Playing at AFI Fest ahead of its December 17th streaming premiere on Apple TV, early word is out for the futuristic drama Swan Song. Marking the feature length directorial debut for Benjamin Cleary (who won the Oscar for Live Action Short Film in 2015 for Stutterer), Mahershala Ali stars as a terminally ill man faced with decision of cloning himself. Naomie Harris, Glenn Close, and Awkwafina costar.
Based on a rather small sampling of critical reaction, the buzz seems mixed. Some reviewers are hailing it as an effective weepie while others are more soft in their praise. The bulk of write-ups are quick to point out the fine work from Ali and Harris. This isn’t their first collaboration. Five years ago, Ali knocked out all competitors to win Supporting Actor for Moonlight. Two years later, he would again be victorious in the same race for Green Book. Harris made the cut in Supporting Actress for Moonlight, but ultimately lost to Viola Davis for Fences.
With two gold statues to his name, it’s hard to fathom this is Ali’s inaugural sole lead cinematic part. Apple will probably mount an awards push for him and Harris. However, I suspect it could be too late in the game for either to have a legit chance and the varied reaction to the quality of the pic itself won’t help. My Oscar Prediction posts for the films of 2021 will continue…
Much of the drama in Rebecca Hall’s debut feature, based on a 1929 novel by Nella Larsen, is elevated by passing glances and comments overheard at gatherings. The term Passing refers to light skinned African-Americans who are deemed white to unsuspecting individuals. It’s a disguise that Clare Bellew (Ruth Negga) is living in and during the early moments of the picture, she has a chance encounter with Irene Redfield (Tessa Thompson). They are childhood friends who’ve lost touch and their reconnection leaves Irene bewildered. She’s never left Harlem and has married successful but weary doctor Brian (Andre Holland). Irene fills her days with civic duties and some nights entertaining an author (Bill Camp) who’s endeared himself to the black community (though perhaps not for purely endearing reasons).
While Irene seems to have a nice upper class life going in a 1920s era filled with despair, a closer look is warranted. Her marriage is bordering on loveless. The couple struggle with proper child rearing to their two boys in a subplot that’s barely there (it should have been either explored in greater detail or dropped altogether).
Clare’s sudden presence reminds Irene of some chinks in the armor of her perceived blissful existence. That goes both ways. Clare is married to a vocal racist (Alexander Skarsgard) who has no clue what lies beneath. She’s a free spirit whose wings appear to grow when placed back in familiar territory. One of the strengths with this screenplay is that Clare’s reaction to her bonds rekindling is unexpected. Instead of substantiating her choice to pass as Caucasian, it fills her with a longing to return to her roots. In doing so, a strange and often unclear romantic dynamic emerges between Clare, Irene, and Brian. Jealousies and frailties come to the forefront. And those passing glances and comments take on deeper meaning as time goes by. Irene’s perception of Clare soon turns as cold as the wintry night air while Brian’s has blown in a warmer and cozier direction.
This is a picture that sneaks up on you with how powerful it ultimately becomes. Hall, a fine actress recently seen in The Night House, has her own complicated and for years unknown racial history that surely influenced her delicate handling of the subject matter. The performances are terrific across the board. This is not a story that over explains character motivation and it’s sometimes up to Thompson and Negga in particular to convey what’s really cooking in this tinderbox of a stew. They achieve that mission and Hall’s filmmaking prowess (shot in black and white with an aspect ratio of its era) accentuates that. By the climax, we are presented potential outcomes that occur in a flash and you may find yourself pondering them far longer. It all passes for a richly rewarding experience.
When Paul Thomas Anderson writes and directs, the Academy takes notice and that won’t change with Licorice Pizza. Out in limited release November 26th before a Christmas Day expansion, the social media embargo is lapsed. Early word indicates the coming-of-age dramedy set in the Valley circa 1973 is one of the filmmaker’s most accessible and lighter works. And there are certainly categories where Oscar voters may bite.
Six out of the last seven PTA pictures have nabbed nominations. Two (There Will Be Blood, Phantom Thread) contended for Best Picture and its maker made it both times for his direction. He has been nominated five times for screenwriting with the aforementioned titles as well as Boogie Nights, Magnolia, and Inherent Vice. Despite the multiple ballot appearances, PTA has yet to get his hands on a gold statue.
