It’s usually not a confident signal when the distributor releases a trailer for a film one week before its release. Yet that is the case with 20th Century Studios and The Empty Man, a horror pic out this Friday. Based on a 2014 graphic novel, David Prior directs with a cast including James Badge Dale, Marin Ireland, Stephen Root, Ron Canada, and Joel Courtney.
Originally slated for August before its COVID related delay, there was even some jesting whether this feature actually existed before real footage emerged a couple of days back. Whether audiences know of its existence is a good question. As new titles have trickled out in October, we’ve seen The War with Grandpa and Honest Thief start off in the $3-4 million range.
Empty could benefit from the lack of product out there, especially in its genre. However, the low key approach in its marketing (to be kind) makes me think it won’t hit those marks.
The Empty Man opening weekend prediction: $2.1 million
In addition to her successful music career, Janelle Monae has transitioned nicely into the cinematic universe over the past few years. In fact, her three highest profile supporting performances – Moonlight, Hidden Figures, Harriet – have all garnered Oscar attention and nominations for her costars.
So it stood to at least wonder if her first major starring role could accomplish the same. The horror pic Antebellum was slated to hit theaters in April. Like so many other features in these COVID times, that plan was scuttled and it’s now set to debut on streaming services on September 18th. From directors Gerard Bush and Christopher Renz, it casts Monae as both a modern day author and a slave in the era of the Underground Railroad. The supporting players include Eric Lange, Jena Malone, Jack Huston, and Gabourey Sidibe.
There’s been a recent trend of actresses being lauded for their work in this genre. Both Lupita Nyong’o (Us) and Toni Collette (Hereditary) likely just missed inclusion in the final five for Best Actress in 2017 and 2018, respectively. The review embargo for Antebellum expired today and it certainly doesn’t appear as if Monae will join that club. The Rotten Tomatoes score is a meager 36% and several critics are calling this is a misfire.
Bottom line: while Monae’s involvement in projects has captured the attention of awards voters, she’ll need to wait for her turn as the focus. This one isn’t it. My Oscar Watch posts will continue…
Well-known actors crafting nifty little suspense thrillers tinged with horror has become a thing lately (think John Krasinski’s A Quiet Place and Joel Edgerton’s The Gift). Dave Franco gets in on it with The Rental, which is swift in its running time and plentiful with twists that you see coming and some that are nicely rewarding. It also features a quartet of solid performers whose weekend getaway gives them far more than they bargained for.
Charlie (Dan Stevens) finds a swanky vacation house to nab for the weekend with help from his trusted assistant Mina (Sheila Vand). They’re celebrating something going right with their business and it’s good reason to let their hair down with Charlie’s wife Michelle (Alison Brie, the director’s real life spouse). Mina happens to be dating Charlie’s brother Josh (Jeremy Allen White) so he tags along with his puppy. Pets aren’t allowed at the establishment, but that turns out to be the least of their issues. For instance, there might be a psycho around and it’s not safe to be in the shower.
Upon arrival, the foursome confront the property’s caretaker Taylor (Toby Huss). The first problem is a racially tinged one. Mina, who’s of Middle Eastern descent, tried to rent the place and was promptly denied. Charlie had no such trouble. They decide to overlook that and the first night becomes an alcohol and designer drug filled party. This is where the aforementioned “twists” that follow are somewhat predictable in nature. However, the actors have a real chemistry with one another and you’ll want to see where it all leads.
Without venturing into spoiler territory, The Rental isn’t its eventual genre for about two thirds of its brisk 88 minutes. Credit is due to Franco and Joe Swanberg’s script for keeping the audience engaged in the dynamics of the four principals. Of them, it’s Vand who has the best role and she’s quite impressive.
When we arrive at the final third, the build up has been sturdy enough that we care about the fates of the characters as they navigate their way through dense fog and deeply personal conflicts. Franco has crafted a lean and effective directorial debut and its title is worth the price of one.
