None of the five follow-ups to Steven Spielberg’s 1993 classic Jurassic Park generated much awards attention. Will that change with the sixth? Jurassic World Rebirth hits theaters on Wednesday with Gareth Edwards handling directorial duties and Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, and Manuel Garcia-Rulfo starring.
The original over three decades ago won all 3 Oscars it was up for – Visual Effects, Sound Editing, and Sound Mixing (back when the sound races were separated). 1997 sequel The Lost World: Jurassic Park landed a sole VE nom, but lost to Titanic. The next four entries – Jurassic Park III, Jurassic World, Jurassic World: Fallen Kingdom, Jurassic World: Dominion – garnered a total of zero Academy mentions.
Reviews for Rebirth are mixed to negative. While certainly stronger than Dominion‘s 29% Rotten Tomatoes rating and 38 Metacritic, the 56% RT and 53 Meta are nothing to roar about. Edwards has seen two pics in his filmography contend in Visual Effects – 2016’s Rogue One: A Star Wars Story and 2023’s The Creator. I doubt his first dino adventure will bring the series back into that category for the first time this century. My Oscar Prediction posts will continue…
Dinosaurs seek to rule the Independence Day weekend courtesy of the seventh feature in the 32-year-old franchise with Jurassic World Rebirth. It is the only wide release newcomer stomping into multiplexes over the holiday and you can peruse my detailed prediction post on it here:
The Jurassic series has proven itself to be critic proof in recent years and that should come into play with the new installment starring Scarlett Johansson. An opening weekend in nine figures is unlikely since it premieres on Wednesday (the last three World‘s achieved $100M+ out of the gate but debuted on traditional Friday to Sunday frames). I’m projecting a three-day in the $80 million ballpark with $130M+ when factoring in Wednesday and Thursday.
After a sizzling start, F1 with Brad Pitt will drop to second. With an A Cinemascore grade and appeal to adult moviegoers, you can expect impressive holds in the weekends to come. This may only ease around 30% and don’t be shocked if it’s even a little less for a strong runner-up position.
Holdovers will populate 3-6 with How to Train Your Dragon firmly in third and the lackluster Elio in fourth. Numbers five and six could be close between sequels 28 Years Later and M3GHAN 2.0, which short-circuited over the weekend.
Here’s how I see it playing out:
1. Jurassic World Rebirth
Predicted Gross: $80.8 million (Friday to Sunday); $133 million (Wednesday to Sunday)
2. F1
Predicted Gross: $39.7 million
3. How to Train Your Dragon
Predicted Gross: $12.9 million
4. Elio
Predicted Gross: $6.2 million
5. 28 Years Later
Predicted Gross: $4.5 million
6. M3GAN 2.0
Predicted Gross: $4.2 million
Box Office Results (June 27-29)
F1 or F1: The Movie, Joseph Kosinski’s follow-up to Top Gun: Maverick, revved up impressive results with $57 million, lapping my $46.2 million prediction. It also performed with top-notch earnings overseas. As mentioned, word-of-mouth should keep this in the zeitgeist over the weekends to come. A sequel is already in the planning stages.
How to Train Your Dragon, after two weeks atop the charts, was second with $19.5 million. That’s in line with my $19.1 million forecast as the live-action remake has fired up $200 million in three weeks.
Elio, after a worst ever Pixar premiere, didn’t hold up well in third with $10.4 million. I was more generous at $13 million as its sophomore plunge was a steep 50% (especially for its studio). This is undoubtedly one of the summer’s most significant flops.
Same goes for M3GAN 2.0. The sequel eschewed horror for a campier sci-fi tone and audiences rejected it. The fourth place showing was a DOA $10.2 million compared to the original’s $30 million. There’s no spinning that result for Blumhouse.
Finally, zombie threequel 28 Years Later plummeted 67% in its second outing with $9.7 million compared to my $12.6 million take. The ten-day tally is $50 million.
