The most prominent wicked force in The School for Good and Evil wants to eradicate the educational institution forever and all the characters that inhabit it. Once that was revealed, I found myself rooting for the villain’s plot to succeed. That would mean no sequels to this misguided and criminally long Netflix adaptation of Soman Chainani’s 2013 fantasy novel. There’s been several follow-ups to the written work. I won’t hold back my wish to see no more of the adventures that Cate Blanchett’s narration can’t even save.
A prologue hints at the convoluted and overstuffed plot and unimpressive CG to come. Brothers Rhian and Rafal (both played by Kit Young) have formed The School for Good and Evil (even the title could use some imagination). It’s essentially a training ground for youngsters to become players in well-known fairytales. Rafal soon double-crosses his sibling and wants all the unholy power to… be more evil? Change the happy endings of our celebrated books to tragic ones? The stakes were never clear to me or perhaps I just stopped caring.
Many moons later and away from the school in a small village, Sophie (Sophia Anne Caruso) is obsessed with princesses like Cinderella. Bored with her surroundings, she longs for acceptance to the fantastical academy. Her best friend is Agatha (Sofia Wylie) and the townspeople are convinced she’s a witch. Unlike Sophie, she has no designs on attending anywhere where Evil would likely be her team. Soon enough, they are transported there and (surprise!) Agatha is dropped off on the Good side with Sophie on the Evil one.
The friends are certain their assignments are a mistake. The School Master (Laurence Fishburne), Good School Professor Dovey (Kerry Washington), and Evil Department Head Leonora Lesso (Charlize Theron) aren’t so sure. Errors such as this don’t occur. Beyond their placements, there’s an Ivy League vibe happening with legacy admissions. Sons of Prince Charming and King Arthur are undergrads. The latter is Tedros (Jamie Flatters) and Sophie wants to prove her Princess bonafides by charming him. Yet he might have eyes for Agatha.
Much of the film is devoted to Sophie and Agatha figuring out their roles at the school. The nearly 150 minute runtime to do so is bloated. Paul Feig, director of Bridesmaids and A Simple Favor, knows how to keep comedies and satirical mysteries moving at a reasonably snappy pace. That’s a skill forgotten in this overstuffed and often garish looking experience. Only Wylie’s performance is worth a bit of praise. I know overacting is supposed to happen in this genre but with a poor screenplay, it’s not a good look for a lot of the cast (that includes Theron and Washington).
When the students achieve their magical abilities, their fingers illuminate. Kinda like E.T.! Unlike that 40-year-old alien’s pic, what’s missing is the sense of wonder. The third act culminates at a fancy ball where a campy vibe and halfway decent makeup effects hint at what could’ve been. In case you couldn’t tell, I didn’t have a ball at The School for Good and Evil.
Currently among the top streaming pictures on Netflix is The School for Good and Evil, Paul Feig’s adaptation of Soman Chainani’s 2013 fairytale fantasy novel. Hoping for a Potter like franchise, the jury is still out on whether that occurs. Sophia Anne Caruso and Sofia Wylie are the leads with a supporting cast of familiar faces including Charlize Theron, Kerry Washington, Laurence Fishburne, Michelle Yeoh, Rob Delaney, and Patti LuPone.
School was released in select theaters and that qualifies it for awards consideration. Given its setting and influences, categories like Costume Design or Production Design or Makeup and Hairstyling are feasible. However, the critical reception this has generated is troubling. The Rotten Tomatoes meter is at 35% and the Audience Score is a meh 69%.
My guess is voters will hold back including this for any races. My Oscar Prediction posts will continue…
Studios usually don’t roll out movies that they think will scare up huge box office dollars on Halloween weekend and that holds true for 2022. We have the supernatural horror tale Prey for the Devil and the expansions of Till and Tár (both with likely Best Actress Oscar contenders in Danielle Deadwyler and Cate Blanchett, respectively). You can peruse my detailed prediction posts on that trio here:
Devil may round up the most business of the newcomers, but my mid single digits forecast would put it in fourth place behind a trio of holdovers. My take on Till could put it in fifth or sixth position based on how Halloween Ends holds after its massive sophomore frame plummet (more on that below). As for Tár, it’s slated for approximately 1000 venues and my $1.8 million projection leaves it outside of the top five or six.
