Wes Anderson is no stranger to Cannes or Oscar nominations as Focus Features hopes the debut of Asteroid City at the former leads to the latter. A mix of comedy, drama, romance, and sci-fi, it features the auteur’s typical sprawling cast (many of whom have worked with him on multiple occasions). This includes (deep breath) Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum. Exhale.
Out stateside on June 23rd, City premiered in the south of France just like Anderson’s Moonrise Kingdom and The French Dispatch. Four of his last five works have generated the Academy’s attention. 2009’s Fantastic Mr. Fox was up for Animated Feature and Original Score (from frequent collaborator Alexandre Desplat). 2012’s Kingdom was in the Original Screenplay derby (with Anderson’s cowriter Roman Coppola). Two years later, The Grand Budapest Hotel was the massive awards breakthrough with nine Oscar nods and four victories in Costume Design, Makeup and Hairstyling, Original Score, and Production Design. It is Anderson’s sole BP nominee. 2018’s Isle of Dogs nabbed Animated Feature and Score mentions. In 2021, I had The French Dispatch predicted for Score and Production Design. It was surprisingly blanked on the morning of nominations.
Critics indicate this is an Anderson effort through and through and most reviews are of the thumbs up variety. The Rotten Tomatoes score is 84%. Like Dispatch and pics before it, Score (by Desplat of course) and Production Design are possibilities. So is the screenplay from Anderson and Coppola. Yet the overseas reaction is not to the level of Hotel and City could come up short like Dispatch did. A Best Picture nod probably won’t occur though perhaps the Golden Globes could slot it in Motion Picture (Musical/Comedy).
Finally, despite the sheer volume of familiar faces appearing in his filmography, no actors have received recognition in one of Anderson’s pics from the Academy. Bill Murray in Rushmore and Gene Hackman in The Royal Tenenbaums likely came close. I do not anticipate that streak being broken here. My Oscar Prediction posts will continue…
According to lore, there are glorious stories of Bill Murray randomly showing up places and elevating an evening’s festivities to a new level. Heck, there’s even a documentary about it. The legend shows up in Ant-Man and the Wasp: Quantumania and his small part does nothing to level it up. In fact, it seems needlessly random. The Marvel Cinematic Universe has now entered Phase Five. It launches in troubling fashion. This is the 31st MCU pic and I’d rank it #31.
2015’s Ant-Man is one of the weakest links in the Marvel chain, but there were glimpses of the nifty and humorous little heist pic it wanted to be. It doesn’t hurt that Paul Rudd has an effortless charm as the small time crook turned Avenger. 2018’s Ant-Man and the Wasp was an improvement (in the MCU, the follow-ups often do exceed the quality of their predecessors). The third time is far from the charm.
The bulk of the action is set in the Quantum Realm – a gaudy setting that is far from low-key. Before we get there, Rudd’s Scott Lang is on a book tour and generally enjoying the fame garnered from being an Avenger. His home life with Hope/Wasp (Evangeline Lilly) and now 18-year-old daughter Cassie (Kathryn Newton) appears tranquil. Original title heroes and Hope’s parents Hank (Michael Douglas) and Janet (Michelle Pfeiffer) join the domestic bliss. However, cracks big and small emerge. Cassie seems frustrated by her dad’s coasting off of his previous laurels. The cracks under the ground are of more concern when her scientific experiments land the extended family in the subatomic Realm.
Janet spent 30 years (as revealed in the previous movies) in that particular universe. It’s revealed here that she engaged in far more activities than earlier thought. One includes a hinted at tryst with Bill Murray’s character and his superfluous cameo. Of more consequence is her relationship with Kang (Jonathan Majors), who was stuck with her underground for many years. Janet found a way out while he remained. That’s a plus since his full name is Kang the Conqueror and he destroys planets across multiverses as he sees fit. The villain Darren Cross (Corey Stoll) from the first Ant-Man, now shrunk to a smaller size with a gigantic head, partners with our new main baddie. That results in some horrible CG (I think on purpose) in a sequel that employs other garish effects that are not meant to be funny.