That could change here, but it’s no guarantee. I do believe the initial buzz suggests a Best Picture nod is likely and he could certainly be recognized for directing. I don’t foresee wins in either race.
Original Screenplay is a different story. Belfast is the main competition at the moment and that’s significant considering it’s the frontrunner for Picture. However, I could see a narrative developing where Anderson could emerge victorious partly as a career achievement/overdue honor.
Down the line recognition for Editing might be its strongest opportunity in tech derbies. For the actors, PTA’s filmography has resulted in nine nominations for its performers. There’s just one win with Daniel Day-Lewis in Blood. Interestingly, we’ve seen three nominees each in Actor, Supporting Actor, and Supporting Actress. None for Best Actress, but that’s where Pizza has perhaps the most feasible chance.
Alana Haim’s performance is already getting raves. The downside is that Best Actress looks awfully competitive in 2021 and it could be an uphill battle. She’ll need some critics awards love and precursors. Same goes for Cooper Hoffman who makes his big screen debut. He’s the son of the late Philip, who PTA featured in Hard Eight, Boogie Nights, Magnolia, Punch-Drunk Love, and The Master. He too is being lauded though breaking into Actor could be an even taller order for him.
Finally, that brings us to Bradley Cooper. Playing film producer and Barbra Streisand’s former hairdresser Jon Peters, this looked like the kind of juicy role that might finally get the four-time acting contender some hardware. I’ve had Cooper listed at #1 in my Supporting Actor predictions since I began doing them over the summer (even in my updated estimates from earlier in the evening). It seems that Cooper’s screen time is quite limited in this… enough so that he might miss the dance altogether. One bright side is that Supporting Actor is so wide open that even his brief appearance could make enough of an impression on the Academy. I do suspect that Cooper will, at the least, not be in the top spot when I update next week.
Bottom line: the Pizza party at the Oscars could involve Picture, Director, and absolutely Original Screenplay. The cast faces some challenges. My Oscar Prediction posts for the films of 2021 will continue…
My Oscar predictions in all feature film categories are updated and there’s movement to discuss! There’s been a change in my ten Best Picture nominees for the first time in several weeks as House of Gucci has fallen and I’m putting Don’t Look Up in. The social media reaction to Gucci has resulted in it dropping for multiple categories. I still have Lady Gaga garnering an Actress nod (though she drops from 2nd to 4th) as well as Costume Design and Makeup and Hairstyling.
In other developments:
Andrew Garfield vaults from 6th to 3rd in Best Actor for Tick, Tick… Boom! That’s to the detriment of Joaquin Phoenix for C’Mon C’Mon
Two changes in the ever evolving Supporting Actor derby with Jason Isaacs (Mass) and Kodi Smit-McPhee (The Power of the Dog) making the cut and displacing Jared Leto (Gucci) and Ciaran Hinds (Belfast)
Ariana DeBose (West Side Story) is on the outside looking in for Supporting Actress with Aunjanue Ellis (King Richard) rising
Don’t Look Up also enters Original Screenplay with Mass falling out of the top five
You can read all the updates right here!
