Juror #2 reunites Nicholas Hoult and Toni Collette 20 years plus after the acclaimed About a Boy and it marks Clint Eastwood’s latest project at age 94. For reasons still unclear, it premieres Friday in approximately 50 theaters after debuting at AFI Fest. The legal thriller costars J.K. Simmons, Chris Messina, Zoey Deutch, Gabriel Basso, and Kiefer Sutherland.
The extremely limited release for Juror isn’t due to poor reviews. The Rotten Tomatoes meter is at 92% with Metacritic at a 75. If Warner Bros had chosen to put some marketing muscle behind this, it might’ve been a midsize hit.
While Eastwood has helmed two BP winners in Unforgiven and Million Dollar Baby and had other nominees with Letters from Iwo Jima and American Sniper, this courtroom tale just doesn’t seem to be a WB priority. The verdict is that awards voters will likely ignore it as well. My Oscar Prediction posts will continue…
In the 50th season premiere episodes of Saturday Night Live this month, it has become clear that Bowen Yang has moved into the status of MVP. From taking on the role of VP candidate JD Vance or his Update appearance as viral hippo Moo Deng or as English pop star Charli XCX, it was one Yang showcase after another. He nabs the 34 spot on my top 50 cast members of all time.
He started as a writer in 2018 before joining as a Not Ready for Prime Time player the following year. Notable bits in the past half decade include appearing as the iceberg that sunk the Titanic, as notorious Congressman George Santos and playing the Straight Man to a fawning Sydney Sweeney. It probably won’t be long before Yang gets his feature film or TV series centered around his considerable talents. Hopefully we’ll have him on SNL for a while longer. #33 will be up soon!
Robert Zemeckis reunites with his Forrest Gump leads Tom Hanks and Robin Wright some 30 years after that Best Picture recipient with the family drama Here this weekend. My detailed prediction post on the newcomer can be accessed here:
Here is likely to be the sole newbie to place in the top five. Unlike Gump, there’s no awards buzz for this. A debut in the mid single digits could mean anywhere from second to fifth.
Tom Hardy’s third and reportedly final go-round in The Last Dance had a subpar start (more on that below). With a troubling B- Cinemascore, a 60 percent plus percentage drop appears inevitable. That should mean mid or high teens for an unremarkable repeat performance in 1st place.
Holdovers Smile 2, The Wild Robot, and Conclave should fill out the rest of the high five and here’s how I have it playing out:
1. Venom: The Last Dance
Predicted Gross: $17.3 million
2. Smile 2
Predicted Gross: $5.6 million
3. The Wild Robot
Predicted Gross: $5 million
4. Here
Predicted Gross: $4.8 million
5. Conclave
Predicted Gross: $4.2 million
Box Office Results (October 25-27)
As mentioned, viewers were not grooving to Venom: The Last Dance. The comic book based sequel set in Sony’s Spider-Man Universe took in $51 million. That’s under my $62.3 million take and well below 2018’s Venom ($80 million) and 2021 follow-up Let There Be Carnage at $90 million. Crowds have clearly soured on the franchise.
The news wasn’t great for Smile 2 either. The horror sequel was second with $9.5 million and that represents a 59% plummet. Its 2022 predecessor only experienced an 18% decline in weekend #2. While I didn’t think that would occur, I had this pegged at $15.6 million during its follow-up frame.
The Wild Robot was third with $6.8 million compared to my $7.5 million call. The animated hit has taken in $111 million in five weeks.
Oscar hopeful Conclave with Ralph Fiennes was fourth with a better than anticipated $6.6 million. Edward Berger’s papal succession drama blew past my $4.8 million projection.
The Andrew Garfield/Florence Pugh romance We Live in Time added nearly 2000 screens and was fifth with $4.8 million. I incorrectly had it outside the top five as its total reached $11 million.
Finally, Terrifier 3 was sixth with $4.7 million (I said $5.4 million) for a robust $44 million in three weeks.
Inventor Wallace and his canine pal Gromit are no strangers to the Academy Awards. Two of their tales (1994’s Wallace & Gromit: The Wrong Trousers and 1996’s A Close Shave) won the Oscar for Best Animated Film while 2010’s A Matter of Loaf and Death was nominated. 2005’sfeature-length The Curse of the Were-Rabbit took home gold for Animated Feature, beating out Corpse Bride and Howl’s Moving Castle.
