Matthew McConaughey packed on some pounds for next weekend’s Gold, but whether it manages to be a heavyweight at the box office is very much in question. The pic casts the Oscar winner as a hapless businessman who strikes you know what in the jungles of Indonesia. Stephen Gaghan makes his first directorial effort since 2005’s Syriana and costars include Bryce Dallas Howard, Edgar Ramirez, Corey Stoll, Stacy Keach, Toby Kebbell, Craig T. Nelson, and Bruce Greenwood.
The early 90s set adventure comedy/drama faces some obstacles in breaking through. First, while it received a very late 2016 limited release for Academy consideration, that didn’t bear fruit. Gold stands at only 43% currently on Rotten Tomatoes. While McConaughey has been a draw in various genres, this may not stand out enough to strike… you get it.
I believe a decent comp for this could be the star’s previous headlining role – last summer’s Free State of Jones, which managed only $7.5 million in its premiere. Bottom line: I don’t see audiences rushing to it and I’m not totally convinced it even reaches the Jones number.
TheGirlontheTrain isn’t skillfully made enough to realize its own trashiness. This differs greatly from David Fincher’s GoneGirl, which embraced its pulpy source material and had lots of fun with it. Based on a huge bestseller by Paula Hawkins, Train takes itself too seriously to be the guilty pleasure it ought to be. That’s a shame because Emily Blunt’s central performance continues her fine work rolling along.
She plays Rachel, a divorced alcoholic who spends the bulk of her time on the titled mode of transportation. Her boozy travels send her past her old home, where her ex (Justin Theroux) lives with his new wife and old mistress (Rebecca Ferguson) and baby. It is two houses down, however, where Rachel’s chemically imbalanced imagination is running wild. This is where Megan (Haley Bennett) and her husband Scott (Luke Evans) reside and the passenger watching them envisions their relationship to be the one she pines for. Of course, there’s far more beneath the surface and that goes for all the characters involved.
When Rachel realizes there’s more to the facade she’s conjured for the couple, it leads to a mystery and a disappearance that involves Allison Janney’s detective. It leads to questioning Rachel’s whereabouts on a typical blackout drunken evening. I suppose, too, it eventually leads to a twist that is one you’re likely to pick up on earlier than you should. Whether this is designed that way is something I don’t know, but it’s a flaw nonetheless.
Our title character’s abuse of her own body and mind and other abuses I won’t reveal gives Blunt a chance to shine. Her performance is really the only one worthy of note, though Bennett does have a couple moments of her own. The story is told in a flashback style that gives all the women some backlog, but it’s Rachel who merits our attention. If only director Tate Taylor didn’t seem intent on pushing a dour vibe instead of recognizing this is vacation paperback material, this could’ve worked better. Blunt almost makes it worth the trip, but not quite.
Two years ago, David Fincher’s Gone Girl successfully adapted its mega-hit novel source material. It earned $167 million stateside and nabbed an Oscar nomination for its lead, Rosamund Pike. This Friday’s The Girl on the Train has been compared to that title frequently. It’s based on a mystery thriller novel that scored with readers just last year. It’s expected to bring in a large female demographic when it debuts this weekend. It has a female lead (Emily Blunt) with a role some have speculated could garner Academy attention. In my previous Oscar prediction posts (they come out every Thursday folks!), I’ve listed Train as a possibility for Actress (Blunt), Supporting Actress (Haley Bennett), Adapted Screenplay, and even Picture. I will note that I had yet to include any of those nominations within the predicted five (or five to ten regarding Picture).
Well, today the critical reaction was unleashed on The Girl on the Train with numerous reviews rolling in. The verdict? Mixed. Very mixed. EW gave it a rave, but several other prominent writers were not kind at all. I don’t really believe this will endanger its box office prospects (I’ve got it slated for a $28.2M debut). Its Oscar prospects, on the other hand, appear… gone. This Thursday, I’ll have my updated post listing the possibilities for the previously mentioned categories. Blunt and Bennett have received some kind words in even some of the negative reviews. Yet their inclusion in the acting races appears far less likely than last week. Screenplay or Picture? Not a chance.
Just last year, the novel The Girl on the Train by Paula Hawkins became a massive bestseller and Universal Pictures wasted no time in getting the big screen adaptation to eager audiences. The book has been described as the “next Gone Girl” and the studio would love to replicate that film adaptation’s success here.
The thriller is directed by The Help‘s Tate Taylor and stars Emily Blunt with a supporting cast that includes Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramirez, Lisa Kudrow, and Laura Prepon.
Train should undoubtedly bring in fans of the source material (including a hefty female demographic). Yet reaching the heights of Gone Girl seems like a fairly unlikely prospect. Two years ago in the same first October weekend, the David Fincher effort earned just over $37 million out of the gate. It wouldn’t shock me to see this top $30M for its opening weekend, but I believe a mid-high 20s gross is more probable. If Train manages solid audience buzz, it could keep chugging along with smallish drops in future weekends.
