A contemporary Western set during the early days of COVID, Eddington is Ari Aster’s fourth feature which has premiered at Cannes prior to its July 18th stateside release. A24’s topical tale reunites Aster with his Beau Is Afraid lead Joaquin Phoenix along with Pedro Pascal, Luke Grimes, Deirdre O’Connell, Micheal Ward, Austin Butler, and Emma Stone.
The auteur’s career kicked off with Hereditary and Midsommar, two horror experiences that are among the genre’s best reviewed in recent years. Beau had a considerably more polarizing reaction and Eddington appears to be doing the same. Early reviews have this at 59% on Rotten Tomatoes with a 67 Metacritic.
While the strongest reviews are quite strong, the varied buzz from France likely means this won’t be a serious awards contender. My Oscar Prediction posts will continue…
Three fresh titles attempt to prevent Civil War from a second weekend atop the charts after a strong premiere. We have vampire flick Abigail, Guy Ritchie’s spy action comedy The Ministry of Ungentlemanly Warfare, and the anime spy action comedy Spy x Family Code: White rolling out. My detailed prediction posts on the trio can be found here:
It could be a genuine photo finish for the top spot. I spy Civil War dropping in the mid 50s as a hefty fall seems likely given the weaker B- Cinemascore grade. That could allow any of the newbies to compete for #1. I’m giving it to Abigail for what would be a so-so start.
Spy x Family Code: White could threaten in the low double digits, but I have it just under $10 million for a third place showing.
As for Warfare, I’m expecting Ritchie’s latest to be a flop despite pretty decent reviews. I have it rounding out the top five behind the fourth frame of Godzilla x Kong: The New Empire.
Here’s how I have the high five shaking out:
1. Abigail
Predicted Gross: $13.1 million
2. Civil War
Predicted Gross: $11.8 million
3. Spy x Family Code: White
Predicted Gross: $9.8 million
4. Godzilla x Kong: The New Empire
Predicted Gross: $8.7 million
5. The Ministry of Ungentlemanly Warfare
Predicted Gross: $7.6 million
Box Office Results (April 12-14)
Alex Garland’s buzzy Civil War opened near the higher end of its anticipated range with $25.7 million, besting my $18 million forecast. That’s a record for A24 whose previous largest beginning was held by 2018’s Hereditary in the low teens.
Godzilla x Kong: The New Empire slipped to second after two weeks in 1st with $15.5 million, on target with my $15.9 million take. The monster mash has amassed $158 million thus far.
Ghostbusters: Frozen Empire was third with $5.7 million (I was right there at $5.6 million) for $96 million in its four weeks of release.
Kung Fu Panda 4 was fourth as it added $5.5 million to its now $173 million haul. I projected $5.1 million.
Dune: Part Two rounded out the top five with $4.3 million and I incorrectly had it on the outside looking in. The seven week tally is $272 million.
Finally, Monkey Man fell a steep 60% in its sophomore frame to $4 million (I went with $4.9 million) for $17 million overall.
A24 is looking for Civil War to be their biggest box office breakout so far when it opens this weekend. You can peruse my detailed prediction post on the newcomer here:
In order to set the all-time opening premiere record for the studio, it needs to eclipse the low teens start Hereditary managed in 2018. That shouldn’t be a problem as I have it posting a high teens beginning. That should be enough for a #1 perch.
That means Godzilla x Kong: The New Empire should slide to second after two weeks atop the charts with a high 40s-low 50s decline. The other sequel with Empire at the end – Ghostbusters: Frozen Empire – might maintain its third place position as I have current #2 Monkey Man experiencing a larger drop. I actually have Monkey sliding three spots. Kung Fu Panda 4 may manage to rise from 5th to 4th as its fall should be less than the sophomore frame of The First Omen, which had a highly disappointing debut (more on that below).
And with that, my forecast for the top 5:
1. Civil War
Predicted Gross: $18 million
2. Godzilla x Kong: The New Empire
Predicted Gross: $15.9 million
3. Ghostbusters: Frozen Empire
Predicted Gross: $5.6 million
4. Kung Fu Panda 4
Predicted Gross: $5.1 million
5. Monkey Man
Predicted Gross: $4.9 million
BoxOffice Results (April 5-7)
Godzilla x Kong: The New Empire, as anticipated, had an understandable 61% second weekend plummet to $31.2 million. That’s right on target with my $31.8 million prediction as the impressive two-week total is $134 million.