Finding its source material from the H.G. Wells novel that spawned a classic from the heyday of the Universal Monsters movies, Leigh Whannell’s take on the subject matter spins a 21st century play to the mix. While the title character wreaks his havoc, it’s the central woman in the story who is truly invisible. This is a horror tale in the #MeToo era and an often potent one at that.
We open with Cecilia (Elisabeth Moss) trying to escape her abusive marriage in the middle of the night without being seen. Her husband Adrian (Oliver Jackson-Cohen), we discover later, is a controlling and dangerous figure. He’s also a mega rich tech genius (think Tony Stark with far more personal demons). Cecilia manages to flee and stay with an old friend who’s also a detective (Aldis Hodge) and his teen daughter (Storm Reid). Afraid to even walk outside, her fears subside when Adrian is found dead of apparent suicide. The relief is short-lived when an unseen force starts stalking Cecilia yet again and all signs point to the apparently departed husband.
Whannell has been an integral player in the scares genre with his involvement in the Saw and Insidious franchises. He is a stylish filmmaker who knows how to construct a suspenseful setup. We have grown rather wearily accustomed to the jump scares that permeate these genre exercises. They are here, but I will say a couple of them really land the jab. There’s a scene in an upscale restaurant where still or sparkling water becomes an afterthought due to a genuinely surprising moment.
That scene and many others are tremendously assisted by the convincing and freaked out to the max performance of Moss. She conveys her fear of Adrian with wide eyed terror and, eventually, a resolve to change the power dynamic. The screenplay (from the director) smartly doesn’t employ flashback sequences to show her cycle of abuse. Her fear says enough. The two-hour running time is a bit out of the ordinary for this type of material and the final third is somewhat of a letdown when the plot becomes more literal with its explanations. However, with Moss’s work fully in control of her out of control situation, The Invisible Man is a creative modern rendering of a familiar monster.
Today’s Daily Streaming Guide brings us a must watch for horror fans who like a little comedy and irreverence spliced in!
2012’s The Cabin in the Woods is streaming on Hulu. What begins as a seemingly run-of-the-mill scary pic about college students being terrorized in a cabin takes all kinds of unexpected and often humorous turns. The film is cowritten by Joss Whedon and a month after its release, he struck box office gold with the first Avengers. This is directed by his colleague Drew Goddard (making his debut) with a cast includes Thor himself Chris Hemsworth, Richard Jenkins and Bradley Whitford doing sublime work, and genre legend Sigourney Weaver in a small yet pivotal role.
Cabin wasn’t a big hit at the multiplexes, but it’s deservedly achieved cult status since. I find it to be one of the wildly entertaining flicks of its kind in recent times.
Blogger’s Note (03/12): In what is becoming a new reality due to the COVID-19, the release of this film has been delayed indefinitely from its 03/20 opening. I’ll keep the prediction up, but certainly revisions are likely to be made once a future release date is secured.
Arriving two years after its predecessor made serious noise at the box office, A Quiet Place Part II hits theaters next weekend. The horror sequel to the acclaimed 2018 blockbuster sees John Krasinski returning as writer/director with his spouse Emily Blunt headlining. Millicent Simmonds and Noah Jupe are back as her children. New cast members include Cillian Murphy and Djimon Hounsou.
The original struck a loud chord with audiences and critics with a $50 million opening. Part one legged out impressively for its genre with an eventual $188 million overall domestic haul. It even earned some awards attention with Blunt winning a Supporting Actress SAG trophy.
All horror titles not named The Invisible Man have faced a tough road at multiplexes in 2020. However, with the first feature fresh in their minds, audiences should turn out for this follow-up. The X factor is, of course, worldwide events and this is likely to be a recurring theme in my projections for the foreseeable future. The impact of the Coronavirus on the moviegoing public is playing out in real time. At present, I will say Part II makes a few million under what the first accomplished.
A Quiet Place Part II opening weekend prediction: $42.5 million
Leigh Whannell’s The Invisible Man, updating the H.G. Wells novel and classic 1933 film, debuts Friday. With 90% currently on Rotten Tomatoes, the word-of-mouth should propel the pic to quite visible box office numbers. In doing so, Invisible should break a streak of underperforming horror titles in recent months.
