At the 91st Academy Awards, Disney/Pixar (a frequent winner in the Best Animated Feature derby at the Oscars) had Incredibles 2 in contention. Yet it came up short to Spider-Man: Into the Spider-Verse. At last year’s ceremony, the studio’s Turning Red was never much of a threat to win and their summer release Lightyear received mixed reactions and didn’t make the cut. Similar elements could be in play for the 96th Oscars and Pixar’s 27th picture Elemental.
Out stateside on June 16, the computer-animated dramedy closed out the Cannes Film Festival. Buzz from France is fairly troubling. The Rotten Tomatoes meter, based on a handful of reviews, is 60%. Peter Sohn directs. He’s best known for 2015’s The Good Dinosaur, which underperformed at the box office and failed to register with the Academy. Voiceover artists include Leah Lewis, Mamoudou Athie, Ronnie del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Joe Pera, and Matt Yang King.
This is Pixar’s one at bat for 2023 and prospects look iffy. We may have a frontrunner emerging with Spider-Man: Across the Spider-Verse opening this weekend. Look for my Oscar Predictions post on it shortly. Even if Elemental manages to make the quintet vying for gold, the chances of a victory look non-existent. If it doesn’t catch on at the box office like Lightyear (and that’s certainly possible), it could get left out altogether. My Oscar Prediction posts will continue…
It’s been nearly 40 years since Paris, Texas from Wim Wenders won the Palme d’Or at the Cannes Film Festival. In 1987, he took the Best Director prize at the fest for Wings of Desire. The German filmmaker is back in the south of France with his drama Perfect Days starring Koji Yakusho, Arisa Nakano, and Tokio Emoto.
There’s another honor that Wenders can add to his Cannes accomplishments. At the awards ceremony for their best in show today, Yakusho was named Best Actor for his work. Reviews in general have been laudatory and it stands at 100% on Rotten Tomatoes.
That said, I’m not sure the critical reaction is effusive enough for it to contend in anything beyond International Feature Film. Japan or German could choose to make it their submission. If they do, it’s got a shot but is far from guaranteed placement. My Oscar Prediction posts will continue…
20th Century Studios is hoping plenty of viewers will be creeped out by The Boogeyman on June 2nd. The PG-13 horror pic is based on a half century old short story by Stephen King with Rob Savage directing. Cast members include Sophie Thatcher (no relation that I’m aware of), Chris Messina, Vivien Lyra Blair, and David Dastmalchian.
Budgeted at just over $40 million, this was originally slated for a streaming premiere on Hulu. Encouraging test screenings changed the plan and now it’s being unveiled in approximately 3000 venues.
This genre has seen its share of successes as of late. There are two comps from 2022 that seem appropriate. The Black Phone was a summer release with some similar themes and based on a novel by King’s son Joe Hill. It started off with $23.6 million. Last fall’s Smile is similar in the sense that it was supposed to roll out on Paramount+ and the pattern was altered due to its positive audience scores. A $22.6 million debut was the result.
The Rotten Tomatoes score is 64%. While under the 83% of Phone and 79% from Smile, that’s just fine to keep the buzz decent. I can’t find a compelling reason why this wouldn’t hit the mid to high teens or low 20s as well.
The Boogeyman opening weekend prediction: $17.7 million
For my Spider-Man: Across the Spider-Verse prediction, click here:
Spider-Man: Across the Spider-Verse swings into multiplexes on June 2nd and hopes to start the month off on a high note. The animated sequel is the follow-up to 2018’s Into the Spider-Verse, which drew widespread critical acclaim resulting in a Best Animated Feature Oscar. It also grossed nearly $200 million domestically and $384 million worldwide.
There’s a trio of directors in Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. Shameik Moore is back behind the mic as Miles/Spidey. Other performers voicing additional versions of the hero and other characters include Hailee Steinfeld (back as Spider-Woman), Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni, Daniel Kaluuya, Oscar Isaac, Greta Lee, Shea Whigham, and Andy Samberg.
Parts 2 and 3 of the franchise were assembled at the same time. Spider-Man: Beyond the Spider-Verse is slated for March 2024. In December 2018, part 1 started out with $35 million before legging out impressively to a $190 million stateside haul. Achieving a rare A+ Cinemascore rating, it stands to reason that audiences should be pumped for the sequel.
