The blog’s early look at the 2021 Oscar contenders arrives at Best Director. If you didn’t see the posts outlining my initial picks for the acting derbies, take a look here:
In 2020, my first estimates in the directorial field yielded 2 eventual nominees: winner Chloe Zhao (Nomadland) and David Fincher (Mank). The three others were not even mentioned: Lee Isaac Chung (Minari), Emerald Fennell (Promising Young Woman), and surprise contender Thomas Vinterberg (Another Round).
Here’s the players as I see it at this July juncture:
EARLY OSCAR PREDICTIONS: BEST DIRECTOR
Jane Campion, The Power of the Dog
Joel Coen, The Tragedy of Macbeth
Guillermo del Toro, Nightmare Alley
Asghar Farhadi, A Hero
Denis Villeneuve, Dune
Other Contenders:
Pedro Almodovar, Parallel Mothers
Paul Thomas Anderson, Soggy Bottom
Wes Anderson, The French Dispatch
Kenneth Branagh, Belfast
Leos Carax, Annette
Fran Kranz, Mass
Adam McKay, Don’t Look Up
David O. Russell, Canterbury Glass
Ridley Scott, House of Gucci
Steven Spielberg, West Side Story
That leaves only Best Picture and it will be posted in short order!
Euros Lyn’s Dream Horse debuted nearly a year and a half ago at the 2020 Sundance Film Festival to solid buzz. Over this past weekend, it finally opened domestically with a soft box office imprint. The sports dramedy casts Toni Collette in the true story of a Welsh horse breeder with Damian Lewis and Owen Teale in the supporting cast.
The Rotten Tomatoes meter is 90% and critics are especially effusive in their praise for its lead. This is to be expected as Collette has turned in numerous fine performances over the past quarter century. However, this has surprisingly resulted in just one Oscar nomination in Supporting Actress for 1999’s The Sixth Sense. This is despite lead and supporting turns that could have been on the awards radar including Muriel’s Wedding, About a Boy, Little Miss Sunshine, Hereditary, and Knives Out.
There is definitely a narrative that the actress is long overdue for her second nod. With this particular feature, it’s likely to get lost in the shuffle. Luckily for Collette, she still has a role later in 2021 with Guillermo del Toro’s Nightmare Alley and it will certainly get a long look from voters.
Bottom line: it’s just a matter of time before Collette gets a return trip to the red carpet after two decades. Dream is unlikely to be the horse that carries her there. My Oscar Watch posts will continue…
Based upon Alvin Schwartz’s three horror short tale collections from the 1980s and early 1990s (with some celebrated illustrations by Stephen Gammell), Scary Stories to Tell in the Dark has caught the attention of Guillermo del Toro. He has, of course, turned his monster material into Oscar winning work. Mr. del Toro didn’t direct this and he shares a producer and story credit. However, this reminds one of Steven Spielberg’s output at the time when Schwartz’s works were originally being released. Films like Poltergeist, Gremlins, and The Goonies came from other filmmakers, but they might as well have been made by Spielberg because his fingerprints are all over them. Andre Øvredal directed this and he’s proved his genre chops previously with effective material like The Autopsy of Jane Doe. Yet you get the feeling this is del Toro’s vision through and through.
Set in 1968 when political upheaval and the Vietnam War were true scary stories of their own, this brings us to a small Pennsylvania town in a year where Night of the Living Dead is just out. Teenage Stella (Zoe Colletti) is obsessed with the living dead as a horror enthusiast and aspiring writer. Her seemingly only friends are Auggie (Gabriel Rush) and Chuck (Austin Zajur) and the trio gets their kicks by playing Halloween themed pranks on the school bullies. They are soon joined in this quest by drifter Ramon (Michael Garza), who appears to be living out of his car. Their exploits lead them to an alleged haunted house once lived in by the wealthy and mysterious Bellows family. Their daughter Sarah was a writer like Stella. The difference is that Sarah’s writing hasn’t stopped after death and her words describe the PG-13 horror antics that follow.
This plot line allows for a small number of Schwartz’s old tales to come to life. And the CG creature effects due to that are as solid as we’d expect from anything with del Toro’s name attached. A couple of sequences radiate with a ghoulish vibe that impresses. Those are scary, but there’s not a lot of them. The screenwriters occasionally bring the turbulent late 1960s happenings to the mix, but that feels a bit clumsy and tacked on as they don’t really commit to it.
