All right you 1990s hip hop heads – here we go! A couple of months back, I gave you my top 90 R&B songs of the 90s and tonight on the blog, we begin my countdown of this blogger’s personal favorite hip hop singles of that glorious decade.
Some ground rules: notice I said “singles”. It’s an important distinction. I’m not picking deep cuts that weren’t released as commercial radio fare. If you want a list of best underground rap tracks, there are search engines named Google and Yahoo and allegedly Bing. So this is a rather mainstream list… if you don’t think one of the entries on here will begin lyrically with “Stop, Collaborate, and Listen…” – you would be mistaken.
Now that we’ve established the game, it’s time for this playa to start the list. Like the previous list, this will be a nine-part series updated daily (hopefully) giving you ten jams to reminisce over! So let me clear my throat and get this started:
90. “If I Ruled the World” – Nas featuring Lauryn Hill (1996)
Two years after his iconic debut release Illmatic, Nas’s first single off his follow-up album gave him one of his biggest hits with an assist from Fugees member Lauryn Hill.
89. “They Want EFX” by Das EFX (1992)
This duo had their largest hit with this #1 charting hit.
88. “Luv 2 Luv U” by Timbaland and Magoo (1997)
Before he became one of the greatest producers in the world, Timbo teamed up with sidekick and Q-Tip soundalike Magoo for this dance club jam.
87. “How I Could Just Kill a Man” by Cypress Hill (1991)
The cannabis loving group’s debut single is one of their finest.
86. “Get At Me Dog” by DMX (1998)
This one is DMX’s very first single and it’s his second highest charting track ever. It set off a string of memorable tracks from the Def Jam artist.
85. “Nappy Heads” by Fugees (1994)
Two years before they found international success, Lauryn, Wyclef, and Pras had their first hit here.
84. “Ain’t No Future In Yo’ Frontin'” by MC Breed and DFC (1991)
This is seriously one of those songs I completely wore out for the first half of the 90s. For that reason alone, it earns a well deserved spot.
83. “Get Money” by Junior M.A.F.I.A. (1996)
Biggie’s side group that featured Lil Kim and Lil Cease had their best track here.
82. “Let Me Clear My Throat” by DJ Kool (1996)
Simply put, one of those most ridiculously infectious dance club bangers ever created. This DJ gets some fantastic assists from Biz Markie and Doug E. Fresh.
81. “Changes” by 2Pac (1998)
Mr. Shakur makes his first appearance with this posthumous Bruce Hornsby sampling track.
And that’s all for now, friends! Part two covering numbers 80-71 drops tomorrow.
Well, Thursday is considerably later than I do most of my box office predictions (Sunday is the day), but we need to make an exception this week. It wasn’t until this afternoon that the theater count was released for St. Vincent, out tomorrow. The comedy/drama stars the incomparable Mr. Bill Murray with a supporting cast featuring Melissa McCarthy, Naomi Watts, and Chris O’Dowd.
St. Vincent played the film fest circuit earlier this fall and is said to be an audience pleaser. It’s been in limited release in major cities for the last two weeks. Critics have been mostly kind and it holds a respectable 74% on Rotten Tomatoes. The announcement of the screen count was a bit of a surprise: 2,282 which certainly classifies it as a wide release. This could serve as effective counter programming to this week’s other newbies, horror flick Ouija and Keanu Reeves actioner John Wick. Females could end up being a large percentage of its opening weekend audience, in addition to die-hard Murray aficionados.
That said, I still don’t believe this manages to crack the top five. An opening in double digits is certainly possible, but I believe it’ll fall under that for a sixth place debut.
St. Vincent opening weekend prediction: $8.6 million
This evening on the blog, we arrive at round two of my Oscar Predictions for the 2014 race, which will air in early 2015 with Neil Patrick Harris handling hosting duties. In late August, I made my initial round of predictions and two months later, much has changed and much has stayed the same. Unlike my first round, my second go round will include the races of Best Adapted Screenplay and Best Original Screenplay.
Let’s get to it, shall we? Here’s where I see the Oscar race right now in the eight major categories:
Best Adapted Screenplay
For my first crack at the Adapted Screenplay race, it’s probably safe to assume Gillian Flynn’s adaptation of her own bestseller Gone Girl will make the cut, as well as festival favorites The Imitation Game and The Theory of Everything. I’m also safely (at the moment) including Angelina Jolie’s Unbroken, even though no one has seen it yet. The fifth slot includes several contenders: Still Alice, Inherent Vice, Wild, Into the Woods, and American Sniper. No one has viewed Sniper yet, but its recently released trailer inspires hope.
