Tag: Daisy Ridley

97th Academy Awards: The FINAL State of the Best Actress Race

My final predictions for nominees at the 97th Academy Awards arrives this Wednesday, January 15th prior to the announcement on Sunday, January 19th. Before I make them, I’m taking a deeper dive into the six major categories (Picture, Director, the four acting derbies) with detailed thoughts on where I think each race stands.

Let’s begin with Best Actress as it might be the most tricky of all to figure out (though the supporting competitions are up there too). I believe there are three performers whose nominations you can write down in pen.

For months, I’ve had Mikey Madison (Anora) listed in 1st place for her work in Anora. She’s been nominated everywhere she needs to be – Golden Globes, SAG, Critics Choice, the BAFTA long list. The film is definitely in the top 5 of Best Picture hopefuls. In other words, she’s in.

That said, just yesterday, I slid her from 1st to 2nd in favor of Demi Moore in The Substance. That’s mainly because Moore was victorious over Madison at the Golden Globes in the Actress (Musical or Comedy) category. Furthermore, Hollywood loves a comeback story. That is present with Demi. She managed all the aforementioned precursors that Madison has and there’s a win in her favor. I do believe the Oscar could go to either of them, but this seems reminiscent of Best Actor in 2022. Austin Butler (Elvis) was the young upstart like Madison. Brendan Fraser (The Whale) was the once major movie star in a comeback vehicle that also involved heavy makeup work. Fraser got the gold.

I would put Moore and Madison’s chances of making the final five at 100% or at least 99.9999999%. The third “pen” pick is Karla Sofia Gascón in Emilia Pérez. She would make history as the Academy’s first trans nominee. Gascón also made the cut at the key precursors and shared a Cannes victory for Best Actress with her costars. Some prognosticators have started wondering whether she’s a guaranteed nominee. While she’s maybe not a total certainty like our previous actresses, I’d say it’s really close. After all, Emilia Pérez might get the most nominations of any picture this time around. I don’t see that occurring without Emilia Pérez being in contention.

And then… it gets complicated. Before we move to the several performers jockeying for two spots, let’s pour one out for these actresses whose campaigns never got off the ground. In some cases, the films underperformed significantly with critics and audiences. In others, their studios didn’t mount an offensive drive for their inclusion. Some examples are Florence Pugh (We Live in Time), Jodie Comer (The Bikeriders), Ryan Destiny (The Fire Inside), Daisy Ridley (Young Woman and the Sea), Regina King (Shirley), Lily-Rose Depp (Nosferatu), and Marisa Abela (Back to Black). Julianne Moore (The Room Next Door) and June Squibb (Thelma) received a little more attention. However, they failed to show up in any significant other awards lists.

After that lengthy group, there’s a next level. These are actresses who may have shown up in some precursors or long lists, but aren’t expected to materialize in the Oscar quintet. Their chances aren’t completely out of reach like those in the previous paragraph. Yet it’s close. I would put Julianne Moore’s The Room Next Door costar Tilda Swinton in this class. Same with Zendaya (Challengers) and Saoirse Ronan (The Outrun).

This leaves us with eight performances vying for two spots: Amy Adams (Nightbitch), Pamela Anderson (The Last Showgirl), Cynthia Erivo (Wicked), Marianne Jean-Baptiste (Hard Truths), Angelina Jolie (Maria), Nicole Kidman (Babygirl), Fernanda Torres (I’m Still Here), and Kate Winslet (Lee). Let’s walk through them one by one, shall we?

Amy Adams has the narrative of being long overdue for an Oscar. Despite six nominations, she’s yet to hear her name called. On paper, this seemed like a strong possibility but so-so reviews for Nightbitch have not helped. Despite a Globe nod and being in the BAFTA long list, I have her 8th of these 8 possibilities.

I might be more inclined to put Anderson in my five if it weren’t for Demi Moore’s comeback narrative. The Baywatch starlet is getting career best notices for this indie drama even if the film itself is drawing more mixed reactions. Her Globe nomination in Actress (Drama) wasn’t a huge surprise. The SAG nod this week was and it does increase her viability. I have her 5th of these 8 possibilities.

