The latest spy action comedy from Guy Ritchie is WWII era set The Ministry of Ungentlemanly Warfare. Out Friday, it finds the filmmaker in familiar genre territory with a cast including Henry Cavill, Eiza González, Alan Ritchson, Henry Golding, Alex Pettyfer, Hero Fiennes Tiffin, Babs Olusanmokun, and Cary Elwes.
Ritchie has been pumping out feature after feature in recent years. His war pic The Covenant drew mostly solid reviews, but zero awards attention in 2023. Warfare is generating some decent notices at 82% on Rotten Tomatoes. That includes some comparisons to Inglourious Basterds though they’re not near as effusive in praise.
This is the director’s 15th picture and only 2009’s Sherlock Holmes received any Oscar noms for Original Score and Art Direction. That stat should remain the same as Warfare isn’t expected to contend anywhere. My Oscar Prediction posts will continue…
Guy Ritchie is back in action comedy mode when The Ministry of Ungentlemanly Warfare arrives in theaters April 19th. The WWII era pic stars Henry Cavill with supporting work from Eiza González, Alan Ritchson, Henry Golding, Alex Pettyfer, Hero Fiennes Tiffin, and Cary Elwes.
The writer/director is no stranger to the genre. On a side note, Ritchie has been a busy man as Warfare marks his sixth feature in as many years. Similarly marketed 2019’s The Gentleman opened in line with expectations at just over $10 million. On the other hand, Operation Fortune: Ruse de Guerre stalled with a mere $3.1 million in its start.
I suspect this may open in between two Ritchie projects in the mid single digits.
The Ministry of Ungentlemanly Warfare opening weekend prediction: $7.6 million
Michael Bay is hoping that action fans will transform Ambulance into a hit when it debuts April 8th. Jake Gyllenhaal, Yahya Abdul-Mateen II, and Eiza Gonzalez headline the modestly $40 million budgeted hostage thriller (it’s about one-sixth the cost of Bay’s last Transformers pic).
Originally slated for February before being pushed back to its current slot, reviews are decent with a 74% Rotten Tomatoes rating. Based on a 2005 Danish film, the best case scenario might be a $20 million start. It could also stall in the $10 million range.
Lower teens seems more likely and that could put it in position for a number two or three debut behind Sonic the Hedgehog 2 and Morbius (depending on how far it plummets in the sophomore frame).
Ambulance opening weekend prediction: $13.7 million
For my Sonic the Hedgehog 2 prediction, click here:
In 2002, the horse drawn animated adventure Spirit: Stallion of the Cimarron managed a Best Animated Feature nomination (ultimately losing to Spirited Away). Nearly two decades ago, the pic received mostly positive reviews with a 70% Rotten Tomatoes rating and decent box office. Since then, a Netflix series focused on the main character led to Spirit Untamed, which opens in theaters today. It features the voices of some familiar faces like Jake Gyllenhaal and Julianne Moore
So how are its odds to race to awards voters ballots? Not good. Untamed has mostly stalled with critics and its Tomato meter is a mere 44%. We already have solid contenders to make the final cut (Raya and the Last Dragon and The Mitchells vs. The Machines) and there’s plenty more on deck for the second half of the year including the soon to be released Luca from Pixar.
Bottom line: I can’t imagine Dreamworks Animation will mount a spirited campaign for this one. Gyllenhaal’s only equestrian related Oscar contender should remain Brokeback Mountain. My Oscar Watch posts will continue…
All the way back in 2002, the animated horse adventure Spirit: Stallion of the Cimarron debuted over Memorial Day weekend and performed fairly well. With Matt Damon voicing the title character, the pic galloped to a Best Animated Feature Oscar nod and a $73 million domestic gross. A Netflix spin-off series has aired since 2017 and Spirit Untamed is a joint venture between Universal and DreamWorks to bring the character back to the big screen. Elaine Bogan and Ennio Torresan Jr. co-direct with a voice cast that includes Isabela Merced, Jake Gyllenhaal, Marsai Martin, Mckenna Grace, Julianne Moore, Walton Goggins, and Eiza Gonzalez.
I will confess to not knowing how popular the streaming series is, but it seems to me that 19 years is a long break between theatrical releases. That could certainly be a nagging problem as to Spirit‘s potential. Additionally, some family audiences might still be checking out Cruella in its sophomore frame.
Untamed stands no shot at reaching what its predecessor accomplished. I’m even skeptical that it reaches $5 million out of the gate and will go a bit under that.
