Disney hopes that Elton John: Never Too Late is still standing among the five nominees for Documentary Feature come Oscar nomination time. Chronicling the legendary singer’s swan song concert tour, R.J. Cutler and Elton’s husband David Furnish direct. A November 15th limited theatrical release precedes the December 13th Disney+ streaming launch.
Co-director Cutler is no stranger to the celeb doc genre or awards attention. 1993’s The War Room about Bill Clinton’s 1992 campaign was a nominee in the race. He also helmed 2021’s Billie Eilish: The World’s a Little Blurry and the upcoming Martha Stewart profile Martha (look for that Oscar Prediction post shortly).
Late started its screenings at the Toronto Film Festival. While mostly fresh, many reviews were far from gushing. The Rotten Tomatoes score is 71%. That’s probably not enough to land it a nomination or even to be on the shortlist.
Where this could pop up is in Original Song where the new track “Never Too Late” (a duet between Elton and Brandi Carlile) reportedly plays over the end credits. The movie’s subject is already a two-time Academy winner for his The Lion King and Rocketman ditties. His star power could get him in contention again though I’ve yet to predict it. My Oscar Prediction posts will continue…
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…
Ahead of its May 31st bow on Disney+, Jim Henson Idea Man has premiered at Cannes. The high profile doc chronicles the life of the famed puppeteer including his creation of Sesame Street and the Muppets. Oscar winner Ron Howard directs.
It is a safe assumption that this will be one of the most viewed documentaries of 2024. Critical reaction is appreciative though some of the early reviews aren’t overly glowing. The RT score is 88%.
The voters in this particular branch of the Academy often don’t go for pics based on iconic figures. Two recent examples include Won’t You Be My Neighbor? from 2018 and Still: A Michael J. Fox Movie from last year. I suspect the story may play out the same for this. My Oscar Prediction posts will continue…
Bobi Wine: The People’s President from directors Christopher Sharp and Moses Bwayo chronicles the Ugandan presidential campaign of the title character. Having originally debuted at the Venice Film Festival in 2022, it received distribution stateside last year via Disney+/National Geographic. It’s one of 15 shortlisted features for Best Documentary Feature.
Sporting a 100% RT score, Bobi‘s filmmakers are freshly nominated for the DGA prize for directing for documentary alongside 20 Days in Mariupol, Beyond Utopia, Kokomo City, and Still: A Michael J. Fox Movie. Only Kokomo is not eligible for Academy consideration.
This was under my radar for the majority of speculating season. However, it has sat at #9 in my last two rounds of predictions. I doubt it vaults into the top five when I make final picks later this week, but it’s certainly a viable contender for inclusion. My Oscar Prediction posts will continue…
I didn’t do an Oscar Predictions post on Flamin’ Hot when it premiered at South by Southwest back in March or when it began streaming over the summer on Hulu and Disney+. Eva Longoria’s directorial debut tells the true life tale of a man who claimed he invented the title seasoned Cheetos. Jesse Garcia, Annie Gonzalez, Dennis Haysbert, and Tony Shalhoub star.
Reviews were fairly decent at 69% on Rotten Tomatoes, but this didn’t strike me as an awards contender at the time or now. That’s with one exception and this brings us to Diane Warren. The songwriter has contributed many tracks to feature films and she has 14 Academy nominations to speak for it. This dates back nearly 40 years starting with “Nothing’s Gonna Stop Us Now” from Mannequin, continuing with gigantic hits like “Because You Loved Me” from Up Close and Personal and “I Don’t Want to Miss a Thing” from Armageddon, and including last year’s ceremony with “Applause” from Tell It Like a Woman. Despite the impressive number of noms, Warren has yet to win Original Song (though she did pick up an Honorary Oscar for her work earlier this year).
Flamin’ Hot includes the track “The Fire Inside” performed by Becky G and written by the frequent hopeful. It hasn’t been on my radar screen in my previous predictions. Yet now that a planned documentary about Warren seems to be delayed to 2024 (in which I’m sure she’ll have a contending track), one has to consider this song for inclusion. Don’t be surprised if it materializes in my top ten possibilities in my next update. It’s risky to bet against the penner of the tune. My Oscar Prediction posts will continue…
Disney/Pixar hopes the elements are there for a hit when Elemental debuts on June 16th. The 27th feature from the studio comes from director Peter Sohn, who made a rare Pixar disappointment in 2015’s The Good Dinosaur. Voiceover artists include Leah Lewis, Mamoudou Athie, Ronnie del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Joe Pera, and Matt Yang King.