Cynthia Erivo is starring in one of the year’s largest blockbusters with Globe, SAG, Critics Choice, and the BAFTA long list preceding a potential Oscar nod. If she were to win, Erivo would achieve EGOT status as she already has an Emmy, Grammy, and Tony on her resume. The only question mark is whether the amount of performers could squeeze her out. I doubt it. Erivo is ranked 1st of these 8 possibilities.

Marianne Jean-Baptiste is receiving plenty of critics prizes for her role in Mike Leigh’s Hard Truths. Critics Choice and the BAFTA long list are in her corner though she notably missed SAG and the Globes. Leigh has a history of getting his actors nominated. Seeing her in the eventual quintet would not surprise, but she’s 4th of my 8 possibilities at press time.

Angelina Jolie’s inclusion for Pablo Larrain’s Maria seemed assured at one point after the picture premiered in Venice. In hindsight, the troubling signs could have been evident immediately. She did not take Best Actress at that festival. Since then, she’s missed SAG and the BAFTA long list while competing for the Globe and being nominated for Critics Choice. Her most notable blow came at the Globes. She was favored to win Best Actress in a Drama but fell short to Fernanda Torres. I still think she could get in though I have her just on the outside looking in and 3rd of my 8 possibilities.

For her performance in Babygirl, Nicole Kidman did win Best Actress at Venice and Globe and BAFTA long list spots followed. The recent snubs at Critics Choice and SAG are hard to ignore. She’s 6th among these 8 possibilities.

Fernanda Torres in I’m Still Here had no major other precursors to her credit besides the Globe. No BAFTA long list. No Critics Choice. And no SAG attention this week. That win at the Globes, though, looms large and it occurred just as Academy voting was underway. That’s why she’s 2nd of these 8 possibilities.

Finally, Kate Winslet as Lee showed up at the Globes and BAFTA long list. Reviews for the project itself aren’t overly impressive. Winslet could get in because, well, she’s Kate Winslet. Nevertheless she’s 7th of these 8 possibilities.

Whew. OK. There you have it. My microscope analysis of Best Actress for the 97th Academy Awards. Let’s see how it shakes out Wednesday when I do my final picks. I’ll have a dive into Supporting Actor up next!

    Oscar Predictions: Young Woman and the Sea

    Former and future Star Wars lead Daisy Ridley is generating some career best notices for Young Woman and the Sea, out this weekend in limited fashion. Originally slated for a Disney Plus only rollout, Norwegian filmmaker Joachim Rønning (director of 2012’s internationally nominated Kon-Tiki) helms the true life 1920s set sports biopic. Ridley plays swimming champion Gertrude Ederle with a supporting cast including Christopher Eccleston, Stephen Graham, Tilda Cobham-Hervey, Kim Bodnia, and Glenn Fleshler.

    The Disney/Bruckheimer production has not been heavily marketed and the studios may have missed an opportunity. I’m sure it’ll eventually gain eyeballs once it does move to streaming. Reviews indicate it’s an old-fashioned solid crowdpleaser. The RT score is 86%.

    We saw Annette Bening nominated at the preceding Oscars in Actress for inhabiting a well-known swimmer in Nyad. I doubt that will occur with Ridley despite many critics lapping it up. My Oscar Prediction posts will continue…

    Oscar Predictions: The Marsh King’s Daughter

    The Marsh King’s Daughter is based on an acclaimed 2017 thriller by Karen Dionne, but the cinematic adaptation seems to be flying well under the radar. It opens tomorrow with Daisy Ridley of Star Wars fame headlining the cast alongside Ben Mendelsohn, Garrett Hedlund, Caren Pistorius, Brooklyn Prince, and Gil Birmingham. The Illusionist and Divergent director Neil Burger is behind the camera.

    STXfilms was originally supposed to distribute Daughter before the company shuttered and now Lionsgate and Roadside Attractions are sharing output duties. Promotion has been scant and reviews are mixed with a 56% score on Rotten Tomatoes.

    This might have had better luck going direct to streaming and skipping multiplexes. In addition to the box office challenges it faces, reaction guarantees it’ll be a non-factor on the awards circuit. My Oscar Prediction posts will continue…

    Chaos Walking Box Office Prediction

    The sci-fi adventure Chaos Walking, on its surface, seems to have a lot going for it. It’s based on a well regarded series of YA novels by Patrick Ness (who cowrote the screenplay). Doug Liman, maker of successful pics like The Bourne Identity, Mr. and Mrs. Smith, and Edge of Tomorrow, directs. The two stars are instantly recognizable faces from recent franchises blockbusters: Daisy Ridley (Rey from Star Wars) and Tom Holland (the current Spider-Man). And Lionsgate ponied up a reported $125 million to make it.

