The critics certainly don’t have their knives out for Glass Onion: A Knives Out Mystery. This is the eagerly awaited follow-up to Rian Johnson’s 2019 comedic murder mystery which grossed over $300 million worldwide and gave Daniel Craig another franchise. Johnson and Craig are back with a new supporting cast that includes Edward Norton, Janelle Monae, Kathryn Hahn, Leslie Odom Jr., Jessicas Henwick, Madelyn Cline, Kate Hudson, and Dave Bautista.
Slated for select cinemas in November before a December 23rd Netflix bow, Onion has premiered at the Toronto Film Festival with reviews saying it’s quite appealing. Some even claim it improves on the original. The Rotten Tomatoes score is 100%.
Three years ago, Knives had a sliver of hope to nab a Best Picture nomination, but it never materialized. An Original Screenplay mention was the reward for its success. This time around, it would contend in Adapted Screenplay since it’s based on existing IP. That could happen though let’s see how competitive that race is over the remainder of the year. I suspect if we see a sequel nominated for Best Picture in 2022, it’ll be Top Gun: Maverick and not this… and we still don’t know how solid Avatar: The Way of Water is. As for performances, Monae is being singled out in several write-ups as the MVP. However, Supporting Actress is already starting to looked stacked.
Where Onion could sizzle is at the Golden Globes with a Musical/Comedy Best Motion Picture nod and Best Actor in that category for Craig. That occurred in 2019 and could happen again. My Oscar Prediction posts will continue…
In the turbulent months that followed the terrorist attacks of 9/11, domestic audiences needed some escapism at the box office. In the Christmas season of 2001, they found it with Harry Potter and the Sorcerer’s Stone and Lord of the Rings: The Fellowship of the Ring.
By summer 2002, moviegoers turned out in record-setting droves for the first big screen treatment of an iconic superhero.
20 years later, that’s one thing that hasn’t changed as Spidey continues to dominate the charts. It all started with a memorable upside down kiss. Before we go there, there’s plenty more to discuss for the cinematic summer of two decades past.
As I do every season on the blog, I’m recounting the top 10 hits, other notable features, and flops from 30, 20, and 10 years ago. If you missed my post covering 1992, it’s right here:
When Adam Sandler remade Frank Capra, the result was another blockbuster for the star and a needed one after his previous pic Little Nicky was a rare commercial flop.
9. Minority Report
Domestic Gross: $132 million
The first and still only collaboration between Tom Cruise and Steven Spielberg is a prescient sci-fi tale and its reputation has grown since its release. It’s my personal favorite film of 2002.
8. xXx
Domestic Gross: 142 million
Riding high off the success of the previous summer’s The Fast and the Furious, Rob Cohen and Vin Diesel reunited for this over the top action flick. A sequel would follow three years later without Diesel’s involvement (Ice Cube starred instead), but Vin would return to the role in 2017.
7. Lilo & Stitch
Domestic Gross: $145 million
This Disney animated effort performed just fine (if not in the stratosphere of some 90s gems) and spawned numerous direct-to-video follow-ups. A live-action version is being planned.
6. Scooby-Doo
Domestic Gross: $153 million
Critics might have thought it was a dog, but crowds lapped up this live-action/animated hybrid based on the very 1970s cartoon. Scoob and the gang would return two years later for part 2. Fun fact: James Gunn of Guardians of the Galaxy fame wrote the script.
5. Men in Black II
Domestic Gross: $190 million
Will Smith and Tommy Lee Jones teamed up again for the sci-fi comedic spectacle from Barry Sonnenfeld. This fell short of the original’s $250 million domestic haul and the reviewers weren’t impressed, but that didn’t prevent a third offering that will be discussed in my summer of 2012 post.
4. Austin Powers in Goldmember
Domestic Gross: $213 million
Mike Myers continued to flex his box office mojo alongside Beyonce, Michael Caine, and Mini-Me in this threequel that I believe surpassed the quality of predecessor The Spy Who Shagged Me.
3. Signs
Domestic Gross: $227 million
After the more mixed reaction that Unbreakable garnered, M. Night Shyamalan’s Signs with Mel Gibson and Joaquin Phoenix was more of a return to crowd favorite status. What followed was several pics from him that drew considerably more ambivalent to negative vibes.