Best Picture
Predicted Nominees:
1. Belfast (Previous Ranking: 1) (E)
2. The Power of the Dog (PR: 2) (E)
3. King Richard (PR: 3) (E)
4. Licorice Pizza (PR: 5) (+1)
5. Dune (PR: 4) (-1)
6. Nightmare Alley (PR: 6) (E)
7. West Side Story (PR: 7) (E)
8. Don’t Look Up (PR: 12) (+4)
9. The Tragedy of Macbeth (PR: 10) (+1)
10. Spencer (PR: 9) (-1)
Other Possibilities:
11. Flee (PR: 11) (E)
12. Tick, Tick… Boom! (PR: 14) (+2)
13. House of Gucci (PR: 8) (-5)
14. CODA (PR: 15) (+1)
15. Mass (PR: 13) (-2)
Best Director
Predicted Nominees:
1. Jane Campion, The Power of the Dog (PR: 1) (E)
2. Kenneth Branagh, Belfast (PR: 2) (E)
3. Paul Thomas Anderson, Licorice Pizza (PR: 5) (+2)
4. Denis Villeneuve, Dune (PR: 3) (-1)
5. Guillermo del Toro, Nightmare Alley (PR: 4) (-1)
Other Possibilities:
6. Steven Spielberg, West Side Story (PR: 7) (+1)
7. Pablo Larrain, Spencer (PR: 6) (-1)
8. Adam McKay, Don’t Look Up (PR: Not Ranked)
9. Reinaldo Marcus Green, King Richard (PR: 9) (E)
10. Jonas Poher Rasmussen, Flee (PR: 8) (-2)
Dropped Out:
Ridley Scott, House of Gucci
Best Actress
Predicted Nominees:
1. Kristen Stewart, Spencer (PR: 1) (E)
2. Jessica Chastain, The Eyes of Tammy Faye (PR: 3) (+1)
3. Olivia Colman, The Lost Daughter (PR: 4) (+1)
4. Lady Gaga, House of Gucci (PR: 2) (-2)
5. Jennifer Hudson, Respect (PR: 5) (E)
Other Possibilities:
6. Penelope Cruz, Parallel Mothers (PR: 6) (E)
7. Frances McDormand, The Tragedy of Macbeth (PR: 7) (E)
8. Alana Haim, Licorice Pizza (PR: Not Ranked)
9. Rachel Zegler, West Side Story (PR: Not Ranked)
10. Nicole Kidman, Being the Ricardos (PR: 9) (-1)
Dropped Out:
Jodie Comer, The Last Duel
Tessa Thompson, Passing
Best Actor
Predicted Nominees:
1. Will Smith, King Richard (PR: 1) (E)
2. Benedict Cumberbatch, The Power of the Dog (PR: 2) (E)
3. Andrew Garfield, Tick, Tick… Boom! (PR: 6) (+3)
4. Denzel Washington, The Tragedy of Macbeth (PR: 3) (-1)
5. Peter Dinklage, Cyrano (PR: 4) (-1)
Other Possibilities:
6. Joaquin Phoenix, C’Mon C’Mon (PR: 5) (-1)
7. Bradley Cooper, Nightmare Alley (PR: 7) (E)
8. Nicolas Cage, Pig (PR: 8) (E)
9. Leonardo DiCaprio, Don’t Look Up (PR: 10) (+1)
10. Jude Hill, Belfast (PR: Not Ranked)
Dropped Out:
Adam Driver, House of Gucci
Best Supporting Actress
Predicted Nominees:
1. Caitriona Balfe, Belfast (PR: 1) (E)
2. Kirsten Dunst, The Power of the Dog (PR: 2) (E)
3. Ann Dowd, Mass (PR: 3) (E)
4. Ruth Negga, Passing (PR: 5) (+1)
5. Aunjanue Ellis, King Richard (PR: 6) (+1)
Other Possibilities:
6. Ariana DeBose, West Side Story (PR: 4) (-2)
7. Judi Dench, Belfast (PR: 7) (E)
8. Marlee Matlin, CODA (PR: 8) (E)
9. Meryl Streep, Don’t Look Up (PR: 9) (E)
10. Jayne Houdyshell, The Humans (PR: 10) (E)
Best Supporting Actor
Predicted Nominees:
1. Bradley Cooper, Licorice Pizza (PR: 1) (E)
2. Richard Jenkins, The Humans (PR: 2) (E)
3. Jamie Dornan, Belfast (PR: 3) (E)
4. Jason Isaacs, Mass (PR: 6) (+2)
5. Kodi Smit-McPhee, The Power of the Dog (PR: 8) (+3)
Other Possibilities:
6. Jared Leto, House of Gucci (PR: 4) (-2)
7. Ciaran Hinds, Belfast (PR: 5) (-2)
8. Jon Bernthal, King Richard (PR: 7) (-1)
9. Troy Kotsur, CODA (PR: 10) (+1)
10. Ben Affleck, The Tender Bar (PR: Not Ranked)
Dropped Out:
Al Pacino, House of Gucci
Best Original Screenplay
Predicted Nominees:
1. Belfast (PR: 1) (E)
