There are the types of characters we have met before in Martin Scorsese’s gangster genre works, but never quite like this. There are characters we never really meet here, but we’re introduced to the way they die. There are characters that never speak, but we’re aware of their thought process. And it’s that time consuming process that the filmmaker goes through here that makes The Irishman feel both invigorating and melancholy.
The thought of reuniting this director, Robert De Niro, Joe Pesci, and anything involving the Mob is enough to get many running to the theater or, in this case for most, Netflix. Add Al Pacino to the mix (working with Scorsese somehow for the first time) and there’s more incentive. Yet this is far from a rehash of previous material. It’s an often stunning work that stands on its own merits. There is no coasting happening with De Niro or Pacino and that’s something they can rightfully be accused of in the past quarter century or so. The pair (who shared just a couple of scenes in Michael Mann’s masterful Heat and greater screen time in the unfortunate Righteous Kill) contribute some of their finest work in years. For Pesci, he hasn’t worked in years and his return finds him playing a Mafia boss but in a way you won’t expect.
The unexpected is key here and welcome. Just as GoodFellas gave audiences a final act kinetically viewed from Ray Liotta’s coked out perspective, the last segment of The Irishman is made from a considerably lower dosage. As De Niro’s character enters his final act, we witness him finally pause to consider his existence. And it’s not of a glorified nature.
In this tale based on certain truths and possible myths, De Niro is Frank Sheeran. He’s a World War II vet and truck driver residing in Philadelphia. Frank saw plenty of combat overseas and he’s willing to have a career of killing back stateside. His employer becomes Russell Bufalino (Pesci), the area crime boss and confidante of labor leader Jimmy Hoffa (Pacino). Frank soon becomes Hoffa’s body man, enforcer, and trusted friend. Whether on assignment from Bufalino or Jimmy, Frank’s speciality is to “paint houses” (code for taking out whomever he’s ordered to). He’s skilled at it and the screenplay from Steven Zaillian gets into the occasional minutia and necessary strategy of carrying out such tasks.
Hoffa’s bigger than life personality (something Pacino is perfect to portray) often conflicts with the more buttoned down approach of Bufalino (something Pesci is more surprisingly adept at). This frequently leaves Frank in the position of mediator of murder or no murder. There’s plenty of it here, but The Irishman is noticeably less bloody than GoodFellas or Casino.
De Niro has by far the most screen time and his work is perhaps the most impressive in a picture loaded with two other heavyweights in excellent form. It’s ultimately his film to carry and he does so with an ability he hasn’t shown in a long while. There’s plenty of other familiar faces from Harvey Keitel as another boss to Ray Romano as the group’s very busy attorney. Frank’s family is given the short shrift, but that’s no accident as he doesn’t have much time for them. His relationship with one daughter played by Anna Paquin is a constant thread and it’s a quiet and powerful one.
The Irishman transpires over several decades and Scorsese made the choice not to use younger actors to play the main roles in their 30s and beyond. This is done through de-aging visual effects that, while certainly not perfect, are the best I’ve seen yet. Most importantly, I didn’t find it as a distraction after a couple of minutes.
Just as Hoffa is obsessed with punctuality, The Irishman is about time. In this world of criminals and betrayal and violence, time moves fast. The film itself doesn’t at three and a half hours. That didn’t feel overly padded to me. This is good company. However, as this draws to a close, time slows down for some characters as well. And as Scorsese and three legendary actors expertly show for 209 minutes, some doors for reflection are slammed shut with a bang. Others are left slightly open for it.
The National Board of Review announced its victors this afternoon for their best of 2019. For the pictures and performers who were named as winners, you could say that it’s a double edged sword.
Allow me to explain. In this 2010’s, only one of their Best Film recipients took home Best Picture at the Oscars. That was last year with Green Book. This year, the award goes to Martin Scorsese’s The Irishman. So from an odds perspective, that could mean it faces an uphill battle for the big gold statue. On the other hand, all of the NBR Film winners from this decade, with the exception of 2014’s A Most Violent Year, have scored an Academy nod. This isn’t really in doubt for The Irishman so expect that trend to continue.
The Board always goes on to name their additional favorite 10 motion pictures and this year they are: 1917, Dolemite Is My Name, Ford v Ferrari, Jojo Rabbit, Knives Out, Marriage Story, Once Upon a Time in Hollywood, Richard Jewell, Uncut Gems, and Waves. In 2018, only three of the ten additional NBR selections got Picture noms: Black Panther, Roma and A Star Is Born. Some notable titles that didn’t make the NBR cut for 2019: A Beautiful Day in the Neighborhood, Bombshell, The Farewell, Joker, Little Women,Parasite, and The Two Popes.
