98th Academy Awards: The State of the Supporting Actor Race (October Edition)

Instead of writing a full update on my Oscar predictions this week, I’m doing a deep dive on the six highest profile races: Picture, Director and the four acting derbies. It begins with Supporting Actor.

I published my first preview of the Supporting Actor field on April 5th. In that post, I listed my initial predictions for the quintet of hopefuls along with ten other possibilities. At that impossibly early stage of the game, my selections were:

Colman Domingo, Michael

Andrew Garfield, After the Hunt

Mark Hamill, The Life of Chuck

Adam Sandler, Jay Kelly

Stellan Skarsgård, Sentimental Value

Let’s dispense with some of those names. Domingo’s work as the Jackson family patriarch in Michael won’t be seen until 2026 after the studio delayed it.

The Life of Chuck, despite winning the coveted audience prize at 2024’s Toronto Film Festival, never picked up steam as a contender when it opened this summer. Hamill would desperately need a Globe or SAG or Critics Choice nom to have any shot at the big dance. I don’t see it happening.

Then there’s Garfield. In April, I envisioned Luca Guadagnino’s Hunt as a surefire player in several races. Yet it’s become a critical and commercial disappointment and I suspect it could be completely blanked come nomination morning.

As for the 10 other possibilities, those names:

Joe Alwyn, Hamnet

Jonathan Bailey, Wicked: For Good

Bradley Cooper, Is This Thing On?

Brendan Fraser, Pressure

Sean Penn, One Battle After Another

LaKeith Stanfield, Die, My Love

Jeremy Strong, Springsteen: Deliver Me from Nowhere

Tyler, the Creator, Marty Supreme

Denzel Washington, Highest 2 Lowest

Jeffrey Wright, Highest 2 Lowest

Brendan Fraser’s work as Dwight Eisenhower in the war drama Pressure is looking like a 2026 release. When it comes to Alwyn in Hamnet, I was assuming that Paul Mescal’s performance in that pic was going to be a lead actor submission. It has just recently been confirmed that Mescal will go supporting and it is he and not Alwyn who’s viable.

Denzel Washington is definitely a lead contender for Lowest and we’ll address his chances in that post. As for Cooper, Stanfield, Tyler, the Creator, and Wright – that quartet of performances did not garner awards buzz upon their unveilings.

So let’s talk about who is viable, shall we? In my estimation, there are three hopefuls whose nominations seem assured or darn close to it.

One Battle After Another will receive a BP nod and it has a real chance of winning. Two-time winner in lead Actor Sean Penn should be up for his villainous turn, marking his seventh overall at bat and first in the supporting field. It’s actually been 17 years since his last nom when he took gold for Milk.

Stellan Skarsgård is the name in my original top five that I’m still confident remains. Sentimental Value, while possibly losing a little luster in recent weeks, should make the BP cut and his work is arguably the most heralded.

The third performer I’m convinced of is Paul Mescal. Like Battle and Value, Hamnet is looking solid in BP. His costar Jessie Buckley is the frontrunner in Actress and he should come along for the ride.

Then it gets complicated. Adam Sandler has been in my #4 spot for a few weeks. The SNL alum has not seen his name called by the Academy despite chatter for Punch-Drunk Love and especially Uncut Gems. This offers a legit opportunity for voters to honor him. However, Sandler’s fortunes could be tied to whether Jay Kelly makes BP and that’s very much in question. As for now, I have him in but it’s far from assured.

Jeremy Strong was up last year in this category for The Apprentice. He could make it two years in a row as The Boss’s longtime manager Jon Landau in Springsteen: Deliver Me from Nowhere. I’m less convinced the biopic makes BP than any of the other pictures above. He’s still a strong (no pun intended) possibility to join his costar Jeremy Allen White on the red carpet.

So, at the moment, my five would consist of Penn, Skarsgård, Mescal, Sandler and Strong (in that order). Who could change that dynamic?