    Yet closer inspection reveals a different story as it opens next Friday in multiplexes. Chaos was originally slated for release all the way back in pre-COVID March 2019. Poor test screenings allegedly forced reshoots which were overseen by Don’t Breathe director Fede Alvarez. The pandemic has shifted the drop date once again from January of this year to early March.

    Now it appears the high budget Walking is limping its way into theaters in already uncertain times. In addition to its stars, the supporting cast includes Mads Mikkelsen, Demian Bichir, Cynthia Erivo, Nick Jonas, and David Oyelowo. I’m not even confident that the awareness level of its existence is enough to bring in the intended audience. This has been looked at as a potential major flop for some time and I don’t foresee this exceeding any expectations upon release.

    Chaos Walking opening weekend prediction: $3.9 million

    For my Raya and the Last Dragon prediction, click here:

    https://toddmthatcher.com/2021/02/23/raya-and-the-last-dragon-box-office-prediction/

    Star Wars: The Rise of Skywalker Movie Review

    We talk about the Star Wars franchise the same way we speak of politics or sports. With passion and fervent opinions and disagreements. Perhaps we are giving it too much credit, but it’s become an American cinematic pastime. No group of films has inspired as much thought and re-thought. So we arrive at the ninth episode, The Rise of Skywalker, with all that baggage and more. After all, this one is tasked with closing out the saga that began at a time far, far away in 1977. Returning to direct with that weight on his shoulders is J.J. Abrams, who kickstarted the series for new owner Disney four years ago with The Force Awakens.

    He does so two years following The Last Jedi from Rian Johnson, which sharply divided fans and critics by going in unexpected directions. Even Luke Skywalker himself, Mark Hamill, didn’t jive with the choices Johnson made with his character shuddered on an island and not wishing to utilize his Jedi skills. That was one compliant from some diehard fans, among others. You could say they had their knives out for it, so to speak.

    I found The Last Jedi to be flawed and disjointed, but also filled with great moments. There aren’t many of them here in Skywalker. As I ponder it, episodes VII-IX do follow a similar arc as the iconic I-III. The Force Awakens was tasked with introducing new and exciting characters from these galaxies. It also had to mix in Luke and Leia and Han Solo and Chewie. I felt, for the most part, that it did so successfully. That especially applies to Rey (Daisy Ridley) and Kylo Ren (Adam Driver). In fact, their little therapy sessions from The Last Jedi were highlights of the whole trilogy. The common critique of Awakens is that it was a rehash of the first Star Wars. While this is with some merit, it didn’t take away my immense enjoyment of it.

    As mentioned, The Last Jedi was more of a mixed bag. Yet with Johnson’s sometimes confounding but often daring choices, it was also the boldest. This is where a comparison with 1980’s The Empire Strikes Back seems fair. Don’t get me wrong. It’s nowhere in its league, but it did take what happened in the predecessor and take it in unexpected directions.

    And now The Last Skywalker. Like 1983’s Return of the Jedi, this trilogy finale has to wrap it all up. Allow me to throw in this disclaimer – I don’t hold Return of the Jedi anywhere near the regards of what came before it. While I feel there are terrific moments, there’s a lot that didn’t work me and not just the Ewoks. It often felt a little tired and unsure of what to do with itself for a chunk of the running time. That applies to Skywalker and there’s aren’t as many terrific moments.

    The similarities don’t end on just a quality level. Ultimately, the main plot here finds Rey facing a choice of whether to stay a Jedi or follow her lineage to the dark side… just as Luke did in Jedi. By the way, those lineage inquiries are addressed. Another complaint in Rian Johnson’s script was how he handled that aspect. Rey’s supporting cast is around with Finn (John Boyega) and Poe (Oscar Isaac) marshaling support to take on Kylo. And as the trailer suggested, Emperor Palpatine (Ian McDiarmid) is back in the mix, too. So is Billy Dee Williams as cocky fighter pilot Lando. His return isn’t exactly as pined for as what we got with Luke, Leia, and Han. As for Leia, Carrie Fisher does return utilizing unused footage from Awakens and Last Jedi. It’s handled delicately.

