Tag: Jeff Goldblum

Oscar Predictions – Wicked: For Good

Ahead of its Friday release, the embargo has lapsed for the eagerly awaited sequel Wicked: For Good and we are seeing just how popular or unpopular it is with critics. Jon M. Chu returns to direct alongside the cast of Cynthia Erivo, Ariana Grande, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Michelle Yeoh, and Jeff Goldblum.

Based on the Broadway phenomenon, Good is expected to generate massive box office dollars. Will it be able to match or exceed the Oscar performance of its predecessor from last year? At the 97th Academy Awards, Wicked picked up 10 nominations – Best Picture, Actress (Erivo), Supporting Actress (Grande), Costume Design, Film Editing, Makeup and Hairstyling, Original Score, Production Design, Sound, and Visual Effects. It won for Costume Design and Production Design.

We’ll get into all those in a second, but let’s start with the headline. As one of the final pieces to this grand awards puzzle, Good‘s reviews aren’t as strong as part 1’s. 2024’s original had 88% on Rotten Tomatoes and 73 on Metacritic. At the time of publication, RT for Good is 71% with Metacritic at 61.

In short, that makes its prospects murkier in most categories starting with BP. On Sunday when I posted my latest update, I dropped the follow-up from 6th to 8th in that race. I wouldn’t be surprised to see it slide further in my next update and I certainly don’t expect it to go up. Anywhere from 8-10 seems reasonable with the possibility that it could miss the cut. A Directing nod for Chu appears out of reach.

Since April when I did my first projections, I’ve had Erivo and Grande getting back to back noms as the Wicked Witch and Glinda the Good. That’s likely to continue though I’m less confident that they’re both slam dunk inclusions. Actress is crowded and Erivo faces tough competition. I think Grande in Supporting Actress is safer. She was probably runner-up for the victory last year when she fell short to Zoe Saldaña in Emilia Pérez. Grande has been ranked 1st for months on this blog and I still believe she could make the podium walk. The mixed overall reaction opens up victory narratives for others, including Teyana Taylor in One Battle After Another, Elle Fanning or Inga Ibsdotter Lilleass in Sentimental Value, and maybe even Amy Madigan for Weapons (though I’ve yet to predict her).

As for the tech races, Costume Design, Makeup and Hairstyling, and Production Design are close to shoo-in noms. I’m a little less assured about Sound and Visual Effects and far less so for Film Editing and Original Score.

Then there’s categories where the second helping of Wicked could pop up where Wicked did not. That includes original song. Universal is submitting “The Girl in the Bubble” and “No Place Like Home” for the tune derby. I included both in my quintet on Sunday. Some critical reaction indicates the new songs (in other words – not in the Broadway show) are not standouts. I still think one gets in (“Bubble”) but you never know.

The 98th Academy Awards marks the first year for the Best Casting prize. Had this existed last year, Wicked would have had 11 mentions instead of 10. Like most other races mentioned above, For Good making this list of five (or ten in BP) in tenuous.

Bottom line – the range of nominations for Wicked: For Good could be anywhere from 3 to maybe matching the 10 of Wicked in a best case scenario. My Oscar Prediction posts will continue…

Wicked: For Good Box Office Prediction

Wicked: For Good sweeps into theaters November 21st and it should eclipse what part one accomplished out of the gate last year. Jon M. Chu returns directing the second half of the saga based on the hugely popular Stephen Schwartz/Winnie Holzman Broadway play. The stage musical, of course, draws its inspiration from the written works of L. Frank Baum and 1939’s iconic The Wizard of Oz. Cynthia Erivo and Ariana Grande are back headlining along with supporting players Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Michelle Yeoh, and Jeff Goldblum.

Last November, Wicked drew critical kudos, 10 Oscar nominations, and a $112 million domestic opening on its way to $473 million overall stateside. The goodwill left over is expected to mean a larger debut upfront. The Universal release could contend for 2025’s largest premiere thus far. In order to accomplish that feat, it would need to surpass the $162 million that A Minecraft Movie brought in. That is certainly within Good‘s range and I wouldn’t be surprised if it manages the record. I’m putting it a bit below Minecraft‘s figure though it should play well throughout the holidays.

Wicked: For Good opening weekend prediction: $158.1 million

For my Sisu: Road to Revenge prediction, click here:

Sisu: Road to Revenge Box Office Prediction

For my Rental Family prediction, click here:

Rental Family Box Office Prediction

Oscar Predictions: Deep Cover

Deep Cover is available to stream on Amazon Prime Video today with Tom Kingsley directing and Jurassic World maker Colin Trevorrow among four credited with the script. The co-screenwriter’s dino lead Bryce Dallas Howard stars alongside Orlando Bloom, Nick Mohammed, Paddy Considine, Ian McShane, and Sean Bean.

