While the COVID era has altered the release patterns of movies in significant ways, the first weekend of December is not that unique from what we’ve seen in pre pandemic times. It will be a quieter frame filled with the holiday leftovers and no newbies out in wide release. That could mean the top five will stay the same with one probable exception.
Disney has made a habit out of releasing their animated titles over the Thanksgiving frame and that resulted in Encanto topping the holiday charts. Looking at previous Mouse Factory premieres over the past several years, Coco dropped 46% in its second frame in 2017 while Moana fell 50% the year prior. I will basically split the difference with Encanto and that means a low teens gross.
That should be enough to keep it #1 over Ghostbusters: Afterlife, which may lose about half its audience in weekend #3. House of Gucci, after a solid start, might see a drop in the mid 40s and that should easily keep it in third. Eternals looks to hold the four spot.
The only change could be Clifford the Big Red Dog going back in the top five. While I have it experiencing a decline of over 50%, I suspect Resident Evil: Welcome to Raccoon City (after a disappointing debut) could plummet in the mid 60s and that would remove it from the high five.
Here’s how I see it going down:
1. Encanto
Predicted Gross: $14.1 million
2. Ghostbusters: Afterlife
Predicted Gross: $12 million
3. House of Gucci
Predicted Gross: $7.8 million
4. Eternals
Predicted Gross: $4 million
5. Clifford the Big Red Dog
Predicted Gross: $2.4 million
Box Office Results (November 26-28)
It wasn’t the bountiful harvest of Thanksgivings past, but audiences managed to turn up for two newcomers while mostly ignoring a third.
Encanto took in $27.2 million over the traditional Friday to Sunday portion of the weekend and $40.5 million since its Wednesday start. That didn’t reach my projections of $31.2 million and $46.5 million, respectively. The debut is only about half of what previous Disney animated features like the aforementioned Moana and Coco achieved. Yet it’s still the best animated opening in COVID times.
Ghostbusters: Afterlife held up well in second with $24.2 million, a bit shy of my $27 million prediction. The two-week total is $87 million as it looks to hit $100 million in the coming days.
Adult crowds finally turned up for something and they went gaga for House of Gucci. The Ridley Scott pic fashioned a third place showing with $14.2 million from Friday to Sunday and $22 million since Wednesday. That tops my estimates of $12.3 million and $19.8 million.
Eternals was fourth with $7.9 million. My guess? $7.9 million! The MCU adventure stands at $150 million.
The reboot Resident Evil: Welcome to Raccoon City was badgered at the box office with just $5.3 million for the weekend and $8.8 million for the five-day. That falls well under my takes of $7.7 million and $11.7 million.
Holdovers outside the top five also couldn’t match my projections. Clifford the Big Red Dog was sixth at $5 million (I said $6.9 million). Total is $43 million. Will Smith’s Oscar hopeful King Richard is a bonafide disappointment theatrically. I thought it might have a meager decline in its sophomore outing, but it earned $3.2 million for seventh place. I said $4.8 million and the ten-day tally is a mere $11 million.
You may not leave The Humans loving the time you spent with them, but there could certainly be glimpses of intimate recognition with the Blake’s. The sextet is gathered in the shabby and sparsely decorated Chinatown duplex of Brigid (Beanie Feldstein) and her boyfriend Richard (Steven Yeun). Visiting from Scranton for Thanksgiving are parents Erik (Richard Jenkins) and Deirdre (Jayne Houdyshell) along with the dementia addled matriarch Momo (June Squibb). The other daughter is Aimee (Amy Schumer), suffering from her own disease and a breakup that she’s not over.
Adapting his own Tony award winning play, Stephen Karam’s afternoon with this brood starts awkwardly like many Turkey Day gatherings. Erik complains about finances and sneaks off to corners of the apartment to check the score of the Detroit Lions game. That’s one sign something could be off as no one outside of the Motor City truly cares about that. Deirdre drops hints that Brigid and Richard should tie the knot while Dad insists their new abode needs a serious caulk. Aimee’s intestinal challenges keeps her frequently confined to the creaky second floor bathroom while surfing her ex-girlfriend’s social media. And, of course, too many alcoholic beverages are imbibed.