Previously on the blog, I wrote a series on a particular piece of speculative Oscar history. From 2009 to the present, there has been anywhere from 8-10 Best Pictures nominees at the Academy Awards. The number has been set at 10 in recently years and fluctuated previously. Before 2009, it was a quintet of films competing for the prize. I penned numerous posts making predictions on which five pics would have made the cut if it had stayed at that smaller number. **Click on that Oscar History tab on the blog to access all of them! Also – I still need to write these posts for 2023 and 2024. They’re coming.**
Now my speculation turns to the reverse. What if the Academy had always honored 10 motion pictures? From 1944-2008, there was a set five vying for attention. For a completist view, there were five for the first two Oscars (1929 and 1930). We had eight in 1931. From 1932 to 1943, it was ten.
This series will project the other five movies that I believe would’ve gotten in. I’ve already covered 2005-08 and you can peruse my posts on them here:
We move to 2004. There’s an obvious five pictures that would’ve made the cut and that’s the group that were nominated. It begins with Clint Eastwood’s Million Dollar Baby. That boxing drama made a late surge 21 years back and took four trophies – Picture, Director, Actress (Hilary Swank), and Supporting Actor and was nominated for three more.
Martin Scorsese’s The Aviator scored a ceremony high 11 nods and won five – Cate Blanchett in Supporting Actress, Art Direction, Cinematography, Costume Design, and Film Editing. Finding Neverland from Marc Forster landed 7 nominations with a victory in Original Score. Taylor Hackford’s musical biopic Ray made Jamie Foxx a Best Actor victor and won Sound Editing in addition to nods in BP, Director, and two tech races. Alexander Payne’s Sideways was also up for Director, two acting races (though notably not Paul Giamatti in lead actor), and was the recipient of Adapted Screenplay.
That’s the quintet we know. Now we can speculate. And that begins with an unlikely contender in Michael Moore’s Fahrenheit 9/11. Moviegoers of a certain younger age may not recall. but the documentarian’s critical look at George W. Bush’s presidency and the Iraq War was a Palme d’Or winner at Cannes, a critical smash, and became the highest grossing documentary of all time in the summer of 2004. However, Moore chose not to submit Fahrenheit for consideration in Documentary Feature where it probably would’ve been a lock to win that prize.
Fahrenheit was, however, eligible for BP. And this is the rare place on the blog where I will speak of politics coming into play. Had President Bush lost reelection in 2004, Fahrenheit might’ve been seen as a contributing factor. And in Hollywood, that might’ve been enough to earn it a spot among the theoretical 10 nominees. That did not happen and I’m therefore not including it among the expanded contenders.
While Fahrenheit is a question mark, there are some features that I feel strongly would have made the longer list. Mike Leigh’s Vera Drake was up for Director, Actress (Imelda Staunton), and Original Screenplay. Michel Gondry’s Eternal Sunshine of the Spotless Mind was the winner in Original Screenplay while Kate Winslet was up in Actress (though Jim Carrey was notably snubbed in Actor). Hotel Rwanda was also nominated in Original Screenplay along with performers Don Cheadle and Sophie Okenedo.
In previous posts covering2007-2008, Ratatouille and Wall-E made the expanded 10. For 2004, same goes for The Incredibles. The Pixar property was the Animated Feature and Sound Editing honoree and it had nominations in (you guessed it) Original Screenplay and Sound Mixing.
That leaves one spot and there’s lots of contenders. Mel Gibson’s The Passion of the Christ was a box office smash that was up for Original Score, Cinematography, and Makeup. Yet I question whether the Academy would’ve gone for it even with five added possibilities.
Collateral from Michael Mann saw Jamie Foxx as a double nominee in Supporting Actor and a Film Editing nod. Closer had supporting nominations for Clive Owen and Natalie Portman. If it had managed a Screenplay nomination, I might’ve included it. Various tech nominations were bestowed upon Harry Potter and the Prisoner of Azkaban, Lemony Snicket’s A Series of Unfortunate Events, The Phantom of the Opera, Spider-Man 2, and A Very Long Engagement. If this were a do-over list, Azkaban probably would get in considering many believe it’s the best of the franchise. I don’t believe you’d see it at the time. Same goes for the second Spidey adventure.