This is not a remake of the 1992 Laurence Fishburne/Jeff Goldblum crime thriller that featured a banger of a title song from Dr. Dre and Snoop Dogg. Instead this British high concept action comedy is receiving decent marks with 95% on Rotten Tomatoes and a more down-to-earth 68 Metacritic. It won’t get near the Academy’s radar. I do wonder if it could get a push for BAFTA’s Best British Film. That might be a long shot, but not an impossibility. My Oscar Prediction posts will continue…

Oscar Predictions: Wicked

Based on one of the 21st century’s most acclaimed theater productions from Stephen Schwartz, Wicked looks to bewitch audiences this Friday. Crazy Rich Asians director Jon M. Chu helms the reported $145 million production with Cynthia Erivo and Ariana Grande headlining. Costars include Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, and Jeff Goldblum.

Representing part 1 of the epic musical with its follow-up arriving next November, Wicked is expected to be a massive hit worldwide. With its box office fortunes appearing secure, lingering Oscar buzz was confirmed with today’s review embargo lift.

The Rotten Tomatoes score is 93% with Metacritic at 73. Technical noms were always a strong possibility. Costume Design (where it could win), Makeup and Hairstyling (same), Production Design, Sound, and Visual Effects are all on the table. There are no original songs so that’s off the table.

A Best Picture nod certainly seems achievable and I had it listed 8th in last weekend’s update. That still seems about right. I don’t believe it’s guaranteed a slot, but its impending popularity gives the Academy a chance to honor a crowd favorite that many viewers have actually seen. Chu’s direction and the screenplay seem far less likely to make the cut.

On the performance front, Erivo will vie for Actress with Grande contending in supporting. Best Actress is super crowded and I’m skeptical Erivo gets her second nomination behind 2019’s Harriet. Grande, meanwhile, stands a better shot even though Supporting Actress has plenty of contenders as well. My Oscar Prediction posts will continue…

Wicked Box Office Prediction

Universal is banking on Wicked casting a spell on a wide audience when it debuts November 22nd. Based on the Stephen Schwartz musical, the fantasy set in the land of Oz comes from Crazy Rich Asians director Jon M. Chu. Cynthia Erivo and Ariana Grande headline with a supporting cast including Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, and Jeff Goldblum. The adaptation serves as part one with the sequel scheduled for November of 2025.

Expectations are high, especially after industry screenings that were met with Oscar buzz in Best Picture, Supporting Actress fo Grande, and numerous tech races. Moviegoers of all ages have familiarity with the Broadway show and, of course, The Wizard of Oz. There’s even some Barbenheimer chatter since it is opening on the same date as Gladiator II, which is also anticipated to perform well.

The forecasted range of its start is wide with some estimates less than $100 million, but going all the way up to $150 million. I’m skeptical it gets that high as some viewers may choose to wait until the extended Thanksgiving frame to check it out. Yet I do think it will easily clear nine digits out of the gate.

Wicked opening weekend prediction: $134.6 million

For my Gladiator II prediction, click here:

Gladiator II Box Office Prediction

For my Bonhoeffer prediction, click here:

Bonhoeffer Box Office Prediction

Asteroid City Review

Wes Anderson’s mix of melancholia and quirky humor is abundant in Asteroid City with its massive cast and dueling aspect ratios. This is a stunning looking feature focused on the behind the scenes made for TV airing of a play (shot in black & white). The play itself is presented via Technicolor hues in a Western desert setting in the 1950s. Whether it’s the characters they’re playing or the actors and directors themselves, they exist in Anderson’s wheelhouse of themes. From dealing with grief to unlikely romances and coming-of-age under unique circumstances, any filmmaker would be rightly accused of ripping off Anderson if this weren’t made by him. Whether it works will depend on how into him you are. I’m not a die-hard though his signature style popped for me in The Royal Tenenbaums, The Grand Budapest Hotel, and more. It can also leave me cold. That happened in portions of his previous effort The French Dispatch while other segments were more successful. This City was lukewarm.

The play we see (which takes up the bulk of screen time) happens in the sleepy title dwelling awoken by a youth astronomy convention. One of the top outcasts competing is Woodrow (Jake Ryan), the movie’s Max Fischer from Rushmore but nicer. His father is war photojournalist Augie and he’s played by Jason Schwartzman, who played Max in Anderson’s acclaimed dramedy from 1998. He’s recently widowed and (in a gag that works throughout) hasn’t figured out how to tell his son and three young daughters who might be witches that mom has passed. Tom Hanks is his wealthy father-in-law who lives on a golf course and reluctantly is teeing up accommodations for the family.

Another competitor is Dinah, daughter of Midge (Scarlett Johansson), a sullen movie star who assumes her fate will be similar to ingenues like Marilyn Monroe. She engages in a fireworks free tryst with Augie while Woodrow develops a crush on Dinah.

