Daily Streaming Guide: March 29th Edition

The Streaming Guide today starts with a bold picture that defies genre explanation from 2018 and it’s currently available on Hulu:

Sorry to Bother You is one of the most audacious directorial debuts in recent memory from  Boots Riley, most known for his contributions to the world of hip hop. It is a daring race relations comedy and drama with an unmistakable point of view on capitalism. Sorry is also a romance, a tale of unions, and it manages to somehow incorporate science fiction elements with human and horse hybrids. That’s right… if you’re looking for something wholly original to view, this fits the bill. The cast includes Lakeith Stanfield, Tessa Thompson, Armie Hammer, and Danny Glover.

For my second pic (also via Hulu), I turn to 2017’s I, Tonya. From Craig Gillespie, it recounts the sordid saga of the 1994 Winter Olympics attack on figure skater Nancy Kerrigan. Margot Robbie earned an Oscar nod for her portrayal of rival Tonya Harding and Allison Janney took Supporting Actress gold as her wildly eccentric mother. Seek out ESPN’s 30 for 30 doc about the subject and watch I, Tonya as an added bonus.

And that does it for today, folks! Until next time…

Jumanji: The Next Level Box Office Prediction

One of the biggest box office successes of 2017 was that of Jumanji: Welcome to the Jungle, the reboot of the 1995 Robin Williams family adventure. Considered to be a bit of a gamble at the time, Jungle ended up developing amazing legs at multiplexes and grossing just over $400 million domestically. In doing so, it edged out Spider-Man as Sony’s highest grossing stateside effort.

The inevitable sequel finds Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Nick Jonas, Alex Wolff, Morgan Turner, Se’Darious Blain, and Madison Iseman reprising their roles. Newcomers to the game include Danny DeVito, Danny Glover, and Awkwafina. Jake Kasdan returns to the director’s chair.

Before Jungle went on its moneymaking run, it opened at #2 to the sophomore frame of Star Wars: The Last Jedi. It opened over the long Christmas frame two years ago on a Wednesday, earning $36 million over the traditional Friday to Sunday portion with a six-day holiday haul of nearly $72 million.

In 2019, The Next Level gets the jump on Star Wars: The Rise of Skywalker by a week. And while this hopes to develop minor week to week drops like its predecessor, the sequel looks to make more than mid to high 30s out of the gate for the regular weekend.

Some estimates put this at around $40 million while others have it inching towards $50 million or possibly a bit more. I’ll say a gross in the high 40s is my range as this hopes for positive word-of-mouth and smooth sailing ahead like Jungle before it.

Jumanji: The Next Level opening weekend prediction: $48.7 million

For my Black Christmas prediction, click here:

https://toddmthatcher.com/2019/12/05/black-christmas-box-office-prediction/

For my Richard Jewell prediction, click here:

https://toddmthatcher.com/2019/12/06/richard-jewell-box-office-prediction/

Summer 1989: The Top 10 Hits and More

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

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

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

10. Uncle Buck

Domestic Gross: $66 million

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

9. Turner & Hooch

Domestic Gross: $71 million

Shortly before Tom Hanks started collecting Oscars and doing primarily dramatic work, he was still known for comedy in the late 80s. This one teamed him with a dog in a buddy comedy that followed the similarly themed with K9 with Jim Belushi from three months earlier. This one made a bit more cash.

8. When Harry Met Sally

Domestic Gross: $92 million

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

7. Dead Poets Society

Domestic Gross: $95 million

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

6. Parenthood

Domestic Gross: $100 million

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

5. Ghostbusters II

Domestic Gross: $112 million

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

4. Honey, I Shrunk the Kids

Domestic Gross: $130 million

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

3. Lethal Weapon 2

Domestic Gross: $147 million

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

2. Indiana Jones and the Last Crusade

Domestic Gross: $197 million

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

1. Batman

Domestic Gross: $251 million

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

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

The Abyss

Domestic Gross: $54 million

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

Weekend at Bernie’s

Domestic Gross: $30 million

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

Road House

Domestic Gross: $30 million

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

Do the Right Thing

Domestic Gross: $27 million

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

sex, lies, and videotape

Domestic Gross: $24 million

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

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

Star Trek V: The Final Frontier

Domestic Gross: $52 million

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

The Karate Kid Part III

Domestic Gross: $38 million

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

Licence to Kill

Domestic Gross: $34 million

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

Lock Up

Domestic Gross: $22 million

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

Casualties of War

Domestic Gross: $18 million

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

Pink Cadillac

Domestic Gross: $12 million

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

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

The Dead Don’t Die Box Office Prediction

Indie darling Jim Jarmusch gets into the zombie game this weekend with The Dead Don’t Die. The comedy was selected to open the Cannes Film Festival last month and it comes with an all-star cast that includes Adam Driver, Bill Murray, Selena Gomez, Chloe Sevigny, Steve Buscemi, Tilda Swinton, RZA, Tom Waits, Danny Glover, Caleb Landry Jones, Rosie Perez, and Carol Kane.