When it comes to Best Director, the news is even worse for the NBR recipient. No movie this decade has seen that winner match with Oscar. In fact, the last direct match was in 2006 for… Irishman maker Scorsese for The Departed. The NBR named Quentin Tarantino today for Once Upon a Time in Hollywood. He’s got history against his side for a walk up the Academy steps.
In Best Actor, it’s the same story as only Casey Affleck for 2016’s Manchester by the Sea won NBR and Oscar in the 2010s. Adam Sandler is the winner for Uncut Gems. He’s part of a packed Best Actor race where there’s about a dozen viable candidates looking for five spots. This victory could at least help him get in as only Oscar Isaac (Violent Year in 2014) and Tom Hanks (2017’s The Post) didn’t land nods.
The numbers improve only slightly for Best Actress with two matches: Julianne Moore for 2014’s Still Alice and Brie Larson for 2015’s Room. The NBR bestowed the award this year to Renee Zellweger for Judy, who could be considered a soft front-runner for Oscar.
This brings us to Brad Pitt, winner today for Supporting Actor in Once Upon a Time in Hollywood. He also holds the status of apparent favorite to win the Academy’s love. Yet there’s just two matches this decade between them and NBR: Christian Bale in 2010’s The Fighter and Christopher Plummer from 2011’s Beginners.
Last year was the only match of the decade for Supporting Actress: Regina King in If Beale Street Could Talk. Kathy Bates took the NBR for Richard Jewell. I don’t see her winning the Oscar, but it could help her nomination odds.
In Original Screenplay, it’s interesting to note that 7 of the past nine NBR winners didn’t even get an Oscar nomination. Could that be a sign of trouble for honoree Uncut Gems? Time will tell…
And for Adapted Screenplay, the NBR went with The Irishman. Par for the course, just two matches here: 2010’s The Social Network and 2011’s The Descendants.
Bottom line: the NBR announcements might help with fleshing out who certain nominees will be. As far as winners, that’s a whole different story…
The first significant awards show of 2019 happened this evening with the Gotham Independent Film Awards. And while it’s not as much of a reliable precursor as SAG or the Globes, there’s always something to extrapolate… eh?
I say unreliable because last year’s Best Feature Winner – The Rider – didn’t measure a blip on the radar screen of Oscar voters. On the other hand, the category’s winners from 2014-2016 (Birdman, Spotlight, Moonlight) won the big prize with the Academy.
Tonight was a very good night for Noah Baumbach’s Marriage Story, which premieres on Netflix this Friday. The divorce drama took the top prize in addition to Baumbach’s screenplay, the audience award, and Driver’s work for Best Actor. He appears to be a near lock for a nomination in an extremely competitive and crowded Best Actor race.
Curiously, Driver’s costar Scarlett Johansson did not get an Actress nod here for her work. And it was Awkwafina who took that award for The Farewell. This could assist in getting her Oscar attention. I’ve got her as an on the bubble contender. Her victory here over Alfre Woodard in Clemency and Elisabeth Moss for Her Smell could be a sign that she has an edge.
Unlike The Rider last year, no one will be surprised if Marriage Story gets a Best Picture nomination and it could even contend to win along with Once Upon a Time in Hollywood, The Irishman, Parasite, 1917, and Jojo Rabbit. One thing is for sure – this first ceremony in early December is a solid notch in its belt.
Hollywood had reason to be thankful over the holiday weekend as the box office saw a much needed rebound. More importantly, two original films (that’s right – not based on comics or bestsellers) aimed at adults exceeded expectations.
For this first full weekend of December, the studios are holding back as they wait closer to Christmas to unleash their blockbusters like Star Wars: The Rise of Skywalker and Jumanji: The Next Level. The only new wide release is the animated Playmobil: The Movie and you can peruse my prediction post on it here:
I don’t expect much from Playmobil, which has generated scant buzz and has Frozen II in its third frame as direct competition. My $2.8 million estimate leaves it outside of the top five.
There is also the expansion of the Mark Ruffalo drama Dark Waters, which had a so-so limited release this past weekend. My $3.7 million projection also leaves it beyond the high five.