Nearly 20 years after the previous long form Wallace pic, Vengeance Most Fowl premiered at AFI Fest and will stream on Netflix beginning January 3rd. A limited December theatrical bow makes it Academy eligible. Early reviews are strong with 100% on Rotten Tomatoes and 82 on Metacritic. Nick Park (the legendary animator who created the W + G flicks in addition to Chicken Run and Shaun the Sheep) and Merlin Crossingham co-direct. Voiceover work comes from Ben Whitehead, Peter Kay, Reece Shearsmith, and Lauren Patel.
I’ve had this ranked fourth or fifth in my Animated Feature rankings for months and don’t see that changing after the initial reaction. I would put it behind The Wild Robot, Inside Out 2, and Memoir of a Snail in terms of victory possibility. While it’s no guarantee it makes the final cut, the past history indicates its chances are quite strong. My Oscar Prediction posts will continue…
Japanese journalist Shiori Itõ recounts her own rape case in the documentary Black Box Diaries, out this weekend. Based on her memoir, it first premiered at Sundance to rave reviews and has continued to play the stateside and international fest circuit. It was acquired by MTV Documentaries.
The Rotten Tomatoes meter stands at 98% with 87 on Metacritic. The doc branch of the Academy can often leave surprising omissions on their shortlist for their best feature. If Diaries makes the shortlist, I suspect it gets into the final five in contention and my forecasts over the last past several weeks have reflected that. My Oscar Prediction posts will continue…
30 years ago, Forrest Gump was nominated for a whopping 13 Oscars and won six including Picture, Director (Robert Zemeckis), Actor (Tom Hanks), and Adapted Screenplay. A Forrest reunion is occurring on November 1st when Here opens. Zemeckis is behind the camera for the family drama that stars Hanks and his Gump costar Robin Wright. It is written by that film’s screenwriter Eric Roth.
Debuting at the AFI Fest this weekend, the gimmicky pic is based on a 2014 graphic novel from Richard McGuire. Set over many decades in a fixed camera location spot (primarily a living room), the supporting cast includes Paul Bettany, Kelly Reilly, Michelle Dockery, and Gwilym Lee.
Awards lightning was not anticipated to strike twice with Here and early reaction has solidified that notion. The Metacritic score is just 46. Any hope for above-the-line noms have dissipated. Where Here could contend is Visual Effects where the de-aging work sees Hanks and Wright as teens. Some of the first reviews say these effects can be distracting and still have a ways to go to be convincing. Yet I wouldn’t discount the possibility of a VE nod considering 2019’s The Irishman made the cut and the work here is generally seen as an improvement. There’s also some praise for Alan Silverstri’s score, but that race may be a little crowded for Here‘s inclusion. My Oscar Prediction posts will continue…
Reuniting the director, screenwriter, and two leads from Forrest Gump some three decades after the Best Picture winner’s release, Here is present in multiplexes on November 1st. The high concept family drama utilizes a stationery home camera shot spanning decades of time. Robert Zemeckis directs and Eric Roth penned the script. Tom Hanks and Robin Wright headline a cast that includes Paul Bettany, Kelly Reilly, Michelle Dockery, and Gwilym Lee.
The collection of talent mentioned above might have generated big bucks if it arrived in the decade following Mr. Gump’s global treks. I suspect this may struggle to find the older audience it seeks. There has yet to be any awards buzz and that could have helped.
While Hanks recently had an adult themed hit via A Man Called Otto, it had the benefit of being based on a well-known novel. Here‘s best hope is that viewers who do see it will tell their friends about it and that it plays into Thanksgiving. That could be a stretch as I’m forecasting this will only reach a troubling mid single digits.
Tom Hardy and his title character alter ego are back for the third and allegedly final time when Venom: The Last Dance hits multiplexes this weekend. The only sub franchise in the Spider-Man Universe doing brisk business and producing sequels (sorry Morbius and Madame Web), Kelly Marcel directs. The supporting cast includes Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Peggy Lu, Alanna Ubach, and Stephen Graham.