There’s a lot of chatter in The Humans about the significant life stuff occurring inside and outside the dingy walls. It’s also done with a pitch black humor that seems appropriate given a family’s familiarity with one another. There are sly digs about Deirdre’s weight and questionable email abilities, Brigid’s career mishaps, and Momo’s near catatonic state. Richard is the relative bystander trying to keep the meal timed. He seems more comfortable admitting past depression while the Blake’s stoic Midwestern background prevents that sort of forthrightness.
The seventh character is the apartment. The sounds and looks of New York City living are on full display. The walls that threaten to close in on themselves. A city with famous landscapes, but the couple residing in it are given a drab interior courtyard view. Kudos are due to the sound technicians and production designers.
As more secrets are divulged as the day wears on, they aren’t portrayed as the seismic events that a more histrionic pic would treat them. That’s a bit ironic considering the source material. This is an event that will likely happen next year and Erik will still pretend to care what the Lions are doing. No one is truly enjoying themselves in The Humans. Watching the misery is made tolerable by the company of actors playing them. Jenkins and his trading between concerned dad, boozy philosopher, and snarky houseguest is compelling. Schumer is playing against type with supreme unconfident tendencies. Squibb’s fleeting moment of clarity is both a triumphant and sad highlight. The let’s get through this hug that Feldstein and Yeun’s new couple share as the dour festivities kick off may produce a knowing smile.
That all said, I’m not sure The Humans would be nearly as worthwhile if not for Houdyshell. She is the lone holdover from Broadway and she’s magnificent and heartbreaking. The insults thrown Deirdre’s way are subtle much of the day. They are not so subtle when said by her family members when they think she’s out of earshot (something almost impossible in this setting). I wanted to hug her. That’s partly due to the slights she suffers, but I think I wanted to embrace the actress too for her terrific performance.
The French language animated effort The Summit of the Gods premiered at the Cannes Film Festival this summer and is in limited release prior to its Netflix bow on November 30th. From director Patrick Imbert, Summit is based on a Japanese manga series and is receiving praise from critics across the board with a 100% Rotten Tomatoes score.
The mountaineering tale set around Mount Everest could be a trendy spoiler pick to make the five selections competing for Best Animated Feature at the Oscars. It’s certainly doable, but it will need to climb past several other viable contenders. Disney has three potential hopefuls with Encanto, Luca, and Raya and the Last Dragon. Foreign competitors Flee and Belle may both make the cut and Netflix also has The Mitchells vs. the Machines.
That competition makes it a challenge for Summit‘s inclusion, but the solid reviews could assist in nabbing it a spot. My Oscar Prediction posts for the films of 2021 will continue…
Sing 2 is likely to make loud box office noises when it’s released December 22nd. The sequel to the animated musical comedy arrives five years after the original took in $270 million domestically. From Illumination Entertainment, Garth Jennings returns to direct as do the voices of Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Nick Kroll, Taron Egerton, Tori Kelly, and Nick Offerman. Newbies include Bobby Cannavale, Halsey, Pharrell Williams, Letitia Wright, Eric Andre, and Bono.
Despite part one being a smash hit, it did not manage to nab a Best Animated Feature nod. The first Sing achieved a decent 71% Rotten Tomatoes rating. There’s just a handful of reviews out for the follow-up and it’s currently lower at 60%.
With a trio of Disney efforts (Encanto, Luca, Raya and the Last Dragon), two Netflix properties (The Mitchells vs. the Machines, The Summit of the Gods), and acclaimed foreign features Flee and Belle all in the mix, Animated Feature is already crowded. I don’t foresee a sequel to something that couldn’t get in the first time around being viable.
In Best Original Song, a band that Bono started that you might be familiar with (U2) has “Your Song Saved My Life”. This is another category with plenty of high profile contenders (Beyonce and Billie Eilish among them). Bono and his mates probably won’t make the cut. My Oscar Prediction posts for the films of 2021 will continue…
Out in theaters today before its Netflix premiere on December 10th is The Unforgivable from director Nora Fingscheidt. A remake of the 2009 British miniseries Unforgiven, Sandra Bullock stars as a convicted felon adjusting to life on the outside. Costars include Vincent D’Onofrio, Jon Bernthal, Rob Morgan, and Viola Davis.
On paper, this looks like the type of role that could muster up awards chatter for Bullock. She’s a two-time nominee and one time winner, taking the gold 12 years ago for The Blind Side and nabbing a nod for 2013’s Gravity. However, the drama skipped the fall’s festival circuit and it’s been flying under the radar during the season.
