads to Ezra Grindle (Richard Jenkins) and, at last, Stan may have bitten off more of an assignment than he can chew. Not a typical crime boss type of figure, the calm but firm Grindle looks for otherworldly messages from a former love. If Stan doesn’t produce, he may lose more than the fee.
Nightmare Alley is worth seeing for its look alone. Mr. del Toro is known for his onscreen creatures (from Cronos to Pan’s Labyrinth to his Oscar-winning The Shape of Water). We don’t see those types in his latest, but there’s monsters around and Stan is among them. Their habits are often just as frightening. When Dafoe’s Clem explains how the geeks are hired, it’s a tad hair raising.
Not all is as pleasing as the aesthetics. del Toro is clearly having a blast playing in the noir sandbox. So much so that he doesn’t seem to realize that these genre excursions should be lean and mean in their running time. Alley plods along for 150 minutes. Plenty of the characters are mean though it’s not so lean in execution. There are sequences that land effectively after the carnivorous first act but plenty that don’t match their potency. On the plus side, it’s got a humdinger of an ending with its darkly appealing beginnings and that makes it worth the price of admission.
Hercule Poirot is back in mystery solving form (quite a while after he was supposed to be) when Death on the Nile sets sail in theaters on February 11th. The follow-up to 2017’s Murder on the Orient Express finds Kenneth Branagh back as the famed Agatha Christie sleuth. As he did with Express, the star directs himself. Tom Bateman reprises his role from the predecessor. The supporting cast includes Annette Bening, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer (the pic was shot was shot prior to troubling details about his personal life surfaced), Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, and Letitia Wright.
Budgeted at a reported $90 million, Nile was originally slated for multiplexes in December 2020 before numerous COVID delays. In that time, Branagh made Belfast and it’s become one of the favorites to win Best Picture at the Oscars.
Back in 2017, Orient debuted to a better than anticipated $28 million. It stalled a bit in subsequent weekends, but eventually hit just over $100 million domestically. At that time, audiences gave it a B Cinemascore grade – not bad though certainly not impressive.
That calls into question whether moviegoers will be excited for another dose of Poirot and his suspects. Furthermore, Nile will attempt to skew towards a female crowd. Some could be distracted with the release of the Jennifer Lopez rom com Marry Me. There’s also a football game on Sunday that could eat into the grosses.
I deduce that this might make about half of what Express accomplished for its start.
Death on the Nile opening weekend prediction: $14.3 million
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