Prior to its French debut in May, the pic was looked at as a potential summer sleeper. However, the Cannes buzz has potentially slowed its walk toward box office success. Reviews were very mixed and it currently holds just a 51% rating on Rotten Tomatoes.

Jarmusch’s largest domestic earner is Broken Flowers, his 2005 collaboration with Murray. It earned $13 million and is the only title in the director’s catalogue to top $10 million. Audiences dig zombies but with so-so reaction and a smallish theater count of 550, I’m not even certain this will top Flowers.

I’ll predict a sluggish performance for the Dead.

The Dead Don’t Die opening weekend prediction: $1.8 million

For my Men in Black: International prediction, click here:

https://toddmthatcher.com/2019/06/05/men-in-black-international-box-office-prediction/

For my Shaft prediction, click here:

https://toddmthatcher.com/2019/06/06/shaft-box-office-prediction/

For my Late Night prediction, click here:

https://toddmthatcher.com/2019/06/09/__trashed/

The Old Man & The Gun Movie Review

Forrest Tucker’s life of easygoing deception includes telling the woman he’s courting that he’s a salesman. In a way he is. Forrest (Robert Redford) is selling the most pleasant experience imaginable for the bank tellers he’s robbing. He does so with a calm and reassuring demeanor and the occasional megawatt movie star smile. Tucker was a real man who spent his decades doing what he excelled at. He was noted for being a charmer and Redford (in what might be his final role) certainly knows how to play that.

The Old Man & The Gun is a testament to Redford’s decades of doing what he’s excellent at. Tucker is an outlaw and that moniker holds true for the legend playing him. He’s played other outlaws and the actor that’s championed independent film fits that description.

Forrest’s biggest claim to fame was his ability to break out of prisons (close to 20 times). David Lowery’s feature concentrates more on what put him in the slammer in the first place across Texas and other states. We meet him on a work day as he ambles into a local branch in the early 1980s. He calmly and appealingly tells the teller that he’ll be making an unauthorized withdrawal. The police who interview his marks seem to all say the same things… seemed like a nice guy.

That doesn’t matter much to detective John Hunt (Casey Affleck, a frequent Lowery contributor). He’s bound and determined to catch Forrest and his aging two colleagues (Tom Waits and Danny Glover). Hunt could be at a disadvantage. He seems worn down by his job. Forrest, even at his advancing age, still seems to relish it.

The heart of Gun involves Forrest meeting Texas farmer and widow Jewel (Sissy Spacek). Their potential romance gives him a bit of pause. He’s never ridden a horse. She’s got three of them on her property. It’s apparently on his to-do list. It would seem a life enjoying his lifted money on the farmland might be too. Or perhaps not as his job genuinely brings him the greatest joy.

Watching Redford and Spacek together gives us joy. They’re dynamite together. The stylish flair employed by its director is joyous to witness. The same adjective describes listening to Tom Waits giving a monologue about Christmas in his childhood. On the other hand, Affleck’s role isn’t really fleshed out. The screenplay attempts to give him some back story with his wife (Tika Sumpter) and kids, but it never really takes form. There’s also the matter of the audience not really wanting Hunt to catch his likable prey.

This is ultimately Redford’s show. If this is his curtain call, it’s a relaxed and awfully entertaining one. We’re reminded of the star’s former works in old clips toward the end and I found it emotionally gratifying. I finished The Old Man & The Gun sporting the same smile that its subject greets those tellers.

***1/2 (out of four)

The Predator Movie Review

There are moments in The Predator where it feels like the franchise went the route of 80s slasher series when Freddy, Jason, and Michael ruled the day. With the alien creatures roaming the suburbs for a brief stretch and with some deliriously gory bits and extreme profanity, I could imagine this is as the fifth installment when the well is running dry. This could maybe be Predator V following Predator In Harlem or something. It’s a time in the series when ridiculous and probably offensive characters like an autistic kid who’s actually deemed an enhancement in human evolution is introduced. The main protagonist would be dull and boring, not close to matching Arnold Schwarzenegger in the 1987 original or even Danny Glover’s overburdened LAPD officer in the 1990 sequel. And the one-liners would harken back to the rock solid first one but generally be lamer.