2. Star Wars: Episode II – Attack of the Clones
Domestic Gross: $302 million
$302 million is just dandy for nearly any movie, but this second prequel from George Lucas fell well short of the $431 million achieved by The Phantom Menace three summers prior. Many consider this the worst of the nine officials episodes. I’m one of them.
Spider-Man
Domestic Gross: $403 million
When Sam Raimi’s spin on the webslinger kicked off the summer, it did so with the largest opening weekend of all time at $114 million (breaking a record that had just been set by the first Potter). Two sequels followed for the Tobey Maguire/Kirsten Dunst trilogy and, as we all know, the character has never left us. Spider-Man: No Way Home recently brought all 3 Spideys (Maguire, Andrew Garfield, Tom Holland) into its MCU Multiverse.
Now let’s move to some other notable titles from the season:
The Bourne Identity
Domestic Gross: $121 million
While outside the top ten, Paul Greengrass’s action thriller with Matt Damon as an amnesiac spy is more influential than the bulk of the flicks above it. Damon would return to the role three times.
The Sum of All Fears
Domestic Gross: $118 million
Right behind Damon is his buddy Ben Affleck who took over the role of Jack Ryan (previously played by Alec Baldwin and Harrison Ford) in the Tom Clancy adapted hit.
Road to Perdition
Domestic Gross: $104 million
His follow-up to Best Picture winner American Beauty, the Depression era crime drama from Sam Mendes cast Tom Hanks against type as a hitman with Paul Newman as his underworld boss. This only nabbed a Cinematography Oscar, but reviews were mostly strong. It also provides a juicy role for pre-007 Daniel Craig.
Insomnia
Domestic Gross: $67 million
Hanks wasn’t the only legend stretching in a villainous turn. Robin Williams memorably did the same as he was pitted against Al Pacino’s detective in this chilly thriller from Christopher Nolan (three years before Batman Begins).
Unfaithful
Domestic Gross: $52 million
Adrian Lyne made a movie about another fatal attraction and Unfaithful earned Diane Lane an Oscar nomination as the cheating wife of Richard Gere.
And now for some movies that didn’t perform so well…
Reign of Fire
Domestic Gross: $43 million
This dragon centered fantasy arrived before Matthew McConaughey and Christian Bale would be Oscar winners a few years later. Critics weren’t kind and the box office failed to generate much fire.
Windtalkers
Domestic Gross: $40 million
John Woo’s financial win streak blew over with this World War II action drama headlined by Nicolas Cage that only managed 32% on Rotten Tomatoes.
K-19: The Widowmaker
Domestic Gross: $35 million
Seven years before her Oscar winning The Hurt Locker, Kathryn Bigelow’s 1960s set submarine thriller with Harrison Ford was a pricey disappointment.
Halloween: Resurrection
Domestic Gross: $30 million
Michael Myers and Jamie Lee Curtis’s Laurie Strode are about to team up for the final (?) time in Halloween Ends in October. In 2002, this was the sequel to the successful Halloween H20 from 1998. This one was not so successful and it’s considered by many aficionados as the weakest of the whole franchise.
Bad Company
Domestic Gross: $30 million
One is a double Oscar winner and the other is one of greatest stand-ups of all time, but this cinematic pairing of Anthony Hopkins and Chris Rock in Joel Schumacher’s action comedy was met with a shrug.
Blood Work
Domestic Gross: $26 million
Ten years after Unforgiven won Best Picture after its summer release, Clint Eastwood’s mystery didn’t work for critics or crowds.
The Adventures of Pluto Nash
Domestic Gross: $4 million
Speaking of legendary stand-ups, Eddie Murphy reached a career low point as sci-fi comedy Nash stands as one of cinema’s most notorious flops. Its budget was a reported $100 million and that’s not a misprint above… it made an embarrassing $4 million.
Can Memory reverse the string of forgettable Liam Neeson pics we’ve seen lately or will it fall in line with his recent underwhelming performers? Slated for April 29th, this casts him as an assassin dealing with cognitive lapses. Martin Campbell (who kicked off the Brosnan and Craig 007 eras with Goldeneye and Casino Royale) directs. He most recently helmed the lackluster The Protege with Maggie Q and Michael Keaton. Costars include Guy Pearce (who starred in the acclaimed Memento which covered similar themes) and Monica Bellucci.