Now we might know why. Early reviews aren’t very kind and it stands at 36% on Rotten Tomatoes. While some critics are praising her performance, the Best Actress competition is crowded already. Netflix might attract plenty of viewers (Bullock’s previous effort for the streamer was the hit Bird Box). I’m confident that we will not be blindsided by a nomination for its lead on the morning of nominations. My Oscar Prediction posts for the films of 2021 will continue…
For a not insignificant portion of The Protege‘s running time, the plot is incidental but also unclear. I found myself forgetting why assassin Anna (Maggie Q) was kicking the rear ends of the various henchmen of a shady and mysterious rich guy. There’s two of them actually as the main villain shifts from time to time. The more constant presence is Rembrandt (Michael Keaton), who also works for the crime syndicate but doesn’t fall victim to Anna’s skull crushing skills. She seems to want him around.
The interplay between them indicates a screenplay flirting with a desire to branch beyond its pulverizing 90s era action tropes. This feels like more of a direct to video title than a direct to streaming affair. Because of its similarities to that time period three decades ago, it only feels right that Samuel L. Jackson participates. He’s Moody and in a 1991 prologue, he rescues young Anna after her family is brutally murdered in her native Vietnam. Actually rescue is the wrong word. He finds her and becomes her mentor. It was Anna who exacted revenge on the killers.
Moody is an assassin for hire and since this is a movie, he generally only offs really evil people. Anna is a chip off the old block and they form a lucrative business exterminating such vermin. She masquerades as a rare book store owner in London and that’s when she first encounters Rembrandt. He’s mysteriously connected to a former mark of Moody’s. Just the mention of his name (Edward Davis) causes holes in people’s heads and it leads Anna back to ‘Nam to investigate.
The Protege is quick, violent, and nicely cast. Q is a convincing action heroine and the familiar faces of Keaton and Jackson are welcome… to a point. The Anna/Rembrandt dynamic feels alternately fascinating (there’s a nice little Heat restaurant type of sequence between them) or tiresome depending on which act we’ve reached. The “twists” aren’t too twisty when considering the actors playing the roles and the expected amount of screen time they’d be granted. Martin Campbell (best known for kicking off 007 eras with Goldeneye and Casino Royale) knows what he’s doing with action sequences though he’s absolutely done better.
This is a generic shoot-em-up that should partly satisfy cravings of genre enthusiasts who like it lean, mean, and rather dumb. With Keaton quipping, I kept expecting The Protege to enter self parody territory. It never does and if it had, we might be entering a guilty pleasure experience that hit harder. I wouldn’t call this bad by any means, but it’s not a blast either.
Hollywood is hoping for a bountiful harvest over the long Turkey Day weekend. We have three newbies premiering: Disney’s animated Encanto, Ridley Scott’s murderous melodrama House of Gucci with Lady Gaga and Adam Driver, and franchise reboot Resident Evil: Welcome to Raccoon City. You can peruse my detailed prediction posts on them here:
The Mouse Factory, as it has over numerous Thanksgiving frames in recent years, should top the charts… should. While I don’t have Encanto nearing the grosses that titles like Moana and Coco have accomplished for the holiday, my low 30s Friday to Sunday estimate has it edging out the sophomore weekend of Ghostbusters: Afterlife.
The latter had a start at the higher end of projections (more on that below) and if it falls in the high 30s, it could challenge Encanto for box office supremacy.
Gucci is a big question mark. I have it comfortably in third with a lower double digits take for the traditional weekend and close to $20 million for the five-day (all newcomers hit theaters on Wednesday). Gaga’s fans in particular could vault it to better numbers. On the other hand, mixed buzz could put it lower.
Resident Evil is a series that experienced its smallest opening weekend with its previous sixth installment The Final Chapter in 2016. It made just shy of $14 million. I’m not optimistic with Raccoon and I believe it could find itself in a close battle with Eternals for the four spot.
As for leftovers, Clifford the Big Red Dog and King Richard (after a disappointing premiere) are likely to post minimal declines. Yet both could fall outside the top five.