That top five should remain the same pictures with perhaps some movement in the numbers placement. Frozen II may lose a bit more than half its Thanksgiving audience and it should have zero trouble getting a three-peat.
I expect all other titles to drop in the high 30s to mid 40s with the smallest drops going to Knives Out after its terrific debut and A Beautiful Day in the Neighborhood. Here’s how I have it all playing out:
1. Frozen II
Predicted Gross: $41.3 million
2. Knives Out
Predicted Gross: $16.4 million
3. Ford v Ferrari
Predicted Gross: $7.5 million
4. A Beautiful Day in the Neighborhood
Predicted Gross: $7.2 million
5. Queen & Slim
Predicted Gross: $6.7 million
Box Office Results (November 29-December 1)
As mentioned, it was a bountiful Turkey Day weekend for Tinsel Town as Frozen II dominated the charts in its sophomore frame with $85.9 million, just over my $84.4 million take. The Disney sequel has amassed a cool $288 million thus far.
Rian Johnson’s acclaimed murder mystery Knives Out got off to a sharp start with $26.7 million from Friday to Sunday and $41.4 million since its Wednesday beginning. Those figures easily eclipse my respective predictions of $18.5 million and $27.7 million.
Ford v Ferrari was third with $13.1 million, in line with my $12.8 million estimate for $81 million total.
Queen & Slim was the other impressive debut as the romantic crime drama grossed $11.8 million for the traditional weekend and $16 million since Wednesday. That’s well over my projections of $6.9 million and $10.1 million.
A Beautiful Day in the Neighborhood rounded out the top five with $11.7 million (I said $11 million) for a two-week tally of $34 million.
Whodunits aren’t an omnipresent genre on the silver screen these days and rare recent ones like Kenneth Branagh’s Murder on the Orient Express have had a bit of an unnecessary regurgitated vibe to it. Not so with Rian Johnson’s Knives Out, which displays the writer/director’s enthusiasm for playing in this murderous sandbox to satisfactory effect. Like the 1974 version of Orient Express, we have a 007 involved. 45 years ago, it was Sean Connery and now it’s Daniel Craig. There’s a Marvel superhero (Chris Evans) playing decidedly against type. A captain of the American crime novel industry meets his demise in a stately manner that’s a triumph of production design. Craig and Evans are having a good time here, as is the rest of the cast. Some get better opportunities to shine than others. One of the standouts even has her crowd pleasing moments that involves regurgitation.
The Thrombey family is celebrating the 85th birthday of their patriarch Harlan (Christopher Plummer), a wealthy novelist who won’t allow his capers to be adapted into films or TV specials. This is a source of frustration for son Walt (Michael Shannon), who cares for his publishing empire. The family drama doesn’t stop there. Harlan is prepared to expose family secrets or cut off the gravy train for eldest daughter Linda (Jamie Lee Curtis) and her philandering husband (Don Johnson) and daughter-in-law and would-be life coaching guru Joni (Toni Collette). Evans is the black sheep grandson in a clan where that’s saying something. Everyone has a reason to get rid of Harlan. His most healthy relationship is with a non-family member – caretaker Marta (Ana de Armas). She’s from another country and it could be Brazil or Ecuador and one ending with “guay”. Don’t ask the Thrombeys as they express an admiration for her, but hilariously have no clue where she came from. This is all part of Johnson’s integration of the immigration debate into a screenplay that manages to occasionally weave current events into the foul play happenings.
That foul play means Harlan’s celebration is short-lived. Enter private detective Benoit Blanc as played by Craig and his work is a far cry from James Bond. Adopting a thick Southern drawl and a patient attitude to finding the killer, Blanc nevertheless seems a step ahead of the other policemen investigating. They want to believe Harlan might have committed suicide as the evidence suggests. Yet no whodunit script could make it that simple, could it?
Knives Out clues the audience in on some revelations before they enter Blanc’s consciousness from time to time. Johnson probably could have held some back for stronger pacing results. And some of the performers never quite have the running time to develop their roles. These turn out to be minor criticisms in the grand scheme. De Armas and Evans form the yin and yang of the case and are afforded the most clock time in the game along with Craig. The frequent twists and turns experienced are a hoot as we anticipate what Johnson will throw up on the screen next.
The post Thanksgiving box office weekend is usually a sluggish frame when studios avoid releasing hoped for hits. 2019 is no different as Playmobil: The Movie is the only new wide entry out. The animated comedic adventure is based on the line of German toys and it’s already been delayed from January to April to August to now. Not a positive sign. Neither is the 24% Rotten Tomatoes score.
