Michael Gracey’s TheGreatestShowman doesn’t burden itself with much historical accuracy or being a full-fledged look at its title subject. Its pleasures are of the surface level variety. At one point, a stuffy critic begrudgingly tells P.T. Barnum that his show has succeeded in bringing joy to people. So does this musical in many moments.
Hugh Jackman is Barnum, an endless promoter who grew up poor and never forgot how he was treated by New York’s elite. He marries his childhood sweetheart Charity (Michelle Williams), who came up with wreath and privilege. After some career misfortune in the 19th century era Big Apple, Barnum develops his greatest idea: a stage experience featuring society’s freaks. This includes a bearded lady (Keala Settle) with a beautifully booming voice and a dwarf (Sam Humphrey) who dresses as a general. He teams up with playwright Phillip Carlyle (Zac Efron), who also hails from the aristocracy but feels more at home among these outcasts. Phillip also finds love of the forbidden kind with the show’s trapeze artist (Zendaya).
While Barnum finally finds the financial success he’s longed for, it doesn’t buy him respect and that’s a consistent through line in the screenplay. Both the wealthy class and hecklers who lurk around the theater believe the freak show atmosphere is a disgrace. Barnum tries to combat this by touring with famed European opera star Jenny Lind (Rebecca Ferguson). Both his family and circus employees feel the neglect.
The brisk 105 minute running time features 11 song and dance numbers that move the plot along, often in montage fashion. Even a cursory Wiki read of Barnum’s grand life reveals that Jenny Bicks and Bill Condon’s script aren’t making a biopic. Like the man it’s about, this picture is style over substance. The message of inclusion and acceptance is unmistakable and frequently touching. Most importantly, the musical numbers (from the team behind LaLaLand) produce plentiful happy feels.
With his theater background, Jackman is more than well suited to play the man in the top hat. He’s the focal point in many of the song and dance interludes. Yet it’s “Rewrite the Stars”, a gorgeously choreographed sequence with Efron and Zendaya, that proved most memorable for me.
A stuffy critic could gripe that a rewrite should have explored more of Barnum’s real existence. However, the joyous vibe while I was watching is enough to justify admission here.
Opening next week, Crazy Rich Asians has the potential to be a late summer sleeper hit. Based on a bestseller by Kevin Kwan, the romantic comedy is said to be a crowd pleaser. Critics have taken notice. The film stands at 100% currently on Rotten Tomatoes. That’s a far cry from previous directorial efforts from Jon M. Chu, who made G.I. Joe: Retaliation and Jem and the Holograms.
If this picture manages to be a success, could Oscar voters take notice of the first Asian-American led studio effort in a quarter century (since The Joy Luck Club)? That will depend on competition. The only race I see where this could possibly be included is Best Adapted Screenplay.
Last year, the competition in that particular race was lighter than usual. That may not be the case this year with potential contenders like BlacKkKlansman, If Beale Street Could Talk, Widows, First Man, A Star is Born, Beautiful Boy, and Boy, Erased. However, if some of those titles don’t match expectations (which is often the case), Crazy Rich Asians could make a play.
The Academy of Motion Picture Arts and Sciences dropped a rather big bombshell today with some announced changes to their Oscar telecast. First off, they’re claiming the show will now be just three hours (I’ll believe it when I see it). Additionally, some categories (I imagine numerous tech ones) will be announced live during commercial breaks and then edited into the show later. This probably won’t make the individuals in those races happy, but it should speed up the program.
However, the most noticeable and interesting change is the addition of a new category (something the Academy rarely does). The addition is described as “Outstanding Achievement in Popular Film”. No other details have been provided, but this would appear to be an attempt by the Academy to include blockbusters that haven’t made the cut in Best Picture.
So what does that mean? What is the criteria? That was not announced today and it will be fascinating to see what such criteria is. Could it be a particular gross… say over $100 million domestically? Could it be the number of the theaters a movie is released in? Time will tell and hopefully these details will be revealed shortly. It isn’t even immediately clear that these changes will all be in effect for the 2019 telecast, but I imagine they will be.
Even though nothing is totally clear at press time, that won’t stop me from speculating and asking, “What if this category had been in effect in previous years?”