And with that, let’s do a top 7 this time around:
1. Encanto
Predicted Gross: $31.2 million (Friday to Sunday); $46.5 million (Wednesday to Sunday)
2. Ghostbusters: Afterlife
Predicted Gross: $27 million
3. House of Gucci
Predicted Gross: $12.3 million (Friday to Sunday); $19.8 million (Wednesday to Sunday)
4. Eternals
Predicted Gross: $7.9 million
5. Resident Evil: Welcome to Raccoon City
Predicted Gross: $7.7 million (Friday to Sunday); $11.7 million (Wednesday to Sunday)
6. Clifford the Big Red Dog
Predicted Gross: $6.9 million
7. King Richard
Predicted Gross: $4.8 million
Box Office Results (November 19-21)
Ghostbustin’ made audiences feel good as the long in development sequel took in $44 million. As mentioned, that’s toward the top of prognostications and bodes well for a healthy run ahead. The sci-fi comedy drove past my $38.1 million estimate.
Eternals dropped to second after two weeks in first with $11 million (a touch below my $12.6 million take). The MCU fantasy stands at $136 million.
In third, Clifford the Big Red Dog slid a bit more than I figured in weekend #2 with $8.1 million (I went with $10.5 million). Total is $33 million.
I have to think Warner Bros. is questioning their choice to simultaneously release Will Smith’s sports drama King Richard on HBO Max. Serving up a weak fourth place debut, it made just $5.4 million. Not approaching my $9.2 million projection, it will hope for minimal declines ahead (and boffo HBO numbers).
Dune rounded out the top five with $3.1 million, below my $4.2 million prediction as it’s approaching the nine figure mark with $98 million.
Ten days makes a heckuva difference this time around for my Oscar predictions as there are updates in every major category expect Director! The biggest story: Being the Ricardos has established itself as a contender in numerous races based on initial screenings. We also have the rise of C’Mon C’Mon. These two pics have entered my ten Best Picture hopefuls and that’s to the detriment of Spencer and The Tragedy of Macbeth.
Additionally:
Nicole Kidman’s portrayal of Lucille Ball in Ricardos vaults 8 spots to #2 in Best Actress. Lady Gaga (House of Gucci) drops from the forecasted five.
Joaquin Phoenix (C’Mon C’Mon) is back in Best Actor and that displaces Peter Dinklage (Cyrano).
Ariana DeBose (West Side Story) hits the 5 spot in Supporting Actress and that takes out Ruth Negga (Passing).
I’ve replaced Jamie Dornan in Belfast with his costar Ciaran Hinds in Supporting Actor.
In the screenplay race, Ricardos is in and King Richard is out in Original. For Adapted – Dune gets in over Macbeth.
We also have movement in the top spots. In the wide open Supporting Actor derby, Kodi Smit-McPhee (The Power of the Dog) jumps 4 spots to #1. Licorice Pizza replaces Belfast for first in Original Screenplay.
You can read all the movement below!
Best Picture
Predicted Nominees:
1. Belfast (Previous Ranking: 1) (E)
2. The Power of the Dog (PR: 2) (E)
3. Licorice Pizza (PR: 4) (+1)
4. Dune (PR: 5) (+1)
5. King Richard (PR: 3) (-2)
6. Nightmare Alley (PR: 6) (E)
7. Don’t Look Up (PR: 8) (+1)
8. West Side Story (PR: 7) (-1)
9. Being the Ricardos (PR: Not Ranked)
10. C’Mon C’Mon (PR: Not Ranked)
Other Possibilities:
11. The Tragedy of Macbeth (PR: 9) (-2)
12. CODA (PR: 14) (+2)
13. Spencer (PR: 10) (-3)
14. Flee (PR: 11) (-3)
15. Mass (PR: 15) (E)
Dropped Out:
Tick, Tick… Boom!
