Tag: Aliens

Oscar Predictions – Alien: Romulus

The six Alien features that preceded Alien: Romulus in the last four and a half decades have yielded an impressive 11 Oscar nominations and 3 victories. Fede Àlvarez, best known for 2013’s Evil Dead remake and Don’t Breathe, directs the first entry in seven years as Romulus attacks theaters this weekend. Cailee Spaeny (who probably came fairly close to an Academy nom last year for Priscilla), David Jonsson, Archie Renaux, Isabela Merced, and Spike Fearn star.

Reviews are doling out praise for its vibe that many critics say closely resemble the classic first two tales (1979’s Alien and 1986’s Aliens). On the other hand, some write-ups say it relies too much on nostalgia. The RT score is 82% and that tops the scores of its four immediate predecessors and places it third behind the aforementioned genre landmarks.

Let’s take a quick trip through awards history with the series. The original Alien from Ridley Scott won Best Visual Effects and was nominated for Art Direction (losing to All That Jazz). James Cameron’s 1986 follow-up Aliens landed a whopping seven nods and took Visual Effects and Sound Effects Editing. The other handful of mentions were for Sigourney Weaver in Actress (who fell short to Marlee Matlin from Children of a Lesser God), Art Direction (A Room with a View won), Original Score (which went to Round Midnight), and Film Editing and Sound (both of which that year’s BP victor Platoon picked up). 1992’s Alien 3 was a Visual Effects nominee with Death Becomes Her grabbing the prize. Five years later, Alien: Resurrection went empty-handed in terms of mentions. 2012’s Prometheus returned Ridley Scott to the director’s chair and a Visual Effects nom occurred with Life of Pi victorious. Finally, 2017’s Alien Covenant did not factor into any race.

So where does that leave Romulus? The production design and visual effects are being noted. The latter is where it is likeliest to contend. That said it would be behind Dune: Part Two, Kingdom of the Planet of the Apes, and probably Furiosa: A Mad Max Saga already. There’s plenty of other contenders already out or scheduled for fall. Don’t be surprised if this is the second Alien saga to be left off the Academy’s ballots, but VE is feasible. My Oscar Prediction posts will continue…

Alien: Romulus Box Office Prediction

Fede Álvarez, best known for his Evil Dead remake and Don’t Breathe, takes over a classic 45-year-old franchise when Alien: Romulus touches down on August 16th. Set between the events of Alien and Aliens, the seventh entry in the series (not counting those two battles with Predator) features Civil War‘s Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, and Spike Fearn.

Originally conceived as a Hulu streaming release, 20th Century Studios rethought their strategy to allow a summer theatrical bow. This is the first Alien feature in seven years since Ridley Scott’s Alien: Covenant and the first since Disney acquired the property.

If Romulus matched the $36 million that Covenant started off with, that should be considered a win. I say that because the predecessor plummeted after its first weekend and grossed an underwhelming $74 million overall domestically.

I’ll project that this gets a bit under that starting Covenant figure as it’ll hope to have sturdier legs in subsequent weekends.

Alien: Romulus opening weekend prediction: $35.2 million

For my Ryan’s World the Movie: Titan Universe Adventure prediction, click here:

Ryan’s World the Movie: Titan Universe Adventure Box Office Prediction

Summer 1992: The Top 10 Hits and More

1989 was unquestionably the Summer of the Bat as Tim Burton’s take on the Caped Crusader broke records. For 1992, it’s a bit more murky but we could call it The Summer of the Cat based on the sequel being the season’s biggest blockbuster.

As I have every season on the blog, I’m recounting the top 10 hits as well as some notable pics and failures from the summers of 30, 20, and 10 years ago. For 1992, it was a time of no crying in baseball, a Best Picture winner being discovered, and audiences refusing a biopic about a discoverer of America.

We begin with the moneymakers from #10 on up before moving to additional hits, misses, and those somewhere in between.

10. Housesitter

Domestic Gross: $58 million

While not the blockbuster he’d had just six months prior with Father of the Bride, Steve Martin had a midsize performer with this rom com costarring Goldie Hawn.

