In my previous box office prediction for Marty Supreme (opening wide on Christmas), I wrote that it is likely to play better on the coasts than everywhere in the middle. The opposite could be true for Song Sung Blue which also opens on the holiday. The musical drama from Craig Brewer stars Hugh Jackman and Kate Hudson in the true life tale of Neil Diamond tribute act Lightning & Thunder. Ella Anderson, King Princess, Michael Imperioli, Mustafa Shakir, Fisher Stevens, and Jim Belushi are among the supporting players.
Reviews are mixed with 77% on Rotten Tomatoes and 55 on Metacritic. That said, plenty of the write-ups indicate this could be a crowdpleaser. Blue seeks to bring in an older audience during the Yuletide season. That’s likely to happen, but it may play over several weeks and not immediately while word-of-mouth builds.
I’ll project it manages just shy of $10 million over the traditional Friday-Sunday portion of the weekend with low teens when counting Christmas.
Song Sung Blue opening weekend prediction: $9.6 million (Friday to Sunday); $13.7 million (Thursday to Sunday)
Focus Features may focus part of their awards campaigning on Song Sung Blue as it readies a Christmas Day release. The musical drama comes from Hustle & Flow and Dolemite Is My Name director Craig Brewer and tells the true story of a down-on-their-luck couple who form a Neil Diamond tribute band. Hugh Jackman and Kate Hudson play the crooners with a supporting cast including Ella Anderson, King Princess, Michael Imperioli, Mustafa Shakir, Fisher Stevens, and Jim Belushi.
Blue played at the AFI Fest earlier this week and word-of-mouth indicates this could be a crowdpleaser with holiday box office potential. There aren’t a large volume of reviews out yet with 80% on Rotten Tomatoes and perhaps a more telling 57 on Metacritic. Best Picture is likely not in the cards.
The best and probably only chance at a nomination is Kate Hudson for lead Actress. Even some of the negative ink is singing her praises. If she makes the cut, it would come 25 years after her first and only nod in supporting for Almost Famous.
I believe it’s pretty safe to assume Jessie Buckley (Hamnet), Renate Reinsve (Sentimental Value), and Cynthia Erivo (Wicked: For Good) have secured placement in the quintet. That leaves two slots for a handful or so of contenders and Hudson could have an enticing narrative for voters in a showy role. My feeling right now is she just misses, but my thoughts could shift based on precursors. Frontrunner Buckley, by the way, is contending in another Focus distributed project and they could train their sights on securing her the victory.
The film seems poised to be a factor at the Golden Globes in the Musical/Comedy categories including Picture and Jackman, and Hudson in their lead derbies. Oscar could be a tougher sell and my Oscar Prediction posts will continue…
Playing a dying documentary filmmaker recounting his life, on paper Oh, Canada sounds like the kind of project that could give 74-year-old Richard Gere his first Oscar nomination. It reunites the actor with his American Gigolo collaborator Paul Schrader some four and a half decades later. Schrader is adapting the Russell Banks novel, who also wrote Affliction. The director’s version of that source material resulted in Nick Nolte being up for Best Actor in 1998 and James Coburn winning Supporting Actor.
Canada premiered in France at Cannes. The supporting cast includes Jacob Elordi (playing Gere’s younger self), Uma Thurman, Michael Imperioli, Victoria Hill, Penelope Mitchell, and Kristine Froseth.
There’s only a smattering of reviews and they’re mixed with a current 60% RT score. Schrader has been a busy man lately. 2018’s First Reformed nabbed him a nod for Best Original Screenplay (somehow his first). Follow-ups The Card Counter and Master Gardener were not on the radar of voters. It’s highly unlikely this will be either.
As for Gere, that acting nom should remain elusive. He was rather famously omitted for 2002’s Chicago, despite the movie taking Best Picture and four of his costars being recognized. My Oscar Prediction posts will continue…
The Sopranos richly earned its reputation as a game changer that kickstarted a golden era of TV drama over two decades ago. James Gandolfini’s portrayal of Tony Soprano certainly deserves all the praise it got. The late actor’s work influenced so many antiheroes that followed on the small screen. You loved to hate him and kind of hated to love him, but he was a fully realized character that played out over six celebrated HBO seasons.
The main problem with The Many Saints of Newark, a prequel set in the late 1960s and early 70s, is that it’s difficult to fully realize those that populate it in just two hours. The hook drawing fans in is viewing Tony in his formative years. I couldn’t help but think of Star Wars episodes I-III (particularly The Phantom Menace). Did we really need to see Darth Vader as a precocious youngster? We catch glimpses of Tony’s journey to the dark side as he begins to abandon thoughts of a pro football career in favor of a Mafioso life. Yet the players around him don’t have time to breathe and that makes for a disappointing watch.
Many Saints (which translates to Moltisanti in Italian) begins in the tumultuous year of 1967 when Newark is in the midst of race riots. For the DiMeo crime family, they’re hoping for business as usual but the political strife keeps interfering. Dickie Moltisanti (Alessandro Nivola) welcomes his gregarious father (Ray Liotta) and his gorgeous Italian bride (Michela De Rossi) back to the mainland. The organization’s enforcers include some familiar names from the show with more youthful faces: Junior (Corey Stoll), Sil (John Magaro), Paulie (Billy Magnussen) and Pussy (Samson Moeakiola). And there’s Johnny Soprano (Jon Bernthal), who’s nefarious activities are about to land him behind bars for a chunk of son Tony’s upbringing.
Played by William Ludwig in the ’67 portion and Michael Gandolfini (James’s real-life offspring) in the 70s, Tony is drawn to Dickie’s magnetism. With his father away and his deeply troubled mother Livia (Vera Farmiga, impressively adopting Nancy Marchand’s voice and mannerisms) not making life easy, we witness the seeds sown for Tony entering that thing of theirs.
Well… we kind of do. The screenplay (from show creator David Chase and Lawrence Konner) often focuses on Harold (Leslie Odom Jr.). He’s a low-level African-American employee of Dickie’s. The racial upheaval of the era causes him to develop his own little empire and that puts him at odds with the boss. Harold’s subplot is a fine example of one that could be fascinating given more time and context. Here it seems rushed and that includes an out of nowhere love triangle that seems forced to move plot points along.
Just as the older Tony housed multiple contradictions, so does Dickie. He fancies himself a good person, but his actions keep getting in the way. If Tony had mom issues, Dickie is chockfull of stepmom ones. And daddy ones. His most confessional relationship is with his dad’s identical brother Sally (also Liotta) who’s been locked up for years. Sally, in many ways, serves in the Dr. Melfi role from The Sopranos. He gets to hear the angst ridden thoughts of a crime leader who struggles with virtuous ideas while also being a madman.
Nivola gives an impressive performance as a character I ultimately didn’t care much about. As for Gandolfini, he’s the spitting image of his father and there are moments of wistful recognition in that (as well as short peeks at the rage). The script is littered with winking nods to the series past (or future I guess). Some are mildly fun while others come off as unneeded. The latter includes a surprise narrative structure that I won’t spoil. I left Newark appreciative of the rich experience that The Sopranos provided in its six course meal. The power dynamic of Dickie Moltisanti and Harold would be familiar in any Mafia tale. It’s just not as appetizing and it wasn’t enough to pull this viewer back in.
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