Lino DiSalvo makes his directorial debut and he’s best known for his involvement in Disney’s Frozen. That film’s sequel should be making 10-15 times more in its third weekend than this will in its rollout. There are some recognizable faces providing voiceover work including Anya-Taylor Joy, Jim Gaffigan, Gabriel Bateman, Adam Lambert, Kenan Thompson, Meghan Trainor, and Daniel Radcliffe.
There simply seems to be no discernible buzz going for this. As mentioned, there’s a much higher profile kids flick that should be raking in the bucks as Playmobil searches for young eyeballs. I believe it won’t get them and that even $5 million is probably out of reach.
Playmobil: The Movie opening weekend prediction: $2.8 million
Two key screenings took place over the week with significant Oscar implications and there’s some movement in major categories to discuss:
1917, the World War I epic from Sam Mendes, finally availed itself to critics and the feedback is extremely positive. While I’d had it projected for Picture and Director for some time, its numbers (3 and 2 respectively) are the highest yet.
Clint Eastwood’s Richard Jewell screened at AFI Fest. Some reviews indicate it’s a contender in Picture, but I’m not quite there. It does vault back in the 15 possibilities at 13 and both Paul Walter Hauser in Actor and Kathy Bates in Supporting Actress are now in the mix, but not projected in the top five.
Bombshell is back in my ten projected Picture nominees over Ford v Ferrari.
Zhao Shuzhen finally makes the cut in Supporting Actress, displacing Scarlett Johansson in Jojo Rabbit.
Tom Hanks slides to fifth in Supporting Actor after the so-so box office performance of A Beautiful Day in the Neighborhood. I suspect he could fall out with Joe Pesci (The Irishman) and Shia LaBeouf (Honey Boy) hot on his heels.
While my five Best Actor contenders remain the same, this is the most packed field in ages. I could legitimately see any of my ten listed thespians getting in, as well as Christian Bale (who falls to 11th).
Let’s get to it!
Best Picture
Predicted Nominees:
1. The Irishman (Previous Ranking: 1)
2. Once Upon a Time in Hollywood (PR: 2)
3. 1917 (PR: 6)
4. Marriage Story (PR: 4)
5. Parasite (PR: 3)
6. Jojo Rabbit (PR: 5)
7. Little Women (PR: 7)
8. Joker (PR: 8)
9. The Two Popes (PR: 9)
10. Bombshell (PR: 11)
Other Possibilities:
11. Ford v Ferrari (PR: 10)
12. The Farewell (PR: 12)
13. Richard Jewell (PR: Not Ranked)
14. A Beautiful Day in the Neighborhood (PR: 13)
15. Rocketman (PR: 14)
Dropped Out:
Waves
Best Director
Predicted Nominees:
1. Martin Scorsese, The Irishman (PR: 1)
2. Sam Mendes, 1917 (PR: 5)
3. Bong Joon-Ho, Parasite (PR: 3)
4. Quentin Tarantino, Once Upon a Time in Hollywood (PR: 2)
5. Noah Baumbach, Marriage Story (PR: 4)
Other Possibilities:
6. Greta Gerwig, Little Women (PR: 6)
7. Todd Phillips, Joker (PR: 9)
8. Taika Waititi, Jojo Rabbit (PR: 8)
9. James Mangold, Ford v Ferrari (PR: 7)
10. Fernando Meirelles, The Two Popes (PR: 10)
Best Actor
Predicted Nominees:
1. Adam Driver, Marriage Story (PR: 1)
2. Joaquin Phoenix, Joker (PR: 2)
3. Robert De Niro, The Irishman (PR: 3)
4. Leonardo DiCaprio, Once Upon a Time in Hollywood (PR: 5)
5. Jonathan Pryce, The Two Popes (PR: 4)
Other Possibilities:
6. Antonio Banderas, Pain and Glory (PR: 6)
7. Eddie Murphy, Dolemite Is My Name (PR: 8)
8. Taron Egerton, Rocketman (PR: 7)