Before that, let’s start with this year. If there is a Best Popular Film category in 2018, that greatly increases the chances of Marvel’s Black Panther and horror smash A Quiet Place getting nods. There’s also Mission: Impossible – Fallout (the most acclaimed entry in the franchise) or perhaps Avengers: Infinity War. Pixar will certainly see Incredibles 2 nominated in Best Animated Feature, but it could make a play here as well. And we still have fall releases like Mary Poppins Returns and A Star Is Born out there.
There will be plenty of speculation as to whether Black Panther will be the first superhero pic to nab a Best Picture nomination. There is little doubt it would be recognized in this new category.
It’s been discussed on this blog previously about the 2008 Oscars which omitted The Dark Knight in the Best Picture derby. That development was likely responsible for the Academy changing its rule of five nominated films to anywhere between five and ten. Yet it would appear the Academy still isn’t satisfied with major hits being included.
Let’s consider last year. Of the nine Best Picture nominees, only two grossed over $100 million – Get Out and Dunkirk. If the Popular Film category had existed a year ago, I imagine both features would have achieved double nominations. Assuming this new category contains five nominees (something not revealed yet), what would the other three have been? There’s plenty of blockbusters to choose from: Beauty and the Beast, Wonder Woman, It, Logan, Coco, The Greatest Showman, War for the Planet of the Apes, Wonder, and Baby Driver.
Here’s my best guess of what a Best Popular Film slate would have looked like in 2017:
Dunkirk, Get Out, Logan, War for the Planet of the Apes, Wonder Woman
And I’m thinking Get Out would have won.
In 2016, you might have seen Deadpool and The Jungle Book as Popular picks.
In 2015, there could have been room for Star Wars: The Force Awakens and Straight Outta Compton.
2014? Perhaps Guardians of the Galaxy and Gone Girl.
Heck, let’s go way back. Would Jurassic Park have won Best Popular Film in 1993? I don’t think so. I bet it would have gone to The Fugitive, which nabbed an actual Best Picture nomination.
Of course, there would have been years where Best Picture and Best Popular Film match. 1994 with Forrest Gump. 1997’s Titanic. 2000’s Gladiator. Lord of the Rings: The Return of the King in 2003.
Back to today. I would say this new category seems tailor-made for Black Panther. Does that mean its chances for a Best Picture nod are now diminished because voters figure it runs away with this? Perhaps. And that’s why I’m not too wild about this change at the moment. This has the potential to look like a desperate play by the Academy. At the least, it’s an acknowledgment that audience favorites and Academy favorites don’t often match.
That said, let’s see what the criteria is and I’ll judge from there. It’s a new era at the Oscars… one where Bumblebee stands a shot (however remote) at Oscar glory!
The historical adventure Alpha debuts in theaters next weekend and it could face an uphill battle for eyeballs. The Ice Age set pic doesn’t have the benefit of animated creatures or much buzz at all. Albert Hughes directs and he’s most known for collaborations with his brother Allen including MenaceIISociety, FromHell, and TheBookofEli. Kodi Smit-McPhee, Leonor Varela, Jens Hulten, and a wolf headline the cast.
Alpha has experienced a shifting release date and Columbia Pictures finally settled on the mid August slot. It was originally scheduled for last September, back to March of this year, then September 2018, and lastly the August push-up. That doesn’t inspire much confidence.
I’ll predict this opens well behind its competition Mile22 and CrazyRichAsians and doesn’t manage double digits. In short, Alpha is looking like a dog.
Blogger’s Note II (08/14/18): My estimate is rising once again and I’m going with $22.5 million for the three-day and $33.4 million for the five-day.
Blogger’s Note (08/10/18): I am ramping up my estimate for this based on buzz from $14.2M to $19.4M for the traditional weekend and high 20s for the five-day.
In what could turn out to be some smart counter programming, romantic comedy CrazyRichAsians opens next Wednesday. The Warner Bros release is, rather shockingly, the first stateside studio effort in a quarter century (1993’s TheJoyLuckClub) to feature a predominately Asian-American cast. It’s based on a 2013 bestseller by Kevin Kwan. The cast includes Henry Golding, Constance Wu, Gemma Chan, Lisa Lu, Nico Santos, Ken Jeong, and Michelle Yeoh. Jon M. Chu, who made JustinBieber: NeverSayNever and G.I. Joe: Retaliation, directs.