9. Honey, I Blew Up the Kid

Domestic Gross: $58 million

The return of Rick Moranis and plenty of special effects had shrunken grosses compared to the predecessor. The $58 million tally is less than half of what Honey, I Shrunk the Kids made. Nevertheless a direct to video sequel and TV series followed.

8. Far and Away

Domestic Gross: $58 million

Tom Cruise is ruling summer 2022 with Top Gun: Maverick. It was a different story 30 years ago with this rare misfire. Ron Howard directed the epic Western costarring Tom’s ex Nicole Kidman. The domestic take was less than the reported $60 million budget. Cruise would quickly get back in the good graces of moviegoers later in 1992 with A Few Good Men. 

7. Boomerang 

Domestic Gross: $70 million

While not approaching the earnings of his largest hits, Eddie Murphy’s first foray into romantic leading man territory did decent business. A string of flops would follow before a plus sized comeback four years later in The Nutty Professor. 

6. Patriot Games

Domestic Gross: $83 million

Harrison Ford stepped into the role of Jack Ryan after Alec Baldwin (who played the role in The Hunt for Red October) didn’t return. The result didn’t quite reach the financial or critical levels of its predecessor, but it easily made enough to warrant Clear and Present Danger two summers later.

5. Unforgiven

Domestic Gross: $101 million

Clint Eastwood’s tale of an aging cowboy out for revenge took the August box office by storm and eventually was an awards favorite – winning Picture, Director, and Supporting Actor for the villainous Gene Hackman. Unforgiven is the rare BP winner to release in the summer season and kickstarted an impressive second act for the legendary filmmaker.

4. A League of Their Own

Domestic Gross: $107 million

Penny Marshall’s World War II era baseball comedy was celebrated for its interplay between players like Geena Davis, Madonna, and Rosie O’Donnell in addition to one of cinema’s longest urination sequences from Tom Hanks.

3. Sister Act

Domestic Gross: $139 million

Coming on the heels of her Ghost Oscar, Whoopi Goldberg hit the jackpot with this fish out of water pic putting the comedienne in a convent. A less regarded sequel would follow in December 1993 as well as a Broadway musical.

2. Lethal Weapon 3

Domestic Gross: $144 million

Mel Gibson and Danny Glover’s third go-round in their buddy cop franchise didn’t generate the reviews of its two predecessors, but it had no trouble raking in the bucks. Rene Russo joined the party this time as Gibson’s love interest and fellow officer. Part 4 would come six years later and a fifth is in development right now.

1. Batman Returns

Domestic Gross: $162 million

Breathlessly anticipated and then received with mixed reaction due to its dark tone, Batman Returns is now seen by many as an improvement over the 1989 original. One thing that’s generally agreed upon is Michelle Pfeiffer nailing the role of Catwoman. This would be Burton’s last time helming the series with Joel Schumacher taking the franchise in a far more cartoonish direction for 1995’s Batman Forever.

And now for some other noteworthy selections outside of the top ten:

Unlawful Entry

Domestic Gross: $57 million

Coming on the heels of the Rodney King verdict and the L.A. Riots, this thriller starring the late Ray Liotta as a dirty cop tormenting Kurt Russell felt timely.

Single White Female

Domestic Gross: $48 million

Liotta was the Cop From Hell while Jennifer Jason Leigh was the Roommate From Hell terrorizing Bridget Fonda in this memorable psychological thriller.

Encino Man

Domestic Gross: $40 million

The cinematic era of MTV personality Pauly Shore (as well as Brendan Fraser) began with this caveman comedy that grossed several times its meager $7 million budget.

Universal Soldier

Domestic Gross: $36 million

Action lunkheads Jean-Claude Van Damme and Dolph Lundgren teamed up for this futuristic sci-fi pic that turned a nifty profit and spawned numerous sequels. Four summers later, director Roland Emmerich would dominate the season with Independence Day. 

Honeymoon in Vegas

Domestic Gross: $35 million

With a plot similar to Indecent Proposal that would follow a few months later, Honeymoon in Vegas took the more comedic route and earned decent grosses in the cast led by Nicolas Cage, Sarah Jessica Parker, and the just departed James Caan. Plus… Flying Elvis impersonators!