    There are new players with Richard E. Grant joining Domhnall Gleeson as one of Kylo’s top lieutenants. Abrams throws some small parts to Keri Russell and Dominic Monaghan (who both starred in his TV shows). The short shrift is given to Rose (Kelly Marie Tran), who had more of a presence in Last Jedi, but is basically ignored. That’s not exactly a problem as this is the Rey and Kylo show. Once again, both Ridley and Driver’s performances are first rate. Truth be told, though, Johnson wrote their dynamic better the last time around.

    For the major detractors of The Last Jedi, perhaps this episode will feel like a return to Star Wars normalcy. I’m happy to listen to an argument that Johnson’s effort pairs well with the return of Abrams, but it would take lots of convincing. Skywalker often reeks of a course correction. This is becoming more common with franchises. We just saw Terminator: Dark Fate ignore the three pictures ahead of it. The X-Men series had to get creative with their timeline and do away with it under specific circumstances.

    Those franchises aren’t Star Wars. The meeting between Han Solo and his son Kylo in The Force Awakens was a memorable, emotional, and surprising one. Whatever Mark Hamill and others might think about his treatment in The Last Jedi, a brief reunion with his sister in it was marvelous. In Skywalker, Abrams goes for a lot of those moments. And it felt, well, forced. The visual splendor and incredible production design (and the rousing John Williams score) is intact. A few scenes with Rey and Kylo work. Ultimately, I suspect my feelings about The Rise of Skywalker will be somewhat similar to Return of the Jedi – as an inferior product to its two predecessors.

    **1/2 (out of four)

    Oscar Watch – Star Wars: The Rise of Skywalker

    One day before its galactic release, the review embargo for Star Wars: The Rise of Skywalker has expired and the news is not so great. The ninth chapter of the ginormous franchise sits at 59% on Rotten Tomatoes. For all the talk about the mixed reaction to predecessor The Last Jedi in 2017, its RT score was 91%. Even last year’s mostly disregarded spin-off Solo: A Star Wars Story managed 70%.

    So… what does that mean for Oscar attention? Well, any remote possibility of Skywalker playing in top line categories like Picture is gone. Yet possibilities for tech nods remain intact. When counting the eight official episodes and spin-offs Rogue One and Solo, the series as a whole has gathered 34 total nominations and won seven. Six of them went to the 1977 original with another for 1980’s sequel The Empire Strikes Back. That’s right… it’s been almost 40 years since a Star Wars pic has nabbed a competitive gold statue. And I don’t expect that streak to end here.

    In this currently trilogy, 2015’s The Force Awakens received five nominations: Score for the legendary John Williams, Visual Effects, Editing, and both Sound categories. The Last Jedi got the same nods minus Editing. I anticipate Skywalker will probably be recognized for the same four as Jedi and win none. Interestingly, there’s a solid chance it loses three of them (Score and the Sounds) to 1917. As for Visual Effects, that could go to The Irishman or another epic Disney franchise finale Avengers: Endgame. 

    My Oscar Watch posts will continue…

    Star Wars: The Rise of Skywalker Box Office Prediction

    Blogger’s Note (12/19): Hours before its opening, I am revising my estimate down from $206.4M to $191.4M

    The ninth episode in the galaxy is not far, far away as Star Wars: The Rise of Skywalker arrives in a theater near you next weekend. Capping the third trilogy of the landmark franchise, the film finds J.J. Abrams returning to the director’s chair after Rian Johnson (currently having his own box office hit with Knives Out) handled duties on previous entry The Last Jedi in 2017. The familiar faces introduced four years ago in The Force Awakens return with Daisy Ridley, Adam Driver, John Boyega, and Oscar Isaac headlining. Stars from the original trilogy are back including Carrie Fisher (via unreleased footage from previous efforts), Mark Hamill, Anthony Daniels, and two cast members making their respective first appearances since 1983’s Return of the Jedi and 2005’s Revenge of the Sith – Billy Dee Williams as Lando Calrissian and Ian McDiarmid as Palpatine. Other notable performers returning include Domhnall Gleeson, Lupita Nyong’o, and Kelly Marie Tran. Newcomers to the series are Naomi Ackie, Keri Russell, and Richard E. Grant.