2. Licorice Pizza (PR: 2) (E)
3. King Richard (PR: 4) (E)
4. Don’t Look Up (PR: 7) (+3)
5. C’Mon C’Mon (PR: 5) (E)
Other Possibilities:
6. Mass (PR: 4) (-2)
7. Spencer (PR: 6) (-1)
8. A Hero (PR: 10) (+2)
9. The Worst Person in the World (PR: 8) (-1)
10. Parallel Mothers (PR: 9) (-1)
Best Adapted Screenplay
Predicted Nominees:
1. The Power of the Dog (PR: 1) (E)
2. Nightmare Alley (PR: 2) (E)
3. The Humans (PR: 3) (E)
4. The Lost Daughter (PR: 4) (E)
5. The Tragedy of Macbeth (PR: 5) (E)
Other Possibilities:
6. Passing (PR: 9) (+3)
7. West Side Story (PR: 8) (+1)
8. Dune (PR: 7) (-1)
9. CODA (PR: Not Ranked)
10. House of Gucci (PR: 6) (-4)
Dropped Out:
The Last Duel
Best Animated Feature
Predicted Nominees:
1. Flee (PR: 1) (E)
2. Encanto (PR: 2) (E)
3. The Mitchells vs. the Machines (PR: 3) (E)
4. Luca (PR: 4) (E)
5. Belle (PR: 5) (E)
Other Possibilities:
6. The Summit of the Gods (PR: 7) (+1)
7. Raya and the Last Dragon (PR: 6) (-1)
8. Ron’s Gone Wrong (PR: 10) (+2)
9. Who Is Anne Frank (PR: 8) (-1)
10. Charlotte (PR: Not Ranked)
Dropped Out:
Vivo
Best International Feature Film
Predicted Nominees:
1. A Hero (PR: 1) (E)
2. The Worst Person in the World (PR: 2) (E)
3. Flee (PR: 3) (E)
4. Drive My Car (PR: 6) (+2)
5. Titane (PR: 5) (E)
Other Possibilities:
6. The Hand of God (PR: 4) (-2)
7. I’m Your Man (PR: 7) (E)
8. Compartment No. 6 (PR: 8) (E)
9. Great Freedom (PR: 9) (E)
10. Memoria (PR: 10) (E)
Best Documentary Feature
Predicted Nominees:
1. The Rescue (PR: 1) (E)
2. Flee (PR: 2) (E)
3. Summer of Soul (PR: 3) (E)
4. Attica (PR: 4) (E)
5. The Lost Leonardo (PR: 5) (E)
Other Possibilities:
6. The First Wave (PR: 9) (+3)
7. President (PR: 6) (-1)
8. Ailey (PR: Not Ranked)
9. Procession (PR: Not Ranked)
10. Becoming Cousteau (PR: 7) (-3)
Dropped Out:
Ascension
The Velvet Underground
Best Cinematography
Predicted Nominees:
1. Dune (PR: 1) (E)
2. The Tragedy of Macbeth (PR: 2) (E)
3. The Power of the Dog (PR: 5) (+2)
4. Belfast (PR: 3) (-1)
5. Nightmare Alley (PR: 4) (-1)
Other Possibilities:
6. West Side Story (PR: 6) (E)
7. Spencer (PR: 7) (E)
8. Licorice Pizza (PR: 9) (+1)
9. The French Dispatch (PR: 8) (-1)
10. C’Mon C’Mon (PR: Not Ranked)
Dropped Out:
The Last Duel
Best Costume Design
Predicted Nominees:
1. Cruella (PR: 2) (+1)
2. Spencer (PR: 1) (-1)
3. Dune (PR: 4) (+1)
4. House of Gucci (PR: 3) (-1)
5. Nightmare Alley (PR: 7) (+2)
Other Possibilities:
6. West Side Story (PR: 6) (E)
7. The French Dispatch (PR: 5) (-2)
8. Cyrano (PR: 8) (E)
9. Licorice Pizza (PR: 9) (E)
10. The Electrical Life of Louis Wain (PR: Not Ranked)
Dropped Out:
The Tragedy of Macbeth
Best Film Editing
Predicted Nominees:
1. Dune (PR: 1) (E)
2. Belfast (PR: 2) (E)
3. Don’t Look Up (PR: 7) (+4)
4. Licorice Pizza (PR: 4) (E)
5. West Side Story (PR: 5) (E)
Other Possibilities:
6. The Power of the Dog (PR: 3) (-3)
7. Nightmare Alley (PR: 6) (-1)
8. King Richard (PR: 8) (E)
9. Tick, Tick… Boom! (PR: Not Ranked)
10. House of Gucci (PR: 9) (-1)
Best Makeup and Hairstyling
Predicted Nominees:
1. House of Gucci (PR: 1) (E)
2. Dune (PR: 2) (E)
3. The Eyes of Tammy Faye (PR: 5) (+2)
4. Cruella (PR: 4) (E)
5. Spencer (PR: 3) (-2)
Other Possibilities:
6. Nightmare Alley (PR: 6) (E)
7. The Suicide Squad (PR: 7) (E)
8. Being the Ricardos (PR: Not Ranked)
9. Licorice Pizza (PR: 10) (+1)