Todd’s Current Predictions for BEST ADAPTED SCREENPLAY
American Sniper
Gone Girl
The Imitation Game
The Theory of Everything
Unbroken
Best Original Screenplay
Richard Linklater’s Boyhood and Alejandro Gonzalez Inarritu’s Birdman appear to be shoo-ins for inclusion. I’m also thinking Wes Anderson’s work for The Grand Budapest Hotel stands it best chance at a nod here. For the remaining two slots – I’m saying Foxcatcher and Christopher Nolan’s Interstellar, for now. Other contenders include Mr. Turner, Top Five, Whiplash, A Most Violent Year, Selma, and Big Eyes.
Todd’s Current Predictions for BEST ORIGINAL SCREENPLAY
Birdman
Boyhood
Foxcatcher
The Grand Budapest Hotel
Interstellar
Best Supporting Actress
This race has changed quite a bit since my first round of predictions. I originally had both Emily Blunt for Into the Woods and Felicity Jones for The Theory of Everything listed here, but it’s since been announced their performances will fall into the Best Actress race. They’re out – along with Carmen Ejogo as Coretta Scott King in Selma. The only two actresses from my initial predictions are Patricia Arquette in Boyhood (who’s a front runner) and Laura Dern in Wild. Added to the mix are Emma Stone in Birdman and Keira Knightley in The Imitation Game. Other possibilities for the fifth slot include Meryl Streep in Into the Woods, Jessica Chastain in Interstellar, Carrie Coon for Gone Girl, Sienna Miller in American Sniper, Julianne Moore in A Map to the Stars, Anna Kendrick in Into the Woods, Katherine Waterson in Inherent Vice, and Jessica Lange in The Gambler. I’ll go with Kristen Stewart as a surprise nominee for the acclaimed Still Alice.
Todd’s Current Predictions for BEST SUPPORTING ACTRESS
Patricia Arquette, Boyhood
Laura Dern, Wild
Keira Knightley, The Imitation Game
Kristen Stewart, Still Alice
Emma Stone, Birdman
Best Supporting Actor
My first predictions didn’t include J.K. Simmons for his lauded work in Whiplash, but he could be considered the favorite at this juncture. Staying in are Edward Norton in Birdman and Mark Ruffalo in Foxcatcher and it’s tough to imagine them not being recognized. For the other two slots, I’m including Miyavi for his villainous role in Unbroken and Ethan Hawke for Boyhood. Left out from my first round: Domhall Gleeson (Unbroken), Logan Lerman (Fury), and Tim Roth (Selma). Other contenders: John Goodman for The Gambler, Tom Wilkinson for Selma, Albert Brooks for A Most Violent Year, Christoph Waltz for Big Eyes, Josh Brolin in Inherent Vice, Robert Duvall in The Judge, and Johnny Depp for Into the Woods.
Todd’s Current Predictions for BEST SUPPORTING ACTOR
Ethan Hawke, Boyhood
Miyavi, Unbroken
Edward Norton, Birdman
Mark Ruffalo, Foxcatcher
J.K. Simmons, Whiplash
Best Actress
Following my August estimates, the festival circuit anointed Julianne Moore as a likely front runner for playing an Alzheimer’s patient in Still Alice. I’m also sticking with initial predictions Amy Adams (Big Eyes), Rosamund Pike (Gone Girl), and Reese Witherspoon (Wild). Since the announcement of her inclusion in this race and not Supporting Actress, Felicity Jones joins the fray for The Theory of Everything. Other possibilities: Jessica Chastain in A Most Violent Year (who made the cut in August), Emily Blunt for Into the Woods, Shailene Woodley in The Fault in Our Stars, and Hilary Swank for The Homesman.