We’ve seen plenty of all-star casts in his oeuvre, but Anderson outdoes himself in Asteroid City. From Steve Carell’s motel manager to Matt Dillon’s auto mechanic or Tilda Swinton’s scientist and Rupert Friend’s singing cowboy who’s sweet on Maya Hawke’s teacher, the cast is a loaded group. Some are practically blink and you’ll miss them appearances – hey there’s Jeff Goldblum! And Hong Chau! Jeffrey Wright, who gave a segment stealing performance in The French Dispatch, has a highlight scene as a General judging the convention.

Without going into spoiler territory, the plot eventually employs sci-fi elements in an idiosyncratic Wes way. While this is happening, we get monochrome interludes with Bryan Cranston’s host introducing and commenting on the teleplay, Edward Norton as its writer, and Adrien Brody as the randy director. These are great performers, but the best moments come in Asteroid City. The backstage business of meeting the performers counterparts didn’t have a deep impact with me.

Neither did Asteroid City as a whole. Schwartzman and Johansson (who really sells her considerable star magnetism) have a couple memorable scenes of courtship. The technical work, particularly the production design, is impeccable. Yet the emotional and comedic payoff that has worked in Tenenbaums and beyond feels more remote in this bright wasteland.

**1/2 (out of four)

Asteroid City Box Office Prediction

After premiering to mixed reactions at the Cannes Film Festival last month, Wes Anderson’s Asteroid City expands nationwide on June 23rd. The auteur’s distinctive mix of dry humor and drama looks to be in high supply and same goes for his impressive sprawling cast. This time around it includes plenty of Anderson regulars and some newbies. The list boasts Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Steve Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum.

With a 74% Rotten Tomatoes rating, this is far from the peak of critical acclaim for the filmmaker. I doubt this approaches the $59 million domestic gross that 2014’s The Grand Budapest Hotel made in 2014 (his best earner). Yet this should eclipse predecessor The French Dispatch from October 2021. It took in just $16 million (this was also during theatrical COVID challenges).

City rolls out June 16th in six venues. I imagine it’ll have one of the biggest per theater averages of 2023. That doesn’t necessarily translate to impressive numbers when it expands between the coasts a week later. I’m skeptical that it manages $10 million.

Asteroid City opening weekend prediction: $7.6 million

For my No Hard Feelings prediction, click here:

No Hard Feelings Box Office Prediction

Oscar Predictions: Asteroid City

Wes Anderson is no stranger to Cannes or Oscar nominations as Focus Features hopes the debut of Asteroid City at the former leads to the latter. A mix of comedy, drama, romance, and sci-fi, it features the auteur’s typical sprawling cast (many of whom have worked with him on multiple occasions). This includes (deep breath) Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum. Exhale.

Out stateside on June 23rd, City premiered in the south of France just like Anderson’s Moonrise Kingdom and The French Dispatch. Four of his last five works have generated the Academy’s attention. 2009’s Fantastic Mr. Fox was up for Animated Feature and Original Score (from frequent collaborator Alexandre Desplat). 2012’s Kingdom was in the Original Screenplay derby (with Anderson’s cowriter Roman Coppola). Two years later, The Grand Budapest Hotel was the massive awards breakthrough with nine Oscar nods and four victories in Costume Design, Makeup and Hairstyling, Original Score, and Production Design. It is Anderson’s sole BP nominee. 2018’s Isle of Dogs nabbed Animated Feature and Score mentions. In 2021, I had The French Dispatch predicted for Score and Production Design. It was surprisingly blanked on the morning of nominations.

Critics indicate this is an Anderson effort through and through and most reviews are of the thumbs up variety. The Rotten Tomatoes score is 84%. Like Dispatch and pics before it, Score (by Desplat of course) and Production Design are possibilities. So is the screenplay from Anderson and Coppola. Yet the overseas reaction is not to the level of Hotel and City could come up short like Dispatch did. A Best Picture nod probably won’t occur though perhaps the Golden Globes could slot it in Motion Picture (Musical/Comedy).

Finally, despite the sheer volume of familiar faces appearing in his filmography, no actors have received recognition in one of Anderson’s pics from the Academy. Bill Murray in Rushmore and Gene Hackman in The Royal Tenenbaums likely came close. I do not anticipate that streak being broken here. My Oscar Prediction posts will continue…

Jurassic World: Dominion Review

When the predecessor to Jurassic World: Dominion was unveiled in the summer of 2018, it proved the franchise had indeed fallen to a new level of mediocrity. Fallen Kingdom was a huge disappointment. As much as I wanted to give it credit for trying some new things, the execution failed. Despite a couple of cool set pieces and the dinosaurs still looking cool, I found Kingdom to be the worst of the five in the series.

