As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
It began with the ten BP contenders and now it alternates alphabetically between the hopefuls in the other five big races. Today we arrive at our third performer in Best Actor and that’s Paul Giamatti in The Holdovers. Let’s get to it!
Previous Oscar Acting Nominations:
Cinderella Man (Supporting Actor, 2005)
The Case for Paul Giamatti:
He has an Emmy and a Globe as the title character in HBO’s John Adams from 2008, but Paul Giamatti has just one Oscar nod for his supporting work in Cinderella Man. For that nomination, he was in the mix but came up short to George Clooney in Syriana. That means he was snubbed for 2003’s American Splendor and, most notably, 2004’s Sideways. There could be an overdue narrative brewing. As temperamental teacher Paul Hunham in his second collaboration with Alexander Payne behind Sideways, Giamatti has won the Globe for Actor in a Comedy/Musical and took the Critics Choice Award. He’s also in contention for BAFTA tomorrow and SAG next week.
The Case Against Paul Giamtti:
That the Oppenheimer love will translate to Cillian Murphy being named. He is the recipient of the Globe for Actor in a Drama. Perhaps voters will feel The Holdovers is being properly honored in Supporting Actress where Da’Vine Joy Randolph is the frontrunner.
The Verdict:
Giamatti stands an excellent chance… as does Murphy. My suspicion is that Murphy takes BAFTA and Giamatti is out front as SAG. If that pans out, we are in for a showdown on the evening of the Academy’s festivities. If either of the performers win BAFTA/SAG, consider them the strong favorite.
My Case Of posts will continue with America Ferrera in Barbie…
The first box office weekend of the new year has Universal and Blumhouse diving in with their supernatural horror flick Night Swim. It’s the only newcomer out amongst holiday leftovers. You can peruse my detailed prediction post on it here:
My mid teens estimate for Swim puts it in contention for the top spot. If it underperforms, that could allow Wonka another frame atop the charts. There’s also the distinct possibility that it exceeds expectations as M3GAN did for the same studio and production company one year back. I landed on it coming in q a bit behind Wonka.
With Wonka holding the runner-up spot, Migration should stay in third with Aquaman and the Lost Kingdom sliding to fourth and Anyone but You rounding out the top five.
Here’s how I see it playing out:
1. Wonka
Predicted Gross: $16.3 million
2. Night Swim
Predicted Gross: $14.1 million
3. Migration
Predicted Gross: $12.8 million
4. Aquaman and the Lost Kingdom
Predicted Gross: $8.3 million
5. Anyone but You
Predicted Gross: $6.7 million
Box Office Results (December 29-31)
Wonka was the top confection for audiences with $22.6 million in its third frame as 2023 wrapped up. That’s right on target with my $22.4 million call as the musical origin tale has amassed $133 million thus far and stands as the holiday pic of the season.
Aquaman and the Lost Kingdom, as expected, fell to second with $18.2 million in its sophomore outing. A slight improvement over my $16.8 million forecast, it faces choppy waters compared to the massive grosses of its 2018 predecessor. Overseas grosses are fairly decent and it stands at $76 million stateside.
Migration had a nice hold in third with $17 million, on pace with my $17.9 million projection. The animated adventure from Illumination has formed a tally of $54 million after two weeks.
After a loud Christmas Day start, The Color Purple is settling down. It managed $11.7 million in its first full weekend in fourth, falling under my $15.4 million prediction. The musical has taken in $44 million since 12/25.
Rom com Anyone but You rounded out the top five and I incorrectly didn’t have it in that spot. With $8.7 million, it has surpassed estimates with $24 million in two weeks.
Another holiday offering that has exceeded anticipation is George Clooney’s The Boys in the Boat. The period piece sports drama was sixth with $8.4 million (I said $7.9 million) for $21 million total since Christmas Day.