Benicio del Toro could. 25 years years after he emerged victorious in Supporting Actor for Traffic, his comic relief as the helpful sensei in One Battle After Another is quite memorable. If the movie is indeed the BP force it might be, the coattails could leave room for him. The Academy has had a habit of nominating two performances from the same film here. From 2017 to 2022, it happened at every ceremony but one:

2017 – Sam Rockwell and Woody Harrelson from Three Billboards Outside Ebbing, Missouri (Rockwell won)

2019 – Al Pacino and Joe Pesci from The Irishman

2020 – Daniel Kaluuya and LaKeith Stanfield from Judas and the Black Messiah (Kaluuya won)

2021 – Jesse Plemons and Kodi Smit-McPhee from The Power of the Dog

2022 – Brendan Gleeson and Barry Keoghan from The Banshees of Inisherin

I came very close to putting him in over Strong in my update a week ago.

In 2020, Delroy Lindo was expected to be up for Spike Lee’s Da 5 Bloods but he was snubbed. Members could give him his first nom for Sinners, which is another likely BP nominee. I like his chances better than costars Miles Caton or Jack O’Connell though they’ve been mentioned too.

Ethan Hawke’s lead work in Blue Moon is being predicted by more prognosticators recently and that includes me. He could bring costar Andrew Scott along with him.

If Frankenstein makes BP, it increases the chances that Jacob Elordi’s portrayal of The Monster is alive in the minds of those filling out ballots.

A couple of other possibilities to address. While Josh O’Connor grew raves at screenings for the upcoming Wake Up Dead Man: A Knives Out Mystery, I’m not buying him being the franchise’s first acting nominee. Rental Family doesn’t appear to be a threat in BP and that hurts Akira Emoto’s inclusion. The mixed reaction to Anemone might leave Daniel Day-Lewis out of Best Actor. That makes the chances of Sean Bean making the quintet remote at best.

The only unseen performance worth mentioning in my view is Jonathan Bailey in Wicked: For Good. He managed a SAG nod as Fiyero in part 1 last year. If part 2 is generally perceived as equal to what preceded it, the cast could be rewarded beyond Cynthia Erivo and Ariana Grande.

So there you have it, readers! I would say Penn, Skargård and Mescal are in with Sandler, Strong, del Toro, Lindo, Scott, Elorodi and Bailey battling for the remaining two slots. Let’s see if and how that changes as the weeks roll along. My in-depth look at Supporting Actress is up next!

Oscar Predictions: Dead Man’s Wire

Dead Man’s Wire from Gus Van Sant is being compared to the crime movies of the mid to late 70s era it takes place in after it premiered at Venice with additional play in Toronto. Bill Skarsgård headlines as a real life kidnapper in a role that’s drawing impressive reviews. The supporting cast includes Dacre Montgomery, Colman Domingo, Myha’la, Cary Elwes, John Robinson and Al Pacino.

There has been more than one comparison to 1975’s Dog Day Afternoon (starring Pacino). Rotten Tomatoes is at 100% with 73 on Metacritic. Distribution rights are unsettled so there’s no guarantee this is out in 2025. While there’s across the board thumbs in the right direction, I’m not sure it is enough for this to break out in awards chatter. There’s the sneaky possibility of Skarsgård gaining momentum, but I’m not convinced. My Oscar Prediction posts will continue…

Oscar Predictions: In the Hand of Dante

Julian Schnabel has Oscar history with Before Night Falls from 2000 (in which Javier Bardem was up for lead Actor), 2007’s The Diving Bell and the Butterfly (four noms including Director), and At Eternity’s Gate (Willem Dafoe contending for Actor). His latest is the period piece drama In the Hand of Dante, sporting an eclectic cast headlined by Oscar Isaac and including Gal Gadot, Gerard Butler, John Malkovich, Jason Momoa, Louis Cancelmi, Sophia Impacciatore, Franco Nero, and Al Pacino.

Stateside release is undetermined at press time. Despite the star power, distributors might not be lining up since this was generally considered one of the misfires at the Venice Film Festival. While some critics tipped their cap to its ambition, most say it wasn’t brimming with overall quality. The Rotten Tomatoes score is 35% and that should ensure Dante doesn’t fire up awards voters. My Oscar Prediction posts will continue…

Oscar Predictions: Knox Goes Away

On Sunday, Michael Keaton took part in a humorous bit with Arnold Schwarzenegger and Danny DeVito during the 96th Academy Awards. It was related to the fact that the Twins stars were both Batman villains. In the history of the Oscars, Keaton’s sole nod is for 2014’s Birdman. He stars in his second directorial feature Knox Goes Away, which hits theaters in limited fashion Friday.