In the summer (as opposed to December), tentpoles are expected to post a gigantic opening immediately. Some forecasts have their projection as rosy as $120 million. That’s certainly possible, but I’ll temper expectations a bit and say $90-100 million is probably where this Verse starts.
Spider-Man: Across the Spider-Verse opening weekend prediction: $96.4 million
Sandra Hüller, best known for 2016’s Toni Erdmann, is having quite a Cannes. The German actress first drew raves for Jonathan Glazer’s The Zone of Interest and now she’s receiving further praise for Anatomy of a Fall. Playing a writer on trial for the death of her husband, expect her name to pop in awards chatter for the next few months. Justine Triet directs with a supporting cast including Swann Arlaud, Milo Machado-Graner, Jehnny Beth, and Samuel Theis.
The Rotten Tomatoes meter stands at 100%. If France makes it their official selection for International Feature Film, look for it to contend. Its prospects could grow if it manages any trophies from the Cannes jury in a few days.
As for Hüller, she’ll draw competition from herself in Zone. While that feature may stand a better chance at a Best Picture nomination, the lead’s viability may be strongest with this one. My Oscar Prediction posts will continue…
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…
Blogger’s Note (05/24): I am revising my Kandahar prediction from $7.9 million to $4.2 million
Disney is hoping for a memorable holiday weekend as The Little Mermaid surfaces over the long frame. We have three other newcomers with Gerard Butler’s action thriller Kandahar, the father/son comedy About My Father with standup comic Sebastian Maniscalco and icon Robert De Niro, and the father/son comedy The Machine featuring standup comic Bert Kreischer and icon Mark Hamill. My detailed prediction posts on the quartet of newcomers can be accessed here:
There’s no doubt that Mermaid will bubble up to the #1 spot. The mystery is the number. While I don’t think it reaches the heights of other Mouse Factory live-action remakes like Beauty and the Beast and The Lion King, I do think it exceed the 2019 Memorial Day take of Aladdin. That said – there’s a wide range of possibility and my estimate is admittedly on the higher end compared to some others.
The real battle might be for the runner-up position. Fast X came in below its predecessor F9 (more on that below). It also received the same so-so B+ Cinemascore grade. A drop to the mid or high 20s could put it slightly behind the fourth weekend of Guardians of the Galaxy Vol. 3, which held impressively in the second and third outings. I’m going to give Star-Lord and company the slight edge over Vin Diesel and his cinematic family.
Butler has shown the ability to get his action flicks past $10 million and into the teens, but I’m not seeing much buzz for Kandahar. I’ll say it just reaches fourth place over The Super Mario Bros. Movie.
As you can tell from the descriptions, About My Father and The Machine have a lot in common. Both are tests for their leading men Maniscalco and Kreischer in their first headlining roles. Comedies have struggled at multiplexes lately and I believe these will. I think Father has a bit more broad appeal and I’ll give it sixth with The Machine trailing behind.
And with that, here’s how I envision the Friday to Monday Memorial weekend:
1. The Little Mermaid
Predicted Gross: $132.1 million
2. Guardians of the Galaxy Vol. 3
Predicted Gross: $26 million
3. Fast X
Predicted Gross: $25.4 million
4. The Super Mario Bros. Movie
Predicted Gross: $7.6 million
5. About My Father
Predicted Gross: $6.2 million
6. Kandahar
Predicted Gross: $4.2 million
7. The Machine
Predicted Gross: $3.7 million
Box Office Results (May 19-21)
Fast X continued the diminishing returns of the franchise though its dip wasn’t too far off from F9. The tenth pic in the 22-year-old series made $67 million (F9 did $70M) and that’s right in line with my $67.8 million prediction. As mentioned, I look for a hefty fall coming up. Luckily for Universal, the overseas grosses are solid (they need to be considering the reported $340 million sticker price).
Guardians of the Galaxy Vol. 3 was second after two weeks on top with $32.4 million, on pace my with $33.5 million take. The three-week total is $266 million and, per above, I think it could stay parked in the runner-up position over the holiday.
The Super Mario Bros. Movie made $9.6 million for third compared to my $8.3 million forecast. The remarkable seven-week earnings are $549 million.