House of Gucci
Best Director
Predicted Nominees:
1. Jane Campion, The Power of the Dog (PR: 1) (E)
2. Kenneth Branagh, Belfast (PR: 2) (E)
3. Denis Villeneuve, Dune (PR: 4) (+1)
4. Paul Thomas Anderson, Licorice Pizza (PR: 3) (-1)
5. Guillermo del Toro, Nightmare Alley (PR: 5) (E)
Other Possibilities:
6. Adam McKay, Don’t Look Up (PR: 8) (+2)
7. Steven Spielberg, West Side Story (PR: 6) (-1)
8. Jonas Poher Rasmussen, Flee (PR: 10) (+2)
9. Asghar Farhadi, A Hero (PR: Not Ranked)
10. Joel Coen, The Tragedy of Macbeth (PR: Not Ranked)
Dropped Out:
Pablo Larrain, Spencer
Reinaldo Marcus Green, King Richard
Best Actress
Predicted Nominees:
1. Kristen Stewart, Spencer (PR: 1) (E)
2. Nicole Kidman, Being the Ricardos (PR: 10) (+8)
3. Olivia Colman, The Lost Daughter (PR: 3) (E)
4. Jessica Chastain, The Eyes of Tammy Faye (PR: 2) (-2)
5. Jennifer Hudson, Respect (PR: 5) (E)
Other Possibilities:
6. Lady Gaga, House of Gucci (PR: 4) (-2)
7. Penelope Cruz, Parallel Mothers (PR: 6) (-1)
8. Alan Haim, Licorice Pizza (PR: 8) (E)
9. Frances McDormand, The Tragedy of Macbeth (PR: 7) (-2)
10. Rachel Zegler, West Side Story (PR: 9) (-1)
Best Actor
Predicted Nominees:
1. Will Smith, King Richard (PR: 1) (E)
2. Benedict Cumberbatch, The Power of the Dog (PR: 2) (E)
3. Denzel Washington, The Tragedy of Macbeth (PR: 4) (+1)
4. Andrew Garfield, Tick, Tick… Boom! (PR: 3) (-1)
5. Joaquin Phoenix, C’Mon C’Mon (PR: 6) (+1)
Other Possibilities:
6. Peter Dinklage, Cyrano (PR: 5) (-1)
7. Leonardo DiCaprio, Don’t Look Up (PR: 9) (+2)
8. Javier Bardem, Being the Ricardos (PR: Not Ranked)
9. Bradley Cooper, Nightmare Alley (PR: 7) (-2)
10. Nicolas Cage, Pig (PR: 8) (-2)
Dropped Out:
Jude Hill, Belfast
Best Supporting Actress
Predicted Nominees:
1. Caitriona Balfe, Belfast (PR: 1) (E)
2. Kirsten Dunst, The Power of the Dog (PR: 2) (E)
3. Aunjanue Ellis, King Richard (PR: 5) (+2)
4. Ann Dowd, Mass (PR: 3) (-1)
5. Ariana DeBose, West Side Story (PR: 6) (+1)
Other Possibilities:
6. Ruth Negga, Passing (PR: 4) (-2)
7. Nina Arianda, Being the Ricardos (PR: Not Ranked)
8. Judi Dench, Belfast (PR: 7) (-1)
9. Meryl Streep, Don’t Look Up (PR: 9) (E)
10. Marlee Matlin, CODA (PR: 8) (-2)
Dropped Out:
Jayne Houdyshell, The Humans
Best Supporting Actor
Predicted Nominees:
1. Kodi Smit-McPhee, The Power of the Dog (PR: 5) (+4)
2. Richard Jenkins, The Humans (PR: 2) (E)
3. Bradley Cooper, Licorice Pizza (PR: 1) (-2)
4. Jason Isaacs, Mass (PR: 4) (E)
5. Ciaran Hinds, Belfast (PR: 7) (+2)
Other Possibilities:
6. Jamie Dornan, Belfast (PR: 3) (-3)
7. Jared Leto, House of Gucci (PR: 6) (-1)
8. J.K. Simmons, Being the Ricardos (PR: Not Ranked)
9. Jon Bernthal, King Richard (PR: 8) (-1)
10. Troy Kotsur, CODA (PR: 9) (-1)
Dropped Out:
Ben Affleck, The Tender Bar
Best Original Screenplay
Predicted Nominees:
1. Licorice Pizza (PR: 2) (+1)
2. Belfast (PR: 1) (-1)
3. Being the Ricardos (PR: Not Ranked)
4. Don’t Look Up (PR: 4) (E)
5. C’Mon C’Mon (PR: 5) (E)
Other Possibilities:
6. King Richard (PR: 3) (-3)
7. Mass (PR: 6) (-1)
8. A Hero (PR: 8) (E)
9. The Worst Person in the World (PR: 9) (E)
10. Spencer (PR: 7) (-3)
Dropped Out:
Parallel Mothers
Best Adapted Screenplay
Predicted Nominees:
1. The Power of the Dog (PR: 1) (E)
2. Nightmare Alley (PR: 2) (E)
3. The Lost Daughter (PR: 4) (+1)