It’s been nearly a decade and a half since Neeson resurged his career with Taken. This second life as an action star resulted in some hits, but there’s been more misses recently. The Marksman and Blacklight took in $3.7 and $3.5 million, respectively, in the COVID era. I see no reason why Memory wouldn’t suffer a similar fate and the gross may even dip a bit.
For the second year in a row, the British Academy Film Awards (or BAFTAs) showed its unpredictable nature with some shocking omissions and unexpected inclusions. The last major precursor before Oscar nominations are unveiled Tuesday, I went 63 of 99 when it comes to races with a correlation to the Academy’s competitions. Truth be told – it coulda been worse considering the surprises we witnessed today.
Let’s break them down one by one with some commentary, shall we?
Film
Nominees: Belfast, Don’t Look Up, Dune, Licorice Pizza, The Power of the Dog
How I Did: 3/5
Commentary: The BAFTAs delivered a great haul for Pizza. It and Don’t Look Up got in over my picks of The Tragedy of Macbeth and West Side Story (which both underwhelmed). Gut reaction says Power is in the lead.
Director
Nominees: Paul Thomas Anderson (Licorice Pizza), Jane Campion (The Power of the Dog), Audrey Diwan (Happening), Julia Ducournau (Titane), Ryusuke Hamaguchi (Drive My Car), Aleem Khan (After Love)
How I Did: 4/6
Commentary: Wow – no Kenneth Branagh for Belfast or Denis Villeneuve for Dune! They miss with Anderson and Diwan taking the spots. Like with Film, Campion could be out in front.
Leading Actress
Nominees: Lady Gaga (House of Gucci), Alana Haim (Licorice Pizza), Emilia Jones (CODA), Renate Reinsve (The Worst Person in the World), Joanna Scanlan (After Love), Tessa Thompson (Passing)
How I Did: 3/6
Commentary: Surprises galore here! No Nicole Kidman for Being the Ricardos or Olivia Colman in The Lost Daughter. I predicted both along with Claire Rushbrook for Ali & Ava. In their slots are Haim (continuing the Licorice love), Jones, and Thompson. I would also note no Kristen Stewart in Spencer after her SAG snub.
Now here’s an interesting stat – since 2013, the BAFTA Leading Actress recipient has matched the Oscar winner. So… are Kidman and Colman in trouble? Could Gaga be on her way to a gold statue? Does this show Haim’s potential strength at getting an Academy mention? Questions abound, but I know one thing – this year’s Actress race is as intriguing as last year’s.
Leading Actor
Nominees: Adeel Akhtar (Ali & Ava), Mahershala Ali (Swan Song), Benedict Cumberbatch (The Power of the Dog), Leonardo DiCaprio (Don’t Look Up), Stephen Graham (Boiling Point), Will Smith (King Richard)
How I Did: 3/6
Commentary: Smith’s inclusion here (which I didn’t project) just might solidify him as the Oscar frontrunner (with Cumberbatch pretty close behind). Academy hopefuls Andrew Garfield (Tick, Tick… Boom!) and Denzel Washington (Macbeth) were left out as was Daniel Craig in his swan song as Bond in No Time to Die. In their place – Smith, Ali (following up on his Globe nominated turn), and DiCaprio.
Side note – somehow, Denzel has never been nominated for a BAFTA.
Supporting Actress
Nominees: Caitriona Balfe (Belfast), Jessie Buckley (The Lost Daughter), Ariana DeBose (West Side Story), Ann Dowd (Mass), Aunjanue Ellis (King Richard), Ruth Negga (Passing)
How I Did: 4/6
Commentary: Dowd finally shows up! I must say – no huge shockers here as she and Ellis made it over Kirsten Dunst (The Power of the Dog) and Kathryn Hunter (Macbeth). We’ll see if DeBose’s potential sweep continues here.
