Oscar Watch: I Care a Lot

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…

Bloodshot Box Office Prediction

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

For my I Still Believe prediction, click here:

https://toddmthatcher.com/2020/03/03/i-still-believe-box-office-prediction/

For my The Hunt prediction, click here:

https://toddmthatcher.com/2020/03/05/the-hunt-box-office-prediction/

For my My Spy prediction, click here:

https://toddmthatcher.com/2020/03/05/my-spy-box-office-prediction/

Baby Driver Movie Review

In his filmography which includes Shaun of the Dead and Scott Pilgrim vs. the World, 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 Baby Driver. 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.

Baby Driver 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.

***1/2 (out of four)

Oscar Watch: Baby Driver

Over this holiday weekend, Edgar Wright’s Baby Driver has become quite the little engine that could box office success story. The critically lauded mash-up action thriller musical comedy has taken in $30 million since its Wednesday debut, standing out as original programming in a season filled with sequels and reboots.

So the question is: could Oscar notice? While Driver is not normally the type of flick that Academy voters celebrate, there is bound to be a significant contingent of admirers that will push for its inclusion in Best Picture and Director.

It probably won’t happen, but it’s feasible. I’ll also throw out the possibility that it could contend in both Sound races: Mixing and Editing, as well as maybe Editing itself. Of course, the sound races will likely feature heavyweights such as Star Wars: The Last Jedi, The Greatest Showman, Transformers: The Last Knight, Blade Runner 2049 and others. However, much of Driver’s praise has focused on its pulsating soundtrack throughout.

My Oscar Watch posts will continue…

Baby Driver Box Office Prediction

A mashup of all kinds of genres which has already garnered significant critical praise, Edgar Wright’s Baby Driver cruises into multiplexes a week from today. The musical action crime comedy stars Ansel Elgort (most known for The Fault in Our Stars) as the title character with a supporting cast that includes Kevin Spacey, Jamie Foxx, Lily James, Jon Hamm, Jon Bernthal, and Elza Gonzalez.

When Baby was birthed at the South by Southwest Festival this spring, it did so to great acclaim. The pic stands at 100% on Rotten Tomatoes and marks another well-regarded flick from the maker of Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. the World. 

The question is how will this hot buzz translate to box office dollars? There’s plenty of competition around, but audiences could be ready for something original (especially in the midst of many sequels and reboots).

That said, Baby Driver also could perform just decently out of the gate before maintaining a seemingly inevitable cult status. Taking its Wednesday premiere into account, I’ll say a low double digits three-day roll out with a five-day in the mid teens is most likely.

Baby Driver opening weekend prediction: $10.9 million (Friday to Sunday), $15.8 million (Wednesday to Sunday)

For my Despicable Me 3 prediction, click here:

https://toddmthatcher.com/2017/06/21/despicable-me-3-box-office-prediction/

For my The House prediction, click here:

https://toddmthatcher.com/2017/06/21/the-house-box-office-prediction/

For my The Beguiled prediction, click here:

https://toddmthatcher.com/2017/06/26/the-beguiled-box-office-prediction/