Instead we have a novel concept from source material of anthological form. Perhaps Sarah and Schwartz’s short stories could have worked a little better had this been adapted into a series on Netflix or another streaming service. After all, it’s probably Stranger Things and its retro goldmine of success that sped up the green light here. There’s no doubt that those involved (particularly one) have deep affection for what they’re adapting. Despite its moments, it’s the format that’s limiting.
The Venice Film Festival has drawn to a close and the awards bestowed today are sure to generate some controversy. The Golden Lion prize (equivalent to Best Picture) has gone to Joker, with its acclaimed performance from Joaquin Phoenix as the iconic villain. It won out over numerous foreign titles and Noah Baumbach’s MarriageStory, which drew raves and is anticipated to be a major Oscar contender.
A year ago, the Lion went to Alfonso Cuarón’s Roma, which nabbed multiple Academy nominations including Picture. In 2017, the recipient was the eventual Oscar Pic winner – Guillermo del Toro’s TheShapeofWater.
I didn’t have Joker predicted as a nominee for the past couple weeks. Does the Venice action change the dynamic? Well it’s certainly a boost. I’m still skeptical it will make the final cut, but this publicity and its expected massive box office will be feathers in its cap.
Perhaps an even bigger shocker was the winner for the Grand Jury prize – essentially the runner up spot. It went to Roman Polanski’s AnOfficerandaSpy. Controversy surrounding the filmmaker is not the only reason for prognosticators being surprised. The pic currently sports a middling 56% on Rotten Tomatoes. Unlike last year’s Jury winner TheFavourite, don’t expect this to be in the Oscar derby.
Acting races also showcased performers not on the Academy radar. Luca Marinelli took Best Actor for MartinEden and Ariane Ascaride was named top Actress for Sweden’s AboutEndlessness. That film also saw its director Roy Andersson victorious in his race. A nod for Best International Feature is feasible for it.
All in all, Venice gave Joker a hoped for ace up its sleeve in precursor activity. Let’s see if momentum continues to grow…
Blogger’s Note (08/07): My prediction has increased from $10.7 million to $14.3 million
Based on a series of Alvin Schwartz horror novels geared towards children, ScaryStoriestoTellintheDark opens in theaters next weekend. Co-produced by Guillermo del Toro, the film comes from director André Øvredal who mostly recently made the critically appreciated TheAutopsyofJaneDoe. Cast members include Zoe Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, and Lorraine Toussaint.
The concoction of the horror genre marketing to a young audience is a risky one. I’m not confident this mix will result in pleasing box office earnings and I wouldn’t expect the “Stranger Things” crowd to turn out. Even though we’re talking PG-13 here vs. an R rating, I’ll project this performs similarly to what Overlord (which boasted its own known producer J.J. Abrams) did last year.
ScaryStoriestoTellintheDark opening weekend prediction: $14.3 million
For my DoraandtheLostCityofGold prediction, click here:
Over the past year and change, the superhero genre has been flush with massive successes such as BlackPanther, Avengers: InfinityWar, Aquaman, CaptainMarvel, and current box office champ Shazam!, which has dutifully met expectations. The upcoming Avengers: Endgame is looking to set the all time opening record in two weeks. Something was bound to eventually get lost in the shuffle and that turned out to be Hellboy this weekend.
The film rebooted the Dark Horse Comics franchise that debuted in 2004 with Guillermo del Toro behind the camera and Ron Perlman as the horn clad anti-hero. A 2008 sequel, HellboyII: TheGoldenArmy, built on the grosses of its predecessor.
Neil Marshall took over directorial duties for the new Hellboy with David Harbour of “Stranger Things” cast as the title character. All along the way, the marketing campaign seemed curiously muted. It was as if Lionsgate might have known they had a dog on their hands. And they did. The review embargo didn’t lift until late this week. Rotten Tomatoes has been ripe with bad critical reaction with a 15% score. CinemaScore audiences haven’t been kind either with a lowly C rating.
On Sunday, the initial results have Hellboy in third place with just $12 million. Not only is that behind the second frame of Shazam!, it’s after the debut of the Regina Hall comedy Little. To put that in perspective, the 2004 Hellboy made $23 million out of the gate. TheGoldenArmy took in $34 million. For both of those films, the opening weekends represented a hefty chunk of the overall earnings. In the case of the second installment, it fell hard in its sophomore frame due to another comic boom sequel premiering called TheDarkKnight. With its toxic word of mouth, I expect this version to tumble at least 60% in weekend #2 and probably more.