For the tenth spot (and it’s admittedly a tricky one), I’m settling on The Motorcycle Diaries from Walter Salles. Diaries was subject to controversy at the Oscars in the Best Foreign Language Film (now International Feature Film) competition. The Academy ruled it ineligible in that race because “it didn’t have sufficient elements from any of the countries to qualify” (huh?). It still picked up nods in Adapted Screenplay and won Original Song. With a doubling of nominees, I think voters would’ve found room for it. That’s especially since it should have been a lock in the foreign derby.
The body horror genre had its awards breakout last year via Coralie Fargeat’s The Substance. After its January unveiling at Sundance, could Together generate attention from voters? Starring real-life married couple Alison Brie and Dave Franco, it marks the directorial debut of Michael Shanks (who also scripts).
The exploration of codependence made a splash in Park City months ago. Hitting theaters on July 30th, the Rotten Tomatoes score is a perfect 100% (with almost 50 reviews in) with 76 on Metacritic. I probably would’ve discounted its prospects before The Substance nabbed five nods. Together is likely still a long shot for Academy attention. If it can contend anywhere, look to Original Screenplay. However, that race is already packed with potential players. Perhaps more importantly, distributor Neon will have its hands full with Sentimental Value and It Was Just an Accident. My Oscar Prediction posts will continue…
Jurassic World Rebirth looks to rule the Independence Day holiday frame beginning July 2nd. This is now the third iteration of the dino franchise that kicked off with 1993’s Jurassic Park from Steven Spielberg and the seventh entry overall. Gareth Edwards, no stranger to franchise fare with Godzilla and Rogue One: A Star Wars Story in his discography, directs. Scarlett Johansson headlines the cast that features Mahershala Ali, Jonathan Bailey, Rupert Friend, and Manuel Garcia-Rulfo.
The second Jurassic trilogy premiered in spectacular fashion a decade back when Jurassic World made $208 million out of the gate and $652 million domestically. The follow-ups performed well though with diminishing results. Jurassic World: Fallen Kingdom in 2018 debuted at $148 million and $417 million overall. 2022’s Jurassic World: Dominion was barely behind at $145 million and $376 million in total.
I anticipate that Rebirth will continue the downward trend. When World opened 10 years ago, there was pent up anticipation for the franchise with a nostalgia factor in play. Such factors are diluted with only a three-year layover between entries. It doesn’t help that Dominion was generally considered a disappointment.
That means the streak of Jurassic tales making nine figures in the traditional weekend is endangered. I’ll say high 70s to low 80s is likelier. However, the five-day could top $130 million.
Jurassic World Rebirth opening weekend prediction: $80.8 million (Friday to Sunday); $133 million (Wednesday to Sunday)
Racing drama F1: The Movie starring Brad Pitt looks to finish first this weekend while campy horror sequel M3GAN 2.0 aims for a strong second. You can peruse my detailed prediction posts on the newbies here:
The range for F1 could be wide and it wouldn’t surprise me if it topped $50 million. The low bar appears to be in the mid 30s. With mostly solid reviews and fans of the sport likely to turn up (that could be more significant overseas), I’m going with a mid 40s premiere.
I’m definitely going on the lower end of the spectrum for M3GAN 2.0, the follow-up to 2023’s surprise hit. As I wrote in my post, I’m not convinced audiences are clamoring for the title character’s return. My low 20s projection puts it in the runner-up spot though not by much.
Current two-week champ How to Train Your Dragon could lose close to half its sophomore frame crowd for high teens in third. The four and five spot could be close between Elio and 28 Years Later in their second outings. The former had a historically weak debut (more on that below) while 28 Years also kicked off at the bottom portion of its anticipated spread. I suspect Elio will have a much better hold than Danny Boyle’s zombie threequel.