Playing a hitman diagnosed with dementia, the thriller premiered last fall at the Toronto Film Festival. Costars include James Marsden, Al Pacino (who had his own viral moment at the Oscars three days ago), Marcia Gay Harden, and Suzy Nakamura. The jury’s verdict from Canada months ago and in recent days is split to negative with 50% on RT. It’s safe to assume this won’t mark Keaton’s second nomination in front of the camera or behind it. My Oscar Prediction posts will continue…

Oscars 2023: The State of the Supporting Actor Race (September 7th)

Beginning today, I’m taking a deeper dive into the six major categories for the 96th Academy Awards slated for March 2024. Ardent readers of this here blog know that I typically update my predictions every 10-14 days.

Yet there’s been some major developments in the past week and there will be more in the week or so to come. The Telluride Film Festival just happened. Venice is ongoing and Toronto starts tonight. In other words, a whole bunch of Oscar hopefuls have just screened or are about to screen.

So for these closer looks at the four acting derbies, Best Director, and Best Picture – I’m obviously keeping all that in mind with the heavy buzz emanating from Colorado, Italy, and Ontario.

We begin with Supporting Actor. In this competition, 3 of the biggest contenders saw their movies released (or screen) prior to the September trio of festivals. Robert Downey Jr. (Oppenheimer) and Ryan Gosling (Barbie) are, of course, part of the Barbenheimer phenomenon. Both appear highly likely to be nominated. I could see a narrative develop where Downey Jr. is honored for his body of work (in addition to his strong work in the film itself) and ends up taking the trophy. This would mark his third nom after 1992’s Chaplin and 2008’s Tropic Thunder. He’s currently my #1.

A similar victory could happen with Robert De Niro for Killers of the Flower Moon (which first screened at Cannes in May). The acting legend is a two-time Oscar winner, but it’s been 43 years since he took the lead prize for Raging Bull. You have go back to 49 years for his first statue in Supporting for The Godfather Part II. A Downey Jr. or De Niro statue could be contingent on which of their movies wins BP (if one of them does). The momentum from the top prize could dwindle down to either one of them.

Before its rapturous unveiling at Venice, there was uncertainty as to whether Mark Ruffalo or Willem Dafoe would be Fox Searchlight’s strongest contender for Poor Things. The answer might be both. Ruffalo could have the slight edge, but both could make the dance. That wouldn’t be all that surprising. Three of the past four Supporting Actor quintets have seen double nominees from the same feature – The Irishman in 2019 for Al Pacino and Joe Pesci, The Power of the Dog in 2021 for Jesse Plemons and Kodi Smit-McPhee, and last year for The Banshees of Inisherin with Brendan Gleeson and Barry Keoghan. It’s worth mentioning that none of the six nominees took the prize.

Speaking of double nominees, it isn’t out of the question that the aforementioned Plemons could materialize for Flower Moon. Same goes for Matt Damon in Oppenheimer. I suspect they ultimately don’t make it.

Past Lives is an acclaimed drama that seems destined for a BP spot. John Magaro is sure to be placed here and he could absolutely get into the final five. There is a question as to whether his costar Teo Yoo is campaigned for in lead or here. I’ve got him in the former as of now.

If Air overperforms, I wouldn’t totally discount Ben Affleck (he’s never had an acting mention). Glenn Howerton in BlackBerry has drawn plenty of raves. He’ll win some critics prizes and could be a trendy pick for inclusion. Charles Melton was singled out for his work alongside Natalie Portman and Julianne Moore at Cannes.

Dominic Sessa could see himself in for The Holdovers (especially if Alexander Payne dramedy’s cast mates Paul Giamatti and Da’Vine Joy Randolph make their categories).

The Maestro acting campaigns should go to Carey Mulligan and Bradley Cooper in lead and not Matt Bomer. Saltburn reactions suggest any attention will go to star Barry Keoghan and not Richard E. Grant.

And there are unseen hopefuls in the wings. Colman Domingo in The Color Purple immediately comes to mind. His nom might not happen because he’s almost surely going to make the lead Actor’s five with Rustin.

So where’s that leave us? I’m shortening my possible nominees from 15 to 10 and here’s my snapshot of the race right now!

