Scream VI Review

There’s more than one way to clean a knife after piercing a victim’s skin in the Scream flicks. The filmmakers appear determined to give this series nine lives or more as the sixth installment finds new terrorizers to fill the Ghostface mask. Let’s quickly go through the strange name game as 2022’s Scream was really Scream V. Termed as a requel, Urban Dictionary considers that a “sequel to a movie that functions somewhere between a sequel, a reboot, and a remake”. Unfortunately Scream (’22 version) didn’t function that well at all. With directors Matt Bettinelli and Tyler Gillett taking over directorial duties from the late Wes Craven, they showed lots of appreciation for the original from 1996. Like the other follow-ups, it couldn’t compare to the fresh satiric edge that part 1 had. In fact, despite a well-executed slashing or two, I’d rank it fifth of the lot.

Now I’d rank it sixth because Scream VI is a minor improvement. It picks up a year after the events of the fifth. We’re not in Woodsboro anymore as Sam Carpenter (Melissa Barrera), daughter of the OG Ghostface Billy Loomis, has relocated to the Big Apple. She’s there mostly to keep watch over little sister Tara (Jenna Ortega), now a college freshman along with sister and brother Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding). They call themselves the Core 4 since they managed to survive the havoc wreaked by Sam’s ex-bf Richie in the last go-round.

The dwindling legacy characters returning are Gail Weathers (Courtney Cox), the reporter who’s always looking for a way to make a buck from the mayhem. There’s also Kirby Reed (Hayden Panettiere), who played an integral role in Scream 4. She was the best friend to the eventual Ghostface in that one. And while part four was one of the better sequels, I would understand if you forgot her character. Now Kirby is an FBI agent who shows up to help (which obviously makes her a quick suspect). I wonder if her appearance might be due to Sidney (Neve Campbell) not being present. Word is they didn’t want to show her the money to appear.

While the predecessor often paid homage to Scream ’96 (released the same month when Mason Gooding’s dad Cuba was screaming “Show me the money!” to Tom Cruise in Jerry Maguire), this has its winks to Scream 2 from 1997 by being set in the higher ed world. Some of the brutal sequences are well-constructed. The opening with Samara Weaving as a college professor on a blind date is a clever way to start.

Part of the fun in the Scream pics is figuring out the slayers and it’s usually more than one. There’s a few to consider with Sam’s neighbor and secret lover (Josh Segarra), the detective father (Dermot Mulroney) of her roommate Quinn (Liana Liberato), and Chad’s roommate Ethan (Jack Champion). And who knows? Maybe Papa Billy’s demonic genes are infecting Sam.

As we’ve seen before in this franchise, there’s a scene where a character explains that the “rules have changed!”. And nothing is as it seems. The NYC locale change is welcome (Ghostface brandishing a shotgun in a bodega is fresh new territory). Scream VI gets by for a while in the new setting and with its furious piercings. Sadly it is not faster. The 122 minute runtime is a series record and when we reach the third act, the rules haven’t changed much with the unmasking reveals. That portion is the biggest letdown. There’s only so many ways to inject life into these deaths, but they’ll find ways as long as we continue to show them the money.

**1/2 (out of four)

His Only Son Box Office Prediction

Blogger’s Update (03/29): I am significantly revising my estimate down from $6.1M to $3.8M

Christian streaming service Angel Studios (perhaps best known for their crowdfunded series The Chosen) is branching into features. His Only Son, recounting the Biblical story of Abraham and Isaac, opens in theaters a week before Easter on March 31st. David Helling writes and directs with a cast including Daniel da Silva, Nicolas Mouawad, Sara Seyed, and Edaan Moskowitz.

We have seen faith-based material rise above expectations numerous times. Just last month, Jesus Revolution managed to double most projections with nearly $16 million for its start.

I wouldn’t anticipate those kinds of numbers. Angel’s previous experiences in multiplexes has been with Chosen episodes having special engagements. While Jesus was raking in the dough, the season finale of the TV show made $3.6 million in its first three days of theatrical availability. The first two episodes back in November fared better with almost $9 million.

Forecasting this genre is never an easy task and a screen count could alter my prediction. I’ll say somewhere in the middle of Chosen grosses is where this lands.