The Girl on the Train opening weekend prediction: $28.2 million
For my The Birth of a Nation prediction, click here:
Continuing on with my first round of Oscar predictions, day two brings us to Best Supporting Actor. In both 2014 and 2015, my late August/early September initial picks yielded two out the eventual five nominees. Last year, these first picks correctly identified winner Mark Rylance in Bridge of Spies.
There are plenty of contenders to list at this early stage. One of the big question marks in plenty of categories is Martin Scorsese’s Silence, a passion project and historical drama that has yet to release a trailer or announce when it’s coming out. It is assumed that it’ll be out in time for Oscar consideration. If so, Liam Neeson is likely to be a contender in this race (and maybe costar Adam Driver).
As mentioned yesterday with Kristen Stewart in Supporting Actress, Ang Lee’s Billy Lynn’s Long Halftime Walk appears to be a potential major awards player and the beloved Steve Martin could reap the benefits with his first ever acting nod. Vin Diesel, Chris Tucker, and Garrett Hedlund are also possibilities.
Michael Shannon could be under consideration for two high-profile fall entries – Jeff Nichols’ Loving or Tom Ford’s Nocturnal Animals.
Barry Jenkins’ indie African-American romantic drama Moonlight is getting attention (I predicted Naomie Harris yesterday for Supporting Actress recognition) and Mahershala Ali (known to many as Remy Danton on Netflix’s “House of Cards”) could find himself in the mix.
Damien Chazelle’s La La Land is also expected to garner Oscar talk (it’ll screen for critics on the festival circuit in days) and it could feature a breakout role for singer John Legend.
And there’s many more possibilities, including Warren Beatty’s return to the silver screen in Rules Don’t Apply. There’s John Goodman’s already acclaimed work in 10 Cloverfield Lane (though the genre could make him a long shot). Or maybe a first nomination for Hugh Grant in Florence Foster Jenkins. And there’s two movies that Aaron Eckhart could find himself being considered for.
As always, the list will be updated in the weeks and months ahead, but for now…
TODD’S EARLY OSCAR PREDICTIONS – BEST SUPPORTING ACTOR
***BLOGGER’S UPDATE (08/23/16): It was announced today by the Weinstein Company that they are significantly changing their release pattern for Hands of Stone. The film was originally scheduled to debut this Friday on approximately 2,000 screens. Now, it will premiere on only 800 screens with a wider roll-out on Wednesday (08/31). This forces a shift in my prediction for it. My $6.1 million estimate is now $3.2 million.
Centering on the relationship between real-life boxing legend Roberto Duran and his trainer Ray Arcel, Venezuelan filmmaker Jonathan Jakubowicz brings us Hands of Stone next weekend. Edgar Ramirez plays the fighter with Robert De Niro as his corner man. Costars include Usher (playing Sugar Ray Leonard), Ana de Armas, Ellen Barkin, Ruben Blades, and John Turturro.
The pic premiered at the Cannes Film Festival in May to a mixed reaction after sitting on the shelf for over two years (not a good sign). Movies about the sweet science have been prevalent this decade with hits like 2010’s The Fighter and last year’s Creed. They had the benefit of critical acclaim and Oscar buzz. There was last summer’s Southpaw with Jake Gyllenhaal, which managed to do just OK with a $52 million overall gross.
Hands of Stone arrives in the dog days of August, where new titles typically fight to reach double digits. The Weinstein Company is distributing and they’re rumored to be making a push for De Niro in the Supporting Actor Academy race. They will probably not be successful like Sylvester Stallone was for Creed. And this will likely not pack much of a punch in the box office ring.
Hands of Stone opening weekend prediction: $3.2 million
For my Mechanic: Resurrection prediction, click here:
Having premiered at the Cannes Film Festival yesterday, the boxing biopic Hands of Stone hopes to be the next film in that genre to garner Oscar attention, much like Rocky, Raging Bull, and The Fighter before it.
The pic focuses on the legendary Roberto Duran, played here by Edgar Ramirez and casts Robert De Niro as his trainer Ray Arcel. Of course, Mr. De Niro won his only lead Actor gold statue for his lauded role as Jake La Motta in Martin Scorsese’s Raging Bull in 1980 and he would competing here for Supporting Actor.
Hmmm. A legendary actor with an acclaimed pugilist picture to his credit maybe making a return to the Red Carpet? Sounds a bit like last year when Sylvester Stallone was nominated for Supporting Actor for Creed and surprisingly lost to Mark Rylance in Bridge of Spies. In order for Hands of Stone to receive serious Academy attention for the big race (Picture), it would’ve needed even better reviews than Creed. While early reviews are fairly solid, that didn’t happen and you can pretty much count out that possibility. Same goes for Ramirez in Actor.