If there’s any silver lining for the studio, it’s that the reboot cost a reported $50 million. That’s certainly low on the scale for this genre. Yet we can be sure this iteration of the character is a one-off. And we’ve found out what the depths of Hellboy are on a financial level and it’s not pretty.
Rebooting itself 15 years after its half demon anti-hero first appeared in theaters, Hellboy hits theaters next weekend. Based on the Dark Horse Comics that started in the early 90s, David Harbour of “Stranger Things” takes over the title role from Ron Perlman. Costars include Milla Jovovich, Ian McShane, Sasha Lane, Daniel Dae Kim, and Thomas Haden Church. Neil Marshall, best known for making horror pic TheDescent, directs after Guillermo del Toro handled the first two installments.
In 2004, the original film adaptation took in $23 million in its opening frame and $59 million total domestically. It took on cult status quickly and that catapulted 2008’s HellboyII: TheGoldenArmy to a $34 million start with $75 million overall.
Those numbers are nowhere in the MCU or DCEU range as of late. While certainly different in tone, Hellboy arrives during the second weekend of Shazam!, which should still be performing well and a month after CaptainMarvel. The chances of this, which seems to be lacking buzz, getting lost in the shuffle is real.
I’ll predict that even though it arrives more than a decade since we’ve seen this character, Hellboy will experience the lowest premiere of the trio.
Alfonso Cuaron’s Mexican drama Roma continued its precursor love today as the Los Angeles Film Critics Association awarded it Best Film. While that’s certainly a feather in the cap for something that’s a near lock for a Best Picture nod, it’s not necessarily a harbinger of what’s to come. Only once in this decade have the LAFCA and the Academy agreed on their top race – 2015’s Spotlight.
While Cuaron’s effort got the big prize, the filmmaker himself came in second in directing to a surprise selection of Debra Granik for LeaveNoTrace. Her name hasn’t surfaced much for Academy consideration and I currently do not have her in my top 10 possibilities. Ironically, only two directors this decade have shared the Oscar and this category. One is Guillermo del Toro for TheShapeofWater last year. The other? Cuaron for 2013’s Gravity.
Three of the acting winners are seen as strong players for the Oscars: Ethan Hawke (FirstReformed) in Actor, Olivia Colman for TheFavourite in Actress, and Supporting Actress victor Regina King in IfBealeStreetCouldTalk. In Supporting Actor, Steven Yeun won for his work in the South Korean mystery Burning. He’s been nowhere on Oscar’s radar and likely won’t be.
With Roma taking Best Film overall, the LAFCA had a tie in their Foreign Film race between Burning and Shoplifters.
CanYouEverForgiveMe? got some attention, taking Screenplay over runner-up TheFavourite. That could help its already decent chances at an Adapted Screenplay nod down the road.
Another surprise came in their documentary pick – the Netflix release Shirkers from Singapore. It has not been discussed much in what’s seen as a crowded field of selections.
Spider–Man: IntotheSpider–Verse took Animated Film, further positioning itself as the main rival to Pixar front-runner Incredibles2.
The Venice Film Festival has wrapped up its business with awards bestowed. Alfonso Cuaron’s autobiographical Mexico set drama Roma is the winner of the fest’s version of Best Picture – the Golden Lion.
This comes as no surprise. Roma has received rapturous reviews and it seems destined to compete at the Oscars in Best Picture and not just the Foreign Language race. It’s worth noting that last year’s Golden Lion recipient, Guillermo del Toro’s TheShapeofWater, went on to Oscar glory.
The Silver Lion Grand Jury Prize (basically runner-up) went to the Yorgos Lanthimos pic TheFavourite, which has also achieved the status of a likely contender come Oscar time. Olivia Colman took the Best Actress trophy for her work in it. And Willem Dafoe is Best Actor as Vincent Van Gogh in AtEternity’sGate. Both performers appear primed to hear their names mentioned in the Academy’s nominees for their respective lead races.
If there was a surprise, it’s the Coen Brothers winning Best Screenplay for their Western anthology TheBalladofBusterScruggs over Roma or TheFavourite. While critical reaction appeared somewhat mixed, one wonders if this could still have enough admirers to be a player in future awards mixes.
All in all, Roma and TheFavourite have solidified their place as true Oscar hopefuls.
We have arrived at part 3 of summer nostalgia looking over the cinematic seasons from 30, 20, and 10 years ago. If you missed my posts on 1988 and 1998, you can find them here:
This brings us to 2008. It was a vaunted superhero summer to be sure and there’s some humdingers for our flops. Here are the top ten moneymakers in addition to other notables and bombs.
