The Super Mario Bros. Movie is out tomorrow and looks to rule the Easter holiday frame. While big money is about to flow through the pipeline, reviews are more of the mixed variety. The Illumination Entertainment animated production of the Nintendo property sits at 56% on Rotten Tomatoes.
This is the 13th feature from the studio. Of the previous dozen, only one (2013’s Despicable Me 2) has managed a Best Animated Feature mention. Illumination’s titles generate coins, but not nominations. That doesn’t look to change with Mario and Luigi’s new adventure. My Oscar Prediction posts will continue…
Blogger’s Update (04/05): I am revising my estimate slightly up from $92.6M for the three-day to $98.6M and from $128.7M for the five-day to $137.7M
Universal and Illumination hopes The Super Mario Bros. Movie earns a lot of coinage when it debuts Wednesday, April 5th. The animated adaptation of the wildly influential and popular Nintendo game (and numerous spin-offs) comes from the Teen Titans! Go team of Aaron Horvath and Michael Jelenic. Chris Pratt and Charlie Day voice the iconic Mario and Luigi with Anya Taylor-Joy as the Princess. Other performers behind the mic include Jack Black, Keegan Michael-Key, Seth Rogen, Fred Armisen, Sebastian Maniscalco, and Charles Martinet (who voiced the plumbers in the original 80s game).
Given how huge this property has been for decades, the lack of cinematic treatments is a little surprising. Nintendo, however, is leery of licensing for adaptations. That might have something to do with 1993’s Super Mario Bros,, the live-action version with Bob Hoskins, John Leguizamo, and Dennis Hopper that critics scorched. It bombed upon arrival that summer when the Jurassic dinosaurs ruled the season.
It’s probably a safe assumption that Illumination won’t drop the ball with the moneymaking potential of this franchise. They’ve repeatedly proven their moneymaking abilities with the Despicable Me and Sing series and more.
Arriving over the five-day Easter holiday, Mario should capitalize on youngsters being out of school and the adults who owned the various iterations of the game attending. This is one “kid’s pic” where many of the parents will be cool with tagging along.
Over the Wednesday to Sunday frame, I believe $100 million plus could be in the pipeline. It might even get to nine digits over the traditional weekend.
The Super Mario Bros. Movie opening weekend prediction: $98.6 million (Friday to Sunday); $137.7 million (Wednesday to Sunday)
Henry Selick burst onto the stop-motion big screen animation scene nearly 30 years ago with The Nightmare Before Christmas and continued on with James and the Giant Peach and Coraline (which received a Best Animated Feature). Note that the category didn’t exist when Christmas and Peach came out. His first feature in 13 years is Wendell & Wild, which premiered at Toronto and hits Netflix on October 28th (with an awards qualifying run a week prior).
A familiar comedic duo, Keegan-Michael Key and Jordan Peele, voice the demon sibling title characters. Other performers behind the mic include Lyric Ross, Angela Bassett, James Hong, and Ving Rhames. The Canadian debut yielded a 92% Rotten Tomatoes score.
Most reviews are not overwhelming raves and I don’t see this winning the top prize. Netflix’s biggest contender could be the forthcoming Pinocchio from Guillermo del Toro. I also wouldn’t discount their acclaimed The Sea Beast from earlier this year. Wild could easily make the top five when the dust settles though I wouldn’t say it’s a slam dunk. My Oscar Prediction posts will continue…
There could be a Pinocchio movie that contends for Oscars in 2022, but it’s not the one this post is focused on. Today marks the Disney Plus premiere of Pinocchio, the studio’s latest live-action remake of their iconic IP. The musical fantasy has some high profile talent with Robert Zemeckis directing and Tom Hanks, Cynthia Erivo, and Luke Evans appearing. Voice work is contributed by Benjamin Evan Ainsworth (as the title character), Joseph Gordon-Levitt, and Keegan-Michael Key.
Some reviews claim it’s an OK watch, but plenty others have been quiet derisive. The Rotten Tomatoes score is 32%. Even without critical acclaim, the Mouse Factory’s live-action retelling of The Lion King managed a Visual Effects nod three years back. Don’t look for that to occur here as some of the buzz is quite dismissive of its overall look.
