Tag: Ashton Sanders

Whitney Houston: I Wanna Dance with Somebody Review

For a movie about The Voice, Whitney Houston: I Wanna Dance with Somebody strains to find its own. While undeniably long on title (in case you forgot who sang one of her signature bops), it’s sadly short on actual substance.

We first meet Ms. Houston (Naomi Ackie) in the church choir alongside mother Cissy (Tamara Tunie). She comes from notable musical lineage in that Cissy was a successful backup singer (who never quite broke out on her own) and Dionne Warwick is a first cousin. The pipes of Whitney are clearly a precious commodity as Cissy and business conscious and stern father John (Clarke Peters) prod her into the biz. Famed record exec Clive Davis (Stanley Tucci) takes Whitney under his wing and she rises to unheard of stardom for a female solo artist beginning in the mid 80s.

There are potential controversies immediately. Whitney’s romance with Robyn Crawford (Nafessa Williams) is jettisoned since it won’t match the girl next door image. While Robyn becomes her trusted assistant, Whitney’s (or Nippy as the family and close friends call her) entanglements are a frequent source of consternation. This briefly applies to Jermaine Jackson, but especially when her and R&B bad boy Bobby Brown (Ashton Sanders) get serious.

Jumping from career and personal highlights to lowlights, the screenplay from Andrew McCarten can feel as erratic as the title subject’s increasingly worrisome behavior. The writer penned Bohemian Rhapsody and it closely follows that hit pic’s playbook. It shows us the troubled aspects of the singer followed in quick succession by an iconic moment in their discography.

There are obviously lots of them in Houston’s orbit. From seven #1 hits in a row to her soaring rendition of the National Anthem at the Super Bowl to the cinematic and soundtrack phenomenon that was The Bodyguard, what’s disappointing is how glossed over and rushed they feel. For a feature with a two and half hour runtime (and you feel it), McCarten’s script never focuses on anything with more than a surface level “Behind the Music” energy.

Some of the same criticisms were deservedly pointed at Bohemian Rhapsody. I’d rank Rhapsody higher because its musical interludes like Wembley packed more of a stylistically directed punch. The behind the camera work from Kasi Lemmons never reaches that level.

As for the performances, Ackie doesn’t much resemble Whitney. Yet by the conclusion, she manages to embody her spirit in the performance pieces passably. Tucci is given a couple scenes to flesh out Davis’s character into a sympathetic figure (it probably doesn’t hurt that the actual Davis is a coproducer). Same goes for Tunie’s Cissy. Other roles are of the one-note variety like John’s scheming manager who forgets to be a father and Bobby’s constant companion who fails to be a good husband. Just as the family tries to ignore Robyn’s presence, the screenplay eventually does too.

The music itself occasionally saves the mediocrity of where this broken biopic goes. Sadly that’s not enough to save it. In other words, it’s often doesn’t feel right and it’s just OK.

** (out of four)

Oscar Predictions – Whitney Houston: I Wanna Dance with Somebody

On the eve of its premiere, the embargo for Whitney Houston: I Wanna Dance with Somebody finally lifted. For those not familiar, waiting until December 21st for critics to weigh in is not a good sign for awards possibilities. The biopic comes from Kasi Lemmons, who last directed Cynthia Erivo to a Best Actress nod for 2019’s Harriet. Then there’s the screenwriter Anthony McCarten. He’s a bit of an awards whisperer. His screenplays for 2014’s The Theory of Everything, 2017’s Darkest Hour, and 2018’s Bohemian Rhapsody resulted in Best Actor victories for (respectively) Eddie Redmayne, Gary Oldman, and Rami Malek.

That’s why I was a tad surprised that Somebody was MIA at film festivals and that there were no early reviews to generate buzz. Now it makes more sense. The Rotten Tomatoes score is a mere 41%. That said, some write-ups are singing the praises of Naomi Ackie as the iconic and troubled legend. I don’t think it would’ve been impossible for Ackie to make the five in Best Actress. At this juncture, only Cate Blanchett (Tár) and Michelle Yeoh (Everything Everywhere All at Once) have guaranteed spots in my opinion. Michelle Williams in The Fabelmans and Danielle Deadwyler for Till are probably in as well. The fifth slot could be Margot Robbie (Babylon), Viola Davis (The Woman King), Olivia Colman (Empire of Light), or a surprise.

It is probably too late for Ackie to be a factor. The Critics Choice and Globes skipped her and the Academy is unlikely to make her queen of the night. My Oscar Prediction posts will continue…

Whitney Houston: I Wanna Dance with Somebody Box Office Prediction

Blogger’s Update (12/20): I am revising my prediction from $14.5 million to $11.5 million

Sony Pictures is hoping audiences wanna run to Whitney Houston: I Wanna Dance with Somebody when its drops December 23rd. The biopic of the legendary late singer stars Naomi Ackie as the title character with Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, and Clarke Peters among the supporting cast. Kasi Lemmons (who last made the 2019 biopic Harriet) directs. Anthony McCarten wrote the screenplay. He’s no stranger to the genre having scripted The Theory of Everything, Darkest Hour and Bohemian Rhapsody.