Todd’s Current Predictions for BEST ACTRESS:
Amy Adams, Big Eyes
Felicity Jones, The Theory of Everything
Julianne Moore, Still Alice
Rosamund Pike, Gone Girl
Reese Witherspoon, Wild
Best Actor
Just like last year, what a crowded field we have! The following quartet seem virtual locks for nominations: Benedict Cumberbatch (The Imitation Game), Eddie Redmayne (The Theory of Everything), Michael Keaton (Birdman), and Steve Carell (Foxcatcher). The fifth slot is the real mystery. I originally had Joaquin Phoenix here for Inherent Vice, but I’m skeptical now. For now, I’ll replace him with Jack O’Connell in Unbroken. Other possibilities include Timothy Spall for Mr. Turner (who could easily find a way in), Bradley Cooper in American Sniper (same), Ralph Fiennes for The Grand Budapest Hotel, Ben Affleck in Gone Girl, Bill Murray for St. Vincent, David Oyelowo in Selma (depends on film’s success and critical reception), Oscar Isaac in A Most Violent Year, Matthew McConaughey for Interstellar (fact that he won last year hurts), Jake Gyllenhall for Nightcrawler (pic is probably too quirky and small), and Channing Tatum for Foxcatcher (Carell likely to steal his thunder).
Todd’s Current Predictions for BEST ACTOR:
Steve Carell, Foxcatcher
Benedict Cumberbatch, The Imitation Game
Michael Keaton, Birdman
Jack O’Connell, Unbroken
Eddie Redmayne, The Theory of Everything
Best Director
Only one change here as I’m taking Bennett Miller’s direction for Foxcatcher out and putting David Fincher’s work in Gone Girl in. I think the commercial and critical success of it and Fincher’s reputation as one of Hollywood’s best filmmakers gets him in (at press time). Those who could spoil my predictions: Clint Eastwood (American Sniper), Ana DuVernay (Selma), Morten Tyldum (The Imitation Game), Wes Anderson (The Grand Budapest Hotel), Mike Leigh (Mr. Turner), James Marsh (The Theory of Everything), JC Chandor (A Most Violent Year), and Rob Marshall (Into the Woods).
Todd’s Current Predictions for BEST DIRECTOR
David Fincher, Gone Girl
Alejandro Gonzalez Inarritu, Birdman
Angelina Jolie, Unbroken
Richard Linklater, Boyhood
Christopher Nolan, Interstellar
Best Picture
As you may know, anywhere from 5-10 films can be nominated in the biggest category of them all. Since that system has been in place, nine pictures have been recognized every time. In August’s predictions, I predicted eight. And now – I’m going with nine. The MLK biopic Selma is the one I’ve removed. Don’t get me wrong – it could still easily make the cut, but no one’s seen it yet and it’s a question mark. Gone Girl and American Sniper enter the race in my opinion and this marks their first inclusion. Other films that could potentially make the cut (even though I say no at the moment): Mr. Turner, Whiplash, The Grand Budapest Hotel, A Most Violent Year, and Into the Woods.
Horror and action fans have newbies to feast on this weekend as Ouija and John Wick open Friday, attempting to displace Fury from its perch atop the box office. You can find my detailed prediction posts on each of them here:
I believe the Halloween season should allow Ouija to make it to #1, though my estimate is slightly higher than others I’ve seen. Being that it’s a horror flick, it could also surpass my expectations. If only there was a board game I could ask about it…
As far as John Wick, I’m not expecting much out of it as I don’t think it’s been marketed well enough to make it a must see among action fans.
Fury may experience a smallish decline next weekend and I anticipate the same for both Gone Girl and The Book of Life.
And with that, my predictions for this weekend’s top five:
1. Ouija
Predicted Gross: $24.9 million
2. Fury
Predicted Gross: $14.8 million (representing a drop of 37%)
3. Gone Girl
Predicted Gross: $11.6 million (representing a drop of 34%)
4. The Book of Life
Predicted Gross: $11.3 million (representing a drop of 34%)
5. John Wick
Predicted Gross: $11 million
Box Office Results (October 17-19)
As expected, Brad Pitt’s Fury opened in first place with a respectable though unspectacular $23.7 million, a bit below my $26.4M projection. With decent reviews and an A- Cinemascore grade, it should hold up reasonably well in subsequent weekends.
Megahit Gone Girl slipped to second in its third weekend with $17.5 million, right on par with my $17.6M estimate. The David Fincher pic has amassed $106M so far.
The animated feature The Book of Life opened in third with a solid $17 million, slightly above my $15.6M prediction. Like most kiddie pics, it should hold up well for the foreseeable future (at least until Big Hero 6 opens).
Alexander and the Horrible, Terrible, No Good, Very Bad Day was fourth in its sophomore weekend with $11.4 million, just below my $12.5M estimate. It’s taken in $36 million in ten days and may reach around $65M domestic.
Opening with a thud in fifth was the Nicholas Sparks adaptation The Best of Me with just $10 million, well under my generous $17.8M projection. The poorly reviewed romantic drama marks the worst opening ever for a Sparks adapted novel. Perhaps opening it in February would’ve been smarter.