Predicted Nominees

1. Robert Downey Jr., Oppenheimer (Previous Ranking: 1) (Even)

2. Robert De Niro, Killers of the Flower Moon (PR: 2) (E)

3. Ryan Gosling, Barbie (PR: 3) (E)

4. Mark Ruffalo, Poor Things (PR: Not Ranked)

5. John Magaro, Past Lives (PR: 4) (-1)

Other Possibilities:

6. Willem Dafoe, Poor Things (PR: 6) (E)

7. Charles Melton, May December (PR: 5) (-2)

8. Colman Domingo, The Color Purple (PR: 7) (-1)

9. Glenn Howerton, BlackBerry (PR: 8) (-1)

10. Dominic Sessa, The Holdovers (PR: 9) (-1)

Dropped Out:

Jesse Plemons, Killers of the Flower Moon

Ben Affleck, Air

Matt Bomer, Maestro

Matt Damon, Oppenheimer

Richard E. Grant, Saltburn

Glynn Turman, Rustin

Supporting Actress is up next!

Best Picture 2019: The Final Five

We have reached 2019 in my posts speculating on a specific piece of Oscar history. As awards followers are aware, 2009 saw the Academy expand the Best Picture category from five movies to ten. That lasted for two years and in 2011, it switched to anywhere from 5-10 with 8 or 9 as the magic numbers for several years. In 2021, the number reverted back to a set ten.

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

In 2019, there were nine films vying for the prize. We know one thing for sure. Bong Joon-ho’s Parasite is in since it made history and became the first non-English language title to take Best Picture. It had a big night as it also won Director, Original Screenplay, and International Feature Film.

There’s 8 others to consider. Only half make cut. Let’s get into it!

Ford v Ferrari

James Mangold’s 1960s set sports drama starring Matt Damon and Christian Bale had four total nominations and won 2 of them (Sound Editing and Film Editing). It wasn’t as fortunate in Picture or Sound Mixing.

Does It Make the Final Five?

No. I say this knowing the Film Editing victor usually lands a BP nod (though not the case with 2007’s The Bourne Ultimatum and 2011’s The Girl with Dragon Tattoo). However, Ford achieved the least number of overall mentions among the 9 contenders and missed key races including Director, any acting derbies, and screenplay.

The Irishman

Martin Scorsese’s return to the Mob genre was Netflix’s highest profile Oscar player yet. It earned ten overall nods including for Scorsese, two Supporting Actor bids for Al Pacino and Joe Pesci, and Adapted Screenplay. Going 0 for 10, Robert De Niro was a somewhat surprising omission for his lead work.

Does It Make the Final Five?

Yes. Despite the lack of wins, the sheer number of inclusions indicate the legendary filmmaker and cast would vie for the top award.

Jojo Rabbit

Taika Waititi’s unique take on WWII was up for 6 races including Scarlett Johansson for Supporting Actress and Film Editing. The sole victory (a major one) was Adapted Screenplay where it beat out three other BP nominees.

Does It Make the Final Five?

No, but this was easily the hardest to leave off. The Screenplay win suggests it certainly could have. A miss in Director was a deciding factor and the fact that I couldn’t omit any of the final five I ended up going with.

Joker

Warner Bros. had unexpected bragging rights as this Scorsese inspired take on the DC Comics villain had the best haul with 11 nods. This includes Todd Phillips in Director and key precursors like Editing and Adapted Screenplay. The two wins came courtesy of Joaquin Phoenix in the title role and in Original Score.

Does It Make the Final Five?

Yes. Usually the leader of the pack does and this popped up in categories it originally wasn’t anticipated to.

Little Women

Greta Gerwig’s acclaimed version of the classic Louisa May Alcott novel was also up for Actress (Saoirse Ronan), Supporting Actress (Florence Pugh), Adapted Screenplay, Score, and Costume Design (which was its only victory).

Does It Make the Final Five?

No. Simple math here. If I didn’t put Jojo in (which won Adapted Screenplay), I can’t justify vaulting this over it.

Marriage Story

Just like Little Women, Noah Baumbach’s drama was up for six and managed one. The win was Laura Dern (who was also in Women) in Supporting Actress while it also vied for Actor (Adam Driver), Actress (double nominee Scarlett Johansson), Original Screenplay, and Original Score.

Does It Make the Final Five?

Just like Little Women – no. Like Women, not making the Director race and not winning screenplay make this a fairly easy forecast.