Four years ago, Toy Story 4 took in over $400 million domestically. It’s been a rather unimpressive run for the Mouse Factory’s nearly 30-year-old production company since. Onward debuted to $39 million and that figure was likely low since it opened in March of 2020 just as COVID shutdowns were beginning. Soul, Luca, and Turning Red went the Disney Plus route due to the pandemic. Last summer’s Lightyear was a high profile flop with a $50 million premiere and $118 million eventual stateside gross (well under expectations).
I don’t see Elemental reversing the downturn. Some youngsters will be preoccupied with The Flash or maybe they’ll go see Spider-Man: Across the Spider-Verse again. Reviews won’t get audiences to rush out either as the Rotten Tomatoes is 63% (low for Pixar).
Add all that up and I think this will be lucky to get past $35 million.
Elemental opening weekend prediction: $30.6 million
There could be a Pinocchio movie that contends for Oscars in 2022, but it’s not the one this post is focused on. Today marks the Disney Plus premiere of Pinocchio, the studio’s latest live-action remake of their iconic IP. The musical fantasy has some high profile talent with Robert Zemeckis directing and Tom Hanks, Cynthia Erivo, and Luke Evans appearing. Voice work is contributed by Benjamin Evan Ainsworth (as the title character), Joseph Gordon-Levitt, and Keegan-Michael Key.
Some reviews claim it’s an OK watch, but plenty others have been quiet derisive. The Rotten Tomatoes score is 32%. Even without critical acclaim, the Mouse Factory’s live-action retelling of The Lion King managed a Visual Effects nod three years back. Don’t look for that to occur here as some of the buzz is quite dismissive of its overall look.
In November, Guillermo del Toro’s stop-motion animated version of the puppet turned real boy arrives on Netflix. We’ll see if it garners Academy chatter. This won’t. My Oscar Prediction posts will continue…
Sam Raimi’s horror sense and gory sensibilities (Evil Dead style) permeates Doctor Strange in the Multiverse of Madness. On paper this is a sequel to 2016’s predecessor which introduced Benedict Cumberbatch as the cocky mythical surgeon Stephen Strange. As with most sagas in the MCU, his character has been in plenty of other adventures in the interim (most notably the gargantuan Avengers: Infinity War and Endgame). The fifth word is the most key in the title. As Spider-Man: No Way Home (with its understandably audience pleasing cameos) showed just a few months back, this cinematic universe is now comprised of scores of them. Multiverse has a limited amount of fun with this development that’s far less memorable.
Instead this sequel often serves as a continuation of Disney Plus’s first Marvel streaming series WandaVision with Elizabeth Olsen. If you didn’t watch that, you’re going to be a little lost. Olsen’s Wanda, on the TV show, created an idyllic home life with Vision (Paul Bettany) and two cute kids with superhero powers. The problem – it was a completely invented reality and Wanda was causing harm to others by continuing the charade. She comes to her senses eventually. Multiverse finds Wanda being taken over by her alter ego the Scarlet Witch after acquiring a book of magic spells. Her character motivations stretch credibility with the same elasticity as a certain cameo where she battles familiar MCUers with some different faces.
Wanda/Scarlet’s plans to reunite with her made up kiddos jeopardize life in plenty of multiverses. None of them involve her wanting to reunite with the love of her life Vision (there’s that credibility issue). It does involve Doctor Strange teaming up with America Chavez (Xochitl Gomez). I’m sure her persona will be fleshed out in future installments. For now she’s a teen with the ability to jump multiverses who possesses powers she’s just beginning to harness. Strange first makes her acquaintance while attending the wedding of his former flame Christine (Rachel McAdams). A CG monster interrupts the reception on the streets outside and an eye popping (literally) battle ensues. The Scarlet Witch wants America for her own nefarious purposes so the Doc must protect her across multiple dimensions.
Actually… only a couple of dimensions as Multiverse never gets much screen time to explore the possibilities other than a brief and very cool sequence. Therein lies part of the problem. While I know we’re dealing with intergalactic mayhem that can mean all sorts of unanticipated cameos and landscapes, Madness can feel surprisingly low stakes. It doesn’t help with the aforementioned matters of Scarlet’s clunky story treatment.
What does occasionally assist in the entertainment value is Raimi being in the director’s chair. Taking over for Scott Derrickson, the veteran filmmaker doesn’t shy away from jump scares and his unique brand made notable four decades ago in Evil Dead. There are unquestionably some impressive and spellbinding visuals. There’s also a pop-in by Bruce Campbell that is more satisfying than higher profile cameos. Unfortunately this suffers from a malady similar to Raimi’s Spider-Man 3 with villainous plots that don’t quite ultimately work. Chiwetel Ejiofor unceremoniously returns as a version of Mordo, Strange’s former ally turned foe.