Critics haven’t been overly kind to Hardy and company. Part 1 from 2018 managed only 30% on Rotten Tomatoes and a 35 on Metacritic. 2021 follow-up Venom: Let There Be Carnage fared better with 57% on RT and a 49 Metacritic. Dance is currently falling between those numbers with a 41% Tomato meter and 42 on MC.
Even though Hardy gives it his bonkers all in this series, don’t put money down on a Best Actor nomination unless you plan to lose. As I wrote three years ago with Carnage, Visual Effects is really the only awards play. Neither of Dance‘s predecessors nabbed a nod in VE and I wouldn’t expect this one to contend. My Oscar Prediction posts will continue…
Tom Hardy is back in the threequel Venom: The Last Dance while awards hopeful Conclave also debuts Friday. You can peruse my detailed prediction posts on the weekend’s newcomers here:
Hardy’s latest go-round as the comic book symbiote will easily dominate the charts. Yet I’m not bullish that The Last Dance will top the openings of predecessors Venom from 2018 ($80 million) and 2021’s Venom: Let There Be Carnage ($90 million). I have it in the low to mid 60s.
Conclave is expected to nab a Best Picture nomination. Edward Berger’s follow-up to All Quiet on the Western Front may have to settle for a mid single digits start that should put it in fourth or fifth place.
As for holdovers, Smile 2 may benefit from its genre in weekend #2 as horror fans seek content. The first Smile rode a wave of loud buzz to a startling 18% decline in its second frame. I’d be surprised if the sequel sees that, but mid to high 30s seems feasible. The Wild Robot and Terrifier 3 should fill out the remainder of the high five.
Here’s how I see it playing out:
1. Venom: The Last Dance
Predicted Gross: $62.3 million
2. Smile 2
Predicted Gross: $15.6 million
3. The Wild Robot
Predicted Gross: $7.5 million
4. Terrifier 3
Predicted Gross: $5.4 million
5. Conclave
Predicted Gross: $4.8 million
Box Office Results (October 18-20)
Smile 2 was barely able to open wider than part 1 at $23 million. The original hit $22.6 million two years later. I had this making slightly more at $27 million. That’s a fair result though (as mentioned above) I wouldn’t expect this to have quite the sturdy legs of what came before.
The Wild Robot held in second with $10 million, on par with my $10.7 million forecast. The animated adventure is now north of nine digits after four weeks with $101 million.
Terrifier 3 slid from first to third with $9.3 million, in line with my $9.8 million call. The $38 million total in ten days is quite a feat considering the reported teensy $2 million price tag.
Beetlejuice Beetlejuice was fourth with $5 million (I went with $5.8 million) for a seven-week haul of $283 million and $300 million potentially in its domestic sights.
Finally, the Andrew Garfield/Florence Pugh rom dram We Live in Time expanded to just under 1000 venues and posted $4.1 million. I was close with $4.3 million. That brought the overall tally to $4.5 million.
Disney hopes that Elton John: Never Too Late is still standing among the five nominees for Documentary Feature come Oscar nomination time. Chronicling the legendary singer’s swan song concert tour, R.J. Cutler and Elton’s husband David Furnish direct. A November 15th limited theatrical release precedes the December 13th Disney+ streaming launch.
Co-director Cutler is no stranger to the celeb doc genre or awards attention. 1993’s The War Room about Bill Clinton’s 1992 campaign was a nominee in the race. He also helmed 2021’s Billie Eilish: The World’s a Little Blurry and the upcoming Martha Stewart profile Martha (look for that Oscar Prediction post shortly).
Late started its screenings at the Toronto Film Festival. While mostly fresh, many reviews were far from gushing. The Rotten Tomatoes score is 71%. That’s probably not enough to land it a nomination or even to be on the shortlist.
Where this could pop up is in Original Song where the new track “Never Too Late” (a duet between Elton and Brandi Carlile) reportedly plays over the end credits. The movie’s subject is already a two-time Academy winner for his The Lion King and Rocketman ditties. His star power could get him in contention again though I’ve yet to predict it. My Oscar Prediction posts will continue…
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