10. The Incredible Hulk
Domestic Gross: $134 million
The second feature in the Marvel Cinematic Universe found Edward Norton taking on the angry green giant from Eric Bana. While better received than Ang Lee’s Hulk, it was mostly met with a shrug and Mark Ruffalo would take over the part four years later in The Avengers. It stands at lowest earner of the MCU.
9. The Chronicles of Narnia: Prince Caspian
Domestic Gross: $141 million
The follow-up to 2005’s The Lion, The Witch and the Wardrobe made less than half of what that picture achieved. Like Hulk, it may have placed in the top ten, but it was considered a bit of a disappointment.
8. Mamma Mia!
Domestic Gross: $144 million
The ABBA infused comedic musical was a major sleeper hit and its sequel hits theaters this Friday.
7. Sex and the City
Domestic Gross: $152 million
Fans of the HBO series turned out in droves for the big screen treatment. A sequel two years later yielded less impressive returns.
6. Kung Fu Panda
Domestic Gross: $215 million
Dreamworks Animation found itself a franchise with this animal fest led by Jack Black. Two sequels have followed.
5. WALL-E
Domestic Gross: $223 million
Yet another critically lauded effort from the money minting machine that is Disney/Pixar, this would take home Best Animated Feature at the Oscars.
4. Hancock
Domestic Gross: $227 million
Despite mostly negative reviews, this superhero effort proved Will Smith’s potency at the box office. Director Peter Berg has mostly moved to true life dramas with Mark Wahlberg.
3. Indiana Jones and the Kingdom of the Crystal Skull
Domestic Gross: $317 million
Nearly 20 years after The Last Crusade, Harrison Ford’s iconic hero returned and teamed up with Shia LaBeouf. Critics and audiences had their issues with it, but Indy is slated to come back again in 2021 (when Mr. Ford will almost be 80).
2. Iron Man
Domestic Gross: $318 million
It’s crazy to think now, but the idea of casting Robert Downey Jr. as a superhero less known than Batman or Superman was considered risky business at the time. We know what followed… the Marvel Cinematic Universe. This started it all.
1. The Dark Knight
Domestic Gross: $533 million
The sequel to Batman Begins turned into a genuine phenomenon with Heath Ledger’s incredible work as The Joker and an experience that has influenced numerous franchises since.
And now for some other notables of summer 2008:
Get Smart
Domestic Gross: $130 million
Steve Carell experienced a box office bomb the summer prior with Evan Almighty. He got back into the good graces of audiences with this big screen rendering of the 1960s TV series alongside Anne Hathaway.
Tropic Thunder
Domestic Gross: $110 million
Ben Stiller’s comedy was a hit with crowds and critics. Robert Downey Jr. earned an Oscar nod for his work here and we see Tom Cruise as never before.
Step Brothers
Domestic Gross: $100 million
It didn’t make as much as Adam McKay and Will Ferrell’s previous collaboration two summers earlier, Talladega Nights: The Ballad of Ricky Bobby. However, this has achieved serious cult status in following years.
Hellboy II: The Golden Army
Domestic Gross: $75 million
Guillermo del Toro’s sequel managed to out gross its predecessor and it was another critically hailed comic book adaptation in a summer filled with them. A reboot of the franchise with David Harbour comes next year.
The Strangers
Domestic Gross: $52 million
This low-budget horror flick turned into a sleeper. A sequel was released this March.
This brings us to the flops…
The Happening
Domestic Gross: $64 million
M. Night Shyamalan had his first flop two summers earlier with Lady in the Water. This one focused on killer trees with a lackluster performance from Mark Wahlberg. Audiences were laughing at it more than frightened by it. The director has since rebounded with Split.
Speed Racer
Domestic Gross: $43 million
This was the Wachowskis first picture since the Matrix trilogy and it fell far under expectations at the box office and with critics.
The Love Guru
Domestic Gross: $32 million
Mike Myers couldn’t make this creation anywhere near as iconic as Wayne Campbell or Austin Powers. Moviegoers simply ignored Pitka.
The X-Files: I Want to Believe
Domestic Gross: $20 million
Ten summers after the first adaptation of the FOX show did well at theaters, audiences didn’t want to believe in its long gestating sequel.
Meet Dave
Domestic Gross: $11 million
This sci-fi comedy was a massive bomb for Eddie Murphy, making a small percentage of its reported $60 million budget.
And that does it for my recaps of the summer! You can be sure I’ll be back next season covering 1989, 1999, and 2009.
All My Life... I Wanted To Be A Blogster 