The balance of comic sensibilities that worked well in portions of Ant-Man and especially the sequel collides with the ultra serious introduction of Kang. Hour one is sluggish. Hour two finds our heroes defending characters in the Quantum Realm that we’re never properly introduced to. While Pfeiffer’s role is fattened, sometimes Rudd and definitely Lilly feel like supporting players. Newton, taking over the role from Abby Ryder Fortson, struggles with her one-note character. The strongest performance belongs to Majors, but his menacing and seemingly multi-layered nemesis feels out of place in Ant-Man and Ant-Family’s stomping grounds. Kang might turn out to be a worthy villain to the MCU’s Avengers in future installments. The jury is out for now.
Phase Four and the start of Five have been wobbly. Eternals, Thor: Love and Thunder, and Black Panther: Wakanda Forever have been disappointments and Quantumania reaches the lowest level yet. Underwhelming movies in the MCU are starting to feel like groundhog day and audiences might stop randomly showing up if that persists.
The MCU hopes for enlarged returns for Ant-Man and the Wasp: Quantumania when its debuts Friday. This is the third film in the franchise with Paul Rudd and Evangeline Lilly as the title heroes with Jonathan Majors making his debut as villainous Kang.
31 pictures into the cinematic universe that began with Iron Man (2008), Marvel’s multi-billion grossing series has seen its share of Oscar nominations. This is particularly true in Visual Effects where 13 features have been up and none have yet to win (Black Panther: Wakanda Forever is unlikely to break that stat next month with competition from Avatar: The Way of Water).
None of the MCU’s previous nods belong to Quantumania predecessors Ant-Man (2015) or Ant-Man and the Wasp (2018). Based on reviews today, that stat should also stay intact. While Majors is picking up decent reviews, the pic is currently at 55% on Rotten Tomatoes. That’s the second lowest score of any MCU title (Eternals is 47%). By comparison, the original Ant-Man hit 83% and the sequel had 87%. Bottom line: the chances for any awards attention is quite small. My Oscar Prediction posts will continue…
Ant-Man and the Wasp: Quantumania hopes to score commanding grosses over the long President’s Day weekend starting February 17th. The 31st entry in the Marvel Cinematic Universe and third in this particular franchise features Paul Rudd and Evangeline Lilly reprising their roles as the title heroes. Michelle Pfeiffer and Michael Douglas are back with Jonathan Majors being introduced as villain Kang the Conqueror. Peyton Reed (who helmed the first two) is back directing. Other cast members include Kathryn Newton, David Dastmalchian, William Jackson Harper, Katy O’Brian, and Bill Murray.
The initial movie in the MCU’s Phase Five (with Guardians of the Galaxy Vol. 3 and The Marvels up next), Ant-Man looks to expand on the opening earnings of its predecessors. In the summer of 2015, Ant-Man made $57 million for its start (the second smallest MCU debut with The Incredible Hulk being lowest at $55 million). It ended up with $180 million domestically. Three years later, Ant-Man and the Wasp reached higher with $75 million and an eventual stateside tally of $216 million.
When it comes to the MCU, sequels typically outperform their originals (Black Panther: Wakanda Forever was a recent exception to the rule). Thor: Love and Thunder, on the other hand, built upon its three predecessors. Quantumania should follow that trend.
As far as President’s Day weekend, it shouldn’t come close to approaching the record. That was five years ago with Black Panther when it scored $202 million from Friday to Sunday and $242 million when factoring Monday. The runner-up is 2016’s Deadpool with respective three and four-day takes of $132 million and $152 million. Third place belongs to 2015’s Fifty Shades of Grey ($85 million Friday to Sunday, $93 million four-day).
This should manage a third place all-time haul. I’ll say the three-day falls a tad short of $100 million and just shy of $110 million with Monday’s inclusion.
Ant-Man and the Wasp: Quantumania opening weekend prediction: $96.8 million (Friday to Sunday); $109.1 million (Friday to Monday)
For my Winnie-the-Pooh: Blood and Honey prediction, click here:
Peter Farrelly’s Green Book scored an upset Best Picture victory over Roma in 2018 and that’s still stuck in the craw of many cinephiles. While I actually found it to be pretty good overall, I get it. It is one of the weaker BP winners in recent times.