9. Paul Walter Hauser, Richard Jewell (PR: Not Ranked)
10. Adam Sandler, Uncut Gems (PR: 10)
Dropped Out:
Christian Bale, Ford v Ferrari
Best Actress
Predicted Nominees:
1. Renee Zellweger, Judy (PR: 1)
2. Scarlett Johansson, Marriage Story (PR: 2)
3. Charlize Theron, Bombshell (PR: 3)
4. Saoirse Ronan, Little Women (PR: 4)
5. Cynthia Erivo, Harriet (PR: 5)
Other Possibilities:
6. Awkwafina, The Farewell (PR: 6)
7. Alfre Woodard, Clemency (PR: 8)
8. Lupita Nyong’o, Us (PR: 7)
9. Elisabeth Moss, Her Smell (PR: 9)
10. Mary Kay Place, Diane (PR: Not Ranked)
Dropped Out:
Jodie Turner-Smith, Queen and Slim
Best Supporting Actress
Predicted Nominees:
1. Laura Dern, Marriage Story (PR: 1)
2. Jennifer Lopez, Hustlers (PR: 3)
3. Margot Robbie, Bombshell (PR: 2)
4. Zhao Shuzhen, The Farewell (PR: 6)
5. Florence Pugh, Little Women (PR: 4)
Other Possibilities:
6. Scarlett Johansson, Jojo Rabbit (PR: 5)
7. Annette Bening, The Report (PR: 7)
8. Kathy Bates, Richard Jewell (PR: Not Ranked)
9. Maggie Smith, Downton Abbey (PR: 8)
10. Margot Robbie, Once Upon a Time in Hollywood (PR: 10)
Dropped Out:
Thomasin McKenzie, Jojo Rabbit
Best Supporting Actor
Predicted Nominees:
1. Brad Pitt, Once Upon a Time in Hollywood (PR: 1)
2. Al Pacino, The Irishman (PR: 2)
3. Anthony Hopkins, The Two Popes (PR: 5)
4. Willem Dafoe, The Lighthouse (PR: 3)
5. Tom Hanks, A Beautiful Day in the Neighborhood (PR: 4)
Other Possibilities:
6. Joe Pesci, The Irishman (PR: 7)
7. Shia LaBeouf, Honey Boy (PR: 6)
8. Sterling K. Brown, Waves (PR: 9)
9. Song Kang-Ho, Parasite (PR: 8)
10. John Lithgow, Bombshell (PR: Not Ranked)
Dropped Out:
Jamie Foxx, Just Mercy
Best Original Screenplay
Predicted Nominees:
1. Once Upon a Time in Hollywood (PR: 2)
2. Marriage Story (PR: 1)
3. Parasite (PR: 3)
4. The Farewell (PR: 4)
5. Pain and Glory (PR: 5)
Other Possibilities:
6. Bombshell (PR: 6)
7. 1917 (PR: Not Ranked)
8. Knives Out (PR: 7)
9. Honey Boy (PR: Not Ranked)
10. Ford v Ferrari (PR: 9)
Dropped Out:
Booksmart
Waves
Best Adapted Screenplay
Predicted Nominees:
1. The Irishman (PR: 1)
2. Jojo Rabbit (PR: 2)
3. The Two Popes (PR: 4)
4. Little Women (PR: 3)
5. Joker (PR: 5)
Other Possibilities:
6. A Beautiful Day in the Neighborhood (PR: 6)
7. Hustlers (PR: 9)
8. Richard Jewell (PR: 8)
9. Just Mercy (PR: 7)
10. Dark Waters (PR: Not Ranked)
Dropped Out:
Downton Abbey
Best International Feature Film
Predicted Nominees:
1. Parasite (PR: 1)
2. Pain and Glory (PR: 2)
3. Les Miserables (PR: 3)
4. Monos (PR: 8)
5. And Then We Danced (PR: 4)
Other Possibilities:
6. Invisible Life (PR: 6)
7. Atlantics (PR: 7)
8. Beanpole (PR: 5)
9. Those Who Remained (PR: 9)
10. A White, White Day (PR: 10)
Best Animated Feature
Predicted Nominees:
1. Toy Story 4 (PR: 1)
2. Frozen II (PR: 2)
3. How to Train Your Dragon: The Hidden World (PR: 3)
4. I Lost My Body (PR: 4)
5. Weathering with You (PR: 5)
Other Possibilities:
6. Klaus (PR: 8)
7. Abominable (PR: 6)
8. Missing Link (PR: 7)
9. Bunuel in the Labyrinth of the Turtles (PR: 9)
10. Funan (PR: 10)
Best Documentary Feature
Predicted Nominees:
1. American Factory (PR: 1)
2. One Child Nation (PR: 2)
3. Maiden (PR: 6)
4. Apollo 11 (PR: 5)
5. For Sama (PR: Not Ranked)
Other Possibilities:
6. The Cave (PR: 3)
7. The Biggest Little Farm (PR: 7)
8. Honeyland (PR: 4)
9. Sea of Shadows (PR: 8)
10. The Kingmaker (PR: Not Ranked)