The top 3 should remain the same with Black Adam having no trouble topping the charts for a second weekend. How far it falls is a better question. With a so-so B+ Cinemascore grade, I foresee a slightly higher dip than the 54% that Shazam! experienced in 2019. If it approaches closer to 60%, a gross in the upper 20s would be the result.
Ticket to Paradise with George Clooney and Julia Roberts slightly surpassed expectations and it should hold well with a 35-40% decrease. The runaway hit Smile should be the fright fest of choice in third place as it continues its meager declines.
And with that, my top 6 take for the spooky close out session of October:
1. Black Adam
Predicted Gross: $28.1 million
2. Ticket to Paradise
Predicted Gross: $10.4 million
3. Smile
Predicted Gross: $6.5 million
4. Prey for the Devil
Predicted Gross: $5.9 million
5. Halloween Ends
Predicted Gross: $4.1 million
6. Till
Predicted Gross: $3.8 million
Box Office Results (October 21-23)
The DCEU’s Black Adam, with Dwayne Johnson seemingly everywhere promoting it, opened in line with most prognostications at $67 million. That’s a bit above my $64.7 million take and in line with the studio’s Aquaman from 2018. It’s safe to say we haven’t seen the last of the character. As mentioned, this should easily repeat in 1st position this weekend (and the weekend after until Black Panther: Wakanda Forever hits).
Rom com Ticket to Paradise capitalized on its star power for $16.5 million, bettering my prediction of $13.7 million. That’s a needed boost for a genre that’s been struggling in recent years and an older crowd turned out to make the multiplex trek.
Smile continued to make Paramount happy with $8.4 million, a shade below my $9.5 million estimate. At $84 million after four weeks, the low budget pic is barreling toward $100 million domestically.
Halloween Ends went from 1st to 4th with a momentous 80% reduction. At $8 million, the final showdown between Laurie Strode and Michael Myers didn’t match my $10.4 million projection. The two-week total is $54 million as it will fall quite a bit short of the $92 million that predecessor Halloween Kills made.
Lyle, Lyle, Crocodile rounded out the top five with $4.2 million (I said $5.2 million) and $28 million overall.
Till with Danielle Deadwyler isn’t the only picture with a likely Best Actress nominee expanding this weekend. There’s also Tár in which Cate Blanchett will compete for her third gold statue. I’ve currently got her ranked #1 in that competition. Todd Field directs with a supporting cast including Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, and Mark Strong.
With its 95% rating on Rotten Tomatoes, the portrayal of a renowned composer whose world is riddled by scandal opened in limited release on October 7th. Early results were solid, but its performance this past weekend raises questions as to its broad appeal. On 141 screens, it made $500,000. That translates to just over $3500 per venue.
The film is expected to branch out to 1000 locations on Friday. History teaches us that the per theater average should drop and I’m projecting a gross of just under $2 million for the wider rollout.
Danielle Deadwyler is likely headed for a Best Actress nomination in Chinonye Chukwu’s Till, which opens wide in approximately 2000 theaters on October 28th. She plays Mamie Till, mother of Emmett who was brutally murdered in 1955. The biographical drama features Jalyn Hall as her son as well as Frankie Faison, Haley Bennett, and Whoopi Goldberg.
After its premiere at the New York Film Festival, Till received critical acclaim and it sports a 99% Rotten Tomatoes rating. Yet since its October 14th limited release, returns have been underwhelming. This past weekend, it earned approximately $600,000 on 104 screens. That’s a per screen average of just over $3600 and it doesn’t bode well for the expansion.
Three years ago, Harriet surpassed forecasts with its debut at the same time of year. With nearly $12 million for its start, that kind of number would be amazing for Till. Given the early evidence, it may only make a third of that.
Elvis has left the top ten predicted nominees in my Best Picture rankings and it’s Park Chan-wook’s Decision to Leave back in the mix. The good news continues for Leave as it returns to #1 in International Feature Film over its close competitor All Quiet on the Western Front.