Much of the praise from reviewers is centered on its lead Elisabeth Moss. The Emmy winner for The Handmaid’s Tale garnered a small amount of Oscar buzz in 2019 for Her Smell that never came to fruition. I look for this to be the third year in a row where an actress garners buzz for a scary movie. In 2018, it was Toni Collette in Ari Aster’s Hereditary. In 2019 – Lupita Nyong’o for Jordan Peele’s Us. Both performers received a few wins from the critics groups. They both failed to get nods come Academy time.
This will likely be the case for Moss as well, but expect lots of speculation that she could make the cut before she doesn’t. My Oscar Watch posts will continue…
Horror pics have faced a tough road so far in 2020 as The Grudge, The Turning, Gretel & Hansel, and Fantasy Island have all posted lackluster debuts. This weekend, I don’t see the trend stopping with Brahms: The Boy II. I do see it changing next Friday with The Invisible Man. From director Leigh Whannell (who recently made Insidious: Chapter 3 and Upgrade), this is an update of the H.G. Wells novel that was turned into a classic 1933 James Whale tale. Elisabeth Moss (who co-starred in last year’s Us) headlines a cast that includes Oliver Jackson-Cohen, Aldis Hodge, Storm Reid, and Harriet Dyer.
This project was originally intended as a vehicle for Johnny Depp as part of Universal’s plans for a franchise that began with 2017’s The Mummy. When that pic brought in less than expected returns, the monster series was scrapped. The Invisible Man has undergone a significant transformation with Blumhouse co-producing. Per usual with that production company, the budget is tiny (a reported $7 million).
Early word-of-mouth is strong with screening members reporting a tense and effective crowd pleaser. Whannell appears to be a filmmaker on the upswing and Moss certainly has her fans from The Handmaid’s Tale and more.
I believe Invisible will be quite visible on the radar screens of genre moviegoers and break the streak of scary disappointments over the past few weeks. A gross of over $30 million might be the result.
The Invisible Man opening weekend prediction: $33.8 million
Released four years ago, horror pic The Boy managed to gross its budget in the first three days of release. Even though audiences and critics were generally unimpressed, we now have the sequel Brahms: The Boy II out next weekend. William Brent Bell is back in the director’s chair with Katie Holmes in the lead. Costars include Ralph Ineson and Owain Yeoman.
Originally slated for last summer and then December, Brahms looks to cater to fright fest fans who have shunned their offerings thus far in 2020. The Grudge opened to $11.4 million and that middling number was a high point. The Turning followed with $6.9 million and then Gretel & Hansel with $6.1 million.
The Boy made $10.8 million for its start in January 2016 with an eventual $35 million domestic gross. I just don’t see much anticipation for the follow-up and will predict it begins with just over half of its predecessor’s number. For horror enthusiasts, it looks like the following weekend’s The Invisible Man will be the first genre success of the year. Don’t count on Brahms to be much of one.
Brahms: The Boy II opening weekend prediction: $5.5 million
For my The Call of the Wild prediction, click here:
The latest low-budget concoction from Blumhouse Productions is Fantasy Island, a horror themed take on the kitschy 1970s TV series. Opening over the four-day Presidents Day weekend, Jeff Wadlow (who recently teamed with Blumhouse on Truth or Dare) directs with a cast including Michael Pena, Maggie Q, Lucy Hale, Austin Stowell, Portia Doubleday, and Michael Rooker.
Shot for a reported tiny $7 million, the pic will attempt to bring in youngsters without much reference point for the source material. That said, this particular production shop is savvy about getting an audience and turning a handsome profit. Nearly two years back, Truth debuted to nearly $19 million against its $3 million budget.
The gargantuan profit return may not be quite as pronounced here, but still substantial. For the Friday to Monday frame, I’ll say Island manages low double digits.
Fantasy Island opening weekend prediction: $11.6 million (Friday to Monday estimate)