Dropped Out:
The Edge of Democracy
Knock Down the House
Best Cinematography
Predicted Nominees:
1. 1917 (PR: 1)
2. Once Upon a Time in Hollywood (PR: 2)
3. The Irishman (PR: 3)
4. The Lighthouse (PR: 4)
5. Joker (PR: 5)
Other Possibilities:
6. Parasite (PR: 9)
7. A Hidden Life (PR: 7)
8. Ford v Ferrari (PR: 8)
9. Little Women (PR: 10)
10. Ad Astra (PR: 6)
Best Costume Design
Predicted Nominees:
1. Little Women (PR: 2)
2. Once Upon a Time in Hollywood (PR: 1)
3. Dolemite Is My Name (PR: 4)
4. Rocketman (PR: 5)
5. Downton Abbey (PR: 3)
Other Possibilities:
6. The Irishman (PR: 6)
7. Judy (PR: 10)
8. The Aeronauts (PR: 7)
9. Cats (PR: 9)
10. Aladdin (PR: Not Ranked)
Dropped Out:
Jojo Rabbit
Best Film Editing
Predicted Nominees:
1. The Irishman (PR: 1)
2. Once Upon a Time in Hollywood (PR: 3)
3. 1917 (PR: 4)
4. Ford v Ferrari (PR: 2)
5. Parasite (PR: 5)
Other Possibilities:
6. Marriage Story (PR: 6)
7. Joker (PR: 9)
8. Jojo Rabbit (PR: 7)
9. Bombshell (PR: 8)
10. The Two Popes (PR: Not Ranked)
Dropped Out:
Rocketman
Best Makeup and Hairstyling
Predicted Nominees:
1. Bombshell (PR: 1)
2. The Irishman (PR: 2)
3. Judy (PR: 3)
4. Dolemite Is My Name (PR: 5)
5. Us (PR: 7)
Other Possibilities:
6. Once Upon a Time in Hollywood (PR: 4)
7. Joker (PR: 6)
8. Rocketman (PR: Not Ranked)
9. Star Wars: The Rise of Skywalker (PR: 9)
10. Cats (PR: 10)
Dropped Out:
The Aeronauts
Best Production Design
Predicted Nominees:
1. Once Upon a Time in Hollywood (PR: 1)
2. Little Women (PR: 2)
3. 1917 (PR: 5)
4. The Irishman (PR: 3)
5. Jojo Rabbit (PR: 4)
Other Possibilities:
6. Parasite (PR: 6)
7. Joker (PR: 7)
8. The Two Popes (PR: 10)
9. Cats (PR: 8)
10. Downton Abbey (PR: 9)
Best Original Score
Predicted Nominees:
1. 1917 (PR: 1)
2. Little Women (PR: 2)
3. Star Wars: The Rise of Skywalker (PR: 3)
4. Marriage Story (PR: 5)
5. Joker (PR: 4)
Other Possibilities:
6. Ford v Ferrari (PR: 8)
7. A Hidden Life (PR: 7)
8. Jojo Rabbit (PR: 6)
9. Waves (PR: Not Ranked)
10. Ad Astra (PR: 10)
Dropped Out:
The Aeronauts
Best Original Song
Predicted Nominees:
1. “Into the Unknown” from Frozen II (PR: 1)
2. “(I’m Gonna) Love Me Again” from Rocketman (PR: 2)
3. “Stand Up” from Harriet (PR: 4)
4. “Beautiful Ghosts” from Cats (PR: 3)
5. “Speechless” from Aladdin (PR: 7)
Other Possibilities:
6. “Spirit” from The Lion King (PR: 5)
7. “I Can’t Let You Throw Yourself Away” from Toy Story 4 (PR: 10)
8. “Daily Battles” from Motherless Brooklyn (PR: 6)
9. “Glasgow” from Wild Rose (PR: Not Ranked)
10. “Together From Afar” from How to Train Your Dragon: The Hidden World (PR: 9)
Dropped Out:
“Show Yourself” from Frozen II
Best Sound Editing
Predicted Nominees:
1. 1917 (PR: 2)
2. Ford v Ferrari (PR: 1)
3. Star Wars: The Rise of Skywalker (PR: 3)
4. Avengers: Endgame (PR: 5)
5. Ad Astra (PR: 4)
Other Possibilities:
6. Rocketman (PR: 6)
7. The Irishman (PR: 7)
8. Joker (PR: Not Ranked)
9. Once Upon a Time in Hollywood (PR: 8)
10. Cats (PR: 9)
Dropped Out:
The Aeronauts
Best Sound Mixing
Predicted Nominees:
1. 1917 (PR: 1)
2. Ford v Ferrari (PR: 2)
3. Star Wars: The Rise of Skywalker (PR: 3)
4. Avengers: Endgame (PR: 6)
5. Rocketman (PR: 4)
Other Possibilities:
6. Ad Astra (PR: 5)
7. Once Upon a Time in Hollywood (PR: 7)
8. Cats (PR: 8)
9. The Irishman (PR: Not Ranked)
10. Joker (PR: 9)
Dropped Out:
Judy
Best Visual Effects
Predicted Nominees:
1. The Irishman (PR: 1)