While the directing and lead acting derbies remain the same, there are changes in both supporting races. Stephanie Hsu (Everything Everywhere All at Once) is back in Supporting Actress over Dolly de Leon (Triangle of Sadness). Judd Hirsch (The Fabelmans) falls out of the Supporting Actor quintet with Barry Keoghan (The Banshees of Inisherin) moving up.
Another picture increasing its nomination count is Living. I already had Bill Nighy in the Best Actor five and I’m now putting it in Adapted Screenplay while removing White Noise. Living also makes its debut in Costume Design for a total of three nods.
Later this week, I’ll have State of the Race detailed posts on the six major competitions (Picture, Director, the 4 acting contests).
You can read all the movement below!
Best Picture
Predicted Nominees:
1. The Fabelmans (Previous Ranking: 1) (E)
2. Everything Everywhere All at Once (PR: 2) (E)
3. Babylon (PR: 3) (E)
4. Women Talking (PR: 4) (E)
5. The Banshees of Inisherin (PR: 5) (E)
6. Top Gun: Maverick (PR: 7) (+1)
7. Tár (PR: 6) (-1)
8. The Whale (PR: 8) (E)
9. Triangle of Sadness (PR: 10) (+1)
10. Decision to Leave (PR: 14) (+4)
Other Possibilities:
11. All Quiet on the Western Front (PR: 11) (E)
12. She Said (PR: 12) (E)
13. Elvis (PR: 9) (-3)
14. Avatar: The Way of Water (PR: 13) (-1)
15. Glass Onion: A Knives Out Mystery (PR: 15) (E)
Best Director
Predicted Nominees:
1. Steven Spielberg, The Fabelmans (PR: 1) (E)
2. Damien Chazelle, Babylon (PR: 2) (E)
3. Daniels, Everything Everywhere All at Once (PR: 4) (+1)
4. Sarah Polley, Women Talking (PR: 3) (-1)
5. Todd Field, Tár (PR: 5) (E)
Other Possibilities:
6. Park Chan-wook, Decision to Leave (PR: 8) (+2)
7. Edward Berger, All Quiet on the Western Front (PR: 7) (E)
8. Martin McDonagh, The Banshees of Inisherin (PR: 6) (-2)
9. Ruben Ostlund, Triangle of Sadness (PR: 10) (+1)
10. James Cameron, Avatar: The Way of Water (PR: 9) (-1)
Best Actress
Predicted Nominees:
1. Cate Blanchett, Tár (PR: 1) (E)
2. Michelle Yeoh, Everything Everywhere All at Once (PR: 2) (E)
3. Danielle Deadwyler, Till (PR: 3) (E)
4. Michelle Williams, The Fabelmans (PR: 4) (E)
5. Margot Robbie, Babylon (PR: 5) (E)
Other Possibilities:
6. Olivia Colman, Empire of Light (PR: 6) (E)
7. Viola Davis, The Woman King (PR: 7) (E)
8. Naomi Ackie, I Wanna Dance with Somebody (PR: 9) (+1)
9. Jennifer Lawrence, Causeway (PR: 10) (+1)
10. Rooney Mara, Women Talking (PR: Not Ranked)
Dropped Out:
Ana de Armas, Blonde
Best Actor
Predicted Nominees:
1. Brendan Fraser, The Whale (PR: 1) (E)
2. Colin Farrell, The Banshees of Inisherin (PR: 3) (+1)
3. Austin Butler, Elvis (PR: 2) (-1)
4. Bill Nighy, Living (PR: 5) (+1)
5. Hugh Jackman, The Son (PR: 4) (-1)
Other Possibilities:
6. Diego Calva, Babylon (PR: 6) (E)
7. Tom Cruise, Top Gun: Maverick (PR: 7) (E)
8. Jeremy Pope, The Inspection (PR: 10) (+2)
9. Adam Driver, White Noise (PR: 9) (E)