1917

The World War I epic from Sam Mendes boasted 10 nominations with 3 statues for Sound Mixing, Cinematography, and Visual Effects. The Editing miss was obvious since the picture famously used few cuts.

Does It Make the Final Five?

Yes. In fact, this was likely the runner-up to Parasite. It went into the evening as the favorite for BP and Director until Joon-ho’s film made its history.

Once Upon a Time in Hollywood

Quentin Tarantino’s ninth feature was slotted for 10 categories including QT for director, Leonardo DiCaprio in Actor, and Original Screenplay where its two-time winning scribe lost to Joon-ho. The two victories were Brad Pitt in Supporting Actor and Production Design.

Does It the Final Five?

Yes though I admit the Editing snub had me questioning it. An argument can be made for Jojo, but I ultimately think Quentin and company get in.

So that means your 2019 Final Five is:

The Irishman

Joker

1917

Once Upon a Time in Hollywood

Parasite

I will note that this quintet mirrors the individuals who were up for Best Director. That is typically not a 5/5 match. It happened occasionally when there were 5 BP nominees and I feel this is a time where it would’ve.

2020 will be up soon and if you missed the posts covering 2009-18, they can be accessed here:

2022 Oscar Predictions: The State of the Supporting Actor Race

With two months to go for 2022 releases to make their mark with awards voters, it’s a opportune time to assess the six major Oscar races. That would be Picture, Director, and the four acting derbies.

It begins with Supporting Actor. Over the past couple of years, this has been the category that’s confounded me the most during this juncture in the calendar.

That was a different story three years ago. In late October of 2019, I correctly identified 4 out of the eventual 5 nominees. This included winner Brad Pitt for Once Upon a Time in Hollywood as well as Tom Hanks (A Beautiful Day in the Neighborhood), Anthony Hopkins (The Two Popes), and Al Pacino (The Irishman). The other nominee – Joe Pesci for The Irishman – was in my #6 spot.

For the unpredictable year that was 2020 (due to constantly shifting release dates because of COVID), I only named 2 of the 5 hopefuls two months out – Sacha Baron Cohen for The Trial of the Chicago 7 and Leslie Odom Jr. for One Night in Miami. I still had eventual victor Daniel Kaluuya (Judas and the Black Messiah) projected for lead actor until the studio announced him for supporting.

In 2021, I made a point to say that the Supporting Actor derby was wide open in late October. And that was evidenced in my only identifying 1 of the eventual Supporting Actor quintet in the Halloween time frame – Ciaran Hinds in Belfast. I had Troy Kotsur (CODA), who would take the gold statue, in 10th place. Bradley Cooper (Licorice Pizza) was in first place and he missed out. Kodi Smit-McPhee (The Power of the Dog), who made the cut, was in 8th place. His costar Jesse Plemons and J.K. Simmons (Being the Ricardos) weren’t listed at all.

Which brings us to 2022 and at this spooky time of year, I would say this competition is up in the air with no obvious frontrunner. 12 months ago, however, I couldn’t have imagined I’d kick off the speculation with this sentence…

The Supporting Actor discussion starts with Ke Huy Quan.

The 51-year-old actor belongs in the mid 80s cinematic Hall of Fame with his turns as Short Round in Indiana Jones and the Temple of Doom and Data in The Goonies. His return to acting in Everything Everywhere All at Once has been met with raves. It’s also undeniable that his win would be a heckuva Academy narrative nearly 40 years after his iconic child performances. I’ve had him listed in first place for weeks and that remains.

In four of the last five years, we’ve witnessed double nominees in Supporting Actor. Last year it was the aforementioned Smit-McPhee and Plemons for The Power of the Dog. In 2020, we had the winner Daniel Kaluuya in Judas and the Black Messiah and his costar Lakeith Stanfield. 2019’s Irishman double duo was Pacino and Pesci. Five years ago, it was Sam Rockwell (who won) and Woody Harrelson for Three Billboards Outside Ebbing, Missouri.

Martin McDonagh directed Billboards and his follow-up is The Banshees of Inisherin. Brendan Gleeson has sat in the #2 position for several prediction posts in a row. He’s a threat to take the prize. I believe his costar Barry Keoghan may also get in.