All this Strange magic while Stephen pines for Christine makes for a middle of the universe to lower tier universe experience. I appreciate Kevin Feige and the team allowing Raimi so much creative control. However, while previous confrontations were fought in fewer dimensions, I felt they covered more meaningful ground. As the MCU moves forward across all these galaxies (sometimes with inspiration and sometimes trudging on shaky foundations), we’ll have lots of opportunities to see how the mix turns out. I still have guarded optimism.
Blogger’s Update (06/23): On the eve of its premiere, I am revising my Elvis prediction from $42.6M to $35.6M. That still gives it the #1 slot over Top Gun: Maverick… barely.
In what should be an intriguing and potentially unpredictable weekend to close out the June box office, Baz Luhrmann’s musical biopic Elvis and critically lauded horror pic The Black Phone debut. You can peruse my detailed prediction posts on both of them here:
There’s plenty of possibilities for how the top 5 will look. While there’s no doubt about which quintet will populate the list, the order is up for grabs. I believe Elvis will open closer to the $51 million of Bohemian Rhapsody than the $25 million of Rocketman. That should be enough to earn it the title of Box Office King.
However, if it does premiere in the mid to late 20s range, the chances of a #1 start are considerably lower. We could legitimately see Top Gun: Maverick rise from 3rd to 1st. With a projected dip in the low to mid 20s, it should at least rise to 2nd place. That’s assuming current two-week champ Jurassic World: Dominion loses more than half its audience in its third go-round and Lightyear also sees a sophomore fall of around 55%. I’m assuming both.
And there’s the wild card that is The Black Phone. Horror titles often outdo expectations and with its aforementioned solid reviews, that could apply here. I’m sticking with a debut of just under $20 million and that would likely mean a fifth place reception.
Here’s how I envision perhaps the most fascinating box office weekend so far in the pandemic era looking:
1. Elvis
Predicted Gross: $35.6 million
2. Top Gun: Maverick
Predicted Gross: $34.8 million
3. Jurassic World: Dominion
Predicted Gross: $28.3 million
4. Lightyear
Predicted Gross: $23.2 million
5. The Black Phone
Predicted Gross: $18.6 million
Box Office Results (June 17-19)
In a major upset, Jurassic World: Dominion remained #1 for the second frame with $59.1 million. That’s stronger than my $54.8 million estimate as the threequel is up to $250 million in its first ten days. That’s $15 million under where predecessor was at four summers ago.
Jurassic‘s reign was unexpected because Disney/Pixar’s Toy Story spinoff Lightyear was widely anticipated to rule the charts. Instead it grossed $50.5 million for second place. That’s, ahem, $35 million under my projection of $85.5 million and less than half of what Toy Story 3 and Toy Story 4 made out of the gate. There’s plenty of think pieces out there for why Lightyear was a disappointment. It includes theories about politics, Disney Plus being the same day distributor for recent Pixar material, and the absence of Tim Allen as the voice of the title character. Any way you slice it, it’s a shocker.
Top Gun: Maverick continued its amazing run in third with $44.6 million – dropping a scant 14%. I was lower at $36 million. The biggest hit of the year (and of Tom Cruise’s career by far) is flying at $466 million as its domestic haul will reach $500 million shortly. As mentioned, if Elvis doesn’t reach my projection, it could see a return to the top spot. I wrote more about Maverick‘s unreal performance yesterday on the blog and it’s here:
John Mulaney and Andy Samberg lend their vocal and comedic talents to Disney’s Chip ‘n Dale: Rescue Rangers, based on the animated series that started in 1989. Akiva Schaffer (Samberg’s partner in their group The Lonely Island) directs. Other familiar faces behind the pic’s creatures include KiKi Layne, Will Arnett, Eric Bana, Keegan-Michael Key, Tim Robinson, Seth Rogen, J.K. Simmons, and Dennis Haysbert.
Rangers is foregoing the theatrical experience with a Disney+ rollout this Friday. Could the Mouse Factory make a play for a Best Animated Feature nod? With the review embargo lapsing, that seems at least feasible. Sitting at 77% on Rotten Tomatoes, some critics are heaping praise with some comparisons to Who Framed Roger Rabbit.
On the other hand, the studio will surely push the upcoming Lightyear and this spring’s Turning Red in the category. It remains to be seen whether there’s a significant push for the chipmunks. My Oscar Prediction posts will continue…
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