Slipping from second to sixth was Dracula Untold with $9.9 million, close to my $10.7M prediction. The Universal monster pic has taken in $40 million in two weeks and should finish with about $60M.
It’s been over a decade since Keanu Reeves saw box office fireworks with The Matrix trilogy and we’re far removed from his ability to open something like 2005’s Constantine and 2008’s The Day the Earth Stood Still to $30 million debuts. Expectations are considerably lower for this Friday’s John Wick, starring Reeves as a hitman out for vengeance.
Wick is much more likely to see an opening similar to the star’s 2008 pic Street Kings, which got off to a $12.4M start. Despite its so far favorable reviews, Wick‘s TV spots and trailers probably haven’t done enough to cause action fans to flock to it. It also doesn’t help that it has direct competition in the form of Fury‘s sophomore weekend. I’ll predict this barely gets past double digits for a lackluster beginning and that most genre fans will wait for VOD and cable for this.
Looking back now, isn’t it a little surprising that it’s taken this long for a horror flick named Ouija to find its way into the marketplace? That issue will be rectified Friday when Michael Bay’s production company unleashes the picture based on the creepy Hasbro board game.
With a cast consisting of relative unknowns, Ouija‘s selling point is clearly two things and two things only: its title and release date. Both should work to its advantage and lead it to a #1 debut. Horror pics are notoriously difficult to predict. For example, no one (including this blogger) saw a $37 million opening coming for Annabelle earlier this month. That massive hit may have given some genre enthusiasts their fix for the month and it could negatively hinder Ouija‘s prospects.
Still, this should manage to surpass $20M while not reaching the heights of that demonic doll.
Ken Scott’s Delivery Man allows its star Vince Vaughn to take on a more dramatic role that downplays his witty and sardonic sense of humor and pours on the pathos. The results aren’t too impressive and the screenplay gives Vaughn some scattershot and often mediocre material to work with.
A remake of Scott’s own 2011 Canadian feature Starbuck, David (Vaughn) is an aimless meat truck driver with financial woes who finds out he’s expecting his first child with his girlfriend, played by an underutilized Cobie Smulders. Well… about that “first” child…
It turns out our title character donated to a sperm clinic on a very regular basis in the early 90s under the alias Starbuck. And his efforts produced an astonishing 533 children, many of whom file a lawsuit to find out who their daddy is. David is torn with this revelation and it leads him to seek out his spawn while attempting to maintain his true identity from them. He develops relationships with them and their characters often check off the movie cliché boxes. The drug addicted girl trying to go straight. The struggling actor. The musician. Then there’s Viggo the vegetarian (Adam Chanler-Berat), who learns who David truly is and hangs around for a few scenes to annoy his dad, as well as the audience. And there’s also the handicapped son, creating a subplot that feels a tad too manipulative for comfort.
A puffy, pre-Star-Lord Chris Pratt is afforded some good moments as David’s in over his head attorney friend who represents him in a counter suit to secure his anonymity. In many ways, Man rises and falls with Vaughn. There are scarce comedic moments and Vaughn greatly downplays the quick paced and irony drenched persona we’ve come to anticipate from him. At times, he seems to be trying a little too hard to play against type and his performance comes off a bit listless.
Delivery Man doesn’t succeed enough in exploring David’s newfound connection to these strangers who he happens to father and the script tries too hard to pull our heartstrings. As the hundreds of Starbuck kids want to establish their connection with him, my connection to the proceedings as a viewer was much like Vaughn’s performance – too muted.
A dysfunctional upper class family consisting of mom and dad, their four adult children, and their children’s significant others get together for the first time in quite a while in You’re Next. As if that weren’t terrifying enough, what follows is them being trapped in the well-worn clichés of a home invasion horror flick. The central premise of Adam Wingard’s picture is that the gory bloodshed is only slightly scarier than the character’s personality flaws and sibling rivalries.
Caught in the middle of all the family drama is Erin (Sharni Vinson), who’s accompanying her boyfriend (A.J. Bowen) to his parents (Rob Moran and Barbara Crampton) vacation home for the weekend. It turns out Erin will be our film’s strong heroine presence and that she knows a lot more about how to deal with the unwelcome guests than anyone on else on site. Those invaders come in the form of murderers with cool looking animal masks who’ve thought out their crime well (piano wire is put to good use).