The film seems to be garnering some positive buzz and it could bring out a female audience, as well as a community clearly underrepresented at multiplexes. Even with that breakout potential, the Wednesday opening probably means it’ll debut behind Mile22 with Mark Wahlberg.
I will estimate a traditional weekend opening in the low teens and that could mean a gross close to $20 million for the five-day total.
CrazyRichAsians opening weekend prediction: $22.5 million (Friday to Sunday), $33.4 million (Wednesday to Sunday)
Mark Wahlberg is back in action mode and reuniting with director Peter Berg next weekend in Mile 22. The action thriller finds the star as the head of an elite CIA unit and the supporting cast includes John Malkovich, Lauren Cohan, Iko Uwais, Ronda Rousey, and Lee Chae Rin.
This is the fourth Wahlberg/Berg collaboration and it’s the first not based on real life events after Lone Survivor, Deepwater Horizon, and Patriots Day. Distributor STXfilms is hoping this will be the start of a new franchise with a TV series and sequel reportedly in development.
That, of course, could all depend on how this performs. The budget is only $35 million, which is quite low for a summer action release. Looking at other similar material from Wahlberg, Mile 22 would love to achieve the $24 million earned by something like 2012’s Contraband. Yet it could debut with something closer to the $14 million made by 2007’s Shooter. The $27 million made out of the gate five summers ago by 2 Guns is a reach in my opinion… that had the Denzel factor.
I’ll say a mid to high teens gross is the most likely scenario, meaning Mile won’t achieve the marker contained in its title.
***Blogger’s Note II (08/09/18): A big change has happened. I am revising my estimate for The Meg up to $22.7 million, therefore giving it the #1 spot. I am also increasing my BlacKkKlansman estimate once again from $7.6M to $9.6M
**Blogger’s Note (08/08/18): I have revised my BlacKkKlansman estimate from $5.6M to $7.6M, which gives it the #5 spot and drops The Spy Who Dumped Me outside the top five.
A quartet of newbies attempt to dethrone Tom Cruise this weekend as shark tale TheMeg, Internet meme based horror pic SlenderMan, canine tale DogDays, and Spike Lee’s awards hopeful BlacKkKlansman all open. You can peruse my detailed prediction posts on each here:
Of the four newcomers, TheMeg appears poised to earn the most. Audiences have proven they dig their shark flicks and the upside here is real. However, my high teens projection leaves it behind Mission: Impossible – Fallout and that would give Cruise and company a third weekend atop the charts.
Slender Man is a real question mark. Its studio doesn’t seem to have much faith in it, but horror titles can often surprise. I’m definitely at the lower end of expectations currently with a forecast in the high single digits. That would leave it lurking in fourth place behind Christopher Robin.
The five-spot depends on how the other two newcomers perform. Dog Days is opening on Wednesday and my $5.1 million estimate for its Friday to Sunday performance leaves it behind the $5.6 million I’m predicting for BlacKkKlansman (which certainly could go higher). That leaves both of them behind the second frame of The Spy Who Dumped Me, which should drop in the mid 40s range.
It’s an unpredictable weekend we have before us, but here’s how I have the top 5 looking:
1. The Meg
Predicted Gross: $22.7 million
2. Mission: Impossible – Fallout
Predicted Gross: $21.3 million
3. Christopher Robin
Predicted Gross:$13.8 million
4. BlacKkKlansman
Predicted Gross: $9.6 million
5. Slender Man
Predicted Gross: $9.1 million
***If these numbers change throughout the week, I’ll post updates!
Box Office Results (August 3-5)
Mission: Impossible – Fallout had a terrific hold in weekend #2, dropping just 42% to gross $35.3 million (above my $32 million projection) and remain #1. The sixth installment of Tom Cruise’s franchise has amassed $124 million so far.
Disney’s Christopher Robin came in on the bottom end of expectations in the runner-up position with $24.5 million compared to my more generous $29.6 million estimate. Winnie the Pooh and company will hope for small declines in coming weekends.
The Mila Kunis/Kate McKinnon comedy The Spy Who Dumped Me also debuted on the low-end of the expected scale in third with just $12.1 million, under my $15.3 million forecast.
Mamma Mia! Here We Go Again was fourth with $9 million (I said $8.3 million) for $91 million in three weeks.
I mistakenly left The Equalizer 2 out of the top five, but it was fifth with $8.7 million. The Denzel Washington sequel has made $79 million and looks to potentially top the $101 million earned by its predecessor.
