Johnny Knoxville and his band of merry pranksters are back again in Jackass Forever, opening February 4th. It is the fourth theatrically released Jackass saga and it follows 2013’s successful spinoff Bad Grandpa. Jeff Tremaine is back in the director’s chair along with familiar pain enthusiasts Steve-O, Wee Man, Chris Pontius, Dave England, Danger Ehren, Preston Lacy, and Bam Margera (who was fired from production but remains onscreen). There’s celebrity cameos from Eric Andre, Shaquille O’Neal, Machine Gun Kelly, and Tyler, the Creator.
The boys aren’t boys anymore as Knoxville is 50 and Forever will be a test of the franchise’s durability. Back in 2002, part one (which stemmed from the smash MTV show) made $22 million for its start. The first sequel in 2006 made off with $29 million in its opening while 2010’s Jackass 3D easily hit the series high point with a $50 million debut. By 2013, any doubts about the Jackass bankability were wiped away when Bad Grandpa hit $32 million out of the gate.
Younger viewers, eight years after the last installment, may not be as familiar with the brand. However, I’m hesitant to bet against them. No Jackass tale has premiered with less than $20 million and my hunch is that this won’t either. Low to mid 20s sounds about right.
Jackass Forever opening weekend prediction: $21.8 million
Two significant Academy precursors are coming our way tomorrow when the Directors and Producers Guilds of America reveal nominees. Both groups could shed major light on who and what we will see on Oscar nomination morning in less than two weeks.
The DGA nominates five directors for their top prize and it is a reliable preview for usually 4 of the 5 eventual hopefuls at the big show. In the past five years, the DGA’s list corresponds with the Academy’s on the 4 of 5 ratio. The exception was 2018 when it was 3/5. You have to go back to 2009 to find the last year in which there was a perfect match.
For weeks, my Oscar projections in Best Director has remained consistent: Paul Thomas Anderson (Licorice Pizza), Kenneth Branagh (Belfast), Jane Campion (The Power of the Dog), Steven Spielberg (West Side Story), and Denis Villeneuve (Dune). That’s probably the safest lineup to predict for DGA as well, but I’m hesitant to do so since it’s been over a decade with the two corresponding.
So who’s vulnerable and who could rise up? It’s hard to see Campion (the Oscar frontrunner), Villeneuve, or Spielberg missing. Same generally goes for Branagh though there’s whispers that Belfast could be slipping a bit (still not enough for me to take him out). That leaves Anderson and there’s some precedent. In 2017, the Academy nominated him for Phantom Thread while DGA omitted him. He’s the easiest to leave off their ballot.
Who takes his place? I doubt that it’s Ryusuke Hamaguchi for Drive My Car. In recent times, the Academy has been more generous with nods for filmmakers and their international features. Last year, they nominated Thomas Vinterberg (Another Round) and in 2018 they did the same for Pawel Pawlikowski (Cold War) while DGA ignored them.
If there’s a surprise fifth nominee in store, watch out for Guillermo del Toro (Nightmare Alley), Maggie Gyllenhaal (The Lost Daughter) or Sian Heder (CODA). However, I think it could come down to Joel Coen (The Tragedy of Macbeth) and Adam McKay (Don’t Look Up). The latter is a two-time DGA nominee (The Big Short and Vice) and Don’t Look Up is a buzzy streaming success story that’s been widely viewed. Coen, on the other hand, could be honored for the technical mastery of Macbeth.
This is a close call, but I’m ever so slightly leaning toward McKay and I’ll go that route. Therefore – my official DGA predictions are:
Kenneth Branagh, Belfast
Jane Campion, The Power of the Dog
Adam McKay, Don’t Look Up
Steven Spielberg, West Side Story
Denis Villeneuve, Dune
Runner-Up: Paul Thomas Anderson, Licorice Pizza
Second Alternate: Joel Coen, The Tragedy of Macbeth
Let’s move to the PGA, shall we? Over the last five years, these are the matches between the Producers and the Academy when it comes to their Best Picture awards:
2016: 9/9
2017: 7/9
2018: 8/8
2019: 9/9
2020: 7/8
It’s important to keep in mind that the Academy, for the past several years, can have anywhere between 5-10 BP contenders (the magic number has been 8 or 9). Yet in 2021, the Oscars are reverting back to a set 10 (the PGA always nominates 10 except for 2017 when they had 11 for some inexplicable reason).
That means there’s only been three films (Darkest Hour and Phantom Thread in 2017 and The Father in 2020) that received Oscar nods and didn’t materialize on the PGA list.
My current 10 selections for BP from the Academy are as follows: Belfast, CODA, Don’t Look Up, Dune, House of Gucci, King Richard, Licorice Pizza, The Power of the Dog, The Tragedy of Macbeth, West Side Story.
