Tom Cruise’s box office fortunes have taken a turn for the worse recently with two flops in less than a year – Jack Reacher: Never Go Back and this summer’s The Mummy. The star will attempt to turn that around next weekend with American Made.
The true life crime pic reunites Cruise with his Edge of Tomorrow director Doug Liman and finds him playing Barry Seal, pilot turned drug smuggler for the Medellin cartel in the 1980s. Costars include Sarah Wright, Domhnall Gleeson, and Jesse Plemons. Unlike his two previous pictures, Made is receiving positive reviews with a current 89% rating on Rotten Tomatoes.
That positive word-of-mouth might help, but I could also see Made opening somewhat lightly with hopes of smallish declines in subsequent weekends. Unlike most of Cruise’s recent work, this isn’t an action or sci-fi project that audiences have become accustomed to seeing him in during recent years. Its box office potential should rely solely on his drawing power (which has waned) and the approving critical notices.
I’ll estimate that American Made generates a mid teens debut.
American Made opening weekend prediction: $15.5 million
Today’s earlier Oscar Watch post focused on Victoria and Abdul, the Queen Victoria biopic featuring Judi Dench that’s set in the late 19th century. We are in the same time period for this next write-up, but it’s a much different genre and setting.
Scott Cooper’s Hostiles has premiered at the Telluride Film Festival and award chatter for it has been bolstered. Christian Bale headlines as an Army captain escorting a Native American chief back to his native land. The Western’s costars include Rosamund Pike, Wes Studi, Jesse Plemons, Ben Foster, and Timothee Chalamet (who could be in the Oscar mix for another performance in Call Me by Your Name).
Cooper directed Jeff Bridges to an Oscar win in 2009 with Crazy Heart. This is his second collaboration with Bale after 2013’s Out of the Furnace and his follow-up to the 2015 Johnny Depp Whitney Bulger pic Black Mass. Any advance word of Hostiles has been low-key for a rather simple reason. It’s yet to have been picked up by a distributor so its release by 2017 was uncertain. Positive word-of-mouth emanating from Telluride should solve that problem.
That said, whichever studio that picks up Hostiles for an awards qualifying run will have a stiff challenge. The film’s success or non success among audiences could determine whether it’s seriously looked at as a contender. Time will tell, but at the least Telluride has provided it hope for Academy attention.
In the midst of several Oscar Watch posts deriving from the Toronto, Venice, and Telluride Film Festivals, this evening brings one that slipped my radar months ago. In January at Sundance, the comedic drama OtherPeople debuted. It’s been released in limited fashion this past Friday and has garnered some attention for one particular performance.
SNL’s Molly Shannon has received raves for her role as a dying mother being cared for by her gay son (Jesse Plemons of “Breaking Bad”). For those of us who know Shannon for her wild and broad characters from the famed sketch show, this is said to be quite the impressive departure.
The film itself, from former SNL writer Chris Kelly, has been met with largely positive reviews (85% on RT). However, only Shannon in Supporting Actress stands any realistic shot at Academy attention. It may turn out to be too small a picture in their minds to nominate her. And let’s face it – actors known mostly for comedy often struggle to get their votes anyway. Yet it’s worth a mention as Shannon stands a remote chance at a nod along with four other people.
Scott Cooper’s Black Mass features a remarkable performance by Johnny Depp in a rather unremarkable telling of a fascinating true life gangster tale. Taking place over a number of years starting in the mid 1970s, Mass concentrates on the Boston reign of James “Whitey” Bulger, a notorious crime kingpin who was able to evade the law due to his status as an FBI informant. Much of his leeway is due to his friendship dating from childhood with agent John Connolly (Joel Edgerton). Their union allows Bulger to roam the Bah-ston streets freely while giving up info that has the added benefit of eradicating his North Side Mob enemies. Connolly’s longtime connection leaves him either oblivious to who Whitey really is or perhaps a willful co-conspirator.
The film is told in a predictable flashback style as Whitey’s former associates are being questioned by authorities. For anyone who’s watched the news in the last few years, you’ll probably know the real Bulger successfully was a very wanted fugitive for quite a while. We don’t really become acquainted with these witnesses or the law enforcement agents outside of Connolly, but there’s lots of familiar faces playing them. On the good guy side, we have Kevin Bacon, Corey Stoll, and David Harbour (who is afforded a chilling dinner table scene with the star). Whitey’s henchman are played effectively by Rory Cochrane and Jesse Plemons. Benedict Cumberbatch’s role as Whitey’s politician brother is also underwritten and Dakota Johnson has a brief role as the criminal mastermind’s first wife. The best bit part belongs to Peter Sarsgaard as a coked out associate mixed up with Bulger’s corrupt involvement in World Jai Alai. That subplot, by the way, practically begs for its own feature if done right. Edgerton’s work is commendable and convincing as we slowly learn the dynamics of his relationship with the informant he’s known for decades and the ties that bind them.
Yet this is unquestionably the Johnny Depp Show. His menacing performance, with his giant baby blues and slicked back receding mane, reminds us of just how terrific this man can be. Depp’s trademark eccentricities are on display, but they feel necessary in service to the role he’s playing and not just present for the sake of being weird. It’s something that downgraded recent performances from him and his intense persona here is a breath of fresh and scary air. Truth be told, though, the moments here when Depp’s Bulger is terrorizing his associates are often the only scenes that generate real excitement.
That said, true story or not, little else feels fresh about Black Mass. We’ve seen a number of similar genre tales (some set in Boston) mingling the worlds of crime, law, and politics with greater effectiveness. One that immediately springs to mind is Scorsese’s The Departed, in which Jack Nicholson plays a more fictionalized version of Bulger. Many of the plot points that show up in Mass are contained in The Departed and it’s far more fascinating in the latter. That Boston gang drama earned Best Picture. Black Mass earns credit for allowing Depp to make this role a memorable one. For that reason alone, it’s probably worth a look for his many fans even if the material surrounding it is familiar and a little tiresome.
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