Book Club: The Next Chapter, after a poor debut, tumbled 55% in fourth with $3 million (I said $3.2 million). The rom com sequel has made a mere $13 million in ten days.
Finally, Evil Dead Rise was fifth with $2.4 million. My projection? $2.4 million! The horror pic has amassed $64 million in five weeks.
And that does it for now, folks! Catch my podcast… or Toddcast as I call it… by searching Movies at the Speed of Speculation on your favorite streaming platform. Until next time…
Alicia Vikander won a Supporting Actress trophy for 2015’s The Danish Girl and she looks for her first lead nod as Catherine Parr, the sixth spouse of Jude Law’s Henry VIII in Firebrand. The period drama comes from Brazilian filmmaker Karim Aïnouz with a supporting cast including Sam Riley, Eddie Marsan, Simon Russell Beale, and Erin Doherty.
Buzz coming from its screening at Cannes is of the mixed variety and that’s evidenced by the 50% Rotten Tomatoes score. Even the recommendatory write-ups aren’t exactly glowing. Law is getting the best ink. However, his third nod (after 1999’s The Talented Mr. Ripley in supporting and 2003’s Cold Mountain in lead) is highly unlikely to come to fruition as well as any hope for Vikander. I suppose a Costume Design nod could occur, but Firebrand should be put out of contention by the time nominations are out. My Oscar Prediction posts will continue…
Disney’s The Little Mermaid surfaces in theaters over this Memorial weekend and it hopes to dominate the box office like the Beauty and the Beast and The Lion King live-action versions did. Rob Marshall, Oscar-winning director of Chicago who recently helmed Mary Poppins Returns, is behind the camera. Halle Bailey stars as Ariel with Melissa McCarthy, Jonah Hauer-King, Daveed Diggs, Awkwafina, Jacob Tremblay, Noma Dumezweni, and Javier Bardem among the supporting players.
The musical fantasy is, of course, a remake of 1989’s classic that won Oscars for Score and Original Song (“Under the Sea”). Another tune (“Kiss the Girl”) was also in contention. 34 years ago, Best Animated Feature didn’t exist at the Academy Awards. If it had, Mermaid almost certainly would’ve won (unless you think All Dogs Go to Heaven might have managed a shocking upset).
Could this Mermaid swim into contention for the 96th ceremony? Over the past decade, several efforts in this sub-genre have been nominated in different races. 2015’s Cinderella was up for its Costume Design. 2016’s The Jungle Book won Visual Effects. The following year it was Beauty and the Beast mentioned in Costume Design and Production Design. The Lion King in 2019 received a Visual Effects nod and 2021’s Cruella won Costume Design and contended in Makeup and Hairstyling.
Reviews for Mermaid are mixed with a 69% Rotten Tomatoes score. That’s better than The Lion King (52%) for example but nowhere near Jungle Book (94%). Some of the criticism is for its visual look and I’m skeptical it places among the final five. I’m also not feeling the love in the other aforementioned categories.
Original Song could be the saving grace. There are three new ditties in the remake with Bailey performing the ballad “For the First Time”. I would think it would be the track that the Mouse Factory campaigns for.
A lot of critics are praising Bailey herself. I highly doubt she is a possibility for Best Actress at the Oscars. However, a nom in Musical/Comedy at the Golden Globes is doable depending on the competition in the next few months. My Oscar Prediction posts will continue…
Turkish filmmaker Nuri Bilge Ceylan has seen a number of his features shortlisted for Best International Feature Film, but none has yet to make the final five. This includes 2008’s Three Monkeys for which he won Best Director at Cannes and 2014’s Winter Sleep, which took the Palme d’Or.
Ceylan looks to reverse that trend with About Dry Grasses which debuted in the south of France over the weekend. Clocking in at a near Killers of the Flower Moon level 197 minutes, it tells the story of a teacher’s alleged abuse of a student. The cast is led by Deniz Celiloglu, Merve Dizdar, and Musab Ekici.
The Rotten Tomatoes score is a sturdy 86% and it’s a smart educated guess that Turkey will make Ceylan’s latest its submission in IFF. My suspicion is that, since it’s not quite reaching the acclaim of some of his earlier pics, he may once again find himself on the outside looking in. My Oscar Prediction posts will continue…
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