10. Song Kang-ho, Broker (PR: 8) (-2)
Best Supporting Actress
Predicted Nominees:
1. Claire Foy, Women Talking (PR: 1) (E)
2. Jessie Buckley, Women Talking (PR: 2) (E)
3. Kerry Condon, The Banshees of Inisherin (PR: 3) (E)
4. Hong Chau, The Whale (PR: 4) (E)
5. Stephanie Hsu, Everything Everywhere All at Once (PR: 6) (+1)
Other Possibilities:
6. Dolly de Leon, Triangle of Sadness (PR: 5) (-1)
7. Carey Mulligan, She Said (PR: Not Ranked)
8. Nina Hoss, Tár (PR: 7) (-1)
9. Janelle Monae, Glass Onion: A Knives Out Mystery (PR: 8) (-1)
10. Jamie Lee Curtis, Everything Everywhere All at Once (PR: 10) (E)
Dropped Out:
Thuso Mbedu, The Woman King
Best Supporting Actor
Predicted Nominees:
1. Ke Huy Quan, Everything Everywhere All at Once (PR: 1) (E)
2. Brendan Gleeson, The Banshees of Inisherin (PR: 2) (E)
3. Paul Dano, The Fabelmans (PR: 3) (E)
4. Ben Whishaw, Women Talking (PR: 4) (E)
5. Barry Keoghan, The Banshees of Inisherin (PR: 6) (+1)
Other Possibilities:
6. Judd Hirsch, The Fabelmans (PR: 5) (-1)
7. Brad Pitt, Babylon (PR: 7) (E)
8. Woody Harrelson, Triangle of Sadness (PR: 8) (E)
9. Brian Tyree Henry, Causeway (PR: 10) (+1)
10. Tom Hanks, Elvis (PR: 9) (-1)
Best Original Screenplay
Predicted Nominees:
1. Everything Everywhere All at Once (PR: 2) (+1)
2. The Fabelmans (PR: 1) (-1)
3. The Banshees of Inisherin (PR: 3) (E)
4. Triangle of Sadness (PR: 4) (E)
5. Tár (PR: 5) (E)
Other Possibilities:
6. Babylon (PR: 6) (E)
7. Decision to Leave (PR: 7) (E)
8. Armageddon Time (PR: 8) (E)
9. Broker (PR: Not Ranked)
10. The Menu (PR: 10) (E)
Dropped Out:
Empire of Light
Best Adapted Screenplay
Predicted Nominees:
1. Women Talking (PR: 1) (E)
2. The Whale (PR: 2) (E)
3. She Said (PR: 3) (E)
4. Glass Onion: A Knives Out Mystery (PR: 4) (E)
5. Living (PR: 6) (+1)
Other Possibilities:
6. White Noise (PR: 5) (-1)
7. Bones and All (PR: 8) (+1)
8. Top Gun: Maverick (PR: 9) (+1)
9. All Quiet on the Western Front (PR: Not Ranked)
10. The Son (PR: 10) (E)
Dropped Out:
Till
Best Animated Feature
Predicted Nominees:
1 . Guillermo del Toro’s Pinocchio (PR: 1) (E)
2. Turning Red (PR: 2) (E)
3. Wendell and Wild (PR: 4) (+1)
4. Strange World (PR: 3) (-1)
5. Marcel the Shell with Shoes On (PR: 5) (E)
Other Possibilities:
6. The Sea Beast (PR: 7) (+1)
7. The Bad Guys (PR: 6) (-1)
8. My Father’s Dragon (PR: 8) (E)
9. Minions: The Rise of Gru (PR: 9) (E)
10. Lightyear (PR: 10) (E)
Best International Feature Film
Predicted Nominees:
1. Decision to Leave (PR: 2) (+1)
2. All Quiet on the Western Front (PR: 1) (-1)
3. Close (PR: 3) (E)
4. Bardo (PR: 4) (E)
5. Saint Omer (PR: 5) (E)
Other Possibilities:
6. Argentina, 1985 (PR: 9) (+3)
7. Holy Spider (PR: 7) (E)
8. Alcarras (PR: 8) (E)
9. Klondike (PR: 6) (-3)
10. EO (PR: Not Ranked)
Dropped Out:
Corsage
Best Documentary Feature
Predicted Nominees:
1 . All the Beautyand the Bloodshed (PR: 1) (E)
2. Descendant (PR: 2) (E)
3. Navalny (PR: 3) (E)