His follow-up is The Greatest Beer Run Ever starring Zac Efron in the stranger than fiction true story of a merchant seaman bringing some suds to his buds serving in ‘Nam. Russell Crowe and Bill Murray costar.
Like Green Book, it has debuted in Toronto before its simultaneous theatrical and Apple TV streaming debut on September 30th. Unlike Green Book, don’t expect this to attract any awards talk. The Rotten Tomatoes score is a skunky 42%. I saw it up north and would be shocked if it contended for any category. My Oscar Prediction posts will continue…
The original Ghostbusters, lest we forget, was filled with ribald humor coming from SNL vets that were in the prime of their careers. Overloading the reboot/sequel Afterlife with gooey family drama feels, in many ways, as misplaced as the missteps that 2016’s version took or that 1989’s traditional follow-up was a fairly weak retread of the first. This franchise hasn’t succeeded in their attempts to capitalize on what made 1984’s pic special and that extends to this.
It’s not for a lack of trying as the 2021 iteration goes to extreme lengths to get our nostalgia radars working into overdrive. Jason Reitman takes over directorial duties from his father Ivan, who made the 80s blockbusters. There’s not a piece of attire or Twinkie or demonic marshmallow from 1984 that isn’t placed with the clear purpose of inspiring wild cheers. Sometimes you wanna go where everybody knows the name of every nearly four decade old artifact, vehicle or gadget. In this Afterlife, it more often feels forced than welcome.
We shift from the Big Apple to the sleepy town of Summerville, Oklahoma. Egon Spangler, Harold Ramis’s nerdy scientist from the OG ‘Busters, has relocated to a dilapidated farmhouse and cut off contact with his family and former colleagues. His demise in the prologue causes his heirs to inhabit the dusty domicile. This includes down on her luck daughter Callie (Carrie Coon) and her two kids. Since I think it’s now contactually necessary for Stranger Things players to participate in these reboots, Finn Wolfhard is her teenage son Trevor. Mckenna Grace is the real lead as 12-year-old daughter Phoebe, who resembles her granddad in looks and interests. An outcast at school, she bonds with fellow geek Podcast (Logan Kim) and her summer school teacher Mr. Grooberson (Paul Rudd).
Trevor and Phoebe are completely unaware that Egon was a Ghostbuster (we’ll just go with that I suppose). Paranormal activities start revealing his life’s work including Phoebe’s ongoing chess game with an unseen spirit. The iconic car (yay!) is stored on the property. Of course, the late Egon was in Summerville for a reason and it has to do with familiar haunters from ’84 and preventing them from returning.
This all leads to familiar heroic faces eventually turning up (though not with significant screen time). With their limited participation, the question is whether the new and much younger generation of spirit crushers is compelling enough to warrant a feature. I didn’t think so, but there are some positives. Grace’s performance is terrific (while Wolfhard and his budding romance with his bellhop coworker Celeste O’Connor adds little). Rudd’s considerable talents (he takes a liking to Callie) add a bit of fun. The sight of Bill Murray randomly turning up anywhere is good for a smile (though not much more here than reading about how he does so in real life).
However, the tone in general struck me as off. It’s hard not to be touched by its tribute to the late Harold Ramis (a man responsible for so many laughs in landmark comedies of the past). I felt the sentiment because of that and not the absence of Egon. Afterlife seems trapped in the notion that our emotional connections to these characters run deeper than they do. Like many reboots nowadays, the mere presence of something old is meant to provide the requisite entertainment value. It made me feel mostly dispirited.
Let’s begin with this blanket statement… I’m basically flying a bit blind with my predictions for the Golden Globe Awards, which will be revealed tomorrow morning. For those who don’t follow the awards derbies closely like I do, the Hollywood Foreign Press Association has been in some considerable hot water for the last couple of years. So much so that NBC has decided they won’t air the January 9th ceremony due to lack of diversity for its voting membership. There were genuine questions as to whether the HFPA would even hold an event for their 79th awards, but they are pushing forward amidst the controversy.
Then there’s the simply the matter of the Globes being quite unpredictable. We tend to see a shocker nomination at least once a year… remember Kate Hudson’s nod in Actress (Musical/Comedy) for the barely seen and critically reviled Sia directed Music in 2020? Then the voters went ahead and nominated the picture itself!