In November, Guillermo del Toro’s stop-motion animated version of the puppet turned real boy arrives on Netflix. We’ll see if it garners Academy chatter. This won’t. My Oscar Prediction posts will continue…
John Mulaney and Andy Samberg lend their vocal and comedic talents to Disney’s Chip ‘n Dale: Rescue Rangers, based on the animated series that started in 1989. Akiva Schaffer (Samberg’s partner in their group The Lonely Island) directs. Other familiar faces behind the pic’s creatures include KiKi Layne, Will Arnett, Eric Bana, Keegan-Michael Key, Tim Robinson, Seth Rogen, J.K. Simmons, and Dennis Haysbert.
Rangers is foregoing the theatrical experience with a Disney+ rollout this Friday. Could the Mouse Factory make a play for a Best Animated Feature nod? With the review embargo lapsing, that seems at least feasible. Sitting at 77% on Rotten Tomatoes, some critics are heaping praise with some comparisons to Who Framed Roger Rabbit.
On the other hand, the studio will surely push the upcoming Lightyear and this spring’s Turning Red in the category. It remains to be seen whether there’s a significant push for the chipmunks. My Oscar Prediction posts will continue…
Prior to its December 11th bow on Netflix, the musical romantic comedy The Prom has screened for critics and the general consensus is that it’s a crowd pleaser that should see plenty of streams in a few days. An adaptation of the 2018 Broadway musical, super producer Ryan Murphy handles directorial duties with an impressive cast including Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Ariana DeBose, Kerry Washington, and Jo Ellen Pellman.
The current Rotten Tomatoes score sits at 75%. Plenty of reviews praise its feel good vibes and that could be especially welcome in this thing we call 2020. On the other hand, the negative reaction is quite negative and that includes some pretty high profile publications that include EW and The AV Club. Netflix has plenty of major Oscar contenders this year and I wonder how hard they’ll press for inclusion here. While it should nab some Golden Globe nods (including the Musical/Comedy Picture race), the Academy’s love is far less certain.
If audiences sing its praises and it’s a runaway hit, I believe The Prom has an outside shot at Picture. As for its performers, Streep should never be counted out and this would mark her 22nd nomination. I feel her chances in the final five are better than they were a couple weeks back, but I’m currently reluctant having her make the cut. Same goes for Nicole Kidman in Supporting Actress or anyone else.
The best shot could be in down the line categories such as Costume Design, Sound, or one of its songs (though the recently released “Wear Your Crown” with Streep rapping has drawn plenty of eye rolls). Bottom line: don’t discount The Prom‘s ability to make it into the dance in Picture or Actress, but it’ll need lots of goodwill to get there.
John Cena follows the career path of fellow grappler Dwayne Johnson with the release of Playing with Fire next weekend. The family comedy casts him as a firefighter caring for rambunctious kids along with his coworkers. Andy Fickman directs and the cast includes Keegan-Michael Key, John Leguizamo, Brianna Hildebrand, Dennis Haysbert, and Judy Greer.
The Paramount release is essentially taking the studio’s Instant Family slot from last year. That pic scored a fairly decent $14.7 million for its start and legged out to a $67 million domestic gross. Cena hasn’t proven himself to be a player in this genre, however, and I’d say Mark Wahlberg’s star power is a bit brighter.
The best hope for Fire is that it develops small dips in subsequent weekends if word of mouth is solid, but I believe it’ll be fortunate to reach double digits in its premiere.
Playing with Fire opening weekend prediction: $7.9 million
There are plentiful amounts of F bombs thrown out in Dolemite Is My Name. They are the kind that you associated with Eddie Murphy years ago. The F no longer stands for the family fare he starred in that bombed at the box office. Think Pluto Nash. Or Meet Dave. Or Imagine That. No, this belongs in a small sub genre of pictures where some of the players here have had involvement before. Dolemite tells the true story of a man breaking into the movie business with wide eyed spirit and contagious tenacity. The quality of the material produced is secondary.
Murphy is Rudy Ray Moore, who’s working at a record shop in L.A. when we begin. He has dreams of stardom, but the general consensus is that his time has passed. Rudy just won’t let that happen as he develops a comic persona that is one part rhyming (he ended up being a huge influence in the hip hop community), one part glorious 70s outfits of the era, and all parts raunchy as hell.