Blogger’s Update (12/21): I am increasing my The Color Purple one-day projection from $7.9M to $12.9M
With Christmas falling on a Monday this year, this is one of the most jam packed Yuletide box office seasons in memory. There’s a whole bunch of cinematic gifts that studios hope open well. On Friday (December 22), Aquaman and the Lost Kingdom looks to top the charts and reverse the misfortunes of the DCU in 2023. Joining Aquaman for the long weekend are Illumination Entertainment’s animated Migration, wrestling biopic The Iron Claw with Zac Efron, Indian Telugu-language action epic Salaar: Part 1 – Ceasefire, Sydney Sweeney and Glen Powell’s rom com Anyone but You, and the nationwide expansion of Oscar hopeful Poor Things with Emma Stone. On Christmas Day, they are joined by The Color Purple (adapting the Broadway musical which adapted the 1985 Spielberg pic which adapted the acclaimed novel), Michael Mann’s Ferrari with Adam Driver, and the George Clooney directed Olympic period piece The Boys in the Boat. You can peruse my detailed prediction posts on all nine (yes, nine) right here:
Even Aquaman himself, Jason Momoa, recently stated in an interview that the future of the franchise is murky at best. Despite the 2018 original making over a billion bucks worldwide, expectations for the sequel are underwater after the DCU’s year that included flops Shazam! Fury of the Gods, The Flash, and Blue Beetle. The worst case scenario is that this opens second to Wonka. On the bright side: Warner Bros gets the #1 slot either way. A low to mid 40s beginning from Friday to Monday is nothing to brag about, but that should get it to first place.
Wonka got off to a pretty sweet start at the top of its anticipated range (more on that below). Since I’m doing predictions from December 22-25, it may only decline from the high 30s to the mid to high 20s with bright weekends ahead (especially over New Year’s).
Therefore Wonka might be the family choice over Christmas and that could put Migration in third with a high teens or low 20s output. For Illumination, the silver lining should be small declines in subsequent frames.
I’m expecting a fourth place finish for The Iron Claw as wrestling fans could turn out to the tune of high single digits.
As for the three features out on Christmas Day, this obviously means I’m only doing a one-day projection. The Color Purple, with its well-known source material, should do best among that trio and I have its single day managing a fifth place showing.
Salaar: Part 1 – Ceasefire could over perform, but I have it in ninth. The newcomers should dominate the top ten as I have Anyone but You in sixth with the Poor Things expansion in seventh.
I do have holdovers The Hunger Games: The Ballad of Songbirds and Snakes and Trolls Band Together finishing out the top ten.
That means my single day estimates for Ferrari ($2.1 million) and The Boys in the Boat ($1.1 million) leave them outside the top ten.
Truth be told, this is a highly unpredictable Christmas weekend with lots of moving parts. Here’s my best attempt at that top 10 and keep in mind that this is for Friday-Monday:
1. Aquaman and the Lost Kingdom
Predicted Gross: $42.8 million
2. Wonka
Predicted Gross: $31.4 million
3. Migration
Predicted Gross: $19.6 million
4. The Color Purple
Predicted Gross: $12.9 million
5. The Iron Claw
Predicted Gross: $8.7 million
6. Anyone but You
Predicted Gross: $5.3 million
7. Poor Things
Predicted Gross: $5 million
8. Salaar: Part One – Ceasefire
Predicted Gross: $4.4 million
9. The Hunger Games: The Ballad of Songbirds and Snakes
Predicted Gross: $4.1 million
10. Trolls Band Together
Predicted Gross: $3.3 million
Box Office Results (December 15-17)
Warner Bros might face choppy waters ahead with Aquaman and the Lost Kingdom, but the Wonka opening went swimmingly. Timothee Chalamet’s take on the iconic chocolatier was treated to a $39 million start. That’s slightly ahead of my $36.4 million prediction as the family pic should have a robust road ahead this season.
It was the only newcomer this past weekend (which makes sense considering the onslaught ahead). The Hunger Games: The Ballad of Songbirds and Snakes stayed put in second with $5.8 million, a smidge under my $6.6 million call. The prequel is up to $145 million after five weekends.
The Boy and the Heron, after its better than anticipated bow, dropped from 1st to 3rd with $5.5 million. That’s lower than my $7 million forecast as the ten-day take is $23 million.
Godzilla Minus One was fourth with $5 million (I said $5.7 million) for $34 million after three weeks.
Trolls Band Together rounded out the top five with $3.9 million compared to my $4.6 million projection. The threequel is approaching nine figures after five weeks with $88 million.
And that does it for now, folks! Have a wonderful holiday and until next time…
The Boys in the Boat tells the tale of the American crew team during the 1936 Summer Olympics in Berlin and it wades into theaters on Christmas Day. George Clooney directs the true life sports drama with a cast including Callum Turner, Joel Edgerton, Jack Mulhern, Peter Guinness, Hadley Robinson, and James Wolk.
This is Clooney’s first theatrical directorial effort since the 2017 bomb Suburbicon (streaming pics The Midnight Sky and The Tender Bar followed). Boat does not have critics on its side with a 45% Rotten Tomatoes score.