His Only Son opening weekend prediction: $3.8 million

https://www.youtube.com/watch?v=zo2V5CQMuJw&t=15s

For my Dungeons & Dragons: Honor Among Thieves prediction, click here:

Dungeons & Dragons: Honor Among Thieves Box Office Prediction

Dungeons & Dragons: Honor Among Thieves Box Office Prediction

Paramount hopes audiences are game for a night of fantasy mixed with action and comedy when Dungeons & Dragons: Honor Among Thieves debuts March 31st. Based on the role playing game that debuted nearly a half century ago and inspired many filmmakers and scribes, Jonathan Goldstein and John Francis Daley (who made 2018’s Game Night) co-direct. Chris Pine and Michelle Rodriguez headline a cast that also includes Regé-Jean Page, Justice Smith, Sophia Lillis, Chloe Coleman, and Hugh Grant.

With a reported budget north of $150 million, this is a gamble for the studio. While the IP is certainly well-known, a previous cinematic rendering did not fare well. A 2000 version featuring Thora Birch, Marlon Wayans, and Jeremy Irons from New Line Cinema made a sorry $15 million domestically.

Nearly a quarter century later, this Dragons tale appears to have more heat behind it. After premiering at South by Southwest, word-of-mouth is positive and the Rotten Tomatoes score is 86% (the 2000 pic had 10%).

Most forecasts have this between $25-30 million for a so-so start considering the price tag (this will clearly need sturdy overseas earnings to turn a profit). My feeling is this could exceed the current projections and get to the low or mid 30s.

Dungeons & Dragons: Honor Among Thieves opening weekend prediction: $32.7 million

For my His Only Son prediction, click here:

His Only Son Box Office Prediction

Oscar Predictions: A Good Person

Zach Braff returns to the director’s seat as A Good Person opens in limited release on Friday before a wider output on March 31st. It casts Florence Pugh (a 2019 Supporting Actress contender for Little Women) and Morgan Freeman (five-time nominee who took Supporting Actor for 2004’s Million Dollar Baby) as individuals brought together by a tragedy involving the latter’s daughter. Molly Shannon, Chinaza Uche, Celeste O’Connor, and Zoe Lister-Jones costar.

Back in 2004, Braff’s debut behind the camera drew critical acclaim with Garden State (taking the Grand Jury prize at Sundance). Follow-ups Wish I Was Here (2014) and Going in Style (2017) drew more mixed reaction and so too has this. The drama stands at 50% on Rotten Tomatoes. Based on that reaction, A Good Person is a bad bet for any awards attention. My Oscar Prediction posts will continue…

March 24-26 Box Office Predictions

John Wick: Chapter 4 is set to easily achieve a franchise best record this weekend. It’s the only new wide release burning up the screens and you can peruse my detailed prediction post on it here:

John Wick: Chapter 4 Box Office Prediction

When I did my initial projection last week, I had Keanu and company hitting close to $70 million. Sizzling buzz now has me projecting in the mid 80s for a series that keeps growing financially with each entry.

The rest of the top 5 will be holdovers. Shazam! Fury of the Gods got off to a middling start (more on that below) and it should fall a bit further than the 54% decline of its predecessor in 2019.

It could be a close call for #3 between Scream VI (which I have dipping in the mid 40s) and Creed III (which could see a lower 40s fall). 65 looks to round out the high five.

Here’s how I see it shaking out:

1. John Wick: Chapter 4

Predicted Gross: $85.5 million

2. Shazam! Fury of the Gods

Predicted Gross: $12.9 million

3. Scream VI

Predicted Gross: $9.4 million

4. Creed III

Predicted Gross: $8.8 million

5. 65

Predicted Gross: $3 million

Box Office Results (March 17-19)

Shazam! Fury of the Gods could’ve used Irish luck or any other type as it came nowhere near the $53 million that its predecessor debuted at. The DCEU sequel made $30.1 million. While it managed to barely top my $27.9 million call, this is a subpar start to be kind. On the heels of Ant-Man and the Wasp: Quantumania not matching expectations, there seems to be some superhero fatigue. With a B+ Cinemascore (compared to part 1’s “A”), look for this to suffer substantial declines in the weeks ahead.