Banshees is not the only viable option for double nominees. Ke Huy Quan’s Doom maker Steven Spielberg has The Fabelmans. Before it screened at the Toronto Film Festival, we wondered whether Paul Dano or Seth Rogen (or both) would be the likely nominee(s). Post screening, scene (just one scene) stealer Judd Hirsch bubbled up while Rogen’s viability dwindled. Dano’s work is understated and certainly not as flashy as Hirsch’s brief turn. That leads me to put Hirsch in with Dano on the outside looking in. I’ll admit it’s a coin flip.

Damien Chazelle’s Babylon screens for critics in two weeks. There’s a trio of possibilities with Brad Pitt, Jovan Adepo, and Tobey Maguire. I’ve had Pitt in my 5 previously. It’s fair to speculate whether his recent tabloid headlines could hinder him. We’ll know more once reviews roll in.

Ben Whishaw in Women Talking is a trendy selection and for good reason. I’m not completely sold as voters could opt to focus only on his female cast members Claire Foy and Jessie Buckley (and maybe others) in Supporting Actress. Yet it feels wrong to keep him out right now.

You have to go back to 2013 to find the last time the five contenders all came from Best Picture nominees. I’m not wild about the fact that my projections currently do. There’s a few names that could get in from movies I’m not putting in BP list. We have Eddie Redmayne in The Good Nurse, Brian Tyree Henry for Causeway, Jeremy Strong or Anthony Hopkins in Armageddon Time, Mark Rylance in Bones and All, Micheal Ward in Empire of Light, Don Cheadle in White Noise, and Tom Hanks in Elvis. Of that group, I’m starting to flirt with the idea of Rylance being the guy. He scored an upset win here with Bridge of Spies in 2015 over Sylvester Stallone in Creed and Bones has its ardent admirers. I wouldn’t discount the Redmayne pick as he’s a Best Actor winner in 2014 for The Theory of Everything who was nominated again the following year with The Danish Girl. If Elvis manages a BP nod (not out of the question), this would increase the inclusion of Hanks. I do have Triangle of Sadness in my BP ten and that could mean a third nomination for Woody Harrelson.

Bottom line: I feel pretty confident about Ke Huy Quan and Brendan Gleeson. Everything everywhere else is up in the air.

With that said, here’s my state of the race:

Best Supporting Actor

Predicted Nominees:

1. Ke Huy Quan, Everything Everywhere All at Once (Previous Ranking: 1) (E)

2. Brendan Gleeson, The Banshees of Inisherin (PR: 2) (E)

3. Ben Whishaw, Women Talking (PR: 4) (+1)

4. Judd Hirsch, The Fabelmans (PR: 6) (+2)

5. Barry Keoghan, The Banshees of Inisherin (PR: 5) (E)

Other Possibilities:

6. Paul Dano, The Fabelmans (PR: 3) (-3)

7. Brad Pitt, Babylon (PR: 7) (E)

8. Mark Rylance, Bones and All (PR: Not Ranked)

9. Woody Harrelson, Triangle of Sadness (PR: 8) (-1)

10. Eddie Redmayne, The Good Nurse (PR: Not Ranked)

Dropped Out:

Brian Tyree Henry, Causeway

Tom Hanks, Elvis

My deep dive with the Supporting Actress field is next!

Summer 2002: The Top 10 Hits and More

In the turbulent months that followed the terrorist attacks of 9/11, domestic audiences needed some escapism at the box office. In the Christmas season of 2001, they found it with Harry Potter and the Sorcerer’s Stone and Lord of the Rings: The Fellowship of the Ring. 

By summer 2002, moviegoers turned out in record-setting droves for the first big screen treatment of an iconic superhero.

20 years later, that’s one thing that hasn’t changed as Spidey continues to dominate the charts. It all started with a memorable upside down kiss. Before we go there, there’s plenty more to discuss for the cinematic summer of two decades past.

As I do every season on the blog, I’m recounting the top 10 hits, other notable features, and flops from 30, 20, and 10 years ago. If you missed my post covering 1992, it’s right here:

Summer 1992: The Top 10 Hits and More

Let’s begin with that top 10!

10. Mr. Deeds

Domestic Gross: $126 million

When Adam Sandler remade Frank Capra, the result was another blockbuster for the star and a needed one after his previous pic Little Nicky was a rare commercial flop.