4. The Humans (PR: 3) (-1)
5. Dune (PR: 8) (+3)
Other Possibilities:
6. The Tragedy of Macbeth (PR: 5) (-1)
7. West Side Story (PR: 7) (E)
8. CODA (PR: 9) (+1)
9. Passing (PR: 6) (-3)
10. The Last Duel (PR: Not Ranked)
Dropped Out:
House of Gucci
Best Animated Feature
Predicted Nominees:
1. Flee (PR: 1) (E)
2. Encanto (PR: 2) (E)
3. The Mitchells vs. the Machines (PR: 3) (E)
4. Luca (PR: 4) (E)
5. Belle (PR: 5) (E)
Other Possibilities:
6. Raya and the Last Dragon (PR: 7) (+1)
7. The Summit of the Gods (PR: 6) (-1_
8. Ron’s Gone Wrong (PR: 8) (E)
9. Where Is Anne Frank (PR: 9) (E)
10. Charlotte (PR: 10) (E)
Best International Feature Film
Predicted Nominees:
1. A Hero (PR: 1) (E)
2. The Worst Person in the World (PR: 2) (E)
3. Flee (PR: 3) (E)
4. Drive My Car (PR: 4) (E)
5. The Hand of God (PR: 6) (+1)
Other Possibilities:
6. Titane (PR: 5) (-1)
7. I’m Your Man (PR: 7) (E)
8. Compartment No. 6 (PR: 8) (E)
9. Prayers for the Stolen (PR: Not Ranked)
10. Memoria (PR: 10) (E)
Dropped Out:
Great Freedom
Best Documentary Feature
Predicted Nominees:
1. The Rescue (PR: 1) (E)
2. Flee (PR: 2) (E)
3. Summer of Soul (PR: 3) (E)
4. Attica (PR: 4) (E)
5. The Lost Leonardo (PR: 5) (E)
Other Possibilities:
6. Procession (PR: 9) (+3)
7. President (PR: 7) (E)
8. The First Wave (PR: 6) (-2)
9. Becoming Cousteau (PR: 10) (+1)
10. Ailey (PR: 8) (-2)
Best Cinematography
Predicted Nominees:
1. Dune (PR: 1) (E)
2. The Power of the Dog (PR: 3) (+1)
3. The Tragedy of Macbeth (PR: 2) (-1)
4. Belfast (PR: 4) (E)
5. Nightmare Alley (PR: 5) (E)
Other Possibilities:
6. C’Mon C’Mon (PR: 10) (+4)
7. West Side Story (PR: 6) (-1)
8. The French Dispatch (PR: 9) (+1)
9. Licorice Pizza (PR: 8) (-1)
10. Spencer (PR: 7) (-3)
Best Costume Design
Predicted Nominees:
1. Cruella (PR: 1) (E)
2. Spencer (PR: 2) (E)
3. Dune (PR: 3) (E)
4. House of Gucci (PR: 4) (E)
5. Nightmare Alley (PR: 5) (E)
Other Possibilities:
6. West Side Story (PR: 6) (E)
7. The French Dispatch (PR: 7) (E)
8. Cyrano (PR: 8) (E)
9. Licorice Pizza (PR: 9) (E)
10. The Eyes of Tammy Faye (PR: Not Ranked)
Dropped Out:
The Electrical Life of Louis Wain
Best Film Editing
Predicted Nominees:
1. Dune (PR: 1) (E)
2. Belfast (PR: 2) (E)
3. Don’t Look Up (PR: 3) (E)
4. West Side Story (PR: 5) (+1)
5. Licorice Pizza (PR: 4) (-1)
Other Possibilities:
6. King Richard (PR: 8) (+2)
7. The Power of the Dog (PR: 6) (-1)
8. Nightmare Alley (PR: 7) (-1)
9. Being the Ricardos (PR: Not Ranked)
10. Tick, Tick… Boom! (PR: 9) (-1)
Dropped Out:
House of Gucci
Best Makeup and Hairstyling
Predicted Nominees:
1. House of Gucci (PR: 1) (E)
2. Dune (PR: 2) (E)
3. Cruella (PR: 4) (+1)
4. The Eyes of Tammy Faye (PR: 3) (-1)
5. Spencer (PR: 5) (E)
Other Possibilities:
6. Nightmare Alley (PR: 6) (E)
7. Being the Ricardos (PR: 8) (+1)
8. The Suicide Squad (PR: 7) (-1)
9. Licorice Pizza (PR: 9) (E)
10. The Green Knight (PR: 10) (E)
Best Original Score
Predicted Nominees:
1. Dune (PR: 1) (E)
2. The Power of the Dog (PR: 4) (+2)
3. Spencer (PR: 2) (-1)
4. Nightmare Alley (PR: 4) (E)
5. Don’t Look Up (PR: 7) (+2)
Other Possibilities:
6. The Tragedy of Macbeth (PR: 6) (E)
7. The French Dispatch (PR: 5) (-2)
8. Cyrano (PR: 8) (E)
9. King Richard (PR: 9) (E)
10. Being the Ricardos (PR: Not Ranked)
Dropped Out:
Belfast