Just last week, the film’s name was expanded to add “Whitney Houston” in front of one of her signature tunes. Perhaps Sony was nervous that awareness wasn’t high enough for the project. The marketing campaign doesn’t seem quite as robust as it could be. Its review embargo has yet to lift and Somebody skipped the autumn festival circuit. McCarten’s aforementioned works resulted in Oscar wins for stars Eddie Redmayne (Theory), Gary Oldman (Darkest Hour), and Rami Malek (Rhapsody). Ackie has yet to show up anywhere in the Academy’s precursors.

Even with the somewhat muted buzz, I still believe African-American and especially female viewers should turn out. This might result in a low teens beginning for the three-day gross.

Whitney Houston: I Wanna Dance with Somebody opening weekend prediction: $11.5 million (REVISED)

For my Puss in Boots: The Last Wish prediction, click here:

Puss in Boots: The Last Wish Box Office Prediction

For my Babylon prediction, click here:

Babylon Box Office Prediction

Captive State Box Office Prediction

Originally slated to open last summer, the sci-fi alien invasion thriller Captive State touches down in theaters next weekend. Rupert Wyatt, best known for 2011’s Rise of the Planet of the Apes, directs. John Goodman (no stranger to extraterrestrial beings as evidenced by 10 Cloverfield Lane) leads a cast that includes Ashton Sanders, Machine Gun Kelly, Alan Ruck, Kiki Layne, and Vera Farmiga.

The Focus Features release seems to be flying far under the radar. Many pics in this sub genre are high-profile releases with massive budgets. This comes with a price tag of only about $25 million. That was probably the catering receipt for War of the Worlds.

That said, I don’t see this recouping its minimal cost during the stateside domestic run. I’ll say this only reaches mid single digits (if it’s lucky) before it lifts off quickly to On Demand status. I’ll say it doesn’t even get there.

Captive State opening weekend prediction: $2.8 million

For my Wonder Park prediction, click here:

https://toddmthatcher.com/2019/03/09/wonder-park-box-office-prediction/

For my Five Feet Apart prediction, click here:

https://toddmthatcher.com/2019/03/09/five-feet-apart-box-office-prediction/

The Equalizer 2 Box Office Prediction

Denzel Washington is back in action mode when The Equalizer 2 is released next weekend. In his decades long career filled with numerous hits, this is actually the first ever sequel for the star. Antoine Fuqua is back directing and it’s the fourth collaboration between two after 2001’s Training Day (for which Washington won an Oscar), 2014’s The Equalizer, and 2016’s The Magnificent Seven. Costars include Melissa Leo, Pedro Pascal, Ashton Sanders, and Bill Pullman.

When it comes to the action genre, few actors are as bankable as Denzel. The first Equalizer, which is based quite loosely a 1980s TV show starring Edward Woodward, made $34.1 million for its start and ended up at $101 million overall domestically. Two years later, The Magnificent Seven took in $34.7 million out of the gate and $93 million total. Nearly all of Washington’s titles in the genre in the past decade or so have achieved mid 20s or more in their premieres.

While The Equalizer 2 may face a challenge scoring a #1 opening over a very different follow-up (Mamma Mia! Here We Go Again), a high 20s to possibly low 30s roll out seems quite achievable.

The Equalizer 2 opening weekend prediction: $26.8 million

For my Mamma Mia! Here We Go Again prediction, click here:

https://toddmthatcher.com/2018/07/10/mamma-mia-here-we-go-again-box-office-prediction/

For my Unfriended: Dark Web prediction, click here:

https://toddmthatcher.com/2018/07/11/unfriended-dark-web-box-office-prediction/

Moonlight Movie Review

One not need to live in Chiron’s world in Moonlight to understand his struggles. We all have moments where we feel isolated. We all have had family drama. We all have moments where we strive to figure out who we are. The central character in this Barry Jenkins picture may experience it at an elevated level and in a universe where his identity is shunned. However, we manage to identify with him and that’s a tribute to an often subtle and smart script.

The film is told in three chapters as it follows various stages in Chiron’s life in Miami and eventually Atlanta. It begins under the heading “Little”, where we find him as a shy young boy. His mother Paula (Naomie Harris) is an absentee one and Little is soon befriended by drug dealer Juan (Mahershala Ali) and his girlfriend Teresa (Janelle Monae). They serve as his de facto parents.

Second chapter “Chiron” finds him as a teenager who’s frequently targeted at school. Paula is now a drug addict, Teresa still cares for him, and Juan is no longer in the picture. He also has a complicated relationship with longtime friend Kevin that alters between romantic and antagonistic.

Chapter three “Black” finds Chiron as a twenty something whose life has veered into territory much like Juan’s. It would probably be something his father figure would despise. The years gone by have also gotten him out of touch with Kevin, but their paths coincide once again.

Moonlight finds three actors playing Chiron (and Kevin) in these stages. Alex Hibbert is the youngster in part one, Ashton Sanders is the teen, and Trevante Rhodes is the young man. All of them shine. Same goes for the supporting players, with note deserved to Ali for putting a fresh spin on a character who could’ve been far more stereotypical.

There are events key to Chiron’s story that aren’t shown here and while I understand the structural decision not to belabor them, it does occasionally take away from its overall dramatic impact.

Yet its staying power is still significant. The film is about someone discovering their sexuality and we finds ourselves for rooting for Chiron to get there. No matter your identity, you’ll recognize and sympathize with moments of family struggle, bullying, and loneliness. Jenkins (who wrote and directed) assuredly keeps the audience wondering where his subject’s journey turns next.

***1/2 (out of four)