While this will attempt to get adult moviegoers out during the holiday season, the weak reaction and heavy competition (The Iron Claw, The Color Purple, Ferrari) should sink this. Since its opening on December 25th (a Monday in 2023), my estimate is only for that day. I’m barely giving it nine figures for that premiere date.
The Boys in the Boat opening day prediction: $1.1 million (Monday estimate only)
For my Aquaman and the Lost Kingdom prediction, click here:
George Clooney’s sophomore directorial effort Good Night, and Good Luck garnered six Oscar nominations 18 years ago including Best Picture. It’s been slim pickings awards wise for the six features that he’s followed up with. 2011’s The Ides of March nabbed an Adapted Screenplay nod while 2020’s The Midnight Sky competed for Visual Effects.
The filmmaker’s latest is the true life Olympic sports drama The Boys in the Boat and it debuts Christmas Day. The cast includes Callum Turner, Joel Edgerton, Jack Mulhern, Peter Guinness, Hadley Robinson, and James Wolk.
With its review embargo lapsed, the RT score is a discouraging 47%. The Amazon MGM production did surprisingly manage to make the reported final 20 contenders in Visual Effects. When the shortlist of ten comes out later this week, I would be surprised if it advances to the next cut. I also don’t see much hope for the score from Alexandre Desplat, despite his previous eleven nominations and two victories.
The Boys in the Boat would need lots of good luck to be a factor in any race. Don’t count on it happening. My Oscar Prediction posts will continue…
Previously on the blog, I completed a series on a particular piece of speculative Oscar history. From 2009 to the present, there has been anywhere from 8-10 Best Pictures nominees at the Academy Awards. The number has been set at 10 for the past couple of years and fluctuated previously. Before 2009, it was a quintet of films competing for the prize. I penned 14 posts making predictions on which five pics would have made the cut if it had stayed at that smaller number. **Click on that Oscar History tab on the blog to access all of them!
Now my speculation turns to the reverse. What if the Academy had always honored 10 motion pictures? From 1944-2008, there was a set five vying for attention. For a completist view, there were five for the first two Oscars (1929 and 1930). We had eight in 1931. From 1932 to 1943, it was ten.
This series will project the other five that I believe would’ve gotten in. I’ve already covered 2006-08 and you can peruse my posts on them here:
We do know half of the titles that would populate the ten. Those would be the ones that made the quintet 18 years back. During that 78th Oscar ceremony, Jack Nicholson made the surprise announcement that race relations drama Crash from Paul Haggis was the Best Picture winner. Of its seven total nominations, it also won Original Screenplay and Film Editing.
It stands as one of the bigger upsets in the Academy’s history as it took gold over the heavily favored Brokeback Mountain by Ang Lee. He won Director and the cowboy romance also received Adapted Screenplay and Original Score. The other three nominees: Bennett Miller’s Capote (for which Philip Seymour Hoffman took Best Actor), George Clooney’s Good Night, and Good Luck, and Steven Spielberg’s Munich.
2005 was the rare year where the Director nominees matched perfectly with BP so we can’t pluck out other movies from that competition. A look at the other categories do give us clues as to the other features that might’ve gotten in.
James Mangold’s Cash couple biopic Walk the Line landed Joaquin Phoenix a Best Actor nod and Reese Witherspoon the Actress statue. With a total of five mentions, a Golden Globe victory in the Musical/Comedy race, and a Critics Choice slot, it’s pretty safe to assume it makes the ten.
Same goes for The Constant Gardner from Fernando Meirelles. Rachel Weisz took Supporting Actress and it received three other noms in addition to Golden Globe and Critics Choice inclusions.
Another Critics Choicer nominee, Rob Marshall’s Memoirs of a Geisha got 6 tech nods and won 3 (Art Direction, Cinematography, Costume Design). I went back and forth on this one, but ultimately decided it probably makes the dance.
A fourth Critics Choice match goes to Ron Howard’s Cinderella Man. The boxing drama could be left off. It missed some key nods including Russell Crowe’s lead performance (Paul Giamatti was nominated for supporting) and screenplay. I think it might have just snuck in at the bottom of hopefuls.
With one picture left to plug in, there’s plenty of contenders. Hustle & Flow saw a surprise win (for Three 6 Mafia) in Original Song and Terrence Howard made the Actor five. Woody Allen’s Match Point had a sole nom in Original Screenplay, but made the Globes cut in Drama. Joe Wright’s Pride & Prejudice rendering saw Keira Knightley up in Actress in addition to three other mentions.