10. The Green Knight (PR: 8) (-2)
Dropped Out:
The Last Duel
Best Original Score
Predicted Nominees:
1. Dune (PR: 1) (E)
2. Spencer (PR: 3) (+1)
3. Nightmare Alley (PR: 6) (+3)
4. The Power of the Dog (PR: 2) (-2)
5. The French Dispatch (PR: 5) (E)
Other Possibilities:
6. The Tragedy of Macbeth (PR: 4) (-2)
7. Don’t Look Up (PR: Not Ranked)
8. Cyrano (PR: 10) (+2)
9. King Richard (PR: 8) (-1)
10. Belfast (PR: 7) (-3)
Dropped Out:
Licorice Pizza
Best Original Song
Predicted Nominees:
1. “Be Alive” from King Richard (PR: 1) (E)
2. “Dos Oruguitas” from Encanto (PR: Not Ranked)
3. “No Time to Die” from No Time to Die (PR: 2) (-1)
4. “Down to Joy” from Belfast (PR: 4) (E)
5. “Every Letter” from Cyrano (PR: 8) (+3)
Other Possibilities:
6. “So May We Start” from Annette (PR: 6) (E)
7. “Just Look Up” from Don’t Look Up (PR: Not Ranked)
8. “Believe” from The Rescue (PR: 7) (-1)
9. “Here I Am” from Respect (PR: 5) (-4)
10. “Guns Go Bang” from The Harder They Fall (PR: 10) (E)
Best Production Design
Predicted Nominees:
1. Nightmare Alley (PR: 2) (+1)
2. Dune (PR: 1) (-1)
3. The French Dispatch (PR: 4) (+1)
4. West Side Story (PR: 3) (-1)
5. Spencer (PR: 8) (+3)
Other Possibilities:
6. The Tragedy of Macbeth (PR: 6) (E)
7. Cyrano (PR: 5) (-2)
8. Belfast (PR: 7) (-1)
9. House of Gucci (PR: Not Ranked)
10. Licorice Pizza (PR: 9) (-1)
Dropped Out:
The Power of the Dog
Best Sound
Predicted Nominees:
1. Dune (PR: 1) (E)
2. West Side Story (PR: 2) (E)
3. Belfast (PR: 3) (E)
4. Nightmare Alley (PR: 4) (E)
5. No Time to Die (PR: 5) (E)
Other Possibilities:
6. Tick, Tick… Boom! (PR: Not Ranked)
7. A Quiet Place Part II (PR: 9) (+2)
8. The Last Duel (PR: 7) (-1)
9. The Tragedy of Macbeth (PR: 6) (-3)
10. Cyrano (PR: 10) (E)
Dropped Out:
The Matrix Resurrections
Best Visual Effects
Predicted Nominees:
1. Dune (PR: 1) (E)
2. The Matrix Resurrections (PR: 2) (E)
3. Godzilla vs. Kong (PR: 3) (E)
4. Don’t Look Up (PR: 5) (+1)
5. Shang-Chi and the Legend of the Ten Rings (PR: 4) (-1)
Other Possibilities:
6. Free Guy (PR: 7) (+1)
7. Eternals (PR: 6) (-1)
8. Finch (PR: Not Ranked)
9. Spider-Man: Far From Home (PR: 8) (-1)
10. The Suicide Squad (PR: 10) (E)
And that equates to the following pictures nabbing these numbers in terms of nominations:
10 Nominations
Dune
9 Nominations
Belfast
8 Nominations
Nightmare Alley, The Power of the Dog
6 Nominations
Spencer
5 Nominations
King Richard, Licorice Pizza
4 Nominations
Don’t Look Up, The Tragedy of Macbeth, West Side Story
3 Nominations
Flee, House of Gucci
2 Nominations
Cruella, Cyrano, Encanto, The Eyes of Tammy Faye, The French Dispatch, The Humans, The Lost Daughter, Mass, No Time to Die
1 Nomination
Attica, Belle, C’Mon C’Mon, Drive My Car, Godzilla vs. Kong, A Hero, The Lost Leonardo, Luca, The Matrix Resurrections, The Mitchells vs. the Machines, Passing, The Rescue, Respect, Shang-Chi and the Legend of the Ten Rings, Summer of Soul, Tick, Tick… Boom!, Titane, The Worst Person in the World
Out in limited release tomorrow before its Netflix premiere on November 19, Tick, Tick… Boom! marks the long awaited big screen directorial debut of Lin-Manuel Miranda. The Hamilton sensation already has the EGT (Emmy, Grammy, Tony) in the EGOT (the O is for Oscar obviously) and he has multiple projects in 2021 to contend for it.