Best Original Song
Predicted Nominees:
1. “Be Alive” from King Richard (PR: 1) (E)
2. “No Time to Die” from No Time to Die (PR: 3) (+1)
3. “Down to Joy” from Belfast (PR: 4) (+1)
4. “Dos Oruguitas” from Encanto (PR: 2) (-2)
5. “Just Look Up” from Don’t Look Up (PR: 7) (+2)
Other Possibilities:
6. “So May We Start” from Annette (PR: 6) (E)
7. “Every Letter” from Cyrano (PR: 5) (-2)
8. “Here I Am” from Respect (PR: 9) (+1)
9. “Believe” from The Rescue (PR: 8) (-1)
10. “Guns Go Bang’ from The Harder They Fall (PR: 10) (E)
Best Production Design
Predicted Nominees:
1. Dune (PR: 2) (+1)
2. Nightmare Alley (PR: 1) (-1)
3. West Side Story (PR: 4) (+1)
4. The French Dispatch (PR: 3) (-1)
5. The Tragedy of Macbeth (PR: 6) (+1)
Other Possibilities:
6. Spencer (PR: 5) (-1)
7. Belfast (PR: 8) (+1)
8. Cyrano (PR: 7) (-1)
9. The Power of the Dog (PR: Not Ranked)
10. House of Gucci (PR: 8) (-2)
Dropped Out:
Licorice Pizza
Best Sound
Predicted Nominees:
1. Dune (PR: 1) (E)
2. West Side Story (PR: 2) (E)
3. Belfast (PR: 3) (E)
4. Nightmare Alley (PR: 4) (E)
5. No Time to Die (PR: 5) (E)
Other Possibilities:
6. Don’t Look Up (PR: Not Ranked)
7. Tick, Tick… Boom! (PR: 6) (-1)
8. King Richard (PR: Not Ranked)
9. A Quiet Place Part II (PR: 7) (-2)
10. The Matrix Resurrections (PR: Not Ranked)
Dropped Out:
The Last Duel
The Tragedy of Macbeth
Cyrano
Best Visual Effects
Predicted Nominees:
1. Dune (PR: 1) (E)
2. The Matrix Resurrections (PR: 2) (E)
3. Don’t Look Up (PR: 4) (+1)
4. Eternals (PR: 7) (+3)
5. Godzilla vs. Kong (PR: 3) (-2)
Other Possibilities:
6. Shang-Chi and the Legend of the Ten Rings (PR: 5) (-1)
7. Free Guy (PR: 6) (-1)
8. Spider-Man: No Way Home (PR: 9) (+1)
9. Finch (PR: 8) (-1)
10. The Suicide Squad (PR: 10) (E)
And that equates to the following in terms of movies nabbing these numbers with their nominations:
11 Nominations
Dune
9 Nominations
Belfast
8 Nominations
Nightmare Alley, The Power of the Dog
6 Nominations
Don’t Look Up
5 Nominations
Licorice Pizza, West Side Story
4 Nominations
King Richard, Spencer
3 Nominations
Being the Ricardos, C’Mon C’Mon, Flee, The Tragedy of Macbeth
2 Nominations
Cruella, Encanto, The Eyes of Tammy Faye, House of Gucci, The Humans, The Lost Daughter, Mass, No Time to Die
1 Nomination
Attica, Belle, Drive My Car, Eternals, The French Dispatch, Godzilla vs. Kong, The Hand of God, A Hero, The Lost Leonardo, Luca, The Matrix Resurrections, The Mitchells vs. the Machines, The Rescue, Respect, Summer of Soul, Tick, Tick… Boom!, The Worst Person in the World
There’s a sequence in Candyman in a high school girls bathroom that plays like it belongs in a less meditative continuation of the franchise. While it’s certainly cleverly shot, the scene feels out of place with its bad sequel slasher vibe. It may well be the point of the tone that its filmmakers are satirically putting forth. After all, they jettison anything that transpired in the two inferior follow-ups to the 1992 original. That doesn’t mean the excursion works and it’s a nagging issue with the film as a whole. There’s no doubt that a lot of thought went into this melding of issues from racial discrimination to white privilege to gentrification to police brutality. What plagues it somewhat is that it seldom succeeds in getting under your skin.