2. Star Wars: The Rise of Skywalker (PR: 2)
3. Avengers: Endgame (PR: 3)
4. The Lion King (PR: 4)
5. The Aeronauts (PR: 5)
Other Possibilities:
6. Ad Astra (PR: 6)
7. 1917 (PR: 10)
8. Alita: Battle Angel (PR: 8)
9. Gemini Man (PR: 7)
10. Aladdin (PR: 9)
And this all equates to these pictures nabbing the following numbers of nods:
10 Nominations
The Irishman
9 Nominations
Once Upon a Time in Hollywood
8 Nominations
1917
7 Nominations
Little Women, Marriage Story
5 Nominations
Joker, Parasite
4 Nominations
Bombshell, Star Wars: The Rise of Skywalker, The Two Popes
3 Nominations
Avengers: Endgame, Ford v Ferrari, Jojo Rabbit, Rocketman
2 Nominations
Dolemite Is My Name, The Farewell, Frozen II, Harriet, Judy, The Lighthouse, Pain and Glory
1 Nomination
A Beautiful Day in the Neighborhood, Ad Astra, The Aeronauts, Aladdin, American Factory, And Then We Danced, Apollo 11, Cats, Downton Abbey, For Sama, How to Train Your Dragon: The Hidden World, Hustlers, I Lost My Body, Les Miserables, The Lion King, Maiden, Monos, One Child Nation, Toy Story 4, Us, Weathering with You
Turkey Day weekend is upon us at the box office with two new pictures attempting to harvest some cash while Frozen II should gobble up the bulk of the bucks. We have Rian Johnson’s comedic murder mystery Knives Out and the romantic crime thriller Queen & Slim both rolling out on Wednesday. You can peruse my detailed prediction posts on each of them here:
Knives is aiming for a second place showing behind the Disney juggernaut and it should get there. With solid reviews in its corner, I could foresee this topping my high teens Friday to Sunday and mid to high 20s five-day estimate. However, I believe it’s just as likely that this legs out well in subsequent weekends.
As for Queen, it too has critics in its corner. However, a lack of awards chatter and a smallish theater count of around 1500 could mean low double digits for its Wednesday through Sunday tally. That should mean a #5 premiere.
Holdovers Ford v Ferrari and A Beautiful Day in the Neighborhood appear poised for the kind of minor declines we often find over this holiday frame. That is especially welcome news for Neighborhood, which came in at the low end of its anticipated range this past weekend. I’m calling for mid teens drops for each.
Frozen II is a toughie. There simply aren’t many comps for how this should perform in its sophomore weekend. Most November blockbusters from the Mouse Factory open over Thanksgiving and not the weekend before. I’ll project a mid 30s dip for the Friday to Sunday portion. In all honesty, this is a bit of guesswork.
Here’s how I foresee the weekend playing out:
1. Frozen II
Predicted Gross: $84.4 million
2. Knives Out
Predicted Gross: $18.5 million (Friday to Sunday); $27.7 million (Wednesday to Sunday)
3. Ford v Ferrari
Predicted Gross: $12.8 million
4. A Beautiful Day in the Neighborhood
Predicted Gross: $11 million
5. Queen & Slim
Predicted Gross: $6.9 million (Friday to Sunday); $10.1 million (Wednesday to Sunday)
Box Office Results (November 22-24)
Frozen II provided the scorching earnings that the month of November desperately needed. In doing so, it achieved the best traditionally animated (read: not Pixar) Disney start ever and highest ever November animated haul. The sequel took in $130.2 million, just over my $126.7 million projection.