Supporting Actor
Nominees: Mike Faist (West Side Story), Ciaran Hinds (Belfast), Troy Kotsur (CODA), Woody Norman (C’Mon C’Mon), Jesse Plemons (The Power of the Dog), Kodi Smit-McPhee (The Power of the Dog)
How I Did: 3/6
Commentary: There was a double dose of Dog love for Plemons (who I didn’t predict) and Smit-McPhee (who I did and he could certainly win). I also went with Faist’s costar David Alvarez instead in a last minute switch that I now regret. And young Norman is responsible for the only nod for C’Mon C’Mon. I also went with Benicio del Toro for The French Dispatch and Jamie Dornan in Belfast. At this point, an Oscar nod for Dornan seems like a reach. Also worth noting is that, despite Pizza over performing, no Bradley Cooper.
Original Screenplay
Nominees: Being the Ricardos, Belfast, Don’t Look Up, King Richard, Licorice Pizza
How I Did: 4/5
Commentary: Here’s a list that may absolutely match the Oscar one. I said After Love over Richard (which had a solid day). Like with the Academy, this might be a Belfast v. Pizza showdown and considering how well the latter did, I might lean that way.
Adapted Screenplay
Nominees: CODA, Drive My Car, Dune, The Lost Daughter, The Power of the Dog
How I Did: 4/5
Commentary: Went with West Side Story over Dune. This is Power‘s to lose.
Animated Film
Nominees: Encanto, Flee, Luca, The Mitchells vs. the Machines
How I Did: 3/4
Commentary: Rather predictable list though I said Ron’s Gone Wrong instead of Luca.
Film Not in the English Language
Nominees: Drive My Car, The Hand of God, Parallel Mothers, Petite Maman, The Worst Person in the World
How I Did: 3/5
Commentary: No Flee here or Titane with God and Mothers in. Drive My Car is the favorite.
Documentary
Nominees: Becoming Cousteau, Cow, Flee, The Rescue, Summer of Soul
How I Did: 3/5
Commentary: Summer of Soul did well when factoring in the surprise Editing nod. It made it along with Cousteau over my picks of The Sparks Brothers and The Velvet Underground.
Cinematography
Nominees: Dune, Nightmare Alley, No Time to Die, The Power of the Dog, The Tragedy of Macbeth
How I Did: 4/5
Commentary: Well – Macbeth got something (!) Only miss here was going with Belfast instead of Alley.
Costume Design
Nominees: Cruella, Cyrano, Dune, The French Dispatch, Nightmare Alley
How I Did: 2/5
Commentary: There’s always a pesky 2/5 race where I just whiff. I got Cyrano and Dune right but the others popped up over House of Gucci, Last Night in Soho, and West Side Story. I didn’t predict it, but Cruella could be the main competition for Dune.
Editing
Nominees: Belfast, Dune, Licorice Pizza, No Time to Die, Summer of Soul
How I Did: 3/5
Commentary: Soul‘s aforementioned placement is unexpected – could it possibly follow suit with the Academy? Also didn’t project Pizza. They are in over Last Night in Soho and (you guessed it) West Side Story.
Makeup and Hair
Nominees: Cruella, Cyrano, Dune, The Eyes of Tammy Faye, House of Gucci
How I Did: 4/5
Commentary: Cyrano over The Electrical Life of Louis Wain. Honestly, other than Cyrano, I think any of the hopefuls could take this.
Original Score
Nominees: Being the Ricardos, Don’t Look Up, Dune, The French Dispatch, The Power of the Dog
How I Did: 3/5
Commentary: Ricardos and Don’t Look Up in; The Green Knight and Spencer out. Probably a showdown of Dune v. Dog.
Production Design
Nominees: Cyrano, Dune, The French Dispatch, Nightmare Alley, West Side Story
How I Did: 3/5
Commentary: Here’s a rare category where I incorrectly had West Side missing. It’s in, along with Cyrano (which had a decent haul with tech races) over Belfast and Macbeth.
Sound
Nominees: Dune, Last Night in Soho, No Time to Die, A Quiet Place Part II, West Side Story
How I Did: 4/5
Commentary: Place over Belfast. Expect Dune to reign supreme.
Special Visual Effects
Nominees: Dune, Free Guy, Ghostbusters: Afterlife, The Matrix Resurrections, No Time to Die
How I Did: 3/5
Commentary: Should be another victory for Dune as Free Guy and Ghostbusters made it over my selections of The King’s Man and Shang-Chi and the Legend of the Ten Rings.