Dev Patel’s inaugural behind the camera project Monkey Man was runner-up and kicked off on the lower end of expectations. With $10.1 million, it came in well under my $16.6 million take.
Ghostbusters: Frozen Empire was third with $9 million in its third haunting. That’s hotter than my $7.6 million projection as it has amassed $88 million.
The First Omen, as mentioned, might have been victim to horror genre overload. Despite mostly heavenly reviews, the demonic prequel was DOA with $8.3 million. I was more generous at $13.3 million.
Kung Fu Panda 4 rounded out the top five at $7.7 million (I said $6.5 million) as the animated sequel is up to $165 million in five weeks and has grossed more than parts 2 and 3 domestically already. It will not, however, match the $215 million that the original took in.
Finally, Dune: Part Two was sixth with $7.4 million (I said $6.7 million) for a six-week bounty of $265 million.
Civil War breaks out in theaters on April 12th after a buzzy premiere at South by Southwest last month. The dystopian action flick from Alex Garland imagines a nation deeply divided in what should be timely programming in this election year. Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Nick Offerman, and Jesse Plemons are among the ensemble.
This marks Garland’s fourth directorial feature after the acclaimed Ex Machina from 2015 and 2018’s Annihilation and 2022’s Men which generated considerably more mixed reviews. Notices for War are strong with a 92% RT rating. The A24 release looks to set an all-time best opening for the distributor by topping Hereditary‘s $13.6 million debut.
That record should be set, but by how much is the question for the $50 million budgeted project. Some estimates have this at $20 million or more. I’m being a tad more conservative in the high teens.
After a sizzling limited release last weekend, Ari Aster’s Beau Is Afraid expands to just under 1000 screens this Friday. A mix of many genres from the director known for horror pics Hereditary and Midsommar, Joaquin Phoenix stars as a paranoid man on odyssey while dealing with severe mommy issues. Costars include Patti LuPone, Nathan Lane, Amy Rogers, Kylie Rogers, Parker Posey, Stephen McKinley Henderson, Hayley Squires, Michael Gandolfini, Zoe Lister-Jones, and Richard Kind.
Some critics have been quite kind and it sits at 74% on Rotten Tomatoes. Others have called the three-hour opus a slog and predicted that general audiences are likely to have strong negative feelings. Beau scored $320,000 on just four screens days ago for a per theater average of $80k. It’s not surprising that it performed splendidly in NY/LA.
Beau faces more challenging prospects as it plays between the coasts. While it will probably have the third best screen average behind The Super Mario Bros. Movie and Evil Dead Rise (though the average could top that one), a gross between $4-5 million is likely.
Beau Is Afraid expanded opening weekend prediction: $4.4 million
Toni Collette has had a fascinating filmography when it comes to recognition from major awards shows. Despite plenty of acclaimed performances across all genres, her sole nod from the Academy came in Supporting Actress for 1999’s The Sixth Sense. The Hollywood Foreign Press Association (Golden Globes) didn’t mention her for Sense, but have nominated her twice in lead Actress in a Musical or Comedy for her breakout role in 1995’s Muriel’s Wedding and 2006’s Little Miss Sunshine. Critics Choice, meanwhile, singled her out for 2018’s Hereditary. In other words, there’s no consistency to be found.
This Friday, Collette headlines the whacky (get it?) crime comedy Mafia Mamma. She plays a middle-aged suburbanite thrust into the high concept of inheriting Cosa Nostra duties. Catherine Hardwicke (maker of Thirteen and Twilight) directs with a supporting cast including Monica Bellucci, Sophia Nomvete, Eduardo Scarpetta, Alfonso Perugini, and Francesco Mastroianni.
The Bleecker Street production wasn’t made for Academy consideration. However, it’s not crazy to think Collette could contend for another Actress mention in the Musical/Comedy race at the Globes (35 years after Michelle Pfeiffer was up in the same category for Married to the Mob).
Yet the reviews might have you pondering if Collette owed a debt to someone. Critics are analyzing this rather harshly with a 29% Rotten Tomatoes score thus far. It’s safe to assume that Mamma won’t be up for anything. My Oscar Prediction posts will continue…
A24 just hit the Oscar jackpot with Everything Everywhere All at Once and they have another multi-genre family opus opening in limited release this Friday. Beau Is Afraid is the third feature from writer/director Ari Aster behind acclaimed scary flicks Hereditary and Midsommar. With a $35 million budget, this is the biggest budget yet for the distributor. The three hour episodic mix of mommy issues, satire, and horror is headlined by Joaquin Phoenix with a supporting cast including stage legend Patti LuPone, Nathan Lane, Amy Ryan, Kylie Rogers, Parker Posey, Stephen McKinley Henderson, Hayley Squires, Michael Gandolfini, Zoe Lister-Jones, and Richard Kind.