Ultimately my final choice came to this trio. Peter Jackson’s King Kong went 3 for 4 on its tech inclusions (Sound Editing, Sound Mixing, Visual Effects). However, it was generally considered a bit of a disappointment at the box office and with some critics. That said, I almost picked it.
Syriana by Stephen Gaghan gave George Clooney a Supporting Actor Oscar and was up for Original Screenplay. Yet it failed to see a Critics Choice or Globe BP nod. Nevertheless I almost picked it.
I chose to go with David Cronenberg’s A History of Violence. It received two noms for Supporting Actor (William Hurt) and Original Screenplay and was a critical darling. I went with the Academy honoring a work from the acclaimed director (especially since most of his efforts are far from Oscar friendly).
The end credit outtakes of Ticket to Paradise give us a glimpse of the fun George Clooney and Julia Roberts had making it. I have no doubt given the gorgeous setting of Bali (though it was made in Australia). They’ve also played exes before in Ocean’s Eleven and Twelve and seemed to have a ball doing it. Ol Parker’s rom com intermittently succeeds at riding the wave of their star power. It’s got the right stars with the right chemistry and too often the wrong script.
David Cotton (Clooney) and Georgia Cotton (Julia Roberts) have, as far they’re concerned, been blissfully divorced for two decades. They rarely interact but will for the one subject they agree on. That’s their love for daughter Lily (Kaitlyn Dever), who’s just finished college. The graduate is ready for some downtime with wild BFF Wren (Billie Lourd) in Bali-stralia. She soon meets Gede (Maxime Bouttier), a seaweed farmer who pulls her heartstrings. Within a month they’re engaged. Given David and Georgia’s history, breaking up the impending nuptials is on their mind and they jet to paradise to execute the plan.
Sitcom level attempts to do so transpire as our leads try to put some bad juju on romantic Balinese traditions. Dropping in to surprise Georgia is younger beau Paul (Lucas Bravo), a pilot who can’t seem to navigate his girlfriend’s signals. His character is an example of the screenplay’s mediocrity. I never bought the relationship they have as anything more than a plot device to reunite our megawatt headliners. I’m not expecting realism in a rom com, but everyone is underwritten or a caricature here (the talented Lourd’s treatment as the boozy travel companion is another case).
Your enjoyment may hinge on how content you are watching Clooney and Roberts do their thing. A drunken night out features 90s jams like “Gonna Make You Sweat (Everybody Dance Now)” and “Jump Around”. That’s the decade when audiences fell for them. In Paradise, they can only coast so far given the material. This is not an example of them saving their best stuff for later.
Studios usually don’t roll out movies that they think will scare up huge box office dollars on Halloween weekend and that holds true for 2022. We have the supernatural horror tale Prey for the Devil and the expansions of Till and Tár (both with likely Best Actress Oscar contenders in Danielle Deadwyler and Cate Blanchett, respectively). You can peruse my detailed prediction posts on that trio here:
Devil may round up the most business of the newcomers, but my mid single digits forecast would put it in fourth place behind a trio of holdovers. My take on Till could put it in fifth or sixth position based on how Halloween Ends holds after its massive sophomore frame plummet (more on that below). As for Tár, it’s slated for approximately 1000 venues and my $1.8 million projection leaves it outside of the top five or six.
The top 3 should remain the same with Black Adam having no trouble topping the charts for a second weekend. How far it falls is a better question. With a so-so B+ Cinemascore grade, I foresee a slightly higher dip than the 54% that Shazam! experienced in 2019. If it approaches closer to 60%, a gross in the upper 20s would be the result.
Ticket to Paradise with George Clooney and Julia Roberts slightly surpassed expectations and it should hold well with a 35-40% decrease. The runaway hit Smile should be the fright fest of choice in third place as it continues its meager declines.
And with that, my top 6 take for the spooky close out session of October:
1. Black Adam
Predicted Gross: $28.1 million
2. Ticket to Paradise
Predicted Gross: $10.4 million
3. Smile
Predicted Gross: $6.5 million
4. Prey for the Devil
Predicted Gross: $5.9 million
5. Halloween Ends
Predicted Gross: $4.1 million
6. Till
Predicted Gross: $3.8 million
Box Office Results (October 21-23)
The DCEU’s Black Adam, with Dwayne Johnson seemingly everywhere promoting it, opened in line with most prognostications at $67 million. That’s a bit above my $64.7 million take and in line with the studio’s Aquaman from 2018. It’s safe to say we haven’t seen the last of the character. As mentioned, this should easily repeat in 1st position this weekend (and the weekend after until Black Panther: Wakanda Forever hits).