4. All That Breathes (PR: 4) (E)
5. Fire of Love (PR: 5) (E)
Other Possibilities:
6. Last Flight Home (PR: 9) (+3)
7. The Territory (PR: 6) (-1)
8. Moonage Daydream (PR: 8) (E)
9. Good Night Oppy (PR: 7) (-2)
10. Aftershock (PR: 10) (E)
Best Cinematography
Predicted Nominees:
1. Babylon (PR: 1) (E)
2. The Fabelmans (PR: 3) (+1)
3. Empire of Light (PR: 2) (-1)
4. Bardo (PR: 4) (E)
5. All Quiet on the Western Front (PR: 5) (E)
Other Possibilities:
6. Avatar: The Way of Water (PR: 6) (E)
7. The Banshees of Inisherin (PR: 8) (+1)
8. Top Gun: Maverick (PR: 7) (-1)
9. Tár (PR: Not Ranked)
10. Everything Everywhere All at Once (PR: 9) (-1)
Dropped Out:
Emancipation
Best Costume Design
Predicted Nominees:
1. Babylon (PR: 1) (E)
2. Elvis (PR: 2) (E)
3. Black Panther: Wakanda Forever (PR: 3) (E)
4. Mrs. Harris Goes to Paris (PR: 4) (E)
5. Living (PR: 8) (+3)
Other Possibilities:
6. The Fabelmans (PR: 7) (+1)
7. The Woman King (PR: 6) (-1)
8. Corsage (PR: 5) (-3)
9. Three Thousand Years of Longing (PR: Not Ranked)
10. Everything Everywhere All at Once (PR: 9) (-1)
Dropped Out:
Blonde
Best Film Editing
Predicted Nominees:
1. Everything Everywhere All at Once (PR: 1) (E)
2. Top Gun: Maverick (PR: 2) (E)
3. Babylon (PR: 4) (+1)
4. The Fabelmans (PR: 3) (-1)
5. Elvis (PR: 6) (+1)
Other Possibilities:
6. Tár (PR: 7) (+1)
7. Women Talking (PR: 5) (-2)
8. Avatar: The Way of Water (PR: 9) (+1)
9. All Quiet on the Western Front (PR: 8) (-1)
10. Decision to Leave (PR: Not Ranked)
Dropped Out:
Bardo
Best Makeup and Hairstyling
Predicted Nominees:
1. The Whale (PR: 1) (E)
2. Elvis (PR: 2) (E)
3. Babylon (PR: 3) (E)
4. The Batman (PR: 4) (E)
5. Everything Everywhere All at Once (PR: 5) (E)
Other Possibilities:
6. Black Panther: Wakanda Forever (PR: 6) (E)
7. All Quiet on the Western Front (PR: Not Ranked)
8. Three Thousand Years of Longing (PR: 10) (+2)
9. The Woman King (PR: 7) (-2)
10. X (PR: 8) (-2)
Dropped Out:
Blonde
Best Original Score
Predicted Nominees:
1. The Fabelmans (PR: 1) (E)
2. Babylon (PR: 2) (E)
3. Empire of Light (PR: 3) (E)
4. Women Talking (PR: 7) (+3)
5. Guillermo del Toro’s Pinocchio (PR: 6) (+1)
Other Possibilities:
6. Tár (PR: 4) (-2)
7. The Banshees of Inisherin (PR: 5) (-2)
8. Avatar: The Way of Water (PR: 10) (+2)
9. The Batman (PR: Not Ranked)
10. All Quiet on the Western Front (PR: 9) (-1)
Dropped Out:
Bardo
Best Original Song
Predicted Nominees:
1. “Hold My Hand” from Top Gun: Maverick (PR: 1) (E)
2. “Naatu Naatu” from RRR (PR: 3) (+1)
3. “Nobody Like U” from Turning Red (PR: 2) (-1)
4.“Applause” from Tell It Like a Woman (PR: 4) (E)
5. “Carolina” from Where the Crawdads Sing (PR: 6) (+1)
Other Possibilities:
6. “This Is a Life” from Everything Everywhere All at Once (PR: 7) (+1)
7. “Stand Up” from Till (PR: 5) (-2)
8. “New Body Rhumba” from White Noise (PR: 8) (E)
9. “On My Way” from Marry Me (PR: 9) (E)
10. “At the Automat” from The Automat (PR: Not Ranked)