Tick is an adaptation of Jonathan Larson’s own autobiographical Off Broadway musical and features Andrew Garfield portraying the late creator of Rent. Having screened at the AFI Fest, reviews are trickling in. Some of the critical reaction is not overly gushing, but there’s enough praise that it could contend in multiple races. First and foremost is Best Actor with Garfield and I’m feeling more confident that he could snag one of the five spots. If so, it would mark his second nod five years after Hacksaw Ridge. His chances in lead, in my view, are greater than in supporting with The Eyes of Tammy Faye.
Garfield’s inclusion is the only competition where I’m relatively confident. That said, the Academy could fall for Miranda’s first foray behind the camera and that could open up Picture and maybe even Supporting Actor (where Robin de Jesus is generating some solid ink). I don’t look for much chatter for remaining supporting cast which includes Alexandra Shipp, Vanessa Hudgens, Judith Light, and Bradley Whitford. I’m also skeptical Adapted Screenplay comes into the mix, but it’s not outside the realm of possibility.
Miranda’s strongest shot at his own nomination could come with another project: Disney’s upcoming animated Encanto in the Original Song derby. In the Heights, the reworking of his acclaimed play that faltered at the box office over the summer, has seen its prospects dim.
Bottom line: Garfield has likely played his way into Best Actor while attention elsewhere seems questionable. My Oscar Predictions posts for the films of 2021 will continue…
**Blogger’s Note (11/18): On the eve of its premiere, I’m revising my King Richard estimate down from $11.2M to $9.2M
Will Smith may be primed for his first Oscar win in King Richard, which is served up for audiences on November 19th in theaters and HBO Max. The sports drama casts its lead as Richard Williams, father of tennis superstars Venus and Serena. Reinaldo Marcus Green directs with a supporting cast featuring Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, and Jon Bernthal.
Following its September premiere at Telluride, awards buzz started immediately and it currently sits at 91% on Rotten Tomatoes. With a new autobiography out this week, Smith has been highly visible as Richard is set for release.
Adult themed dramas have struggled mightily during the COVID era and the pic’s availability on HBO’s streamer could certainly eat into the grosses. However, with the Oscar chatter going, I do think this could top the $10 million estimate that’s out there (though probably not by much). It should also manage to play well over subsequent weekends.
King Richard opening weekend prediction: $9.2 million
For my Ghostbusters: Afterlife prediction, click here:
It’s in with the old and in with the new as Ghostbusters: Afterlife debuts in theaters November 19th. This was originally scheduled to haunt multiplexes in the summer of 2020 before numerous COVID delays. Jason Reitman directs and there’s some family legacy involved as dad Ivan made parts I and II in 1984 and 1989. Newcomers to the series include Carrie Coon, Finn Wolfhard, Mckenna Grace, Tracy Letts, and Paul Rudd (not to mention Stay Puft Marshmallow Minis according to the trailer). Returnees from the 80s are Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and Sigourney Weaver.