Nearly 30 years ago, Bernard Rose’s Candyman (from a story by Clive Barker) shook up a tired horror genre filled with Freddy, Jason, and Michael sequels. There was gore to be had, but also plenty of subtext in its tale of the urban legend with a hook for a hand and a bevy of bees emanating from his torso. As the 1890s era tortured artist whose love for a Caucasian woman resulted in his own torture, Tony Todd created an iconic title character with more narrative meat on the bones than your typical weapon wielding terrorizer from that time. It was an arthouse movie and so is this (it’s even set in an arthouse for chunks).
This new version, as mentioned, serves as a direct restart. The Cabrini Green projects where part I was placed is no longer the notorious crime hub of Chicago. The gentrified and souped up property is now home to young and thriving professionals. This includes Anthony (Yahya Abdul-Mateen II) and his girlfriend Brianna (Teyonah Parris). She’s an art gallery director and he’s a painter who’s stuck in a creative rut. Their collective work is contingent on the approval of the snooty types who make it their business to judge them (critics, gallery owners). One message seems clear – their assessment of an African-American artist’s work rises in their esteem if it’s more violent.
Anthony gets a burst of inspiration that is kickstarted by Brianna’s brother Troy (Nathan Stewart-Jarrett). When he regales the couple and his boyfriend with the nearly forgotten account of the buzzy killer whose name shan’t be uttered five times in a mirror, it gets Anthony’s creative juices flowing. This leads him to investigate the crimes of Daniel Robitaille (Todd) and the crimes committed against him. Billy (Colman Domingo) is a longtime Cabrini tenant who is more than pleased to help with the backstory (he had his own dealings with Robitaille in the late 1970s). Anthony’s research results in a project that dares you to say Candyman’s name and await the consequences. This is when blood starts flowing.
Nia DaCosta directs her second feature with a screenwriting and production assist from Jordan Peele. The script incorporates the plot from 1992 with new twists. The primary one is that there’s not only one Candyman. We know this when Anthony’s past involvement in the saga is revealed and he begins showing symptoms of becoming him after a nasty bee sting. Side effects include often visually striking murders.
While DaCosta is just establishing her filmography, Peele is recognized for his melding of social issues with scare tactics (Get Out and Us are both superior examples of how to do it). In Candyman, there’s more of an appreciation for what it’s trying to do than what it ultimately accomplishes onscreen. Sort of like a painting that’s busy with ideas but there’s not enough time allotted for it to really hook you in. I admired the picture to a point though I left unconvinced the deeper dive was worth it.
Out today in limited release is The First Wave from documentarian Matthew Heineman. Distributed by Neon and National Geographic Documentary Films, Wave shows us the first months of the COVID-19 pandemic from a New York City hospital. Its filmmaker has been in the Oscar mix before as his 2015 doc Cartel Land was up for Best Documentary Feature.
There are plenty of high profile contenders for the race in 2021. A potential winner also comes from Nat Geo – The Rescue. That’s in addition to Flee, Summer of Soul, and others.
It’s certainly feasible that this could make the final five and mark Heineman’s second foray into the competition. It’s also possible that some voters may not want to relive the tragic times we’ve gone through.
Bottom line: if The First Wave makes the shortlist next month, a nod is questionable but possible. My Oscar Prediction posts for the films of 2021 will continue…
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