And there’s your recap. As a reminder, my FINAL Oscar predictions (which I’m currently beating myself up over) will be posted tomorrow! Stay tuned…
The last major precursor nominations before Tuesday’s Oscar nods come out tomorrow and it’s the British Academy Film Awards or BAFTAs. Let’s discuss them a bit, shall we? The BAFTAs can be a confusing branch to figure out.
For starters, the number of nominees in each category is a tad puzzling. Best Film has five as do the tech races and screenplay derbies. Director and the acting competitions contain 6 while Animated Film is 4. However, Documentary and “Film Not in the English Language” is 5. Got that?
While past years have matched the Oscars fairly closely in the big categories, 2020 was an exception. While 4 of the 5 Best Film contenders ended up nabbing BP mentions from the Academy, it was just 3 of the directors. For Best Actor, it was also 3 but in Best Actress only two. Same goes for Supporting – 3 in Actor, 2 in Actress.
In other words, projecting the BAFTAs is a major crapshoot but I’ll try. Since it’s British voters, titles such as the BBC’s After Love are expected to perform well in some of the major races.
Another major note – I am only forecasting competitions where there’s a direct correlation to the Academy. Therefore I’m not weighing in on Best British Film, Outstanding Debut by a British Writer, Director, or Producer, or Casting.
For each race, I’ll give you my picks (and I triple checked the numbers) and an alternate. A recap on how I did and my general thoughts are up tomorrow and my final Oscar predictions will be up Friday!
Arriving a year after its COVID delay is Denis Villeneuve’s version of the sci-fi epic Dune along with the animated Ron’s Gone Wrong. The latter will try to keep the October box office hot streak rolling along with the latter attempting to bring in family audiences. You can peruse my detailed prediction posts on them here:
We have had three weekends in a row with newcomers premiering at over $50 million or darn close. Dune could fall right in that range. A potential drawback could be its simultaneous availability on HBO Max. However, I do believe enough viewers are aware that it should be seen on the biggest screen possible. I have it in the low 40s, but as Venom and Halloween Kills have shown us, the chance of over performing is certainly there for the taking.
As for Ron’s Gone Wrong, it has the disadvantage of not being based on known IP. Reviews are decent yet I have it placing fifth and under $10 million.
Halloween Kills exceeded most estimates (more on that below). Its 2018 predecessor fell 59% in its sophomore frame with a B+ Cinemascore average. The sequel has a B- and I envision it dropping in the high 60s range. No Time to Die could see around 50% decline in its third outing while Venom: Let There Be Carnage may see only a dip in the low 40s to mid 40s.
And with that, my top 5 take on the weekend ahead:
1. Dune
Predicted Gross: $42.8 million
2. Halloween Kills
Predicted Gross: $15.4 million
3. No Time to Die
Predicted Gross: $12.1 million
4. Venom: Let There Be Carnage
Predicted Gross: $9.5 million
5. Ron’s Gone Wrong
Predicted Gross: $8.4 million
Box Office Results (October 15-17)
Haddonfield wasn’t the only place where Michael Myers made a killing over the weekend as Halloween Kills premiered at the highest end of projections. The $49.4 million start slashed my $41.2 million prediction. Its simultaneous release on Peacock didn’t appear to make much of a difference. That’s no huge surprise considering the streamer’s membership is minuscule compared to Netflix, HBO Max, and others. While the Kills gross is far under the $76 million achieved by Halloween in 2018, this is still a big win for Universal.
No Time to Die slipped to second with $23.7 million, a bit below my $25.8 million take. The 25th Bond adventure stands at $99 million. While its overseas earnings are pleasing, Daniel Craig’s swan song isn’t quite hitting the anticipated target stateside.
Venom: Let There Be Carnage was third with $16.5 million (I said $14.1 million) and it’s up to $168 million.
The Addams Family 2 had the best hold of all in fourth with $7 million, in range with my $6.6 million projection for $42 million total.
Finally, despite mostly solid reviews, Ridley Scott’s medieval tale The Last Duel with Matt Damon, Ben Affleck, Jodie Comer, and Adam Driver received little good will from moviegoers. It bombed hard with only $4.7 million in fifth. That’s a far cry from my estimate of $10.4 million. Duel is further proof that adult themed product is having a difficult time getting the intended demographic to the multiplex.