You’re Next follows in the tradition of Scream and The Cabin in the Woods in that it satirizes the genre while celebrating its conventions. Director Wingard and screenwriter Simon Barrett have a lot of fun playing with those conventions. It may not reach the ironic heights of the aforementioned pictures, but it often comes darn close. The central twists aren’t particularly surprising and there are times when Next becomes a little repetitive.
Yet it’s bloody heart is in the right place. The 80s sounding soundtrack is a trip. The pic surprisingly works more as a gore infested comedy than traditional horror flick. You’re Next‘s family argument starts at the dinner table and doesn’t stop just because a group of bow and arrow shooting, knife wielding terrorizers decide the crash the occasion. For enthusiasts of the genre, there’s a lot to admire here and there’s fun to be had.
A trio of new pictures open this Friday to try and end the two week reign of Gone Girl at the top spot: Brad Pitt’s World War II actioner Fury, the Nicholas Sparks adapted romantic drama The Best of Me, and the animated tale The Book of Life. You can read my detailed posts on each here:
It’s hard to imagine Fury not having enough firepower to debut at #1, though The Best of Me or The Book of Life or both could surpass expectations. The real battle could be for the runner-up position as Gone Girl is likely to suffer a small decline and Best and Book should open in the same range.
As for other holdovers, I expect Alexander and Terrible, Horrible, No Good, Very Bad Day to experience a slimmer decline than current #2 Dracula Untold.
And with that, we’ll do a top six projections for the weekend:
1. Fury
Predicted Gross: $26.4 million
2. The Best of Me
Predicted Gross: $17.8 million
3. Gone Girl
Predicted Gross: $17.6 million (representing a drop of 33%)
4. The Book of Life
Predicted Gross: $15.6 million
5. Alexander and the Terrible, Horrible, No Good, Very Bad Day
Predicted Gross: $12.5 million (representing a drop of 32%)
6. Dracula Untold
Predicted Gross: $10.7 million (representing a drop of 54%)
Box Office Results (October 10-12)
David Fincher’s Gone Girl held off newcomers to remain atop the charts for the second week in a row. The water cooler hit based on Gillian Flynn’s novel took in $26.4 million, ahead of my $24.2M prediction and has amassed a terrific $77 million in ten days.
Dracula Untold had a robust beginning to the tune of $23.5 million, well beyond my meager $14.4M estimate. The pic is likely to fade rather quickly, but Universal Pictures has good reason to be pleased with its results.
The family comedy Alexander and its long title of a bad day debuted healthily with $18.3 million, right in range with my $18.7M prediction. The Steve Carell pic should hold up decently in subsequent weekends.
Horror spinoff Annabelle, as expected, dropped precipitously after its strong opening last weekend. It earned $15.8 million, barely above my $14.8M projection. It’s made $61 million so far.
Despite star Robert Downey Jr.’s relentless promotion last week, The Judge had difficulty luring viewers. It grossed just $13.1 million, below my $16.4M estimate. Mixed reviews may have kept some adult viewers away.
Finally, the steamy drama Addicted posted an impressive $7.4 million on a limited number of screens for a seventh place start. This outshined my $4.5M prediction.
When Stephen King heard of a new remake for Carrie, his reaction was this: “The real question is why, when the original was so good?”
Right you are Mr. King and he’s pretty much written my movie review of Kimberly Peirce’s rehashing of the 1976 Brian De Palma classic with Sissy Spacek and Piper Laurie, based on King’s first published novel. It’s not that the 2013 version is terrible. It’s not that Chloe Grace Moretz doesn’t deliver a solid performance as the telekinetic teenager who has a very tragic prom. And Julianne Moore is incapable of giving a bad performance and manages respectably taking on the supremely creepy mother role that Piper Laurie perfected nearly three decades ago.
It’s just that this feels so unnecessary. Since De Palma’s work 27 years ago, an unwanted sequel came out in 1999 and an unwanted NBC TV remake was released in 2002. Now this. None of them performed too well and that’s easy to understand. 1976’s Carrie holds up remarkably well and any generation can simply revisit it.
There are tweaks here and there in the remake, but none of them add much of anything. The basic story is intact and the most famous lines from the original remain. The biggest difference is the ending which is a bit surprising because the ’76 version had a terrific one. For those unfamiliar with the plot, I’ll save you some trouble. Just go watch the De Palma flick. It’s worth your time and this version isn’t. I can’t put it any better than the source material’s author. So listen to Stephen King, kids!
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