Here’s how I envision the top 5 playing out:
1. F1: The Movie
Predicted Gross: $46.2 million
2. M3GAN 2.0
Predicted Gross: $21.7 million
3. How to Train Your Dragon
Predicted Gross: $19.1 million
4. Elio
Predicted Gross: $13 million
5. 28 Years Later
Predicted Gross: $12.6 million
Box Office Results (June 20-22)
How to Train Your Dragon managed to stay atop the charts, but it did have a heftier decline that I figured. The live-action remake of the DreamWorks animated original brought in $36.5 million compared to my $41.6 prediction for $160 million in its initial ten days.
28 Years Later was second with $30 million, not matching my $33.7 million call. While that’s easily the strongest debut of the trilogy (it’s been eighteen years since its predecessor), some prognosticators had this pegged at $35-$40 million. With a so-so B Cinemascore, the dip this weekend could be pronounced.
Pixar experienced its smallest debut ever courtesy of Elio at $20.8 million. I was slightly more generous with $24.5 million. Despite mostly solid reviews, the original story struggled to find its family audience as remakes and sequels dominate the season. It will hope for smallish declines in the weekends to come (something that occurred with 2023’s Elemental after its uninspired beginning).
Lilo & Stitch was fourth with $9.7 million, eclipsing my $8.1 million take. This live-action remake of an animated property now sits at $386 million after five weeks with $400M+ firmly in its sights.
Mission: Impossible – The Final Reckoning rounded out the top five with $6.4 million (I said $6.5 million) as the franchise finale(?) has made $178 million in five weeks.
Finally, Materialists was sixth in weekend #2 with $5.8 million, a bit under my $6.6 million forecast. The ten-day tally is $23 million.
Alex Scharfman’s Death of a Unicorn is the latest in a lengthy list of eat the rich pics over the past few years. This one is mixed with some centuries old European folklore pertaining to the title characters and Jenna Ortega bringing her mopey teen attitude inside its mansion walls. The auto accident that kicks off the multi-genre exercise should ensure more B-movie scares and humor. It’s curiously low on both and dodgy CGI doesn’t help. While not a complete wreck, it’s damaged goods.
Elliot (Paul Rudd) is a widowed attorney en route to the sprawling estate (doubling as a nature preserve) of his pharmaceutical empire boss Odell Leopold (Richard E. Grant). Daughter Ridley (Ortega) is reluctantly along for the ride when they smash into a creature that sure seems like the mythical beast of legend. When Ridley touches the wounded creature’s horn, a connection is made before Dad tire irons the animal.
At the Leopolds, Elliot at first tries to conceal the roadkill in his hatchback and get down to business with Odell, wife Belinda (Téa Leoni), and clueless and hobby hopping son Shepard (a game Will Poulter). Yet the roadkill might not be actually killed and its elders lurk on the property grounds. Meanwhile Ridley googles the history of unicorn mythos and it indicates a violent near future. The Leopolds plot a way to increase their wealth despite the dangerous situation.
When the horn piercing bloodletting finally commences, Unicorn hadn’t yet added compelling ingredients to its menu of top 1% satire combined with a familiar daddy-daughter healing subplot. I was hoping the righteous kills from the otherworldly beings would bring the gory and guilty pleasures. Subpar visual effects tame those aspects. That leaves us with occasional laughs courtesy of Poulter and Anthony Carrigan’s unappreciated family butler. The overall results are served up in middling fashion.
As summer has officially kicked off, we are getting clarifications on some of the potential fall contenders for the Oscars. For example, the musical biopic about The Boss is titled Springsteen: Deliver Me from Nowhere and not just Deliver Me from Nowhere. Kathryn Bigelow’s first directorial feature in close to a decade is titled A House of Dynamite. Both will be out in October.
While the autumn releases reveal their names and dates, this summer’s offerings are revealing whether they’re awards players. In the case of Danny Boyle’s 28 Years Later, it might mean a Makeup & Hairstyling nod while not contending in BP. As for Joseph Kosinski’s F1: The Movie (out Friday), it could pick up a few tech nods. While BP is likely a long shot, it is worth mentioning as a top 25 possibility (for now). Disney/Pixar’s Elio will not be their third movie to vie for BP though an Animated Feature mention should be on the table. We will know soon whether Jurassic World Rebirth could be the first franchise entry since 1997’s The Lost World: Jurassic Park to grab a Visual Effects nomination.