Rom com Ticket to Paradise capitalized on its star power for $16.5 million, bettering my prediction of $13.7 million. That’s a needed boost for a genre that’s been struggling in recent years and an older crowd turned out to make the multiplex trek.
Smile continued to make Paramount happy with $8.4 million, a shade below my $9.5 million estimate. At $84 million after four weeks, the low budget pic is barreling toward $100 million domestically.
Halloween Ends went from 1st to 4th with a momentous 80% reduction. At $8 million, the final showdown between Laurie Strode and Michael Myers didn’t match my $10.4 million projection. The two-week total is $54 million as it will fall quite a bit short of the $92 million that predecessor Halloween Kills made.
Lyle, Lyle, Crocodile rounded out the top five with $4.2 million (I said $5.2 million) and $28 million overall.
Dwayne Johnson lends his star power to the DC Extended Universe in Black Adam and there’s the megawatt combo of George Clooney and Julia Roberts in the rom com Ticket to Paradise. They are the weekend’s new offerings and you can peruse my detailed prediction posts on them here:
While Adam is unlikely to approach the $100 million plus starts of other DCEU efforts, it should easily rock the charts with a gross in the mid 60s.
The two spot could be more of a battle. However, I’m guessing the Clooney/Roberts team-up (while it would’ve been more potent 20 years ago) should nab the runner-up position.
With a C+ Cinemascore grade, Halloween Kills couldn’t keep up with its two predecessors Halloween (2018) and Halloween Kills (2021). Last October, Kills plummeted 70% in its sophomore outing. I expect Ends may even get slashed a tad more. There’s even a possibility its second weekend could place behind the fourth frame of Smile, but I doubt it.
Finally, Lyle, Lyle, Crocodile should round out the top five and here’s how I see it looking:
1. Black Adam
Predicted Gross: $64.7 million
2. Ticket to Paradise
Predicted Gross: $13.9 million
3. Halloween Ends
Predicted Gross: $10.4 million
4. Smile
Predicted Gross: $9.5 million
5. Lyle, Lyle, Crocodile
Predicted Gross: $5.2 million
Box Office Results (October 14-16)
Coming in nearly $10 million below the last tussle of Laurie Strode and Michael Myers was Halloween Ends with $40 million (under my take of $47.6 million). The budget is low so profitability isn’t an issue. Yet it will take the current (and final?) trilogy out on a low note.
Smile continued its impressive holds in second place with $12.5 million, just ahead of my $11.8 million estimate. The horror hit (which is likely starting its own franchise) has amassed $71 million in three weeks.
Lyle, Lyle, Crocodile was third with $7.3 million (on target with my $7.2 million call). The family friendly musical stands at a middling $22 million after 10 days of release.
The Woman King was fourth with $3.7 million (I said $4.1 million) for $59 million overall.
Lastly, Amsterdam (as expected) fell a precipitous 57% in its sophomore weekend to $2.7 million. I was a bit more generous at $3 million. The big budget flop has taken in only $11 million.
There’s a good chance that Ticket to Paradise would’ve been the top grossing romantic comedy of about anywhere from 1998-2004. Its success in the fall of 2022 is less assured but achievable (though not in the range of its potential earnings years ago). George Clooney and Julia Roberts are a divorced couple on a mission to prevent their daughter (Kaitlyn Dever) from tying the knot. Ol Parker, director of Mamma Mia! Here We Go Again, is behind the camera. Costars include Billie Lourd, Maxime Bouttier, and Lucas Bravo.
In a somewhat rare release pattern, Ticket was made available to various other international markets in September. The results have been pleasing with $60 million around the globe. Reviews are mixed/positive with 71% on Rotten Tomatoes.
Rom coms have been challenged at multiplexes lately and a little hard to come by. Many have gone the streaming route instead. Pics like The Lost City have featured an action dynamic that Paradise doesn’t have.
It does have two high wattage leads and a return to Julia’s most beloved genre after two decades. She’s been a stalwart of this material with gigantic blockbusters such as Pretty Woman, My Best Friend’s Wedding, Notting Hill, and Runaway Bride. Having her Ocean’s Eleven ex-hubby along for the ride only helps.
The chance of this over performing its projection of low to highish teens is doable. Yet I suspect this won’t be a runaway huge premiere and instead do respectable business.
Ticket to Paradise opening weekend prediction: $13.9 million
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