Buffy the Vampire Slayer

Domestic Gross: $16 million

It did manage to double its meager budget, but this vampire comedy likely wouldn’t be remembered had it not led to a critically acclaimed WB series starring Sarah Michelle Gellar. The title role in the film version belonged to Kristy Swanson with a supporting cast including Luke Perry, Paul Reubens (aka Pee-Wee Herman), and pre double Oscar winner Hilary Swank.

My final section of the summer 1992 recap gets to the under performers and downright flops…

Death Becomes Her

Domestic Gross: $58 million

This star studded satire from Robert Zemeckis boasted Meryl Streep, Goldie Hawn, and Bruce Willis above the title and some innovative special effects. While it just missed the top ten, the $58 million take barely surpassed the $55 million budget. Audiences and critics were mixed though Death has become a cult favorite in subsequent years.

Alien 3 

Domestic Gross: $55 million

Despite marking the directorial debut of David Fincher and featuring a memorably bald Sigourney Weaver, Alien 3 is considered to be a step-down from its iconic predecessors Alien and Aliens. In spite of the backlash, the franchise has continued and, of course, Fincher went onto brighter (albeit even darker) pastures.

Cool World

Domestic Gross: $14 million

Animator Ralph Bakshi is best known for his X-rated 1972 feature Fritz the Cat. After Cool World, he was still mostly known for Fritz the Cat. This hybrid of live-action and cartoon fantasy starred Kim Basinger and Brad Pitt. Yet it bombed with reviewers and crowds alike and only earned half its budget back stateside.

Christopher Columbus: The Discovery

Domestic Gross: $8 million

No one had interest in discovering this critically drubbed Columbus biopic that had Marlon Brando and Tom Selleck in the cast. Later in the fall, Ridley Scott’s 1492: Conquest of Paradise about the title character would also bomb.

Twin Peaks: Fire Walk with Me

Domestic Gross: $4 million

In 1990, David Lynch’s bizarre TV series was a cultural phenomenon… at least for a season. The movie version arrived after the second and final season and audiences had tuned out.

https://www.youtube.com/watch?v=-BUPUxplvdU

And that’s your look at the cinematic summer from 30 years ago! My recap of 2002 will be available in short order…

Oscar Predictions: Call Jane

Based on a dozen reviews thus far out of Sundance, Phyllis Nagy’s Call Jane stands at 92% on Rotten Tomatoes. Focused on the real life Jane Collective from the 1960s (a group of women who fought for reproductive rights prior to Roe v Wade), Elizabeth Banks stars alongside Sigourney Weaver, Kate Mara, and Chris Messina.

While its rating is high, most reviews so far are in the three star range. Nagy makes her feature film debut after drawing acclaim for her Carol screenplay in 2015. Banks’s lead performance is drawing solid notices but it’s the supporting work from Weaver garnering a bit of buzz. Despite appearing in a whole lot of high profile pics over the decades, she hasn’t been nominated for an Oscar since 1988. She was actually up twice that year – in lead for Gorillas in the Mist and supporting for Working Girl. Her first nod came two years prior for Aliens. She’s never won.

A campaign for Weaver could be Jane‘s only real shot at awards recognition a year from now. Time will tell and my Oscar Prediction posts will continue…

Oscar Predictions: The Good House

The Good House, from directors Maya Forbes and Wally Wolodarsky, has premiered in Toronto and it marks the third cinematic pairing of Sigourney Weaver and Kevin Kline. The two starred in the 1993 political comedy Dave and Ang Lee’s 1997 acclaimed drama The Ice Storm. 

House combines both genres and initial reviews specifically praise Weaver’s work. The three time Oscar nominee received all her nods in the 1980s with Aliens, Working Girl, and Gorillas in the Mist. A consistent fixture in leading and supporting roles for over 40 years, she could be a part away from more serious awards consideration.

I doubt The Good House lays the foundation for that. Best Actress simply looks too crowded for that occur despite the critical appreciation. My Oscar Prediction posts will continue…

Shoulda Been Oscar Contenders: Linda Hamilton in Terminator 2: Judgment Day

My latest Shoulda Been Oscar Contender is an appropriate one for Mother’s Day. This particular mama went to great lengths to protect her son since, ya know, he was charged with saving the universe decades later from annihilation. She even got herself thrown in a mental hospital because of her heroic efforts.