Scream VI was second after a franchise high opening with $17.3 million. That’s right on pace with my $17.6 million forecast for a ten-day haul of $75 million (just below the $81 million that #5 earned in total stateside).

Creed III was third with $15.3 million (I said $16.5 million) for a three-week tally of $127 million. That puts it beyond the $115 million that part II made overall.

65 was fourth with $5.8 million, a smidge ahead of my $4.8 million projection. Adam Driver’s dino adventure stands at a muted $22 million thus far.

Ant-Man and the Wasp: Quantumania rounded out the top five with $4.2 million, in line with my $4.3 million prediction. Total is $205 million.

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

Oscar Predictions: Air

Air is the fifth feature directed by Ben Affleck and it closed out the South by Southwest festival this weekend prior to its April 5th theatrical release. The 1984 set sports drama focuses on Nike’s decision to make a shoe deal with an NBA rookie by the name of Michael Jordan. In addition to being behind the camera, Affleck costars as the company’s co-founder Phil Knight. The director’s buddy Matt Damon headlines as marketing exec Sonny Vaccaro with a supporting cast including Jason Bateman, Marlon Wayans, Chris Tucker, Chris Messina, Matthew Maher, and real life married couple Viola Davis and Julius Tennon as MJ’s parents and chief negotiators. #23 himself is not played by an actor and appears only in archival footage.

Early reactions from Austin indicate that Air might be the first legit awards hopeful to be released on the ’23 calendar. Several of the reviews are outright raves with comparisons to Jerry Maguire and Moneyball (both nominated for Best Picture). If this hits with audiences (and indications are it’s a crowdpleaser), that only increases its chances to make the big dance.

Affleck, of course, was famously snubbed by the Academy in 2012 even though his second directorial effort Argo won Best Picture. He’s yet to be nominated for his filmmaking. However, three of his previous four pics (Gone Baby Gone, The Town, Argo) achieved one or more mentions from Oscar voters. The one that didn’t was his last – 2016’s flop Live by Night.

It’s early, but the chances of Air garnering nominations is high. I don’t know if Affleck will get his first directing nod, but this already looks like it’s shooting for one of the ten slots in BP. The original screenplay by Alex Convery, cinematography from three-time winner Robert Richardson, and editing from William Goldenberg are all possibilities.

As for the cast, I’m curious to see category placement. Damon could be put in lead and vie for his fourth overall acting nom behind Good Will Hunting, Invictus, and The Martian. Amazon could also choose to campaign everyone in supporting. The other male performer drawing lots of attention is Chris Messina as MJ’s agent David Falk. Fresh off her EGOT, Viola Davis might have the best chance and it would be her fifth nom after Doubt, The Help, Fences (where she won), and Ma Rainey’s Black Bottom. It might help that many felt she was just snubbed for The Woman King.

Bottom line: Air is a real contender in the game of Oscar and my prediction posts will continue…

Oscar Predictions: A Thousand and One

A Thousand and One is slated for release on March 31st after its unveiling at Sundance in January. The 90s set NYC drama from filmmaker A.V. Rockwell casts Teyana Taylor as a mom who kidnaps her son from foster care. Costars include Will Catlett, Josiah Cross, Aven Courtney, and Aaron Kingsley Adetola.

Thousand won a grand jury prize at the Park City fest and the Rotten Tomatoes score is 100% thus far. Taylor, a musical protege of Kanye West who recently appeared in Coming 2 America, is getting kudos for her work. While all critical reaction is positive – I’m not sure it is effusive enough to make this a major awards player.

If Focus Features really concentrates on it, you never know. My guess is this could get attention at the Indie Spirits Awards and not elsewhere. My Oscar Prediction posts will continue…

Fall Review

I wouldn’t say I love Scott Mann’s low budget survival tall tale Fall, but it admirably generates suspense in spurts. This begins in Cliffhanger fashion with a loved one plummeting to their grisly demise. The late great Norm MacDonald had a joke about cliff divers and it applies with climbers. He said there’s two types of participants in such an activity: Grand Champion (because you survived) and “Stuff on a Rock”. Mason Gooding’s Dan is the latter. Wife (Grace Caroline Currey) and best friend Hunter (Virginia Gardner) witness the tragedy during their mountain ascension attempt.