He achieves success in the underground comedy world where his records sell, but a screening of the Billy Wilder pic The Front Page gives him another idea. Rudy doesn’t see humorous material on the screen for the black audience and he’s going to be the one to give it to them. Obtaining financing (even at the height of the blaxploitation genre) is next to impossible so he’s creative in his methods.
Surrounding Rudy is a colorful (especially the clothes) and eclectic group of collaborators who aren’t entirely sure what they’ve gotten themselves into. They include actor D’Urville Martin (Wesley Snipes, having a ball). He never fails to remind others that he had a big part in Rosemary’s Baby and only joins the picture when he’s allowed to direct. Keegan-Michael Key is the screenwriter who thinks he’s making the kind of serious drama he writes for the stage. When kung fu and set shattering sex scenes take precedence, that notion is dispelled. Da’Vine Joy Randolph is a scene stealer as Lady Reed, Rudy’s stand-up partner plucked out of a Southern bar.
Screenwriters Larry Karaszewski and Scott Alexander have travelled this road before with Tim Burton’s Ed Wood. Murphy gave one of his finest performances 20 years ago in Bowfinger, where his costar Steve Martin was a director with unbridled and naive enthusiasm. The Disaster Artist with James Franco mined similar territory. So while Dolemite does feel familiar in its beats, it has its own brand of passion for its unlikely star.
We have the headliner to thank for it. This is Live From Netflix and is indeed Eddie Murphy’s show. The performer seems more inspired than he has in some time. It might help if you’re a Dolemite devotee (Murphy and many of the cast members are). Yet this is an entertaining watch either way as we watch a legend in his element.
Ahead of its October 25 Netflix release, DolemiteIsMyName introduced itself to critics this weekend at the Toronto Film Festival. Seen as a comeback role for Eddie Murphy, early reviews suggest it’s just that. Murphy plays Rudy Ray Moore, who was instrumental to ushering in the blaxploitation genre of the 1970s with his title character. Craig Brewer, best known for helming Hustle&Flow, directs with a supporting cast including Wesley Snipes, Keegan-Michael Key, Mike Epps, Craig Robinson, Da’Vine Joy Randolph, Snoop Dogg, and T.I.
In 2006, Eddie was seen as the front runner in Supporting Actor for Dreamgirls. He was upset by Alan Arkin’s work in LittleMissSunshine. This has been eyed as his first chance at Academy attention since. The issue could be significant competition in a Best Actor derby that appears stacked already.
Scott Alexander and Larry Karaszewski wrote the original screenplay and they’ve specialized in highlighting colorful entertainment figures in EdWood, ThePeoplevs. LarryFlynt, and ManontheMoon. Once again, they could face trouble nabbing nods as that writing race is jam packed.
So while Dolemite should succeed in garnering the kind of praise its star hasn’t seen for some time, awards chatter might be elusive. There could be one noteworthy exception. Ruth Carter’s costume design has been noted in numerous write ups. Just last year, she became the first African-American to win that category for BlackPanther. She could find herself in the mix again. My Oscar Watch posts will continue…
The fourth edition of ToyStory is unveiled in theaters next weekend and reviews are out today. It is the 21st film for Pixar that began in 1995 with… ToyStory. And when it comes to Oscar voters honoring the studio’s works, there’s a rich history.
Critics so far have given a 100% stamp of approval to the sequel. The Academy established the Best Animated Feature in 2001. There’s been 18 winners and half of them are Pixar pics. The studio has also nabbed two nods in Best Picture with 2009’s Up and 2010’s… ToyStory3.
First things first: there is approximately zero doubt that part four will get Animated Feature recognition. And unless something special comes along in the second half of the year (perhaps Frozen2?), it has an excellent shot at winning. It’s also feasible that it could land Pixar’s third Picture nod, but that is far less certain at this juncture.
Another category where ToyStory4 could contend is Best Original Song. There’s two possibilities: Randy Newman’s “I Can’t Let Yourself Throw Away” and “The Ballad of the Lonesome Cowboy”, which was written by Newman and is performed by country superstar Chris Stapleton.
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