Jamie Lee Curtis is back battling Michael Myers in Halloween Kills while Ridley Scott’s medieval drama The Last Duel with Matt Damon, Ben Affleck, Jodie Comer, and Adam Driver also debuts. These are the new offerings in the mid October frame as No Time to Die enters its sophomore frame following a less than expected start. You can peruse my detailed prediction posts on the fresh offerings here:
It has been two straight weeks of me either grossly underestimating (Venom) or significantly overestimating (Die) the newbies. So let’s see what happens with Halloween, shall we? I’m going with a low to mid 40s take and that would be well under the $70M+ that its 2018 predecessor made (Kills is curiously available for streaming on Peacock). Of course, given my October track record, watch it make $60 million or more. I gotta get something on the money in October though… right??
As for The Last Duel, the less than anticipated haul for 007 was further evidence that pictures geared toward older viewers continue to struggle. With scant awards buzz, I’m projecting Duel barely gets to double digits and that should mean a fourth place showing.
Back to Bond. 2015’s Spectre dropped 52% in its second frame and I see no reason why Craig’s finale wouldn’t dip about the same. Venom may fall in the mid 50s in weekend 3 with The Addams Family 2 rounding out the top five with the smallest decline (mid to high 30s) of the bunch.
Here’s how I see the top 5 looking:
1. Halloween Kills
Predicted Gross: $41.2 million
2. No Time to Die
Predicted Gross: $25.8 million
3. Venom: Let There Be Carnage
Predicted Gross: $14.1 million
4. The Last Duel
Predicted Gross: $10.4 million
5. The Addams Family 2
Predicted Gross: $6.6 million
Box Office Results (October 8-10)
Well, we all get carried away sometimes. The fantastic premiere for Venom and the hoopla surrounding Craig’s swan song got me thinking No Time to Die was capable of achieving a COVID era best start of $94.1 million. I was dead wrong. Die managed just the fourth best output of its star’s five features. The $55.2 million debut didn’t approach the vicinity of Skyfall ($88 million), Spectre ($70 million), or Quantum of Solace ($67 million). Only Casino Royale‘s $40 million fell under it. Theories will abound. Was six years (COVID delays were abundant) too long a break? Perhaps. As mentioned, it likely didn’t help that older moviegoers are still seemingly reluctant for a multiplex engagement. Die‘s saving grace is overseas grosses in line with expectations. Yet it’s hard to spin the fact that the 25th 007 adventure came in at the absolute lowest range numbers that prognosticators foresaw.
Venom: Let There Be Carnage was second with $31.7 million, not quite hitting my $33.7 million estimate. The $141 million ten-day tally is very impressive as it looks to reach $200 million by the end of its domestic run.
The Addams Family 2 took in $10.1 million in its second weekend, ahead of my $9.2 million projection for $31 million overall.
Shang-Chi and the Legend of the Ten Rings was fourth with $4.3 million (I said $3.4 million) and it’s up to $212 million.
Finally, The Many Saints of Newark crumbled after its weak beginning. The $1.4 million gross (I went with $1.8 million) brought its puny earnings to $7 million.
The five film run of Daniel Craig as perhaps the world’s most famous cinematic character comes to a close in No Time to Die, the 25th feature in the nearly 60-year-old 007 franchise. It began 15 years ago with Casino Royale, which I list at #2 in the canon behind only From Russia with Love (Sean Connery’s second entry).
For those who think the dedicated team behind the series have no time for surprises, be prepared. Like the midsection poker sequence in Royale that stands as one of the finest in Bond history, there’s times where they go all in. There’s also moments that harken back to the Roger Moore days and, in this case, I mean it as a compliment. By the time we reached Craig’s third and deservedly praised Skyfall in 2012, the pics had achieved a level of seriousness that risked becoming too dour.
Despite its considerable flaws, 2015’s follow-up Spectre thankfully remembered that the action and plots in this cinematic universe can be silly. 007’s 25th adventure isn’t afraid to display that. The threat to the world here involves passing a weaponized virus only through that individual’s DNA and those related to them. It’s a little ridiculous and I once again mean that in a good way.