    Disney took over the reigns of George Lucas’s creation a few years back and the results have been billions more into the Mouse Factory’s considerable coffers. That said, the last two years have shown some chinks in the once impenetrable armor. The aforementioned Last Jedi divided audiences and critics and came in $300 million under Awakens. A few months later in May of 2018, prequel and spinoff Solo: A Star Wars Story was the first picture in the series that was a genuine disappointment and actually lost money.

    In Star Wars world, “disappointing” numbers are relative. The Last Jedi took in $220 million for its start on this same weekend two years ago, ending its run at $620 million domestically (that’s still good for #9 all-time). Yet, as mentioned, that’s considerably below the $936 million that Awakens achieved. It continues to stand at #1 overall in terms of stateside dollars.

    Estimates for Skywalker show a pretty wide range. Some are as low as $175 million. Only in this franchise and the Marvel Cinematic Universe would that number be called low. Despite the mixed Jedi reaction and Solo grosses, I have a hard time buying that this last entry of the trilogy could come in with $45 million less than its predecessor.

    The more reasonable anticipation is that this manages to top $200 million. There is certainly more serious family competition than Last Jedi had with Jumanji: The Next Level being in its second frame (it was the inverse in 2017 with predecessor Welcome to the Jungle arriving the week after Jedi).

    My projection here gives Skywalker the seventh biggest debut ever, in between MCU titles The Avengers and Black Panther. 

    Star Wars: The Rise of Skywalker opening weekend prediction: $191.4 million

    For my Cats prediction, click here:

    https://toddmthatcher.com/2019/12/11/cats-box-office-prediction/

    For my Bombshell prediction, click here:

    https://toddmthatcher.com/2019/12/11/bombshell-box-office-prediction/

    Peter Rabbit Box Office Prediction

    Based on the well-known works of Beatrix Potter, Sony Pictures is hoping family audiences will hop to Peter Rabbit when it debuts next weekend. The mix of live-action and CG animation features the voices of James Corden in the title role along with Daisy Ridley, Margot Robbie, and Sia. Familiar faces physically present include Domhnall Gleeson, Rose Byrne, and Sam Neill. Will Gluck, maker of Easy A and the recent Annie remake, directs.

    Rabbit could be in a solid position to attract kids and their parents now that box office juggernaut Jumanji: Welcome to the Jungle is finally winding down. Many are still familiar with the source material that first appeared in literary form in 1902.

    I’ll estimate that the reported $50 million production makes a bit under $20 million out of the gate.

    Peter Rabbit opening weekend prediction: $18.7 million

    For my Fifty Shades Freed prediction, click here:

    https://toddmthatcher.com/2018/01/30/fifty-shades-freed-box-office-prediction/

    For my The 15:17 to Paris prediction, click here:

    https://toddmthatcher.com/2018/01/31/the-1517-to-paris-box-office-prediction/

     

    Star Wars: The Last Jedi Movie Review

    Star Wars: The Last Jedi is an experience of seemingly big moments in the most famous and loved franchise in history. There are instances of enormous satisfaction here and smaller developments and touches that work.

    Jedi is also a little deceiving. When the credits rolled, I slowly began to realize the seismic occurrences witnessed weren’t necessarily all that. There are major developments with some historic characters, but there’s also examples of stagnation with some principals and truly furthering the action along. There is no other series of pictures where the positive aspects are magnified to legendary status and the flaws are portrayed as crimes against humanity. If Jar Jar Binks were to be tried in a court of fanatics, his demise would come slowly and with pain.

    In the cycle of endless chatter that accompanies each episode, the 8th appears primed to garner both emotions. To this writer, some of its shortcomings were more obvious than what we saw in episode VII, The Force Awakens.

    The knock on Awakens was simple and I believe mostly misguided. When J.J. Abrams and Disney took over the reigns from George Lucas, complaints were registered that it was essentially a remake of the 1977 original. This is a fair point to a small degree but I walked away from Awakens highly energized and quite pleased with the new crop of characters mixed with the ones we’ve grown up with. I didn’t feel it was just an effective ripening of our collective member berries. It stood on its own.