9. Minority Report

Domestic Gross: $132 million

The first and still only collaboration between Tom Cruise and Steven Spielberg is a prescient sci-fi tale and its reputation has grown since its release. It’s my personal favorite film of 2002.

8. xXx

Domestic Gross: 142 million

Riding high off the success of the previous summer’s The Fast and the Furious, Rob Cohen and Vin Diesel reunited for this over the top action flick. A sequel would follow three years later without Diesel’s involvement (Ice Cube starred instead), but Vin would return to the role in 2017.

7. Lilo & Stitch

Domestic Gross: $145 million

This Disney animated effort performed just fine (if not in the stratosphere of some 90s gems) and spawned numerous direct-to-video follow-ups. A live-action version is being planned.

6. Scooby-Doo

Domestic Gross: $153 million

Critics might have thought it was a dog, but crowds lapped up this live-action/animated hybrid based on the very 1970s cartoon. Scoob and the gang would return two years later for part 2. Fun fact: James Gunn of Guardians of the Galaxy fame wrote the script.

5. Men in Black II

Domestic Gross: $190 million

Will Smith and Tommy Lee Jones teamed up again for the sci-fi comedic spectacle from Barry Sonnenfeld. This fell short of the original’s $250 million domestic haul and the reviewers weren’t impressed, but that didn’t prevent a third offering that will be discussed in my summer of 2012 post.

4. Austin Powers in Goldmember

Domestic Gross: $213 million

Mike Myers continued to flex his box office mojo alongside Beyonce, Michael Caine, and Mini-Me in this threequel that I believe surpassed the quality of predecessor The Spy Who Shagged Me. 

3. Signs

Domestic Gross: $227 million

After the more mixed reaction that Unbreakable garnered, M. Night Shyamalan’s Signs with Mel Gibson and Joaquin Phoenix was more of a return to crowd favorite status. What followed was several pics from him that drew considerably more ambivalent to negative vibes.

2. Star Wars: Episode II – Attack of the Clones

Domestic Gross: $302 million

$302 million is just dandy for nearly any movie, but this second prequel from George Lucas fell well short of the $431 million achieved by The Phantom Menace three summers prior. Many consider this the worst of the nine officials episodes. I’m one of them.

    1. Spider-Man

Domestic Gross: $403 million

When Sam Raimi’s spin on the webslinger kicked off the summer, it did so with the largest opening weekend of all time at $114 million (breaking a record that had just been set by the first Potter). Two sequels followed for the Tobey Maguire/Kirsten Dunst trilogy and, as we all know, the character has never left us. Spider-Man: No Way Home recently brought all 3 Spideys (Maguire, Andrew Garfield, Tom Holland) into its MCU Multiverse.

Now let’s move to some other notable titles from the season:

The Bourne Identity 

Domestic Gross: $121 million

While outside the top ten, Paul Greengrass’s action thriller with Matt Damon as an amnesiac spy is more influential than the bulk of the flicks above it. Damon would return to the role three times.

The Sum of All Fears

Domestic Gross: $118 million

Right behind Damon is his buddy Ben Affleck who took over the role of Jack Ryan (previously played by Alec Baldwin and Harrison Ford) in the Tom Clancy adapted hit.

Road to Perdition

Domestic Gross: $104 million

His follow-up to Best Picture winner American Beauty, the Depression era crime drama from Sam Mendes cast Tom Hanks against type as a hitman with Paul Newman as his underworld boss. This only nabbed a Cinematography Oscar, but reviews were mostly strong. It also provides a juicy role for pre-007 Daniel Craig.

Insomnia

Domestic Gross: $67 million

Hanks wasn’t the only legend stretching in a villainous turn. Robin Williams memorably did the same as he was pitted against Al Pacino’s detective in this chilly thriller from Christopher Nolan (three years before Batman Begins).

Unfaithful

Domestic Gross: $52 million

Adrian Lyne made a movie about another fatal attraction and Unfaithful earned Diane Lane an Oscar nomination as the cheating wife of Richard Gere.

And now for some movies that didn’t perform so well…

Reign of Fire

Domestic Gross: $43 million

This dragon centered fantasy arrived before Matthew McConaughey and Christian Bale would be Oscar winners a few years later. Critics weren’t kind and the box office failed to generate much fire.