I’m sticking with the six major categories for my projections though the screenplay races may be included in my next round in two weeks. There’s a lot among these races that has not changed, but there are some alterations to be discussed.
The trailer for Springsteen: Deliver Me from Nowhere actually left me less convinced of its viability in some competitions. It could be just be a so-so (IMO) preview for the biopic. However, I’m dropping it from BP in favor of Palme d’Or winner It Was Just an Accident. In Director, Accident maker Jafar Panahi replaces Frankenstein‘s Guillermo del Toro. Springsteen actors Jeremy Allen White and Jeremy Strong are still among my five picks in Actor and Supporting Actor, respectively. In Supporting Actress, I’ve elevated Elle Fanning (Sentimental Value) over One Battle After Another‘s Teyana Taylor.
You can read all the movement below!
Best Picture
Predicted Nominees:
1. Sinners (Previous Ranking: 1) (Even)
2. Sentimental Value (PR: 2) (E)
3. After the Hunt (PR: 3) (E)
4. Marty Supreme (PR: 4) (E)
5. Wicked: For Good (PR: 5) (E)
6. Jay Kelly (PR: 6) (E)
7. Hamnet (PR: 7) (E)
8. Frankenstein (PR: 8) (E)
9. Avatar: Fire and Ash (PR: 9) (E)
10. It Was Just an Accident (PR: 13) (+3)
Other Possibilities:
11. One Battle After Another (PR: 11) (E)
12. Bugonia (PR: 12) (E)
13. Springsteen: Deliver Me from Nowhere (PR: 10) (-3)
14. The Life of Chuck (PR: 14) (E)
15. The Rivals of Amziah King (PR: 15) (E)
16. The Secret Agent (PR: 16) (E)
17. Die, My Love (PR: 18) (+1)
18. The Ballad of a Small Player (PR: 17) (-1)
19. No Other Choice (PR: 20) (+1)
20. Rental Family (PR: 22) (+2)
21. A House of Dynamite (PR: Not Ranked)
22. Is This Thing On? (PR: Not Ranked)
23. Ann Lee (PR: 21) (-2)
24. F1: The Movie (PR: 19) (-5)
25. The Smashing Machine (PR: 25) (E)
Dropped Out:
Sound of Falling
Nouvelle Vague
Best Director
Predicted Nominees:
1. Ryan Coogler, Sinners (PR: 1) (E)
2. Joachim Trier, Sentimental Value (PR: 2) (E)
3. Josh Safdie, Marty Supreme (PR: 3) (E)
4. Luca Guadagnino, After the Hunt (PR: 5) (+1)
5. Jafar Panahi, It Was Just an Accident (PR: 8) (+3)
Other Possibilities:
6. Guillermo del Toro, Frankenstein (PR: 4) (-2)
7. Chloé Zhao, Hamnet (PR: 6) (-1)
8. Jon M. Chu, Wicked: For Good (PR: 10) (+2)
9. Paul Thomas Anderson, One Battle After Another (PR: 7) (-2)
10. Yorgos Lanthimos, Bugonia (PR: 9) (-1)
11. Noah Baumbach, Jay Kelly (PR: 11) (E)
12. Andrew Patterson, The Rivals of Amziah King (PR: 14) (+2)
13. Kieber Mendonça Filho, The Secret Agent (PR: 13) (E)
14. James Cameron, Avatar: Fire and Ash (PR: 15) (+1)
15. Scott Cooper, Springsteen: Deliver Me from Nowhere (PR: 12) (-3)
Best Actress
1. Renate Reinsve, Sentimental Value (PR: 1) (E)
2. Julia Roberts, After the Hunt (PR: 2) (E)
3. Cynthia Erivo, Wicked: For Good (PR: 3) (E)
4. Jessie Buckley, Hamnet (PR: 4) (E)
5. Jennifer Lawrence, Die, My Love (PR: 5) (E)
Other Possibilities:
6. Amanda Seyfried, Ann Lee (PR: 6) (E)
7. Rose Byrne, If I Had Legs I’d Kick You (PR: 8) (+1)
8. Emma Stone, Bugonia (PR: 7) (-1)
9. Tessa Thompson, Hedda (PR: 9) (E)
10. Emma Mackey, Ella McCay (PR: 10) (E)
11. Jessica Lange, Long Day’s Journey Into Night (PR: 11) (E)
12. Amy Adams, At the Sea (PR: 14) (+2)
13. Lucy Liu, Rosemead (PR: 13) (E)
14. June Squibb, Eleanor the Great (PR: 12) (-2)
15. Anne Hathaway, Mother Mary (PR: Not Ranked)