The review embargo has just lifted and the reactions are all over the place. A 75% Rotten Tomatoes score is the number at this early stage. There are some recurring thoughts among the write-ups. One is that Aster takes gigantic swings. Some pay off. Some don’t. Another is that he’s perhaps given too much freedom this time and that the runtime is exceedingly long. There are comparisons to Charlie Kaufman and numerous mentions of Freud. You also get the impression that plenty of moviegoers will strongly dislike it. The word unhinged pops up in more than one synopsis.
It could be telling that Beau skipped the film festival circuit and opted for this spring release. A24 might suspect they don’t have an awards player (though you could correctly point out that Everything Everywhere came out around the same time). That said, they might opt to throw their serious campaigning behind the upcoming Past Lives (which drew raves at Sundance). While Phoenix is drawing praise for his performance, it could be a tall order for him to nab a Best Actor nod. Perhaps this fall’s Napoleon gives him a better shot. Some critics have singled out LuPone, but apparently her actual screen time is limited.
Beau will undoubtedly have its ardent supporters and fierce detractors. That could be a mix that doesn’t result in significant Oscar buzz. My Oscar Prediction posts will continue…
Every place other than home is where our demented dreamer wants to be in Pearl, Ti West’s prequel to X. Whereas the predecessor was set in 1979 and paid loving homage to the grime of 1974’s The Texas Chainsaw Massacre, this basks in the glow of The Wizard of Oz and other Golden Age works. Shot in New Zealand back to back, X and Pearl are vastly different experiences. They do share a setting where unspeakable gore occurs.
They also share Mia Goth. Unlike in X, she inhabits the screen from open to close. You will recall her from X as the elderly tormentor of a porn flick crew shooting on her property (Goth also played a drug addled starlet from the one day shoot that ends prematurely). As just Pearl here, we see her in 1918. The Great War is raging and that’s where her husband Howard is. She’s young, vibrant, and fantasizes of being a starlet herself. Pearl resides at the farm with her no nonsense German speaking mom (Tandi Wright) and sickly father (Matthew Sunderland). Her dreams of becoming a chorus girl are played out in the barn in front of the animals and their little bleating hearts.
We know from X that Pearl’s psychological issues are likely to kick into high gear. West and Goth (who cowrote the screenplay) still manage to take us in unexpected and stimulating directions. When Pearl meets a bohemian projectionist (David Corenswet) working at the local cinema, it arouses her desire to not be in Kansas anymore. **Side note: I don’t believe this is actually set in Kansas, but it could be with all those cornrows.
While Mom vehemently disapproves, Pearl hears of an audition opportunity to join a traveling troupe. We arrive there following family squabbles that lead our title character to see her dance tryout as her only means of escape. X was an ensemble piece. Pearl is a Goth show and she wows. From that aforementioned audition to a dinner table confession with her sister-in-law (Emma Jenkins-Purro, looking as petrified as the audience), this is perhaps the trippiest lead horror performance since Toni Collette’s in fellow A24 fright fest Hereditary. You don’t wanna take your eyes off her, including during the closing credits.
While X and Pearl do indeed share that farmland, I found the latter to be more rewarding overall. The director and lead are having a ball as they inject some darkness into the Technicolor brightness. It usually feels like they are giving the best of what they have.
It’s happened a lot lately where films in the psychological thriller/horror realm feature lead female performances that have social media buzzing for their awards attention. Think Toni Collette in Hereditary or Lupita Nyong’o for Us.
We could see that happen again with Rebecca Hall in Resurrection, which played at Sundance over the weekend. From director Andrew Semans, the dark tale features Hall confronting an ex flame and abuser (Tim Roth). The critical reaction is a bit mixed (76% currently on Rotten Tomatoes). However, the most positive reviews are really positive and nearly all write-ups praise Hall’s work (as well as Roth).
A quick study of the reviews will indicate this is not an Academy friendly experience. Don’t be surprised if there’s an Internet drumbeat for Hall to be recognized. She’s coming off a strong 2021 – making her directorial debut in the praised Passing and starring in the horror flick The Night House.
Yet Collette and Nyong’o couldn’t make the Oscar cut and I wouldn’t expect Hall to. My Oscar Prediction posts will continue…
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…
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