Dropped Out:
“Love Is Not Love” from Bros
Best Production Design
Predicted Nominees:
1. Babylon (PR: 1) (E)
2. Elvis (PR: 2) (E)
3. Avatar: The Way of Water (PR: 3) (E)
4. Black Panther: Wakanda Forever (PR: 4) (E)
5. The Fabelmans (PR: 6) (+1)
Other Possibilities:
6. Guillermo del Toro’s Pinocchio (PR: Not Ranked)
7. Empire of Light (PR: 8) (+1)
8. Everything Everywhere All at Once (PR: 7) (-1)
9. Glass Onion: A Knives Out Mystery (PR: 9) (E)
10. Bardo (PR: 5) (-5)
Dropped Out:
The Batman
Best Sound
Predicted Nominees:
1. Top Gun: Maverick (PR: 1) (E)
2. Avatar: The Way of Water (PR: 2) (E)
3. Babylon (PR: 4) (+1)
4. The Batman (PR: 6) (+2)
5. All Quiet on the Western Front (PR: 5) (E)
Other Possibilities:
6. Elvis (PR: 3) (-3)
7. Black Panther: Wakanda Forever (PR: 7) (E)
8. Everything Everywhere All at Once (PR: Not Ranked)
9. Tár (PR: Not Ranked)
10. Nope (PR: 8) (-2)
Dropped Out:
The Fabelmans
Bardo
Best Visual Effects
Predicted Nominees:
1. Avatar: The Way of Water (PR: 1) (E)
2. Top Gun: Maverick (PR: 2) (E)
3. Everything Everywhere All at Once (PR: 3) (E)
4. Guillermo del Toro’s Pinocchio (PR: 6) (+2)
5. Doctor Strange in the Multiverse of Madness (PR: 4) (-1)
Other Possibilities:
6. The Batman (PR: 5) (-1)
7. Black Panther : Wakanda Forever (PR: 7) (E)
8. RRR (PR: 8) (E)
9. All Quiet on the Western Front (PR: 10) (+1)
10. Good Night Oppy (PR: 9) (-1)
And that equates to these pictures garnering these numbers of nominations:
10 Nominations
Babylon
9 Nominations
Everything Everywhere All at Once, The Fabelmans
7 Nominations
Women Talking
6 Nominations
The Banshees of Inisherin
5 Nominations
Elvis, Top Gun: Maverick, The Whale
4 Nominations
Tár
3 Nominations
All Quiet on the Western Front, Avatar: The Way of Water, Guillermo del Toro’s Pinocchio, Living
2 Nominations
Bardo, The Batman, Black Panther: Wakanda Forever, Decision to Leave, Empire of Light, Triangle of Sadness, Turning Red
1 Nomination
All That Breathes, All the Beauty and the Bloodshed, Close, Descendant, Doctor Strange in the Multiverse of Madness, Fire of Love, Glass Onion: A Knives Out Mystery, Marcel the Shell with Shoes On, Mrs. Harris Goes to Paris, Navalny, RRR, Saint Omer, She Said, The Son, Strange World, Tell It Like a Woman, Till, Wendell and Wild, Where the Crawdads Sing
Marlon Wayans is a frequent presence in comedic horror mashups and they’ve been of the R rated variety with Scary Movie and its first sequel and A Haunted House and its follow-up. On the Netflix circuit, The Curse of Bridge Hollow ditches the scatological humor for a family friendly concoction about a Halloween obsessed town where the decorations come to life. It’s not hard to envision Adam Sandler or Eddie Murphy in the Dad role that Wayans fills. In fact, Sandler mined similar territory recently with Hubie Halloween. This one isn’t exactly a treat, but I found it more tolerable than that one.