Strangely enough, it’s some of that which makes the 2018 edition mindless fun in the first half. This isn’t anything of quality, but it serves as an occasional guilty pleasure VHS throwback that would have filled the shelves of those defunct rental institutions. I think director Shane Black and co-writer Fred Dekker know that. Black has turned into a fine filmmaker with action comedies like Kiss Kiss Bang Bang and The Nice Guys. He’s known mostly for his behind the scenes work, but he memorably played the role of Hawkins in Predator’s big screen debut 31 years ago.

The screenplay makes some downright bizarre choices. Jacob Tremblay’s aforementioned autistic kid is one of them. His Special Forces dad Quinn (Boyd Holbrook) is that forgettable head alien battler. Holbrook discovers a title character on a mission and ships some evidence of its existence to his boy. That leads the extraterrestrial to the ‘burbs to retrieve his property. Quinn finds himself detained by the government led by shady Sterling K. Brown and in the company of a motley crew of PTSD soldiers. They include Trevante Rhodes (whose primary character trait is that he smokes), Thomas Jane (he has Tourette’s), and Keegan-Michael Key (yo mama jokes). They’re the guys, along with Olivia Munn’s biologist, who fight not only two Predators, but the space dogs that accompany them. That’s another odd visual choice.

I couldn’t help but be fascinated by Black and Dekker’s outright nuttiness with their take on The Predator. However, it doesn’t last. By the third act, the pic moves to a jungle looking setting with some dodgy effects. We’re hammered with familiarity. That’s what made famous predators like Freddy and Jason and Michael grow stale, but their countless sequels were punctuated with an inspired sequence here and there. We see that early in this reboot and then not really again.

** (out of four)

Sorry to Bother You Movie Review

In one sense, Boots Riley’s Sorry to Bother You is conventional with its pro-labor and anti-corporate message. How it gets there is wildly unconventional, often original, occasionally hilarious, and clearly from a new filmmaker making his voice and views heard. Riley comes from the world of hip hop and his political perspectives are unmistakable in short tracks. With nearly two hours to work with here, his words can’t possibly be as tight and controlled. This film is messy, but rarely a mess. Like the best music in the genre, it’s not easily forgotten. Similar to a bass line or lyric that won’t escape you, moments here have the same effect.

LaKeith Stanfield is Oakland native Cassius Green, who’s struggling to find a job that pays the bills. He lives in a garage with his artsy girlfriend Detroit (Tessa Thompson). He owes lots of back rent to his uncle (Terry Crews) that owns the property. While the Golden State area looks current, the picture is set in an alternate reality. There’s a massive conglomerate that goes by WorryFree. We see ads on TV that promote a life of not paying bills and free housing. The catch? A lifetime contract of servitude. It’s absolutely an allegory for the director’s view of today’s workforce. While WorryFree seemingly appeals to many, this is not so for Cassius, Detroit, and lots of protesters.

Instead, Cassius finds work as a telemarketer and he initially finds it mundane and challenging. That is until a coworker (Danny Glover) imparts his secret of success. That recipe is using his “white voice”. Those voices are provided by recognizable faces for main characters including David Cross, Lily James, and Patton Oswalt. Cassius suddenly finds himself climbing the corporate ladder once the modulation happens. It leads him to gain the designation of “Power Caller”. That means moving to a swanky floor where only the Caucasian voice is allowed to be used. This also means he becomes a scab to his fellow workers and to Detroit. His financial rise soon puts him in touch with the leaders of WorryFree and its CEO Steve Lift (Armie Hammer).

Once that partnership is forged, Sorry to Bother You veers into genuinely unexpected directions (trust me on this one). Riley, however, never strays too far from the overall message. He’s got a fine cast to deliver it. Stanfield (best known for his supporting role in Get Out) is terrific and we’ve certainly never seen Hammer like this before. There are some genuine laugh out loud moments. One involves a passive aggressive argument Cassius has with friend and coworker Salvador (Jermaine Fowler). Another pertains to Steve’s unexpected reaction to Cassius’s reaction when a key plot point is revealed.

When we get to the third act, its unconventional tone gallops into an entirely new gear. It’s not totally successful, but I found myself admiring Riley’s kitchen sink approach to it. For viewers looking for something that’s often remarkably different, Bother hits those notes with enough frequency for a solid recommendation.

***1/2 (out of four)