This is not quite the triumph that Casino Royale was. In fact, I’d also rank this a smidge behind Skyfall. The villain is not particularly memorable. Like all Craig films that followed the first, no romantic entanglement will rival the one he had with Eva Green’s Vesper Lynd. Yet Die achieves the unlikely feat of bringing those fun Moore elements dashed with Timothy Dalton’s more weighty tone. The result is that Craig’s time as the super spy (the longest in terms of actual time but not volume of titles) is easily the most satisfying since Sean Connery’s.
From the jump, we realize Die is going to be a little different. The pre-title sequence begins with a franchise first: an eerie and gorgeously rendered flashback that sheds light on the childhood of Madeleine Swann. As you may recall, she’s Bond’s love interest from Spectre played by Lea Seydoux. Her connections to that criminal enterprise led by Blofeld (Christoph Waltz) is expanded upon. In the present day, James and Madeleine are making a romantic go of it. A visit to Vesper’s tomb disrupts both their safety and Bond’s trust in his current relationship.
This all occurs in the lengthy prologue before we hear Billie Eilish’s title cut. Let’s dispense with that. Ms. Eilish has some quality tunes, but her contribution is forgettable and not the kind of Bond tune you’ll be humming leaving the theater or rushing to download for the ride back.
In the serialized fashion we’ve come to expect from Craig’s tenure (something unique only to his), we jump five years to Bond in retirement. And (gasp) he’s no longer 007. MI6 is still going strong but relations with their U.S. counterparts are strained. It’s not the new 007 (Lashana Lynch) or M (Ralph Fiennes) or even his beloved Moneypenny (Naomie Harris) or Q (Ben Whishaw) that convince Bond to emerge from his Jamaican R&R. Felix Leiter (Jeffrey Wright), along with a new eager associate (Billy Magnussen), recruit him for a mission that involves dismantling SPECTRE. Bond hooks up (not literally as Bond’s libido seems to be catching up with his age) with another agent (Ana de Armas) to do so. This culminates in a wonderfully fabulous and bizarre action set piece in Cuba.
All this activity soon puts James in the same space with Madeline again and with Blofeld. And we soon meet Safin (Rami Malek), the head baddie with his own troubled history with the criminal organization. I won’t wax rhapsodic about Safin as I mentioned he’s a pretty weak villain. On the other hand, No Time to Die is not really focused on his story. This Bond story, more than any other besides Skyfall, is really about Bond. That gives us one more opportunity to soak in Craig’s terrific performance that’s spanned this quintet. One could argue the series goes too far in making it all about him. With Craig in control, you’ll hear few complaints from me (heck even Quantum of Solace had some cool stuff in it).
No Time to Die has Cary Fukunaga taking over directorial duties from Sam Mendes, who helmed the previous two. He presides over some amazing looking chases and battles that rank right at the top of what we’ve seen previously. On a slightly contradictory note, there’s one during the climax that was a little too video game oriented for my taste. The screenwriters (with an assist from Phoebe Waller-Bridge) also remember to bring the humor. As much as Safin isn’t much of a memorable character, he does get a moment with a toddler that left me chuckling for a good minute or two after their interaction. The makers also don’t forget that these pictures can be quite weird in their production design. Safin’s Poison Garden is a glorious example.
Additionally, the team isn’t afraid to bring a rare level of emotion to the proceedings. However, it’s not that out of place for Craig’s service. We witnessed a love story in Casino Royale that went beyond his typical dalliances. His connection to Judi Dench’s M (particularly in Skyfall) went far deeper than the same character giving James his orders in the past. In No Time to Die, Mr. Craig’s mission involves the striking visuals that we’re used to. What’s different is that over the five adventures connected to each other, I felt like these missions developed a familial bond that shook the foundation of a franchise in a stirring fashion.
Blogger’s Note (10/06): I have revised my No Time to Die prediction from $104.1 million down to $94.1 million, which would still set a COVID era record.
After the absolutely fantastic and record breaking performance of Venom: Let There Be Carnage, James Bond looks to set his own high mark this weekend with the 25th 007 adventure No Time to Die. You can peruse my detailed prediction post on it here:
Daniel Craig’s fifth and final contribution to the storied franchise has been climbing up with my estimates. Early last week, I figured it would do $72.1 million (good for second in the series after the $88 million achieved by Skyfall). By Friday, I went with $84.1 million. Following what Tom Hardy’s superhero sequel did, I am now figuring this will be the first Bond feature to debut north of $100 million.