I’m speaking of Linda Hamilton as Sarah Connor in James Cameron’s Terminator 2: Judgment Day. Reprising her role from the 1984 classic, Hamilton stepped up her game in the 1991 sequel alongside Arnold Schwarzenegger and Edward Furlong as her future Earth saving teen.

Terminator 2 was a game changer itself when it came to special effects and action. It resulted in six Oscar nominations, including victories for Makeup, Sound, Sound Effects Editing, and (of course) Visual Effects. Yet nods in the biggest categories were elusive. 1991 was a strong year in Best Actress with Jodie Foster winning for The Silence of the Lambs over the sturdy competition of Geena Davis and Susan Sarandon for Thelma & Louise and Laura Dern in Rambling Rose. 

However, Hamilton’s strong (and not just her biceps) performance could have easily gotten the fifth slot over Bette Midler in For the Boys. MTV recognized her work and she won Best Actress at their ceremony. And while the Academy isn’t known to honor performances in action flicks, they had deservedly done so just five years earlier for Sigourney Weaver in another heralded genre sequel Aliens (also directed by Cameron).

They missed a good opportunity to do the same here. Lastly, while not every mother is charged with keeping their kid alive to avoid planetary destruction, the great ones sure make us all feel like they do. Happy Mother’s Day to all of them!

Daily Streaming Guide: March 20th Edition

For today’s Daily Streaming Guide, let’s call this one the “in-between” movies. Three pictures that arrived at midpoints between career highlights for certain huge directors and stars. And all three are recommendable watches that stand on their own.

HBO Streaming

The sci-fi tale The Abyss hit theaters in 1989 from director James Cameron. Its release came in-between two acclaimed sequels from the filmmaker: 1986’s Aliens and 1991’s Terminator 2: Judgment Day. Cameron had two massive blockbusters in a row with the first Terminator and Aliens. This represented more of a gamble and the aquatic thriller divided critics and audiences. While it isn’t a classic like some of the director’s other efforts, The Abyss is well worth viewing (deservedly winning an Oscar for Best Visual Effects). Even South Park ended up parodying one of its memorable near death scenes in their landmark trilogy “Imaginationland”.

Netflix

1981’s Nighthawks is a gritty NYC crime thriller that arrived in-between the creation of Sylvester Stallone’s two iconic characters. It came five years after Rocky and its first sequel and one year prior to First Blood (aka Rambo). It also features Billy Dee Williams (in-between stints as Lando in The Empire Strikes Back and Return of the Jedi) with Rutger Hauer as the main baddie (a year prior to his more famed villainous turn in Blade Runner). As far as watching Stallone in non Rocky and Rambo material, this is on the higher end of material.

https://www.youtube.com/watch?v=konAPzNqiAM

Amazon Prime

1974’s The Conversation was nominated for three Oscars, including Best Picture. Yet it’s also the movie in-between Francis Ford Coppola’s two masterpieces: The Godfather and its sequel. Gene Hackman is featured in one of his best roles as a surveillance expert caught up in a government conspiracy. In multiple ways, The Conversation is a film ahead of its time. In an era rich with great pictures, this is an often overlooked gem.

That’s all for now, folks! Until next time…

Oscar Watch: Falling

As the Oscars honoring the best of 2019 are set to air in two weeks, today brings the first of many Oscar Watch posts for 2020. Does that seem impossibly early? Not when the Sundance Film Festival is in full effect this weekend in Utah. For decades, the fest has served as a launching pad for Oscar contenders such as Little Miss Sunshine, Precious, Boyhood, Whiplash, Manchester by the Sea and Get Out, to name a few. It is worth noting that last year’s selections (with the exception of some documentaries) failed to get Academy attention. This included such high profile titles as The Farewell, Luce, and The Report. 

We begin with Falling, a family drama that marks the directorial debut of Viggo Mortensen (who also cowrote the screenplay). The actor has been nominated for three acting Oscars in the past for Eastern Promises, Captain Fantastic (which also debuted at Sundance), and Green Book. Early reviews suggest he’s got a winner on his hands. With the right distribution and campaign, Mortensen could find himself in the awards mix again.