Last year in Supporting Actress, Jodie Foster scored a surprise nomination and win for The Mauritanian. The Academy didn’t even bother to nominate her. In Supporting Actor, both Jared Leto (The Little Things) and Bill Murray (On the Rocks) made the cut in Supporting Actor though not at the Oscars. This is why my general rule at the Globes is to fill in bigger names when I’ve got a spot or two left over in an acting race.
The HFPA’s method of dividing Drama and Musical/Comedy always creates category questions and that holds true in 2021. Where’s CODA? Or House of Gucci and C’Mon C’Mon? Or Being the Ricardos. We don’t know. For prediction purposes, I’m putting them in Drama. Obviously, if they’re not, that would alter my estimates and make some of my calls moot.
Let’s take go through the categories one by one and see how this guesswork turns out, shall we? I’ll do a runner-up and second alternate for each race as well.
Best Motion Picture – Drama
The Power of the Dog
Second Alternate: The Tragedy of Macbeth
Commentary – At this point, Belfast, Dune, King Richard, and Power of the Dog seem like pretty safe bets. Any one of them missing out would be considered a significant snub. The fifth slot is wide open in my view. The surging CODA (if it’s placed in Drama) could certainly make the cut. Tragedy is a strong possibility and I wouldn’t count out Being the Ricardos, C’Mon C’Mon and House of Gucci (if they’re in Drama), The Last Duel, or Spencer. Despite some critical reservations, I’ll go with Guillermo del Toro’s Nightmare Alley. It’s important to remember that foreign films are relegated to their own category at the Globes. That’s why Parasite didn’t show up here two years ago and it’s why A Hero or Drive My Car won’t contend in this competition.
Best Motion Picture – Musical/Comedy
Don’t Look Up
Tick Tick… Boom!
West Side Story
Runner-Up: In the Heights
Second Alternate: Cruella
Commentary – The Musical/Comedy derby actually has a bunch of musicals to choose from in 2021 and West Side Story and Tick Tick… Boom! especially seem like surefire additions. Between In the Heights and Cyrano, I’m giving the latter a slight edge (though both could make it). Licorice Pizza should get in though I’m a tad more unsure about Don’t Look Up. I would generally say the top six listed here will be duking it out for five slots (Cruella is kind of a throwaway addition but if Music could get in…)
**Note that pics like CODA, Gucci, or Being the Ricardos could be campaigned for here and not Drama and that could change the dynamic.
Kenneth Branagh, Belfast
Jane Campion, The Power of the Dog
Guillermo del Toro, Nightmare Alley
Steven Spielberg, West Side Story
Denis Villeneuve, Dune
Runner-Up: Paul Thomas Anderson, Licorice Pizza
Second Alternate: Reinaldo Marcus Green, King Richard
Commentary – Feeling good about Branagh, Campion, Spielberg, and Villeneuve. The 5 spot is tougher but I’ll give del Toro the nod over Anderson (who, somehow, has never been nominated for a Globe).
Best Performance in a Motion Picture – Drama (Actress)
Jessica Chastain, The Eyes of Tammy Faye
Lady Gaga, House of Gucci
Jennifer Hudson, Respect
Nicole Kidman, Being the Ricardos
Kristen Stewart, Spencer
Runner-Up: Olivia Colman, The Lost Daughter
Second Alternate: Jodie Comer, The Last Duel
Commentary – So here’s when it gets truly complicated as Gaga, Hudson, and Kidman could all theoretically wind up in Musical/Comedy. If not, both Gaga and Kidman seem like likely nominees in Drama. So do Chastain and Stewart. I’m picking Hudson over considerable competition that includes Colman, Comer, Emilia Jones in CODA (if placed here), Frances McDormand (The Tragedy of Macbeth), and Penelope Cruz (Parallel Mothers).