Windtalkers

Domestic Gross: $40 million

John Woo’s financial win streak blew over with this World War II action drama headlined by Nicolas Cage that only managed 32% on Rotten Tomatoes.

K-19: The Widowmaker 

Domestic Gross: $35 million

Seven years before her Oscar winning The Hurt Locker, Kathryn Bigelow’s 1960s set submarine thriller with Harrison Ford was a pricey disappointment.

Halloween: Resurrection

Domestic Gross: $30 million

Michael Myers and Jamie Lee Curtis’s Laurie Strode are about to team up for the final (?) time in Halloween Ends in October. In 2002, this was the sequel to the successful Halloween H20 from 1998. This one was not so successful and it’s considered by many aficionados as the weakest of the whole franchise.

Bad Company

Domestic Gross: $30 million

One is a double Oscar winner and the other is one of greatest stand-ups of all time, but this cinematic pairing of Anthony Hopkins and Chris Rock in Joel Schumacher’s action comedy was met with a shrug.

Blood Work 

Domestic Gross: $26 million

Ten years after Unforgiven won Best Picture after its summer release, Clint Eastwood’s mystery didn’t work for critics or crowds.

The Adventures of Pluto Nash

Domestic Gross: $4 million

Speaking of legendary stand-ups, Eddie Murphy reached a career low point as sci-fi comedy Nash stands as one of cinema’s most notorious flops. Its budget was a reported $100 million and that’s not a misprint above… it made an embarrassing $4 million.

2012 is up next!

House of Gucci Review

I wouldn’t necessarily say I totally bought into Ridley Scott’s House of Gucci, but it’s a lively and garish world to play in for much of the duration. There were also moments where I just stared blankly at its bewildering tonal swings, not wanting to purchase this overblown product anymore. All the money and Oscar nominees and winners and well placed pop banger needle drops in the world can’t completely save it. Yet it’s hard to look away from.

We meet Patrizia Reggiani (Lady Gaga) in the late 1970s. A receptionist at her dad’s trucking business in Italy, she meets Maurizio (Adam Driver) at a nightspot where they awkwardly interact until she hears his last name. Gucci. Her demeanor changes and the awkward interaction turns to awkward flirtation. Maurizio is fickle when it comes to involving himself in the legendary upscale family fashion business. Patrizia is laser focused on inserting herself. Soon to be father-in-law Rodolfo (Jeremy Irons), an ailing former screen star, doesn’t think she’s up to snuff. His brother Aldo (Al Pacino) takes to her and eventually the couple jet from their native country to New York armed with a 50% interest in the corporation.

From the moment back in the club where Patrizia meets her eventual hubby, she takes his surname and schemes with it. No one appears safe from her calculations. That includes Aldo and his – I guess we’ll say eccentric – son Paolo (Jared Leto). Unrecognizable under a balding wig, a fat suit,  and a mound of makeup, Leto is alternately hilarious and dumbfounding. I struggle how to describe this performance. During the first hour, Leto seems right at home with the campy vibe. By the time the company intrigue grows more serious, Paolo’s appearances are equivalent to a highly insecure Muppet crashing a serious conversation. Pacino, surprisingly, is far more toned down (though he does get a chance to yell late in the proceedings).

Driver’s character (and in turn his performance as a whole) is more of a blank slate. There’s a bit of a Michael Corleone arc happening with Maurizio. He starts out wishing to be on the outside looking in but can’t escape all the trappings of the business and is soon consumed by it. Unlike Corleone, that shift seems sudden and without much context. And that’s where The Godfather comparisons will and should end.

Patrizia wants to be consumed it all. Gaga is terrific as the wily outsider who  outfoxes her new clan. She’ll do anything to get ahead including consorting with a crime minded psychic (Salma Hayek). After impressing with her vulnerability in A Star Is Born, she’s a force of nature as she never stops maneuvering. That’s until she’s reminded that being born with the Gucci name has more advantages than marrying into it.

Gucci‘s final act gets bogged down in boardroom shenanigans that aren’t as frothy like the early portions that have a guilty pleasure soapy appeal. This will not be remembered highly atop Ridley Scott’s filmography and he made a far better picture (The Last Duel) that was out a month prior. This is more of a curiosity and a well-tailored one (expect for when Jared Leto lumbers in to do whatever the filmmakers somehow allowed him to do).

*** (out of four)