Dropped Out:
Eva Victor, Sorry, Baby
Best Actor
Predicted Nominees:
1. Timothée Chalamet, Marty Supreme (PR: 1) (E)
2. George Clooney, Jay Kelly (PR: 3) (+1)
3. Jeremy Allen White, Springsteen: Deliver Me from Nowhere (PR: 2) (-1)
4. Wagner Moura, The Secret Agent (PR: 5) (+1)
5. Michael B. Jordan, Sinners (PR: 4) (-1)
Other Possibilities:
6. Leonardo DiCaprio, One Battle After Another (PR: 6) (E)
7. Matthew McConaughey, The Rivals of Amziah King (PR: 8) (+1)
8. Jesse Plemons, Bugonia (PR: 7) (-1)
9. Colin Farrell, The Ballad of a Small Player (PR: 11) (+2)
10. Oscar Isaac, Frankenstein (PR: 10) (E)
11. Daniel Day-Lewis, Anemone (PR: 11) (E)
12. Dwayne Johnson, The Smashing Machine (PR: 12) (E)
13. Brendan Fraser, Rental Family (PR: 15) (+2)
14. Will Arnett, Is This Thing On? (PR: Not Ranked)
15. Matthew McConaughey, The Lost Bus (PR: Not Ranked)
Dropped Out:
Denzel Washington, Highest 2 Lowest
Willem Dafoe, Late Fame
Best Supporting Actress
Predicted Nominees:
1. Ariana Grande, Wicked: For Good (PR: 1) (E)
2. Ayo Edebiri, After the Hunt (PR: 2) (E)
3. Gwyneth Paltrow, Marty Supreme (PR: 3) (E)
4. Elle Fanning, Sentimental Value (PR: 6) (+2)
5. Angelina LookingGlass, The Rivals of Amziah King (PR: 5) (E)
Other Possibilities:
6. Jennifer Lopez, Kiss of the Spider Woman (PR: 8) (+2)
7. Laura Dern, Jay Kelly (PR: 7) (E)
8. Inga Ibsdotter Lilleass, Sentimental Value (PR: 9) (+1)
9. Teyana Taylor, One Battle After Another (PR: 4) (-5)
10. Regina Hall, One Battle After Another (PR: 10) (E)
11. Emily Blunt, The Smashing Machine (PR: 11) (E)
12. Hailee Steinfeld, Sinners (PR: 12) (E)
13. Wunmi Mosaku, Sinners (PR: 15) (+2)
14. America Ferrera, The Lost Bus (PR: Not Ranked)
15. Mari Yamamoto, Rental Family (PR: 14) (-1)
Dropped Out:
Emily Watson, Hamnet
Best Supporting Actor
Predicted Nominees:
1. Adam Sandler, Jay Kelly (PR: 1) (E)
2. Stellan Skarsgård, Sentimental Value (PR: 2) (E)
3. Andrew Garfield, After the Hunt (PR: 3) (E)
4. Delroy Lindo, Sinners (PR: 5) (+1)
5. Jeremy Strong, Springsteen: Deliver Me from Nowhere (PR: 4) (-1)
Other Possibilities:
6. Sean Penn, One Battle After Another (PR: 6) (E)
7. Paul Mescal, Hamnet (PR: 7) (E)
8. Robert Pattinson, Die, My Love (PR: 11) (+3)
9. Jonathan Bailey, Wicked: For Good (PR: 10) (+1)
10. Miles Caton, Sinners (PR: 8) (-2)
11. Mark Hamill, The Life of Chuck (PR: 9) (-2)
12. Bradley Cooper, Is This Thing On? (PR: Not Ranked)
13. Jacob Elordi, Frankenstein (PR: 13) (E)
14. Stephen Graham, Springsteen: Deliver Me from Nowhere (PR: 12) (-2)
In Mike Flanagan’s The Life of Chuck, I found myself more emotionally invested in the concept than the characters. That doesn’t appear to be an accident as we ponder the big themes and equally sized swings taken by the adaptation of Stephen King’s novella. We’re meant to see ourselves in the experiences of the title character during his 39 years and they are great years as we’re told and occasionally shown. There are moments scattered throughout where the heart tugging feels effortless and others where the cosmic machinations emanating from its screenplay feels… something else. Not necessarily forced, but slightly underwhelming in its impact because of our limited time with Tom Hiddleston’s Chuck in his adult years. Ultimately I valued seeing highlights and lowlights of his journey.