If rebooting this franchise sounds familiar – that’s because it happened five years ago to middling results. The Paul Feig helmed remake led by Melissa McCarthy and Kristin Wiig took in $46 million on its opening weekend but fizzled quickly due to so-so reviews and audience reaction. It also featured the OG Busters making cameos. This new iteration serves as a direct sequel to the first two.
Some estimates have Afterlife beginning at $50 million or above. That’s certainly doable, but I’m not so sure. While it’s obviously a well-known property and the ’84 original is rightly considered a classic, both follow-ups have been letdowns. The 71% Rotten Tomatoes score is OK, but its actually below the 74% that greeted the ballyhooed 2016 pic.
I’m projecting that this makes it to $35-$40 million and doesn’t get to the number we saw just a half decade back.
Ghostbusters: Afterlife opening weekend prediction: $38.1 million
While its official embargo isn’t up until two days before its unveiling on November 24th, MGM has lifted the curtain on social media reactions for House of Gucci. They are something to behold as critics are wildly divergent in their takes. There are some consistencies – it’s overlong (157 minutes), all over the place in tone (switching from camp to quite serious), and that the performances of Lady Gaga and Jared Leto will garner plenty of ink as well as memes.
So how will this play in the House of Oscar? There appear to be plenty of naysayers for the pic’s overall quality (the word “mess” has been bandied about). Enough negative reviews could certainly downgrade the chance of a Best Picture nod and I don’t see director Ridley Scott or the screenwriters (Becky Johnston and Roberto Bentivegna) making the cut in their races. For Sir Ridley, this is his second at bat for awards attention this year after The Last Duel. Its minuscule box office earnings seem to have sunk its chances.
Besides Makeup and Hairstyling and Costume Design (where Gucci could easily show up), the Academy’s primary focus here should be the performances. The cast is filled with Oscar winners and nominees, but don’t expect much chatter for Adam Driver, Al Pacino, Jeremy Irons, or Salma Hayek. Driver has been lingering at the bottom of my ten Best Actor hopefuls for weeks. I’d anticipate him dropping this weekend when I update my projections.
The two performers that should vie for the ballot are Lady Gaga and Jared Leto. Three years after her Actress nod in A Star Is Born, the pop superstar’s inclusion once again seems probable. That said, don’t expect her to top the frontrunner Kristen Stewart (Spencer) and she also might be a tad behind Jessica Chastain (The Eyes of Tammy Faye).
Leto won Supporting Actor eight years ago for Dallas Buyers Club and likely fell just short of a second nomination last year for The Little Things. The buzz for his work is that he wildly overacts in Gucci. Whether it’s tremendously entertaining or embarrassing depends on whose Tweet you lay eyes on. It’s entirely feasible that his role might be memorable enough that he gets in (especially since Supporting Actor seems wide open in 2021).
Bottom line: I’ve had House of Gucci in my top ten Picture contenders the whole way. Today I’m more skeptical it makes it. As for Gaga and Leto, their chances are stronger. My Oscar Prediction posts for the films of 2021 will continue…
Bob Odenkirk is one of the all-time great yellers. Go back and watch his marvelous comedy sketch series Mr. Show from 25 years ago if you don’t believe it. When Gene Hackman hollers, it can be terrifying. With Odenkirk, it’s unexpected and hilarious. The idea of casting him in a John Wick type of role (from the writer of the franchise no less) screams for more than what’s presented onscreen in the very brief runtime of Nobody. Post watch, I couldn’t escape the idea that a lot of cool stuff might happen following the events of what I’d just witnessed. What’s presented is effective in spurts and occasionally dull and repetitive in chunks.
Dull and repetitive aptly describes Hutch’s existence as the opening montage shows. He works a boring job. His marriage to Becca (Connie Nielsen) is devoid of any spark. Like clockwork, he forgets to take out the garbage. The middle class tedium is disrupted by a home burglary where Hutch catches the intruders redhanded but decides against using his golf clubs to take them down. From the police to his spouse to his kids, he’s seen as a weakling. However, when he discovers his little girl’s kitty cat bracelet was lifted, his true identity surfaces.
Hutch was once an “auditor” for the government. Not the numbers crunching kind. More of the bone crunching variety. He’s a former assassin that comes from a line of them including dad (Christopher Lloyd). RZA is also part of the clan (he’s heard more than seen because he’s in hiding). No longer content to hide his own particular set of skills after the bracelet heist, Hutch sets out to find the thieves and rough up anyone else who stands in the way.