Ford v Ferrari slid to second with $15.7 million with a larger than expected 50% drop. I predicted $18.2 million. It’s at $57 million through 10 days.
As mentioned, A Beautiful Day in the Neighborhood was third with a so-so beginning at $13.2 million, well under my $18.6 million forecast. Its A Cinemscore rating should keep it humming for the next few weeks, however.
The Chadwick Boseman action thriller 21 Bridges underwhelmed with $9.2 million in fourth, on pace with my take of $9.8 million. It could hold decently over the holiday, but it should fade quickly after that.
Midway rounded out the top five and I incorrectly had it on the outside. The World War II pic made $4.6 million for $43 million overall.
Playing with Fire was sixth with $4.5 million (I said $4.9 million) for $31 million at press time.
The name Luce (sounds like loose) was given to its title character after being adopted from the war-torn nation of Eritrea at the age of ten. As he tells it, his adoptive mother Amy (Naomi Watts) couldn’t pronounce his birth name – unable to master the various syllables involved. Like Amy, we never do learn it. So Luce it is, which means light. In the context of the film Luce, this strikes me as a not insignificant detail. From the moment he comes to the United States, he’s accustomed to others defining him and believing what they see. In their eyes, there is no darkness. Only light.
Luce (Kelvin Harrison Jr.) is a high school senior, raised by upper class Amy and Peter (Tim Roth). He is looked at as the model student. An all-star athlete and debate club standout, Luce can apparently do no wrong. When history teacher Harriet Wilson (Octavia Spencer) begins poking holes at his impenetrable facade, his status is challenged. As is her reputation.
What unfolds is a tale of race relations and, more significantly, racial expectations. No one in Luce is all that innocent. The picture often plays like a thriller where you expect a core player to snap. You’re just not sure who it will be. I’ll add that the tightly wound score from Geoff Barrow and Ben Salisbury is a contributor to the feeling.
Harrison Jr. has a complicated character to portray and he succeeds in keeping the audience off-kilter. He’s charming, but there’s no doubt that another layer is bubbling not far under the surface. Spencer may have the trickiest role as Harriet navigates the repercussions of her discoveries about Luce. As always, she’s up to the challenge.
Julius Onah directed and co-wrote with JC Lee and Luce is an exercise clearly meant to spark discussion. The screenplay often allows the viewer to draw their own conclusions about who to root for and against or perhaps feel ambivalent about. There’s also the odd sensation of some themes being redundant. If you’re searching for a pat ending to fill in every blank, ambivalence may be your overarching reaction. The overall thesis to this story, like Luce’s original name, is unpronounced or at least left for speculation. I found Luce, for the most part, successful in creating a sense of tension before the conversations start after fade out.
Twenty years ago, Sam Mendes made American Beauty and it dominated the 1999 Oscars, with the filmmaker taking Best Director and the movie being named Best Picture. Lately, Mendes has been known more as the Bond director behind past two installments Skyfall and Spectre.
His World War I epic 1917 has held its initial screenings prior to its Christmas release. Early word of mouth suggests the saga about The Great War is a great picture and that Oscar is likely to pay attention. Most of the buzz thus far has centered on its making as a one camera take experience. Before today’s reviews, this seemed like a probable contender for multiple tech awards already. That includes Cinematography, Editing, Production Design, and both Sound races. All of that still holds true. The legendary Roger Deakins is responsible for the cinematography. After many nominations, he won his first gold statue just two years back for Blade Runner 2049. He could pick up a second here.
Similarly, composer Thomas Newman (a frequent Mendes collaborator) has heard his name called 14 times by Oscar, but has yet to be the victor. That, too, could change as the score is getting numerous mentions.
The cast includes George McKay, Mark Strong, Colin Firth, and Benedict Cumberbatch, but I don’t expect any acting nods due to the packed nature of those categories. However, I do expect Picture and Director (and maybe Original Screenplay) attention. I’ve had the film itself and Mendes in my guesstimates for some time. When my weekly predictions come Monday, I anticipate both will be ranked higher than ever before. My Oscar Watch posts will continue…
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