Tag: Lily James

Oscar Predictions: Relay

David Mackenzie’s Relay was first seen at the Toronto Film Festival a year ago and is finally running theatrically this weekend. Riz Ahmed (best actor nominee for 2020’s Sound of Metal), Lily James, and Sam Worthington headline the thriller with Bleecker Street handling distribution.

In 2016, Mackenzie’s Hell or High Water nabbed numerous Academy noms including Best Picture. He’s since followed up with 2019’s Outlaw King and has heist flick Fuze slated for this year’s Toronto Film Festival.

Reviews for Relay are mostly satisfactory with 82% on Rotten Tomatoes and a 70 Metacritic. They’re not high enough for awards consideration and Bleecker is not exactly a force when it comes to campaigning anyway. My Oscar Prediction posts will continue…

The Iron Claw Box Office Prediction

A24 drops The Iron Claw into multiplexes on December 22nd. The wrestling biopic focuses on the Von Erich family, who were prominent in the sport during the 1980s. Sean Durkin directs with Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany, and Lily James headlining.

Critical reaction is impressive with 91% on Rotten Tomatoes. In my Oscar Predictions post earlier this week, I maintain that this would be more of an awards contender had it played the festival circuit early in the fall.

Fans of wrestling and adult moviegoers looking for entertainment over the holiday weekend could cause this to over perform. $6-7 million would be a decent start from Friday to Monday (Christmas) and I think it could exceed that a little.

The Iron Claw opening weekend prediction: $8.7 million (Friday to Monday estimate)

For my Aquaman and the Lost Kingdom prediction, click here:

Aquaman and the Lost Kingdom Box Office Prediction

For my Migration prediction, click here:

Migration Box Office Prediction

For my Anyone but You prediction, click here:

Anyone but You Box Office Prediction

For my Poor Things prediction, click here:

Poor Things Box Office Prediction

For my The Color Purple prediction, click here:

The Color Purple Box Office Prediction

For my Ferrari prediction, click here:

Ferrari Box Office Prediction

For my The Boys in the Boat prediction, click here:

The Boys in the Boat Box Office Prediction

For my Salaar: Part 1 – Ceasefire prediction, click here:

Salaar: Part 1 – Ceasefire Box Office Prediction

Oscar Predictions: The Iron Claw

The Iron Claw is in theaters on December 22nd as it tells the true life tale of the Von Erich family of wrestlers. Recounting their triumphs and many tragedies, Sean Durkin writes and directs a cast including Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany, and Lily James.

The A24 release’s review embargo lifted today and the Rotten Tomatoes meter stands at an impressive 93%. Frankly, I’m surprised the sports biopic chose to forego screenings at festivals like Toronto and Telluride. That could’ve built awards buzz for the picture itself, as well as Efron and White.

I wonder now it it’s too late in the season for Claw to reach voters. While it did make the cut in the National Board of Review’s 10 best, it was nowhere to be seen with AFI or at the Golden Globe nominations. If Claw can manage to squeeze into the SAG nods next month (for Best Ensemble or with Efron or White individually), that could help visibility with the Academy. Right now I think the likeliest scenario is it comes up empty-handed on Oscar nom morning. My Oscar Prediction posts will continue…

Oscar Predictions: What’s Love Got to Do with It?

What’s Love Got to Do with It? is not a remake of the Tina Turner biopic nearly three decades after the original. Instead it’s a rom com about arranged marriage from Shekhar Kapur, best known for directing Cate Blanchett to two Oscar nominations for Elizabeth (1998) and its follow-up The Golden Age (2007). Lily James, Shazad Latif, Emma Thompson, and Taj Atwal are among the cast.

The film premiered at Toronto to a middle of the road reaction with 67% currently on Rotten Tomatoes. At the moment, Love is slated for a UK opening in January and it’s not clear if an awards qualifying run is happening for 2022.

I don’t think it matters. This might’ve been a pic that could make waves at the Globes in the Musical/Comedy races, but even that seems like a stretch. My Oscar Prediction posts will continue…

Oscar Watch: Rebecca

Remaking Hitchcock is always a tricky proposition, but Ben Wheatley is venturing into that territory with the October 21st Netflix release of Rebecca. The 1940 version from the Master of Suspense is the only film in the legend’s filmography to win Best Picture at the Oscars (though it did not land Hitchcock a directing victory). Armie Hammer, Lily James, Kristin Scott Thomas, Sam Riley, and Ann Dowd headline this iteration.

The original source material is actually the 1938 Daphne du Maurier novel and some reviews are saying this 2020 take is actually more faithful than Hitch’s adaptation. Yet it’s getting nowhere close to the raves of what preceded it 80 years ago. The Rotten Tomatoes score stands at a mixed 54%.