I’m estimating that only Gucci and Tragedy could be truly vulnerable to miss the PGA cut (anything else being left off would constitute a pretty big surprise). If that happens, CODA or Richard might be the ones.
In my view, Tragedy is exactly the kind of feature that PGA may not recognize. Gucci is more of a question mark as the Producers generally like to nominate pictures that performed well at the box office. To that point, the PGA has a history of honoring moneymakers that the Academy does not. Recent examples include Bridesmaids, Skyfall, Gone Girl, Straight Outta Compton, Deadpool, Wonder Woman, Crazy Rich Asians, A Quiet Place, and Knives Out.
That could absolutely open the door for No Time to Die or Spider-Man: No Way Home… or both. I’m slightly more hesitant to include Spidey being that neither Avengers: Infinity War or Endgame got PGA love. However, I’m not oblivious to the fact that this guild may want to mention the picture that broke pandemic era box office records.
Outside of the blockbuster mold, you could also see titles like Being the Ricardos, Drive My Car, The Lost Daughter, Nightmare Alley, or Tick, Tick… Boom! factor in.
I’m keeping Gucci in (with extreme uncertainty) and projecting 007 in the mega-earner slot so here’s my PGA ten:
Belfast
CODA
Don’t Look Up
Dune
House of Gucci
King Richard
Licorice Pizza
No Time to Die
The Power of the Dog
West Side Story
Runner-Up: Spider-Man: No Way Home
Second Alternate: The Tragedy of Macbeth
So there you have it! I’ll have reaction up on both DGA and PGA tomorrow on the blog…
Honk for Jesus. Save Your Soul. (that’s how the title is indeed punctuated) is based on a 2018 short film and the elongated version is a mockumentary starring Regina Hall and Sterling K. Brown as Atlanta megachurch leaders whose congregation isn’t as mega as it used to be. Adamma Ebo directs the indie satire which premiered at Sundance.
Reviews so far translate to 85% on Rotten Tomatoes, but plenty of them point out that it’s flawed. Praise for the leads is there. In 2018, Hall picked up some critics awards for Support the Girls. It doesn’t appear that’ll happen here. My Oscar Prediction posts will continue…
Comedian Tig Notaro and actress Stephanie Allynne, who are married in real life, direct the tale of a same sex couple in Am I Ok?, which debuted at Sundance. The dramedy stars Dakota Johnson and Sonoya Mizuno with a supporting cast featuring Jermaine Fowler, Kiersey Clemons, Molly Gordon, Sean Hayes, and Notaro herself.
Critical reaction stands at 83% on Rotten Tomatoes though there’s a few notices that skew negative. Johnson is having a busy Sundance as Cha Cha Real Smooth is being called a crowdpleaser where some reviews hail it as her career best work.
Am I Ok? is unlikely to nab any awards buzz. Johnson’s other effort could be a different story. My Oscar Prediction posts will continue…
January should close out very quietly at the box office as we await more high profiles releases in February. There’s no newcomers this weekend as the trio of S sequels – Spider-Man: No Way Home, Scream, Sing 2 – should easily maintain the 1-2-3 positions. In fact, the top 5 is likely to remain unaltered with Redeeming Love in fourth and The King’s Man rounding out the top five.
I’m projecting drops in the 20s for Spidey, Sing and King’s while Scream and Love could lose around half of their previous haul.
Quite simply, not a whole lot to ponder this time around and here’s how I see the top 5 shaking out:
1. Spider-Man: No Way Home
Predicted Gross: $10.3 million
2. Scream
Predicted Gross: $5.5 million
3. Sing 2
Predicted Gross: $4.2 million
4. Redeeming Love
Predicted Gross: $1.8 million
5. The King’s Man
Predicted Gross: $1.3 million
Box Office Results (January 21-23)
Two newcomers couldn’t make a dent in multiplexes as MCU’s behemoth took back the top spot from Ghostface. No Way Home made $14 million in its sixth frame, ending out my $13 million estimate. It’s up to $720 million and perched 4th all-time domestically.
Scream dropped to second with $12.2 million (in line with my $12.7 million projection) for $51 million in its two weeks. The 59% fall is similar to Scream 4‘s 62% sophomore dip.
Sing 2 was third with $5.7 million (I said $5.3 million) for a five-week tally of $128 million.
The historical romance Redeeming Love premiered in fourth with $3.5 million. That’s certainly unimpressive, but it did manage to exceed my $2.4 million prediction.
The King’s Man rounded out the top five with $1.7 million (I went with $1.6 million) for $31 million overall.