Dominion challenges that status. Colin Trevorrow made 2015’s Jurassic World. While many of the complaints about it were valid, I still found it to be satisfactory even if did lean hard on the nostalgia angle. After J.A. Bayona handled directorial duties for #2, Trevorrow is back behind the camera here and the nostalgic leanings are in full force. So much so that the three stars of 1993’s iconic Jurassic Park – Sam Neill’s Dr. Alan Grant, Laura Dern’s Dr. Ellie Sattler, Jeff Goldblum’s Dr. Ian Malcolm – are mixing it up with Chris Pratt, Bryce Dallas Howard, and their sort of daughter who may or may not be a clone.

In case you forgot (and I wouldn’t blame you if you did), Fallen Kingdom thrust human cloning upon us as a plot point. Isabella Sermon’s Maisie was revealed to be the recipient of such experimentation and now she’s a young teen living with Pratt’s Owen and Howard’s Claire deep in the woods. She’s not allowed to go anywhere because many would like to continue experimenting on her. Her isolation is wearing on her as she seeks to break out of her small radius. As you may also recall, dinosaurs are now roaming freely across parts of the world (including Maisie’s backyard).

There’s one corporation who’d like to snatch Maisie and her Dino friends. Biosyn Genetics is run by Dr. Lewis Dodgson (Campbell Scott). Located in the Italian mountains, the futuristic company has its greedy hands in all kinds of pots. The main one involves locusts. Yes, a significant portion of Dominion‘s plot involves these crop eating creatures and Biosyn’s plans to control the world’s food supply. If that seems like an out of nowhere storyline that has little to do with dinosaurs, you’d be correct.

However, these CG locusts do give an excuse to bring back Neill and Dern’s characters when they travel to Italy to investigate (Goldblum is already working for the company). When Maisie is snatched up, Owen and Claire find themselves trekking overseas as well for what we know will eventually be a melding of the stars of both trilogies.

There’s some new characters including DeWanda Wise’s cocky Air Force pilot and Mamoudou Athie as Dodgson’s morally conflicted right hand man. The real thrill is meant to be the return of the OG players from three decades ago. Here’s the rub – despite Jurassic Park being amazing, its one minor flaw was its human characters (with the exception of Goldblum) being a bit dull. Seeing Neill and Dern reignite their unrequited passion isn’t exactly Han showing up on the Millennium Falcon with Chewie after 30 years. I’ve already discussed the lack of passion between Owen and Claire in my review of the predecessor.

Where Dominion manages to be a very slight improvement over Kingdom is a couple of expertly constructed action sequences. A car chase involving the prehistoric creatures in Malta is legitimately thrilling. These brief moments of excitement are too often interrupted by humdrum fan service, cloning, and attacks of the locusts. In other words, there’s a couple of cool set pieces and the dinosaurs still look cool. It’s not enough. The Jurassic series veered off course with Kingdom and it doesn’t regain much footing in Dominion. 

** (out of four)

Thor: Love and Thunder Box Office Prediction

Each Thor pic has outdone the last and Disney hopes that trend continues when Thor: Love and Thunder hits theaters on July 8th. The sixth MCU entry in the past 14 months, the franchise shows no signs of slowing down as this follows juggernauts Spider-Man: No Way Home and Doctor Strange in the Multiverse of Madness. 

This particular series is only the second to have a fourth feature (the other being Avengers). Taika Waititi, who made 2017’s predecessor Ragnarok, returns behind the camera with Chris Hemsworth once again hammering away as the title character. Natalie Portman’s Jane is back after sitting out part 3 and other familiar faces include Tessa Thompson, Jaimie Alexander, and Jeff Goldblum. The Guardians of the Galaxy are also in the mix. Newcomers to the fold are Christian Bale as main villain Gorr the God Butcher and Russell Crowe as Zeus. Expect plenty of cameos as well.

The first Thor (only the 4th of now 29 MCU flicks) grossed $65 million out of the gate with an overall gross of $181 million. Two and a half years later, The Dark World improved upon that with $85 and $206 million, respectively. Ragnarok easily surpassed that with $122 million and $315 million eventually.

Love and Thunder should continue the trend. Since the character’s last stand-alone effort, Thor was prominently placed in the massive Avengers sagas Infinity War and Endgame. That said, Multiverse from early May was a direct benefactor of following No Way Home when it premiered with $187 million. Its Spidey predecessor swung the second largest domestic opening of all time behind Endgame. 

I don’t believe Thunder will reach the stratosphere of Multiverse. Somewhere between $140-$160 million seems doable. If buzz continues to grow louder in the coming days, I reserve the right to revise up. My current take puts it in the range of Guardians of the Galaxy Vol. 2 ($146 million) and Captain Marvel ($153 million). I’ll put it slightly over both.

Thor: Love and Thunder opening weekend prediction: $155.7 million