There are potential obstacles. It certainly has a longer runtime than Venom. We would be in new territory for this franchise with a gross that enormous. That said, no one foresaw the Venom follow-up hitting $10 million more than its predecessor. I also believe the hoopla surrounding Die being Craig’s swan song (and the solid reviews) will only help.
The original Venom fell 56% in its sophomore in October 2018 to $35 million. Competition this time around is steeper and I do believe a 60% or more dip is certainly possible (thought it could continue to confound expectations).
After a decent debut, The Addams Family 2 will be third and I’d look for a drop in the mid 40s range (similar to its predecessor from 2019). Shang-Chi and the Legend of the Ten Rings should hold the 4 spot with The Many Saints of Newark (after a subpar showing) in the 5 position.
Here’s how I envision the chart playing out:
1. No Time to Die
Predicted Gross: $94.1 million
2. Venom: Let There Be Carnage
Predicted Gross: $33.7 million
3. The Addams Family 2
Predicted Gross: $9.2 million
4. Shang-Chi and the Legend of the Ten Rings
Predicted Gross: $3.4 million
5. The Many Saints of Newark
Predicted Gross: $1.8 million
Box Office Results (October 1-3)
I’m pretty sure the number $58.7 million is going to haunt me for awhile. That’s what I said Venom: Let There Be Carnage would gross out of the gate and, umm, I was a little low. As mentioned, the Tom Hardy sequel set a pandemic era best haul with a cool $90 million (topping the $80 million of part 1 and the COVID times best $80 million achieved by Black Widow). I think it’s safe to say get ready for part III as champagne corks are popping over at Sony.
The Addams Family 2 couldn’t come close to the $30 million start of part 1, but it wasn’t expected to. The $17.3 million output is right in line with the best of expectations and slightly ahead of my $16.6 million projection.
Shang-Chi and the Legend of the Ten Rings was third with $6.1 million (I was higher at $7.6 million) for $206 million total. It’s the first pic to reach the double century milestone domestically since COVID.
Sopranos prequel The Many Saints of Newark was a theatrical dud at just $4.6 million for fourth. I went considerably north of that with a $8.6 million projection. Look for this to fade fast as HBO hopes its Max subscribers stream it on their service.
Dear Evan Hansen tumbled badly in weekend 2 with $2.4 million. Again I was generous with $4.2 million. That’s a troubling 67% decline after a weak opening and the tally is $11 million.
The 15 year era of Daniel Craig as one of cinema’s most famous characters concludes with No Time to Die. James Bond will return… but not with arguably his best incarnation since Sean Connery. Prior to the October 8 stateside bow, the embargo lifted this evening and the results are encouraging.
007’s 25th adventure stands at 89% on Rotten Tomatoes (with 35 reviews out at press time). Many critics are calling it a surprisingly emotional swan song for Craig’s contribution to the British super spy series. There’s also hints that it resembles more of the Roger Moore era of the canon than one might expect (a direction it seemed to be taking with predecessor Spectre). Ana de Armas is drawing raves for her very short amount of screen time. The consensus on Rami Malek’s main villain seems a bit mixed. There’s some complaints about the length (a Bond high 163 minutes).
Yet no one seems to be arguing that it’s a rather fitting conclusion to Craig’s tenure in the part. So will Oscar take notice? Skyfall, the third pic in the actor’s five appearances, probably came close to a Best Picture nod. It did earn five nominations – winning Sound Editing and Original Song (Adele’s title track) with mentions in Sound Mixing, Score, and Cinematography. 2015’s follow-up Spectre (which had less laudatory reviews) managed a sole nomination in Song with Sam Smith’s “The Writing’s on the Wall” where it scored an upset victory.
I wouldn’t be shocked if an internet campaign is mounted for Craig to get a Best Actor slot (kind of as a tribute to the whole run). It’s highly unlikely to materialize. I do believe Die will make it three in a row for the songs with Billie Eilish’s title tune work. Whether she wins is a question mark (Beyonce has a ditty from King Richard that might serve as its main competition). Cinematography and Sound are two other feasible possibilities.
Bottom line: while I don’t foresee this factoring into the biggest races, tech and musical recognition could be coming its way. My Oscar Prediction posts for the films of 2021 will continue…
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