Spirit Untamed opening weekend prediction: $4.4 million
For my The Conjuring: The Devil Made Me Do It prediction, click here:
Adam Wingard’s Godzilla vs. Kong is lighter than its MonsterVerse predecessor Godzilla: King of the Monsters from 2019. I don’t just mean lighter in tone (which it is), but actually lighter where it counts. When the two title character titans clash, we can actually see it. That’s an improvement over what transpired two years ago when Godzilla’s battles were too dimly lit or obscured by pounding rain. That’s a major plus, but not every aspect of this franchise has leveled up. The human characters are still an uninteresting and bland group. We have fine actors whose primary responsibility is to talk about the massive CGI combatants and react to what they’re doing. Their character development is a secondary consideration. That said – we’re not here for that, are we? This is the culmination of three pictures leading to a movie being named Godzilla vs. Kong and it frequently manages to deliver.
We last left King Kong in the 1970s during Kong: Skull Island and Godzilla in the aforementioned Monsters when he successfully warded off King Ghidorah and others. The fourth franchise entry picks up five years after Monsters as Kong is being monitored by Monarch on his native island. His human contact is mostly with linguist Dr. Andrews (Rebecca Hall) and her deaf adopted daughter Jia (Kaylee Hottle), who’s a native of the island. A magazine cover identifies the doctor as the “Kong Whisperer”, but it’s clearly Jia who’s found the most sincere connection with the massive ape. Also on Kong patrol is geologist Dr. Lind (Alexander Skarsgard).
While Kong is living a pretty chill existence on Skull Island, Godzilla’s fiery temper unexpectedly flares up. The not so jolly green giant has resurfaced to do lots of property destruction. His inexplicable attitude adjustment causes the CEO of APEX (Demian Bichir) to recruit Kong to solve this dilemma. APEX is a big shadowy corporation that sells itself as trying to solve the Titans problem. That doesn’t gel with conspiracy theorist Bernie (Brian Tyree Henry) and he’s got sympathizers with Madison Russell (Millie Bobby Brown, returning from Monsters) and her nerdy buddy Josh (Julian Dennison). Madison’s dad, played by Kyle Chandler, also reprises his Monsters role.
Enough with the plot which also involves specialized vehicles zooming through gravity fields. All of this is a prelude to watching Godzilla and Kong fight. It happens early (no shades of the slow buildup of 2014’s Godzilla) and round 1 transpires on water and is gloriously lighted for our entertainment.
The main event is in Hong Kong and that’s when we learn why Godzilla is being so irritable (hint: corporate greed is a factor). The climactic matchup is preceded by some fairly dull scenes with humans. No performance is bad. They’re just inconsequential with the exception of Hottle’s Jia in a winning performance. As long as we’re able to ignore the poor people in the buildings that are demolished with Kong and Godzilla’s every twitch and stumble, these skirmishes are expertly staged and enjoyable. I’d put it a notch below 2014’s Godzilla stand-alone from Gareth Edwards, but a hair above Kong: Skull Island and certainly ahead of Monsters. This delivers on its title well enough and is lit properly.
The fourth film in the MonsterVerse franchise stomps into theaters and HBO Max on Wednesday (March 31) with Godzilla vs. Kong. Adam Wingard takes the directorial reigns with a cast including Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Eiza Gonzalez, Kyle Chandler, and Demian Bichir. Of course, the real stars are the giant green monster (from 2014’s Godzilla and 2019’s Godzilla: King of the Monsters) and massive gorilla (of 2017’s Kong: Skull Island) who will duke it out in the production with a budget reportedly in the $200 million range.
This awaited matchup was originally set for viewing last spring before going through the now familiar myriad of delays due to COVID-19. It’s the latest example of Warner Bros. unveiling their pics simultaneously in multiplexes and HBO’s streaming service. With theaters in New York and Los Angeles now operating (albeit in diminished capacity) and with vaccinations rising, Godzilla vs. Kong is being seen as a major test for the industry. The previous COVID era highest opening weekend belongs to Wonder Woman 1984 (another WB/HBO Max venture) at $16.7 million over this past Christmas. That number exceeded expectations and the thought is that Kong will outpace it.
I tend to agree. It is worth noting that the last MonsterVerse title, King of the Monsters, was a box office disappointment. Due partly to poor reviews, it premiered in late May 2019 to a subpar $47 million with an eventual domestic gross just north of $100 million. By comparison, 2014’s Godzilla took in $200 million while Kong: Skull Island made $168 million. A $47 million debut here would be beyond even the wildest expectations in these Coronavirus times.