Best Performance in a Motion Picture – Drama (Actor)
Bradley Cooper, Nightmare Alley
Benedict Cumberbatch, The Power of the Dog
Joaquin Phoenix, C’Mon C’Mon
Will Smith, King Richard
Denzel Washington, The Tragedy of Macbeth
Runner-Up: Javier Bardem, Being the Ricardos
Second Alternate: Nicolas Cage, Pig
Commentary – Cumberbatch, Smith, and Washington are obvious choices. The other two slots – not so much. Phoenix could be in Musical/Comedy, but I’ll give the benefit of the doubt and put him here. Same with runner-up Bardem. As much as I’d like to anoint Cage for Pig, I’ll hedge with Cooper in Alley. Super dark horse choice: Clifton Collins, Jr. in Jockey.
Best Performance in a Motion Picture – Musical/Comedy (Actress)
Haley Bennett, Cyrano
Alana Haim, Licorice Pizza
Jennifer Lawrence, Don’t Look Up
Emma Stone, Cruella
Rachel Zegler, West Side Story
Runner-Up: Melissa Barrera, In the Heights
Second Alternate: Renate Reinsve, The Worst Person in the World
Once again – there’s some women I have in Drama that might shift over this way (Gaga, Hudson, Kidman, Jones). That would make this category more interesting as, right now, this is Zegler’s to lose based on my current composition. If serious hopefuls like Gaga and Kidman stay in Drama, this race could be ripe for an out of nowhere pick (I’m thinking either Annie Mumolo or Kristin Wiig in Barb and Star Go to Vista Del Mar).
Best Performance in a Motion Picture – Musical/Comedy (Actor)
Leonardo DiCaprio, Don’t Look Up
Peter Dinklage, Cyrano
Andrew Garfield, Tick Tick… Boom!
Anthony Ramos, In the Heights
Ryan Reynolds, Free Guy
Runner-Up: Cooper Hoffman, Licorice Pizza
Second Alternate: Simon Rex, Red Rocket
Commentary – The first four seem probable and the safer choice for #5 would be Hoffman (that’s if Joaquin Phoenix or Javier Bardem don’t play here). I gotta pick at least one head scratcher though so let’s throw in Reynolds for the hit Free Guy!
Best Supporting Performance in a Motion Picture (Supporting Actress)
Caitriona Balfe, Belfast
Ariana DeBose, West Side Story
Kirsten Dunst, The Power of the Dog
Aunjanue Ellis, King Richard
Meryl Streep, Don’t Look Up
Runner-Up: Rita Moreno, West Side Story
Second Alternate: Cate Blanchett, Nightmare Alley
Commentary – Balfe, DeBose, Dunst, and Ellis are likely. If any of that quartet miss, it could be Dunst. I’m utilizing my aforementioned big name theory by picking Streep in the five spot. Could be Moreno or Blanchett and the star power could overshadow other possibilities like Ruth Negga (Passing) or Ann Dowd (Mass).
Best Supporting Performance in a Motion Picture (Supporting Actor)
Bradley Cooper, Licorice Pizza
Jamie Dornan, Belfast
Ciaran Hinds, Belfast
Jared Leto, House of Gucci
Kodi Smit-McPhee, The Power of the Dog
Runner-Up: Mike Faist, West Side Story
Second Alternate: Ben Affleck, The Tender Bar
Commentary – No one can really make heads or tails of Supporting Actor in 2021 so there’s some winging it happening. I’ll say both Belfast boys get in while HFPA recognizes Cooper’s limited screen time in Pizza and Leto’s out there performance in Gucci. Smit-McPhee has been picking up critics awards and that could get him in. Truth be told… anything could happen in this one.
Don’t Look Up
The Power of the Dog
West Side Story
Runner-Up: King Richard
Second Alternate: Being the Ricardos
The one I’m uncertain about is Don’t Look Up with its many lackluster reviews, but I’ll go for it over Richard. I also wouldn’t completely dismiss Ricardos due to the Aaron Sorkin factor.