Interestingly, critical reaction seems more focused on Mortensen’s costar Lance Henriksen. The 80-year-old character actor has appeared in hundreds of films. Some of those notables include The Terminator and Aliens. Perhaps a spirited campaign could materialize to nab Henriksen a Best Actor nomination.

Bottom line: it’s too early to know for sure, but Falling looks like a potential player a year for now with Henriksen’s work in particular. My Oscar Watch posts will continue…

Lance Henriksen and Viggo Mortensen appear in Falling by Viggo Mortensen, an official selection of the Premieres program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Brendan Adam-Zwelling.nnAll photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or ‘Courtesy of Sundance Institute.’ Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

 

Summer 1989: The Top 10 Hits and More

In what has become tradition on this little blog of mine, the summer season brings us a lot of nostalgia on the silver screen. In the present, that means a slew of sequels and remakes and reboots coming on a near weekly basis. For these purposes, it means taking a look back on the movie summers of 30, 20, and 10 years ago.

As has been written in previous years, I’m listing the top ten hits as well as other notable pics and some flops. One thing is for sure about 1989. It will forever be known as the summer of the Batman and that blockbuster influenced what has become the predominant genre of the 21st century.

A recap of 1999 and 2009 will follow soon, but we start with what audiences were watching three decades ago.

10. Uncle Buck

Domestic Gross: $66 million

John Candy had one of his most notable headlining roles in this John Hughes family friendly comedy that also introduced the world to Macaulay Culkin. No sequel followed, but a short-lived TV series did.

9. Turner & Hooch

Domestic Gross: $71 million

Shortly before Tom Hanks started collecting Oscars and doing primarily dramatic work, he was still known for comedy in the late 80s. This one teamed him with a dog in a buddy comedy that followed the similarly themed with K–9 with Jim Belushi from three months earlier. This one made a bit more cash.

8. When Harry Met Sally…

Domestic Gross: $92 million

Rob Reiner’s romantic comedy (scripted by Nora Ephron) is considered one of the genre’s landmarks. Billy Crystal and Meg Ryan headlined with a diner scene that has become quite iconic.

7. Dead Poets Society

Domestic Gross: $95 million

Robin Williams seized the day and an Oscar nomination for his portrayal of an unorthodox English teacher in Peter Weir’s film, which also nabbed a nod for Best Picture.

6. Parenthood

Domestic Gross: $100 million

Ron Howard’s dramedy sported an ensemble cast with Steve Martin and a crowd pleasing vibe. This is a rare pic that spawned two TV shows. The one from 1990 flopped while the 2010 version ran six seasons. Parenthood marks appearance #1 in the top ten for Rick Moranis.

5. Ghostbusters II

Domestic Gross: $112 million

The eagerly awaited sequel to the 1984 phenomenon was a disappointment critically and commercially when considering the original’s $229 million haul. That said, it gives us appearance #2 for Rick Moranis. A direct sequel will follow in 2020.

4. Honey, I Shrunk the Kids

Domestic Gross: $130 million

And we reach the trifecta for Rick Moranis as Disney had an unexpected smash hit here. It stood as the studio’s largest grossing live-action feature for five years. Two less successful sequels followed.

3. Lethal Weapon 2

Domestic Gross: $147 million

Of the four action comedy pairings of Mel Gibson and Danny Glover, part 2 stands as the franchise’s top earner. This one threw Joe Pesci into the mix with sequels that followed in 1992 and 1998.

2. Indiana Jones and the Last Crusade

Domestic Gross: $197 million

While Harrison Ford’s third appearance as his iconic character didn’t match the grosses of Raiders of the Lost Ark in 1981, it did earn more than 1984 predecessor Temple of Doom. Pairing Indy with his dad played by Sean Connery, the character wouldn’t make it to the screen again until Steven Spielberg and Ford teamed up again 19 years later.

1. Batman

Domestic Gross: $251 million

As mentioned, 1989 was dominated by Tim Burton’s take on the Caped Crusader. While the casting of Michael Keaton in the title role was controversial upon announcement, it turned out quite well (as did Jack Nicholson’s turn as The Joker and a funky Prince soundtrack). Three sequels and multiple reboots followed.