Hotel Transylvania 3 was sixth with $8 million (I was lower at $6.9 million) and it’s earned $136 million overall. The franchise has shown remarkable consistency and I’d look for a fourth installment in about three years.
Finally, YA adaptation The Darkest Minds suffered a bad opening in 8th place with $5.8 million, in line with my $6.3 million prediction.
Essentially ThreeMenandaDivorcée, Reese Witherspoon’s latest rom com HomeAgain is a bland genre exercise that struggles mightily to be relatable. The star plays Alice, the daughter of a famous deceased director and his starlet muse (Candice Bergen). The maker of this film, Hallie Meyers-Shyer, is the child of divorced writers/filmmakers Charles Shyer and Nancy Meyers. Together and apart, her folks are responsible for such rom com titles as BabyBoom, FatheroftheBride, WhatWomenWant, and Something’sGottaGive. One wonders if Ms. Meyers-Shyer could channel that insight of growing up with her famous parents into a perceptive screenplay. I wonder because it’s not found anywhere here.
Reese’s Alice has recently separated from her music exec hubby (Michael Sheen) and lives at a gorgeous L.A. home with her two daughters. She’s just turned the big 4-0 and genre contrivances soon brings three twenty something lads into her guesthouse. They’re all aspiring filmmakers. Harry (Pico Alexander) is the handsome director. George (Jon Rudnitsky) is the teddy bear screenwriter who forms a bond with Alice’s eldest kid. Teddy (Nat Wolff) is the actor who really has no notable character traits.
Harry and Alice start a May-December romance while her ex is weighing his return home. The boys also must deal with the drama of getting their movie made and keeping their integrity intact. A lazy script would signify that integrity by making them insist on it being black and white. That’s exactly the situation here.
HomeAgain simply doesn’t bring anything new to the table. It is a little more frustrating considering the talent involved could have dug deeper. Witherspoon is adequate in the lead, but we’ve seen her elevate similar material and she can’t here. The story doesn’t even allow for any real chemistry to develop between Alice and Harry. The director’s parents are responsible for some of the more memorable rom coms of the last three decades. At the least, many of them qualify as genuine guilty pleasures. Here’s hoping Hallie finds a similar voice, but this is a dull beginning.
***Blogger’s Note II (08/09/18): My estimate is once again increasing – from $7.6M to $9.6M
**Blogger’s Note (08/08/18): I have revised my estimate from $5.6M up to $7.6M
The latest Spike Lee joint is the first in a while that comes with Oscar buzz and widespread critical acclaim when BlacKkKlansman debuts next weekend. The true life crime flick about an African-American detective infiltrating the Ku Klux Klan premiered at the Cannes Film Festival and was instantly a highlight. Its Rotten Tomatoes score stands at 96%.
The cast includes John David Washington (son of Denzel), Adam Driver, Laura Harrier, Topher Grace, Corey Hawkins, Paul Walter Hauser, and Harry Belafonte. Jason Blum and Jordan Peele serve as producers. The awards buzz could give this a shot at performing decently as it opens on approximately 1500 screens.
One comp that BlacKkKlansman might want to avoid is Detroit, which opened around the same time last year to disappointing results. That pic made $7.1 million in its first wide release frame on about twice as many screens.
This seems to garnering more buzz, however. I’ll say Mr. Lee’s latest manages between $5-6 million.
BlacKkKlansman opening weekend prediction: $9.6 million
In 2009, the Academy underwent a change in the number of Best Picture nominees honored each year. The rule change allowed a fluctuation of five to ten nominees per year, as opposed to a finite five (all other categories stayed at that number).
As has been discussed on this blog, many felt the change was triggered by 2008’s The Dark Knight, the critically acclaimed comic book pic that was also highest earner of the year. It failed to a garner a Best Picture nod and the thinking was that it was time for more popular options to make it into the mix.
Since the change, the magic number has been nine nominated pictures in most years. This got me thinking: what if that rule had been in effect during prior years? What movies that failed to get a nomination would have certainly made it?
That brings us here. I have gone back to 1990 through 2008 and I’m listing two films from each year that I am confident would have made the shortlist. In selecting each title, here were some of the key indicators. If a Director was nominated for his work and the film failed to get nominated, that probably means it would have been included. Additionally, the screenplay races are a decent predictor of some titles that might have made the magic nine (or eight or ten). For reference sake, I am including the five movies that did get nominated.