Nearly a year later, mourning Becky has shutoff contact from friends and family (including concerned dad Jeffrey Dean Morgan). Hunter, meanwhile, is a minor Instagram star (60k followers) who goes by Danger D and treats her viewers to various daring exploits. Her solution to help Becky out of her (often drunken) funk is to recruit her on an adventure. The two will scale a decommissioned 2,000 foot TV tower in the desert and document it. At the top, Dan’s unopened ashes will be scattered.

That doesn’t all go as planned. Fall probably sets the record for number of loose bolt shots in a recent motion picture. While Becky and Danger D get to the top, the rickety and rusted ladder gives out and there’s no way down. The rest of this is devoted to figuring out a way to descend.

At least… most of it is. At 107 minutes, there’s some fat that could’ve been trimmed. There’s extraneous relationship dynamics that don’t add much. This might have been more effective at a leaner 85-90 minutes. For a film that incorporates the 80s hair metal hit “Cherry Pie”, it doesn’t always (ahem) warrant the running time.

When there’s vultures to avoid or operating the drone they brought to be their savior or getting their phones to charge, the survival mechanics of the screenplay can be absorbing. The decently convincing cinematography and commitment of the lead actresses are pluses. The occasional padding courtesy of the script prevents this being a big winner. It’s not stuff on a rock either.

**1/2 (out of four)

Oscar Predictions: Tetris

Tetris is not your typical blockbuster based on a video game, but instead a look behind the curtain at the iconic creation which burst onto the scene in the late 80s. Jon S. Baird (who previously made Stan & Ollie) directs Taron Egerton as the Dutch inventor who must face off with Soviets in the Cold War era to bring it to the masses. Costars include Toby Jones, Nikita Yefremov, Roger Allam, and Anthony Boyle.

Apple TV begins airing this on March 31st after it premiered at South by Southwest. It would seem that a corresponding theatrical output is not occurring. That would mean game over for its Oscar prospects from the get-go. This makes sense given the 81% Rotten Tomatoes is solid though most reviews aren’t outright raves. The streamer is far more likely to concentrate on the upcoming Killers of the Flower Moon from Martin Scorsese and Ridley Scott’s Napoleon (and potentially others) anyway.

Even without the ineligibility factor, Tetris doesn’t seem to have the pieces put together for a legit campaign. My Oscar Prediction posts will continue…

**Blogger’s Note – shortly after posting, I was informed that this will have a limited L.A. theatrical run and is likely therefore eligible for consideration. It doesn’t change my underlying thoughts on the viability.

Best Picture 2020: The Final Five

We have reached 2020 in my posts speculating on a specific piece of Oscar history. As awards followers are aware, 2009 saw the Academy expand the Best Picture category from five movies to ten. That lasted for two years and in 2011, it switched to anywhere from 5-10 with 8 or 9 as the magic numbers for several years. In 2021, the number reverted back to a set ten.

What if that hadn’t happened? What if the BP derby had stayed at a quintet? What pictures would have made the cut?

2020 is a tricky year to consider. As we all know, it was a year dominated by the COVID-19 pandemic. Many of us were working from home and theaters were essentially shuttered for the majority of the year.

Beyond the challenging, tragic, and unprecedented news events of 2020, it was just a strange year for motion pictures. Eight pictures contended for the big prize. I have the leading nominee (with 10) missing the BP cut. The next most nominated film had 6 mentions… and there’s 6 of them. The other BP contender had 5.

My point? Whittling these 8 down to 5 is not easy. Considering it took BP, Director (Chloe Zhao, the second female ever to win), and Actress (Frances McDormand), we can safely reserve a spot for Nomadland. As for the rest? Let’s get into it!

The Father

Florian Zeller’s devastasting drama about Alzheimer’s missed a nod in Director, but Anthony Hopkins landed his second Actor statue over the late Chadwick Boseman in Ma Rainey’s Black Bottom, who was the frontrunner. Zeller did win Adapted Screenplay and this was also up for Supporting Actress (Olivia Colman), Film Editing, and Production Design.