And now for some notable pictures outside of the top ten:

The Abyss

Domestic Gross: $54 million

James Cameron was riding a high after The Terminator and Aliens when he made this sci-fi aquatic adventure. Known just as much for its difficult production as its Oscar winning visuals, it had a mixed reaction that has grown more positive through the years.

Weekend at Bernie’s

Domestic Gross: $30 million

Turns out corpses are hilarious in this low budget comedy that turned into enough of a hit that a sequel followed four summers later.

Road House

Domestic Gross: $30 million

It may not have had critics on its side or been a huge success originally, but Patrick Swayze’s turn as a midwestern bouncer became a serious cult hit subsequently.

Do the Right Thing

Domestic Gross: $27 million

A cultural milestone, Do the Right Thing served as the major breakout for Spike Lee and was named by numerous critics as the greatest film of 1989.

sex, lies, and videotape

Domestic Gross: $24 million

Winning the Cannes Film Festival, Steven Soderbergh’s provocative debut helped usher in a wave of independent films that followed in the 90s.

It wasn’t all success stories in the summer of 1989 and here’s some that failed to meet expectations:

Star Trek V: The Final Frontier

Domestic Gross: $52 million

Captain Kirk himself directed this installment after Leonard Nimoy made its two well received predecessors. This one was met with ambivalence and stands at the second lowest earner of this particular Trek franchise.

The Karate Kid Part III

Domestic Gross: $38 million

In 1984, the original made $90 million and the 1986 sequel made $115 million. Three summers later, moviegoers had tired of Ralph Macchio and Pat Morita in their signature roles. Yet TV watchers are currently tuned to a series reboot with Macchio back as Daniel.

Licence to Kill

Domestic Gross: $34 million

Timothy Dalton’s second turn as 007 was a stateside flop and is the lowest grossing Bond flick when adjusted for inflation. Its star would never return in the role and the six year gap that followed when Pierce Brosnan reinvigorated the series with Goldeneye stands as the lengthiest gap in its near 60 years of existence.

Lock Up

Domestic Gross: $22 million

Sylvester Stallone had plenty of hits during the decade, but this one casting him as a tortured convict wasn’t one of them.

Casualties of War

Domestic Gross: $18 million

Brian de Palma was coming off a massive hit with The Untouchables, but this Vietnam War drama with Michael J. Fox and Sean Penn didn’t find an audience.

Pink Cadillac

Domestic Gross: $12 million

Three summers later, Clint Eastwood entered Oscar territory with Unforgiven. This action comedy with Bernadette Peters is one of his forgotten efforts and stalled with critics and crowds.

I hope you enjoyed this look back on the 1989 summer period and I’ll have 1999 up soon!

Oscar Watch – Alita: Battle Angel

James Cameron is no stranger to Oscar attention with Titanic winning Best Picture 21 years ago and Avatar picking up a slew of nominations in 2009. In two weeks, he serves as co-writer for Alita: Battle Angel along with Laeta Kologridis. It’s directed by Robert Rodriguez. The pic is based on a well-known series of cyberpunk graphic novels from Japan. Rosa Salazar voices the title character and provides motion capture work for her movements in this mix of live and CG action.

Reviews are out and they’re skewing negative, along with some positive here and there. The Rotten Tomatoes score is currently 44%. A lot of the critics are particularly picking apart the screenplay and that’s not an uncommon knock on Cameron’s writing.

Alita comes with a reported budget upwards of $200 million and it’s being seen as a potential costly flop stateside (foreign grosses could be a different story). While this clearly won’t contend for major categories in awards season, the state of the art visuals have been praised. And it’s worth noting that Cameron’s directorial efforts Aliens, The Abyss, Terminator 2: Judgment Day, Titanic, and Avatar all won Best Visual Effects at the Oscars.

That said, there’s plenty of eye-popping blockbuster feasts on the schedule in 2019 (Avengers: Endgame and the next Star Wars included). With the possibility of negative buzz enveloping it, this may not even be a slam dunk in that category. In that sense, it could be similar to 2017’s Valerian and the City of a Thousand Planets, which also had poor word-of-mouth and missed out in its most obvious slot for recognition. If this manages a nod, the two Sound races are possible as well.

My Oscar Watch posts will continue…