Best Animated Feature Film
The Mitchells vs. the Machines
Runner-Up: Raya and the Last Dragon
Second Alternate: Belle
Best Foreign Language Film
Drive My Car
The Worst Person in the World
Runner-Up: Parallel Mothers
Second Alternate: The Hand of God
Best Original Score
The Power of the Dog
The Tragedy of Macbeth
Runner-Up: The French Dispatch
Second Alternate: Don’t Look Up
Best Original Song
“Be Alive” from King Richard
“Down to Joy” from Belfast
“Every Letter” from Cyrano
“Just Look Up” from Don’t Look Up
“No Time to Die” from No Time to Die
Runner-Up: “Dos Oruguitas” from Encanto
Second Alternate: “So May We Start” from Annette
My picks equate to the following scorecard in terms of total nominations:
Belfast, The Power of the Dog
Don’t Look Up
West Side Story
Cyrano, King Richard, Licorice Pizza, Nightmare Alley
Flee, House of Gucci, Spencer, Tick Tick… Boom!, The Tragedy of Macbeth
Being the Ricardos, C’Mon C’Mon, Cruella, Drive My Car, Encanto, The Eyes of Tammy Faye, Free Guy, A Hero, In the Heights, Luca, The Mitchells vs. the Machines, No Time to Die, Respect, Titane, Vivo, The Worst Person in the World
I’ll have a post up later tomorrow with my results! Critics Choice predictions are next…
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
Wes Anderson’s latest comedy The French Dispatch is being delivered to 52 theaters on October 22nd before its wide release the following weekend. The anthology pic arrives a year after its COVID delay. It received a premiere at the Cannes Film Festival over the summer.
Like most of his unique tales, Dispatch features a massive cast (many of whom have appeared in multiple previous works from the director). That list includes Benicio del Toro, Adrien Brody, Tilda Swinton, Frances McDormand, Timothee Chalamet, Lyna Khoudri, Mathieu Amalric, Stephen Park, Owen Wilson, Anjelica Huston, Elisabeth Moss, Liev Schrieber, Willem Dafoe, Edward Norton, Fisher Stevens, Henry Winkler, Bob Balaban, Rupert Friend, Griffin Dunne, and three actors from No Time to Die (Lea Seydoux, Jeffrey Wright, and Christoph Waltz).
There is no question that Anderson has an ardent fanbase. However, there’s some drawbacks. Reviews are not quite up to the level of other features like Moonrise Kingdom or The Grand Budapest Hotel. The Rotten Tomatoes score is 79% and it is not thought to be an awards contender. That’s unlike his previous live-action film Hotel, which was nominated for nine Oscars and won four. It ended up with $59 million domestically after a long and leggy run in multiplexes. This might be fortunate to nab a couple of tech nods from the Academy.
Dispatch‘s wide release on October 29th comes with caveats in terms of my prediction. I have yet to see a theater count and that could easily alter my projection once known. However, I’m leaning towards this being one of Anderson’s lesser earning titles. This is somewhat of a placeholder estimate, but I’ll say $3-5 million seems likeliest.
The French Dispatch opening weekend prediction: $3.8 million
The attendees of New York Comic Con were treated to a surprise this weekend with a screening of Ghostbusters: Afterlife. The fourth film in the franchise that famously began in 1984 serves as a direct continuation to the original and its 1989 follow-up. It’s all about family with Jason Reitman as director (his father Ivan made those first two). Carrie Coon, Finn Wolfhard, Mckenna Grace, Logan Kim, and Paul Rudd join the bustin’ action with series stalwarts Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, and Sigourney Weaver making appearances. Afterlife is finally coming to life after numerous COVID delays with a November 19th stateside release.
Early reviews indicate a long gestating sequel has extreme reverence for its past. Some critics claim it might be a bit too nostalgic, but reaction is overwhelmingly pleasing with a current Rotten Tomatoes score of 91% (based on 11 reviews).
The original classic 37 years ago managed 2 Oscar nominations. They’re what you would expect: Best Original Song for that addictive title track by Ray Parker Jr. and Visual Effects (it lost to Indiana Jones and the Temple of Doom). Also as you might expect, Ghostbusters II and the ballyhooed 2016 Paul Feig reboot with Melissa McCarthy and Kristin Wiig achieved zero awards attention. I would anticipate the same for this despite the kudos. Visual Effects is a remote possibility, but there’s a slew of contenders more likely (Dune, The Matrix Resurrections, Eternals to name just some).
My Oscar Prediction posts for the films of 2021 will continue…