Last and least, the long delayed The King’s Daughter (featuring Pierce Brosnan and a mermaid) should have stayed on the shelf. The fantasy adventure debuted in 8th with $750,000. I thought it might make $1 million and my generosity clearly got the best of me.
Cha Cha Real Smooth comes from writer/director Cooper Raiff and its Sundance premiere is garnering solid buzz (86% on Rotten Tomatoes so far). The filmmaker himself stars as a bar mitzvah party starter who befriends a single mom (Dakota Johnson). Leslie Mann and Brad Garrett costar.
Many reviews indicate this could be a breakout crowdpleaser. Whether that word-of-mouth means anything to awards voters is questionable. However it’s worth mentioning that Johnson is receiving some career best talk. Ever since (or in spite of) her breakout role in Fifty Shades of Grey, the actress is slowly becoming a bit of a critical darling. Her recent supporting turn in The Lost Daughter was well received and she’s got another lead part in another fest offering Am I Ok? (which I’ll get to on the blog shortly).
I doubt Cha Cha is the role that nabs Johnson her first Academy mention, but it’s worth keeping an eye on. My Oscar Prediction posts will continue…
It’s happened a lot lately where films in the psychological thriller/horror realm feature lead female performances that have social media buzzing for their awards attention. Think Toni Collette in Hereditary or Lupita Nyong’o for Us.
We could see that happen again with Rebecca Hall in Resurrection, which played at Sundance over the weekend. From director Andrew Semans, the dark tale features Hall confronting an ex flame and abuser (Tim Roth). The critical reaction is a bit mixed (76% currently on Rotten Tomatoes). However, the most positive reviews are really positive and nearly all write-ups praise Hall’s work (as well as Roth).
A quick study of the reviews will indicate this is not an Academy friendly experience. Don’t be surprised if there’s an Internet drumbeat for Hall to be recognized. She’s coming off a strong 2021 – making her directorial debut in the praised Passing and starring in the horror flick The Night House.
Yet Collette and Nyong’o couldn’t make the Oscar cut and I wouldn’t expect Hall to. My Oscar Prediction posts will continue…
Blogger’s Note (08/23): This post has been updated from its original January 24th publication to reflect the title change from 892 to Breaking.
Abi Damaris Corbin’s debut dramatic thriller 892 has premiered at Sundance and features a performance from John Boyega that’s already drawing critical kudos. The pic recounts the events surrounding Lance Corporal Brian Brown-Easley’s attempted robbery of a Marietta, GA bank in the summer of 2017. Costars include Nicole Beharie, Connie Britton, and Michael K. Williams in one of his final roles. It opens August 26th.
Boyega is, of course, best known as Finn from the most recent Star Wars trilogy. He recently nabbed a Golden Globe for Steve McQueen’s acclaimed TV anthology Small Axe. With 892, reviews are calling it some of his finest work. As far as Williams (who passed away in September 2021), perhaps there could be a push for a posthumous Supporting Actor nod.
Yet the notices themselves (81% on Rotten Tomatoes) don’t point to this being a major awards contender and it could be a struggle for Boyega or Williams to garner any momentum in next year’s Actor derby. My Oscar Prediction posts will continue…
Romance and volcanoes dominate the doc Fire of Love, which debuted at Sundance over the weekend and already ignited a heated bidding war. The French offering from filmmaker Sara Dosa is one of the most discussed pics of the fest and the Rotten Tomatoes rating stands at 100%.
Centered on a couple and their devotion to capturing volcanic imagery, Love was quickly picked up by National Geographic’s documentary division and should be out later this year. It could follow a similar path to The Rescue, another acclaimed Nat Geo pickup that appears destined to nab a Documentary Feature nomination from the Academy in a couple weeks (and it could win).
Sundance has already produced a potential shortlist contender here and my Oscar Prediction posts will continue…
From a randy aging rock star in Love Actually to Dave Jones in the Pirates of the Caribbean franchise, Bill Nighy has been turning up in notable roles for years. Yet the acclaimed English thespian hasn’t gotten his awards bait role to date. That could change with Living, which has premiered at Sundance over the weekend.
Set in 1950s London, the remake of Akira Kurosawa’s 1952 pic Ikiru casts Nighy as a government worker diagnosed with a terminal illness. Costars include Aimee Lou Wood, Alex Sharp, and Tom Burke. Kazuo Ishiguro, who wrote the source material for 1993’s The Remains of the Day (which nabbed Best Picture and acting noms) is the screenwriter. Initial reviews (under 10 thus far) give it a 100% Rotten Tomatoes score.
For a well-regarded actor of Nighy’s stature, this certainly seems like something that could be catnip for BAFTA voters. Whether the Academy follows suit might be determined by how robust its campaign is and that, of course, remains to be seen in the days and months ahead. My Oscar Predictions posts will continue…
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