The film is told in reverse chronology. It should be noted that a spoiler free review is challenging, but I’ll try my best. Chuck opens in act three of three with middle school teacher Marty (Chiwetel Ejiofor) presiding over a dwindling class size as natural disasters and other happenings are putting the planet on course for a seemingly slow death. His parent-teacher conferences are both sad and humorous and it affords David Dastmalchian with an amusing cameo. Sad and humorous are a fair description for this first/third act as Marty attempts to reconnect with his ex-wife, nurse Felicia (Karen Gillan). Much of the comedy comes from the bizarre sightings of Chuck Krantz (Tom Hiddleston). As the Earth crumbles, the bespectacled accountant appears to be the only constant. He pops up in TV ads and park benches and billboards thanking him for “39 Great Years!” No one seems to recall where they know him from or if they do and no one can explain his sudden omnipresence.
It’s in act two and when we meet the numbers cruncher in the flesh as Hiddleston and then younger versions played by Benjamin Pajak as a preteen and Jacob Tremblay as a near adult. This isn’t really a spoiler as we’re told by the Narrator (a delightfully droll Nick Offerman) that Chuck’s 39 years do not extend to 40. The third act explores an often tragic upbringing raised by Grandpa, or zayde, Albie (Mark Hamill) and kindly Grandma/bubbe Sarah (Mia Sara). From the latter is where Chuck develops a love for many forms of dance. From the former is where he is told to avoid dancing to the beat of his own drum in favor a safer route (like an accounting career). It’s in the middle sequence where grownup Chuck grooves to the rhythm of someone else’s drum and that easily gives us the picture’s strongest moments of pure joy.
Chuck features plenty of recognizable faces from iconic movies. There is no star as even Hiddleston’s title character has limited screen time. Of course, his elders are Luke Skywalker and Sloane from Ferris Bueller’s Day Off. Both shine as shapers of Chuck’s near four decades. Matthew Lillard and Carl Lumbly pop up as armageddon approaches in the first third while Heather Langenkamp (Nancy from A Nightmare on Elm Street) dispatches advice to young Chuck in the the last.
Once the overall concept is unlocked, it flirts with and sometimes falls victim to becoming anticlimactic. Chuck’s world may not provide a great near two hour viewing recounting his near 40. However, it still manages to pack enough pleasures and pathos that it feels consequential.
Out this weekend after a Tribeca Film Festival premiere days ago, Jon S. Baird (Stan & Ollie, Tetris) helms the family dramedy Everything’s Going to Be Great. Focused on a clan of regional theater players, Allison Janney and Bryan Cranston are the parents in this coming-of-age tale costarring Benjamin Evan Ainsworth, Jack Champion, Simon Rex, and Chris Cooper.
According to several critics, everything in Everything‘s is not great. The Rotten Tomatoes score is 50% with Metacritic at 49. Despite the presence of Academy recipients like Janney and Cooper and a nominee in Cranston, this will not be a contender. My Oscar Prediction posts will continue…
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