As for De Niro, the Weinstein Company (who are no slouches at awards campaigning) may pull out all the stops for their actor being recognized. It’s unlikely to occur, however. The great story with Stallone was the near 40 year lay-off between nominations and the connection with him playing the same role being recognized so many decades apart. De Niro, on the other hand, was just nominated four years ago for his work in Silver Linings Playbook.
While Hands of Stone (being released domestically on August 26) could be a mid-size hit come late summer, Cannes has shown it’s improbable that it’ll be on the minds of Academy voters.
“Joy and pain. Like sunshine and rain.” – Rob Base & D.J. E-Z Rock
David O. Russell’s latest tells a fable grounded in reality of Joy Mangano, who invented a new way to clean floors in the early 90s with the Miracle Mop. It continues his habit during this decade of taking ordinary people and telling their extraordinary situations.
Our title character is portrayed by Russell’s muse Jennifer Lawrence. As a little girl, we see that she loves making inventions with her hands. This leads to the aforementioned mop, though selling it is no easy feat. Her quirky family includes her father Rudy (Robert De Niro, thankfully doing his best work nowadays with this director), who is restless in his love life and in a burgeoning relationship with a wealthy widow (Isabella Rossellini). That widow provides a pipeline to funding the Miracle operation, though not without serious reservations and Joy mortgaging her home twice. Joy’s mother (Virginia Madsen) is essentially an anti-social shut in who exists vicariously through the soap opera characters she watches all day. This allows for some interesting cameos. There’s Joy’s aspiring singer ex-husband (Edgar Ramirez), who still lives with her and serves as a trusted advisor. And Diane Ladd is her constantly supportive grandmother, who narrates these proceedings.
Joy is about the many pains that she must face to convince her family and the consuming public that she’s onto something. The journey eventually leads her to the upstart QVC, headed by a sturdy executive (Bradley Cooper) who conducts the network’s infomercials like an orchestra (her first segment is directed with the energy and enthusiasm we expect from this filmmaker). This allows for the fascinating of seeing Melissa Rivers play her late mother Joan. She soon learns the gloomy side of business, even when success comes. The picture is divided into two halves. The first is mostly about the pain of getting her venture started. The second has more joy and a little more sunshine, but pain is always around the corner. Rob Base and DJ E-Z Rock couldn’t have known these lyrics would apply here, but they do.
More than anything, Joy gives Lawrence another platform to shine and she takes advantage. The film never does reach the emotional, comedic, or dramatic heights of previous efforts like The Fighter and, in particular, Silver Linings Playbook. By the movie’s end, we are dealing with a central character who’s gone from sketching her designs in crayon to a multi-million dollar empire. Yet her saga never feels as fraught with nervous excitement as that regional Pennsylvania dance contest in Playbook. Still, Joy’s strange odyssey is one worth taking due to Russell’s exuberance and Lawrence’s talent.
Nearly 25 years ago, eventual Oscar winning director Kathryn Bigelow made Point Break, an effective mix of action and surfing that starred Patrick Swayze and Keanu Reeves. It turned into quite a cult hit and Warner Bros. has teed up a Christmas Day remake that comes with a reported $120 million budget.
The pic stars Edgar Ramirez (pulling double duty over the holidays in Joy), Luke Bracey, and Ray Winstone. Break has already opened overseas to so-so results. The questions begs itself: are audiences clamoring for a Point Break remake? While the original deserves its solid reputation, is the remembrance of it fond enough so that action fans will see it? And there’s also the fact that genre fans might be taking in Star Wars in its second weekend for the first time. Or second or third.
Considering those factors, I’m even skeptical that this breaks double digits in its debut. To be fair, another recent action remake Red Dawn opened to $14 million and $21 million over the Thanksgiving 2012 holiday, which was more than I predicted by quite a bit. That aside, I’ll estimate that Point Break just squeaks by the double digit mark for a disappointing start.
Point Break opening weekend prediction: $11 million
For the third time, director David O. Russell and Jennifer Lawrence team up for comedy/drama Joy and it hopes to replicate the success from their two previous outings, Silver Linings Playbook and American Hustle.
The pic tells the true-ish story of Miracle Mop founder Joy Mangano (Lawrence) and features Russell regulars Robert De Niro and Bradley Cooper, as well as Edgar Ramirez, Isabella Rossellini, Virginia Madsen, and Diane Ladd.
This will need to clear some considerable hurdles in order to match previous successes. For starters, Joy is opening on Christmas in an ultra competitive frame where competition for adult moviegoers includes Concussion and The Big Short (and the second weekend of Star Wars). Secondly, unlike Playbook and Hustle, the awards buzz for this is muted at best. While Lawrence is likely to receive a Best Actress nod for her well regarded work, critics have been mixed and it stands at 62% on Rotten Tomatoes (well under Russell and Lawrence’s first two outings). The so-so buzz means it probably won’t be a player in any other Academy categories other than for its lead actress.
With those factors in mind, I anticipate Joy not reaching the $19.1 million accomplished by American Hustle over the holidays in 2013. A debut in the low to mid teens seems more probable.
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