Howard Gordon (Wayans) is a science teacher transported from Brooklyn to Bridge Hollow, a small New England town that looks quaint but is far from it. The residents wear their Patriots jerseys loudly and talk even more thunderously about the town’s spooky history. It involves the tale of Stingy Jack, whose mythology gave us the Jack-o’-lantern. You don’t want to wake him and that’s precisely what Howard’s teenage daughter Sydney does when they settle into their haunted house. She’s played by Priah Ferguson, a consistent bright spot on Netflix’s Stranger Things. The father/daughter relationship is a cliched one with Howard as the overbearing holiday skeptic who just needs to listen more. Mom (Kelly Rowland) really gets the short shrift. Her defining character trait is that she bakes inedible vegan desserts. The screenplay could’ve done better than “the wife can’t cook” material for the former Destiny’s Child and Freddy vs. Jason star.
Priah and Dad must get over their differences as they battle a slew of creatures of the crawly and skeletal variety. The special effects aren’t half bad. Hollow is aimed squarely at delighting kids and placating the adult supervision. It’s an easy and breezy watch and Wayans seems committed to the part. That’s more than I could say for Murphy, who appeared downright bored in The Haunted Mansion. Ferguson, on the other hand, doesn’t quite get to display the personality that’s so winning on her smash hit role as Erica Sinclair. A few chuckles come from a supporting cast including Rob Riggle, John Michael Higgins, and Lauren Lapkus as Bridge Hollow’s very New England accented Mayor.
Jeff Wadlow, whose traditional scary movies Truth or Dare and Fantasy Island were subpar, directs. Bridge Hollow is better than either of them. I realize all of my compliments likely sound hollow. That’s not inaccurate, but youngsters could do worse than dialing this up and the more seasoned viewer shouldn’t curse themselves for having to watch it.
The rich, entitled, and woke characters in Halina Reijn’s Bodies Bodies Bodies don’t need to be likable and they certainly aren’t. They do need interesting dialogue and a compelling or frightening storyline to work with. That happens too rarely in this monotonous satiric slasher with its takedown of the elite class.
Drinking, pills, and hard drugs are on the menu at the mansion of David (Pete Davidson) as a hurricane is about to supply its own blow. Sophie (Amandla Stenberg) is a childhood friend with a similar silver spoon upbringing. She brings her Eastern European partner Bee (Maria Bakalova, recently an Oscar nominee for Borat Subsequent Moviefilm) to the rainy day soiree. Others RSVP’d are David’s actress girlfriend Emma (Chase Sui Wonders), podcaster Alice (Rachel Sennott) and her older beau Greg who’s also a vet (Lee Pace), and Jordan (Myha’la Herrold), who may share a romantic past with Sophie.
Previous substance abuse keeps Sophie from partaking in the fun but the others get their buzzkills when murders dampen the festivities. The first body pops up during the title game and more follow. As the count increases, we discover what the screenplay from Sarah DeLappe is really getting at. Even as lives are brutally lost, the partygoers manage to make the bloodshed somehow about them. You suspect that the suspects are mentally taking notes on how they’ll Instagram or Tik Tok the trauma. Let’s call it Keeping Up with the Carnage to bring in a reference to Mr. Davidson’s ex.
Unfortunately the screenplay strains mightily to make them anything more than blank caricatures. Not enough witty lines make the cut. Sennott’s Alice has the most potential. Maybe she should’ve been granted more material. Bakalova, so winning alongside Sacha Baron Cohen, is lost in a bore of a part. There’s a clever if familiar tale trying to break out in Bodies Bodies Bodies. My post mortem concludes that it mostly fails.
Todd Field’s Tár is told from the myopic perspective of its title character played masterfully by Cate Blanchett. This is a disconcerting and wildly original choice and it’s a perfect one upon reflection. We as the audience, in a two hour and 40 minute burn, slowly discover more about a conductor’s conduct. We don’t really see it and that seems right because she doesn’t either. At least Lydia Tár won’t acknowledge it and doesn’t appear capable of doing so.
Being celebrated in a packed house interview by The New Yorker, Tár has climbed the composition ladder to the top. Now the chief conductor for the Berlin Philharmonic, she’s a rare EGOT recipient (Emmy, Grammy, Oscar, Tony). Having written a book grandly titled Tár On Tár, her orchestra and her scholars (she guest lectures at Juilliard on occasion) hang on her every motion and word. Almost. We catch an early glimpse of a student challenging her and it’s not a pretty sight. It’s surreptitiously filmed for social media consumption and that causes embarrassment (more for the team around her than the ambivalent lecturer).