    When we last left our heroine Rey (Daisy Ridley), she was standing on a lush mountain top seeking the help of one Luke Skywalker (Mark Hamill). An Awakens surprise was that Luke loomed in the story, but didn’t say a word and didn’t appear until the final frames. He’s present here and he’s plenty conflicted about whether he wants to help his Force bearing wannabe apprentice. While Daisy and Luke work all that out, Chewbacca gets to hang out with seriously adorable creatures called Porgs. They’ll make great Christmas toys.

    Meanwhile, Finn (John Boyega) awakens from his slumber caused in the previous installment to befriend Rose (Kelly Marie Tran), a maintenance worker who becomes his right-hand girl. Poe (Oscar Isaac) is still the cocky fighter pilot who drives his superiors crazy. They include Princess Leia (Carrie Fisher) and another high ranking official played by Laura Dern.

    Of course, there’s also the First Order. Kylo Ren (Adam Driver), who made his mom a widow, is back. He’s still experiencing family conflict drama that would probably keep his ship’s psychiatrist busy if there was one. Kylo is still under the command of Supreme Leader Snoke (Andy Serkis) and he’s developed a telepathic type communication with Ren. It’s their dynamic that gives Jedi some of its most significant and powerful moments. Much credit is due to the superb work of Ridley and Driver, which was the case the first time around.

    Not all character arcs work as well. It mostly does with Luke and Jedi features Hamill’s most convincing work as Luke. Isaac’s Poe is still a bit of a one trick pony, but the talented actor is granted more screen time to shine. Boyega’s Finn is sidelined with subpar subplots. He’s also saddled by teaming up with a thief played by Benicio del Toro. The Oscar winning actor plays his role so over the top that it’s a tad distracting. I’d say the same for Domhnall Gleeson as First Order General Hux. Finn and company have a whole segment on a new planet filled with degenerates and a lush casino. A triumph of production design, yes, but it also felt like filler.

    The Last Jedi has a lot of humor in it, more so that I expected from its new director Rian Johnson. The reliance of it may disappoint some die hards, but I found most of it welcome. By its nature, some of the most dramatic moments succeed just because they’re present. Luke walking into the Falcon? Check. Luke and Leia reuniting after years apart? Check. So for those who complained about episode VII’s nostalgia peddling, it’s a bit unavoidable I say.

    Bottom line: my Last Jedi reaction was a little more mixed than when I saw Awakens. It’s easily better than anything Lucas gave us in episodes I-III. For those hoping this would be the Empire of the new trilogy, you can transfer that hope to IX.

    *** (out of four)

    Oscar Watch – Star Wars: The Last Jedi

    The most eagerly anticipated review embargo of 2017 ended early this afternoon as critical reaction is pouring in for Star Wars: The Last Jedi. Opening Friday, it’s pretty much a foregone conclusion that episode VIII of the vaunted franchise will generate the year’s biggest debut (and very possibly the second highest of all time after predecessor The Force Awakens).

    So my attention now turns to its Oscar viability. At this moment, The Last Jedi stands at 93% on Rotten Tomatoes. That’s quite an impressive number (Force Awakens ended up at 93%) and it’s likely the Jedi number will fluctuate over the next couple of days. Still, many reviews have indicated it’s the strongest entry in the series since 1980’s The Empire Strikes Back – generally and rightfully considered the best of the lot. Other reviews, while positive, haven’t gone that far.

    It’s worth noting that only the 1977 original managed a Best Picture nomination. Simply put, I don’t see that changing here nor do I see any of the actors getting recognition.

    The Force Awakens ended up garnering five nods two years ago: Original Score, Editing, Sound Editing, Sound Mixing, and Visual Effects. It won zero. My estimate is that Jedi will not reach that number. Composer John Williams will face competition with himself and I see his work for Steven Spielberg’s The Post being nominated instead. Editing could be a stretch as some reviewers are already nitpicking its pacing. It could certainly nab nominations in both Sound categories and Visual Effects is a given. Like Force Awakens, I believe it won’t emerge victorious in any of the races it gets in for.

    Bottom line: Star Wars: The Last Jedi, even with its general consensus that it improves over Awakens, is unlikely to be an Academy player in any significant manner other than technical stuff.

    https://www.youtube.com/watch?v=eZgIwHkCoY4