One of the audited victims turns out to be the brother of a Russian mobster (Aleksei Serebryakov) who moonlights as an aspiring nightclub singer. With Hutch on his wanted list, the Wick-ish violence commences. If this all sounds like a tremendous amount of strange fun, it should. Doc Brown as an octogenarian renegade? Check. Our Breaking Bad standout breaking skulls? Check.
Sometimes it is. When Hutch first lets down his guard on a bus, it’s a violent delight. It never really tops that sequence that arrives early. Derek Kolstad (who wrote all three Wick flicks) is behind this (along with Hardcore Henry director Ilya Naishuller). The screenplay hints at our lead’s backstory. It gives us reason to believe Odenkirk and Lloyd and RZA have been on some wild adventures. The world building that’s become such an integral part of Keanu Reeves and his headshots isn’t present in Nobody. This is far more contained and that applies to Odenkirk’s performance. He’s a terrific comedic presence and, as mentioned, a glorious wailer. Those skills aren’t at the forefront in this though he commendably looks comfortable offing Euro baddies. I just didn’t find the concept sizzling enough to sustain itself before it kinda burnt out.
The eyes of box office prognosticators will be focused on the second frame for Marvel’s Eternals. It should have no trouble repeating in the top spot, but its drop could be significant following mixed audience and critical reactions. We do have some newcomers: Clifford the Big Red Dog and potential Oscar favorite Belfast from Kenneth Branagh (debuting on roughly 600 screens). You can find peruse my detailed prediction posts on them here:
Clifford is getting a jump on the weekend by opening Wednesday (with early previews Tuesday). That could be a shrewd move considering kiddos are off on Thursday for Veterans Day. It should firmly plant itself in the #2 spot after Eternals.
As for Belfast, the awards chatter should help it achieve a decent per theater average. It will look to play steadily for weeks over the Oscar season. My $2.3 million estimate leaves it outside the top five.
Back to Eternals. The B Cinemascore grade is rather troubling for its sophomore outing (most MCU titles get an A). With audiences clearly not digging it in the way they typically greet the studio’s material, a drop in the low to even high 60s seems where this is headed.
Holdovers Dune, No Time to Die, and Venom: Let There Be Carnage should fill the rest of the top five and here’s how I see it going down:
1. Eternals
Predicted Gross: $23.2 million
2. Clifford the Big Red Dog
Predicted Gross: $11.8 million (Friday to Sunday); $17.6 million (Wednesday to Sunday)
3. Dune
Predicted Gross: $4.9 million
4. No Time to Die
Predicted Gross: $4.3 million
5. Venom: Let There Be Carnage
Predicted Gross: $3.4 million
Box Office Results (November 5-7)
The shaky WOM for Eternals undoubtedly impacted its earnings as the Chloe Zhao effort took in $71.2 million, under my $77.8 million projection. That would be a fantastic debut for almost anything not MCU related. However, Eternals premiere is the smallest for Marvel since 2015’s Ant-Man. As mentioned, it could be headed for a precipitous drop in weekend #2.
Dune slipped to second after two weeks on top with $7.7 million (I said $7.2 million). The sci-fi epic has amassed $84 million in three weeks.
No Time to Die held up very well for third in its fifth go-round at $6 million – higher than my $4.8 million take. Total is $143 million.
Venom: Let There Be Carnage hit the four spot at $4.4 million compared to my $3.8 million projection. It’s nearing the double century mark with $197 million.
Ron’s Gone Wrong, which I was wrong about staying in the top five, was fifth at $3.5 million for a two-week total of $17 million.
The French Dispatch from Wes Anderson expanded its screen count and made $2.5 million for sixth place with $8 million overall.
Halloween Kills fell hard with its namesake holiday having passed. The $2.3 million gross for seventh (I was more generous at $3 million) brought the earnings to $84 million.
Finally, the Princess Diana biopic Spencer with Kristen Stewart couldn’t reach my prognosis. Starting out in nearly 1000 venues, the $2.1 million haul was just over half of my $4.1 million prediction. It will hope that Oscar buzz for its lead will contribute to small declines in coming days.
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