Godzilla vs. Kong has the benefit of bringing these two iconic creatures together and that’s a significant selling point. It’s also the kind of epic production that many may wish to see on a giant screen as opposed to on their couch via HBO Max (though I’m sure plenty of moviegoers will go that route).
With a five-day rollout, I believe a Friday to Sunday haul in the $20 million range is possible with mid to high 20s overall for the entire frame.
Godzilla vs. Kong opening weekend prediction: $21.1 million (Friday to Sunday), $27.3 million (Wednesday to Sunday)
Six years ago, Rosamund Pike burst onto the Oscar scene with her revenge minded femme fatale in David Fincher’s Gone Girl. Since then, it’s been quiet on the nomination front. There have been a smattering of pics designed to possibly get her back in the mix – A United Kingdom, A Private War, Radioactive. None have been able to do so.
Pike’s latest showcase is J Blakeson’s thriller I Care a Lot, which screened over the weekend at the Toronto Film Festival. It casts her as a sketchy legal guardian who gets mixed up with criminals. Costars include Peter Dinklage, Eiza Gonzalez, Chris Messina, and Dianne Wiest.
The few reviews out have resulted in a 100% Rotten Tomatoes score, though some critics are more effusive than others. There is some talk that it’s Pike’s best performance since Gone Girl. Yet as I explained in my previous Oscar Watch post (regarding Naomi Watts in Penguin Bloom), Best Actress looks competitive in 2020. And like with Bloom, the distributor that picks Care up will need to mount a spirited campaign. It’s not impossible, but competition might be too steep for Pike to get noticed. My Oscar Watch posts will continue…
Two months before F9 (the latest edition of his wildly successful Fast & Furious franchise) debuts, Vin Diesel hopes to kick off a new series with Bloodshot next weekend. Based on the Valiant Comics superhero, Diesel is tasked with the title role in this directorial debut from David S.F. Wilson. The supporting casts includes Eiza Gonzalez, Sam Heughan, Toby Kebbell, and Guy Pearce.
Diesel is certainly a franchise man with three under his belt: Furious, xXx, and the Riddick pics (four if you count his voice work as Groot in the MCU). The $42 million budget is low for the genre and probably the catering cost for an Avengers epic. So while the pic hopes international grosses make it profitable, this could struggle stateside.
Outside of the aforementioned films, Diesel has had some disappointments. 2015’s The Last Witch Hunter was developed with sequels in mind, but sputtered with just under $11 million for its start. 2008’s Babylon A.D. couldn’t even reach double digits in its premiere.
With muted buzz, I expect Bloodshot to fire blanks with high single to low double digits. At least the headliner has his signature role on deck in short order.
Bloodshot opening weekend prediction: $9.6 million
In his filmography which includes ShaunoftheDead and ScottPilgrimvs. theWorld, Edgar Wright has shown a flair for infusing a vast music catalogue to mix with inventive action. It’s on display at the highest gear in BabyDriver. Only Quentin Tarantino rivals and probably tops this director at it. For the majority of its running time, Driver merrily coasts in its own reality (like Quentin’s projects do) and it’s often a thrill.
Despite sounding like a Dreamworks animated project where a precocious infant gets an Uber license, the title refers to Ansel Elgort’s name and profession. His job is to ferry bank robbers around and make grand escapes upon completion. This is done at the direction of criminal mastermind Doc (Kevin Spacey, oozing sarcasm and smarminess as only he can do). Baby is rarely disconnected from his ear buds. A childhood tragedy that took the life of his musician mom has left him with tinnitus or a “hum in the drum” as Doc calls it. This means he is constantly blaring a seriously cool playlist that permeates the car chases that are his occupational hazard.
It turns out Baby is not involved in his line of work on a voluntary basis. He’s ready to move on, especially after meeting lovely waitress Debora (Lily James) who’s ready to ride off into the sunset with him. Yet there’s always that last job and it involves working with thieves Bats (Jamie Foxx, who’s having a grand time) and hot and heavy and psychotic couple Buddy (Jon Hamm) and Darling (Eiza Gonzalez). Baby has a moral compass when it comes to his work. His coworkers don’t always share that view.
BabyDriver takes little time getting the audience accustomed to its style. Between the chases (of which are expertly handled), we get plenty of tuneful fun. Some of the tracks are meant to get Baby motivated to do his assignments. Others are meant to further the courtship of him and Debora. Elgort and James have a winning chemistry here. You want them to hit that open road into happily ever after.
Only in the last few minutes does Driver somewhat stall when it becomes less enamored with its own hyper universe and becomes a more traditional action thriller. Thankfully there’s plenty of joyful noise that precedes it.
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