In 1940, the trio of Laurence Olivier, Joan Fontaine, and Judith Anderson were all nominated by the Academy. These would be the roles played now by Hammer, James, and Scott Thomas. While some critics have focused on the work of the latter, I find it doubtful that Scott Thomas could nab her second nomination (her first was 1996’s The English Patient).

Even with the so-so reviews, Rebecca could still get some nods. The Production Design and Costume Design have both been singled out. In my weekly Oscar prediction updates, I had this just on the outside looking in at 6th in the costuming race and I have this making the cut in fifth in Production Design. My Oscar Watch posts will continue…

Yesterday Box Office Prediction

Oscar winning director Danny Boyle, who clearly enjoys playing in multiple genres, tries his hand at a musical comedy next weekend with Yesterday. The high concept pic puts forth the theory that only one aspiring songwriter (Himesh Patel) rememberers The Beatles and cashes in on the world’s memory loss. Costars include Lily James, Kate McKinnon, and Ed Sheeran.

Mr. Boyle, as mentioned, has a varied filmography that includes Trainspotting and its sequel, 28 Days Later and its follow-up, Best Picture winner Slumdog Millionaire, and Steve Jobs. When Yesterday premiered at the Tribeca Film Festival, its so-so reception killed any potential awards chatter. The Rotten Tomatoes score is 68%.

While there’s legions of Fab Four fans out there, I don’t see this turning into a summer sleeper. I believe this will struggle to reach $10 million.

Yesterday opening weekend prediction: $9.1 million

For my Annabelle Comes Home prediction, click here:

https://toddmthatcher.com/2019/06/18/annabelle-comes-home-box-office-prediction/

Oscar Watch: Yesterday

Premiering at the Tribeca Film Festival over the weekend, the comedic fantasy Yesterday comes with plenty of behind the scenes players with awards credentials. The high concept story imagines a world where the songs of The Beatles have all been forgotten, except by a young aspiring songwriter (Himesh Patel). It’s his duty to re-educate the populace about the Fab Four. Costars include Lily James, Kate McKinnon, and Ed Sheeran (playing himself).

The aforementioned pedigree starts at the top. Director Danny Boyle has had one of the most eclectic filmographies in memory. His works include a Best Picture winner (2008’s Slumdog Millionaire) and a nominee two years later (127 Hours). They also include cult favorites such as Trainspotting, the acclaimed zombie tales 28 Days Later and 28 Weeks Later, and sci-fi thriller Sunshine. There’s also Steve Jobs, which never materialized as the awards contender that prognosticators thought it could be.

Additionally, the screenplay comes from Richard Curtis. He received an Oscar nod 25 years ago for Four Weddings and a Funeral. Other written works of note include Notting Hill, Bridget Jones’s Diary, and Love Actually.

As you can see, it’s pretty clear why Yesterday could be looked at as an Oscar player today due to the talent involved. Yet after its festival debut ahead of its June release, reviews are telling a different story. Some are positive, but others are decidedly not. Some critics are breaking out their best Beatles puns with one stating it never quite comes together.

Bottom line: we’ll see if Yesterday can manage to be a profitable crowd pleaser, but don’t expect this to be a factor come with nominations down the line. My Oscar Watch posts will continue…

Sorry to Bother You Movie Review

In one sense, Boots Riley’s Sorry to Bother You is conventional with its pro-labor and anti-corporate message. How it gets there is wildly unconventional, often original, occasionally hilarious, and clearly from a new filmmaker making his voice and views heard. Riley comes from the world of hip hop and his political perspectives are unmistakable in short tracks. With nearly two hours to work with here, his words can’t possibly be as tight and controlled. This film is messy, but rarely a mess. Like the best music in the genre, it’s not easily forgotten. Similar to a bass line or lyric that won’t escape you, moments here have the same effect.

LaKeith Stanfield is Oakland native Cassius Green, who’s struggling to find a job that pays the bills. He lives in a garage with his artsy girlfriend Detroit (Tessa Thompson). He owes lots of back rent to his uncle (Terry Crews) that owns the property. While the Golden State area looks current, the picture is set in an alternate reality. There’s a massive conglomerate that goes by WorryFree. We see ads on TV that promote a life of not paying bills and free housing. The catch? A lifetime contract of servitude. It’s absolutely an allegory for the director’s view of today’s workforce. While WorryFree seemingly appeals to many, this is not so for Cassius, Detroit, and lots of protesters.

Instead, Cassius finds work as a telemarketer and he initially finds it mundane and challenging. That is until a coworker (Danny Glover) imparts his secret of success. That recipe is using his “white voice”. Those voices are provided by recognizable faces for main characters including David Cross, Lily James, and Patton Oswalt. Cassius suddenly finds himself climbing the corporate ladder once the modulation happens. It leads him to gain the designation of “Power Caller”. That means moving to a swanky floor where only the Caucasian voice is allowed to be used. This also means he becomes a scab to his fellow workers and to Detroit. His financial rise soon puts him in touch with the leaders of WorryFree and its CEO Steve Lift (Armie Hammer).