This is nothing compared to what’s coming. Tár’s personal life is in a constant state of hinted perilousness. At first, her marriage to violin player Sharon (Nina Hoss) seems ideal with their young daughter and lush surroundings. However, the separate apartment that Tár keeps raises flags. Personal assistant Francesca (Noémie Merlant) is in line for a huge promotion from her boss. There’s unclear happenings from the past that keep her from elevating. Most disturbingly, a young colleague and perhaps former lover is alleging misdeeds from the grave.
Our window into Tár’s newsworthy liabilities are showcased mostly through her budding relationship with a gifted (at least as her mentor immediately sees it) Russian cellist (Sophie Kauer). There is a creeping feeling of the narcissism and transactional nature of all her interactions. When she’s performing her lauded work, a wave of the hand silences rehearsal. A figurative wave of the hand seems to flick away individuals who are no longer useful.
As her world starts to crumble, we witness it through Tár’s point of view. It is one in which there’s a refusal to tolerate increasing voices speaking up. Field, in his first picture in 16 years, trains his camera on Blanchett in nearly every frame. His screenplay has created a multifaceted character with potentially unforgivable shortcomings and undeniable gifts.
Blanchett’s transformation into this complicated figure is its own work of art. She’s mesmerizing and awards voters may grant landslide reactions. Hoss and Merlant provide impressive support as their characters hang on to the last remnants of assistance in their unbalanced bonds with The Maestro.
When the curtain finally falls on Tár, it does so surprisingly. It left me questioning what the film was trying to say about artistic genius and the lengths such a prodigy will go to maintain their control and image. This is a challenging, deliberative, and rewarding experience. You can’t dismiss the wave of the many strong hands involved, especially the lead.
If at first you don’t succeed, try and fail again. Dark Phoenix is the 12th feature in the X-Men universe. It continues the significant dip in quality that we witnessed in predecessor X-Men: Apocalypse. While it’s not necessarily worse, the mystique of this franchise was pierced last time around and the bloodshed continues here. We also have Jennifer Lawrence as Mystique and, like in Apocalypse, it seems she’d rather be elsewhere.
Like 2006’s X-Men: The Last Stand, this is focused on Jean Grey’s origin story. A 1975 flashback shows how she became an orphan and it’s got a lot to do with her telekinetic mutant powers. We already know that Charles Xavier (James McAvoy) quickly brought her into School for Gifted Youngsters after a tragedy and she grows up to be played by Sophie Turner. By 1992, Jean’s abilities are accentuated in outer space while rescuing a group of astronauts with her colleagues. It also triggers some repressed memories, putting her at odds with her mentor. That’s not the only collateral damage from Jean’s galactic adventures. An alien race known as the D’Bari had their planet inadvertently destroyed by this particular gifted youngster. Jessica Chastain is Vuk, an extra-terrestrial leader looking to harness those gifts for her own use. Like Oscar Isaac in Apocalypse, Chastain represents another talented performer wasted in a forgettable villain role.
While X-Men: First Class had cheeky fun with its 60s setting and Days of Future Past grooved to a 70s vibe, Phoenix does nothing with the early 90s time frame (other than not aging the actors appropriately). Even Apocalypse tried to capitalize on the 80s retro craze.
Missed opportunities to dwell on a decade and boring baddies aren’t the worst problem. Jean Grey isn’t a compelling character in her own film and Turner’s bland acting shines that light brighter. When Michael Fassbender shows up from time to time, it’s a reminder that his island getaway and small army of followers might offer up a cooler storyline. I know that comic book lovers hold the Dark Phoenix Saga in high regard, but they’e been given the short shrift twice now. Maybe Fassbender, his effortless magnetism, and the backstory of his current circumstances might have more firepower.
This is Simon Kinberg’s first at bat directing the series. He is responsible for writing The Last Stand so he’s .000 with the Grey matter. I guess he’s .250 on his X screenplays as he also penned Apocalypse but had a hit with Days of Future Past. Some of the violent encounters are dimly presented and plenty of the CG is subpar. A final set piece aboard a train has the most competent technical work and random moments of effective action. That doesn’t come close to saving this. The X-Men have been off the rails for two movies in a row.
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