So here goes! Two features from 1990-2008 that coulda and likely woulda been contenders…
1990
The Actual Nominees: Dances with Wolves (Winner), Awakenings, Ghost, The Godfather Part III, GoodFellas
The Two Coulda Been Contenders: The Grifters, Reversal of Fortune
1991
The Actual Nominees: The Silence of the Lambs (W), Beauty and the Beast, Bugsy, JFK, The Prince of Tides
The Two Coulda Been Contenders: Boyz N The Hood, Thelma & Louise
1992
The Actual Nominees: Unforgiven (W), The Crying Game, A Few Good Men, Howards End, Scent of a Woman
The Two Coulda Been Contenders: Malcolm X, The Player
1993
The Actual Nominees: Schindler’s List (W), The Fugitive, In the Name of the Father, The Piano, The Remains of the Day
The Two Coulda Been Contenders: Philadelphia, Short Cuts
1994
The Actual Nominees: Forrest Gump (W), Four Weddings and a Funeral, Pulp Fiction, Quiz Show, The Shawshank Redemption
The Two Coulda Been Contenders: Bullets Over Broadway, Three Colors: Red
1995
The Actual Nominees: Braveheart (W), Apollo 13, Babe, Il Postino, Sense and Sensibility
The Two Coulda Been Contenders: Dead Man Walking, Leaving Las Vegas
1996
The Actual Nominees: The English Patient (W), Fargo, Jerry Maguire, Secrets & Lies, Shine
The Two Coulda Been Contenders: The People Vs. Larry Flynt, Sling Blade
1997
The Actual Nominees: Titanic (W), As Good as It Gets, The Full Monty, Good Will Huinting, L.A. Confidential
The Two Coulda Been Contenders: Boogie Nights, The Sweet Hereafter
1998
The Actual Nominees: Shakespeare in Love (W), Elizabeth, Life is Beautiful, Saving Private Ryan, The Thin Red Line
The Two Coulda Been Contenders: Gods and Monsters, The Truman Show
1999
The Actual Nominees: American Beauty (W), The Cider House Rules, The Green Mile, The Insider, The Sixth Sense
The Two Coulda Been Contenders: Being John Malkovich, Topsy-Turvy
2000
The Actual Nominees: Gladiator (W), Chocolat, Crouching Tiger, Hidden Dragon, Erin Brockovich, Traffic
The Two Coulda Been Contenders: Almost Famous, Billy Elliot
2001
The Actual Nominees: A Beautiful Mind (W), Gosford Park, In the Bedroom, Lord of the Rings: The Fellowship of the Ring, Moulin Rouge!
The Two Coulda Been Contenders: Black Hawk Down, Mulholland Drive
2002
The Actual Nominees: Chicago (W), Gangs of New York, The Hours, Lord of the Rings: The Two Towers, The Pianist
The Two Coulda Been Contenders: Far from Heaven, Talk to Her
2003
The Actual Nominees: Lord of the Rings: The Return of the King (W), Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, Seabiscuit
The Two Coulda Been Contenders: City of God, In America
2004
The Actual Nominees: Million Dollar Baby (W), The Aviator, Finding Neverland, Ray, Sideways
The Two Coulda Been Contenders: Hotel Rwanda, Vera Drake
2005
The Actual Nominees: Crash (W), Brokeback Mountain, Capote, Good Night and Good Luck, Munich
The Two Coulda Been Contenders: Syriana, Walk the Line
2006
The Actual Nominees: The Departed (W), Babel, Letters from Iwo Jima, Little Miss Sunshine, The Queen
The Two Coulda Been Contenders: Pan’s Labyrinth, United 93
2007
The Actual Nominees: No Country for Old Men (W), Atonement, Juno, Michael Clayton, There Will Be Blood
The Two Coulda Been Contenders: Away from Her, The Diving Bell and the Butterfly
2008
The Actual Nominees: Slumdog Millionaire (W), The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader
The Two Coulda Been Contenders: The Dark Knight, Doubt
And there you have it! There will be a part II to this post. What if the rule change had never occurred? From 2009 until the present, what would have been the five nominated Pictures if only that number was allowed. Stay tuned…