Once that partnership is forged, Sorry to Bother You veers into genuinely unexpected directions (trust me on this one). Riley, however, never strays too far from the overall message. He’s got a fine cast to deliver it. Stanfield (best known for his supporting role in Get Out) is terrific and we’ve certainly never seen Hammer like this before. There are some genuine laugh out loud moments. One involves a passive aggressive argument Cassius has with friend and coworker Salvador (Jermaine Fowler). Another pertains to Steve’s unexpected reaction to Cassius’s reaction when a key plot point is revealed.

When we get to the third act, its unconventional tone gallops into an entirely new gear. It’s not totally successful, but I found myself admiring Riley’s kitchen sink approach to it. For viewers looking for something that’s often remarkably different, Bother hits those notes with enough frequency for a solid recommendation.

***1/2 (out of four)

Mamma Mia! Here We Go Again Box Office Prediction

Arriving just over 10 years to the day after its predecessor, Mamma Mia! Here We Go Again dances into theaters next weekend, looking to be queen of the box office over other sequel competition. The 2008 original was based on a popular stage musical incorporating the music of Swedish super group ABBA and it turned into a behemoth at the multiplex. Returning cast members include Meryl Streep (in her first ever sequel), Amanda Seyfried, Pierce Brosnan, Colin Firth, Christine Baranski, Julie Walters, Stellan Skarsgard, and Dominic Cooper. Newbies include Lily James, Andy Garcia, and Cher. Ol Parker takes over directorial duties from Phyllida Lloyd.

Mamma Mia! held the distinction of being the highest grossing live-action musical of all time until 2017’s Beauty and the Beast topped it. It opened to $27.7 million and legged out quite well to a $144 million domestic total. The worldwide haul was a fantastic $615 million. Ten years is a significant gap between sequels, but the fan base seems likely to turn out and there’s little else marketing an older and female crowd. Two others sequels debuting over the weekend – The Equalizer 2 and Unfriended: Dark Web – are going for different demographics.

It seems reasonable to me that Again could debut about 20% higher than the first and it remains to be seen if it holds as well as part 1 in subsequent weekends.

Mamma Mia! Here We Go Again opening weekend prediction: $33.5 million

For my The Equalizer 2 prediction, click here:

https://toddmthatcher.com/2018/07/10/the-equalizer-2-box-office-prediction/

For my Unfriended: Dark Web prediction, click here:

https://toddmthatcher.com/2018/07/11/unfriended-dark-web-box-office-prediction/

Darkest Hour Movie Review

Winston Churchill died 100 years after Abraham Lincoln. In the United Kingdom, the Prime Minister is now regarded as one of, if not thee nation’s most revered leaders in perilous times. Like Lincoln. And like Steven Spielberg’s Lincoln from 2012, Joe Wright’s Darkest Hour focuses on a short period when both men’s leadership abilities were put to their most strenuous tests. Lincoln featured Daniel Day-Lewis embodying the 16th President of the United States in memorable and Oscar-winning fashion. Hour has Gary Oldman with an equally towering performance that is also barreling toward Academy gold.

The picture takes place in May 1940 as Churchill becomes the doubted but consensus choice to succeed Neville Chamberlain as PM of England. He’s known as much if not more for his failures in previous offices than his successes. Churchill enters the position at a precarious moment for the country. Hitler is on the march, conquering European countries with sights set on England. King George VI (Ben Mendelsohn) is suspicious of the new leader. Office holders, especially Lord Halifax (Stephen Dillane), are pleading for Churchill to cut a deal with the Nazi Party.

It is Churchill’s instinct to fight on the battlefield and with his detractors. He gets support from his wife Clementine (Kristin Scott Thomas). His historic decision-making and speech dictation is witnessed by new personal secretary Elizabeth (Lily James). The key choices he must make involve Operation Dynamo, which was just chronicled in Christopher Nolan’s Dunkirk.

Oldman, buried under impressive makeup that render him barely recognizable, excels in making Churchill a force of nature. We’ve seen Oldman’s chameleon like abilities to disappear into a character before and it’s on full display here. The Prime Minister’s boozing and oratory prowess and connection to his countrymen are also displayed. The supporting players are all just fine, if understandably relegated to the sideline in favor of a far larger personality. Those in Churchill’s orbit probably came to realize they were part of his show. Same here with Mr. Oldman.

Darkest Hour doesn’t quite reach the heights of dramatic impact as the films mentioned from Spielberg and Nolan. It is, however, a well-crafted tale of leading with gut and gusto at a juncture when it was needed and with Oldman spearheading the eventual charge to victory.

*** (out of four)