The Rivals of Amziah King was praised as a multi-genre crowdpleaser when it screened at Sundance earlier this year. From director Andrew Patterson (best known for 2019’s The Vast of Night), the southern set crime drama marks Matthew McConaughey’s first starring role in six years with a supporting cast including Kurt Russell, Cole Sprouse, Owen Teague, Scott Shepherd, Rob Morgan, and Tony Revolori. Playing McConaughey’s foster daughter, newcomer Angelina LookingGlass is drawing early raves.
The reaction from Park City in January has me thinking Rivals is a possibility for numerous awards. That includes McConaughey in Actor. His sole Oscar nod for 2013’s Dallas Buyers Club resulted in a victory and this could mark his second attempt. LookingGlass could contend in Supporting Actress as could Patterson’s direction and original screenplay. If it can score mentions in those categories, BP is also on the table. When I did my inaugural ranked predictions a week ago, Rivals was slotted 6th in Picture, Patterson was fourth in Director, McConaughey landed 2nd in Actor, and LookingGlass was 3rd in Supporting Actress. Down-the-line races like Cinematography and Editing are also in the mix.
King has yet to be dated for release, but I’m assuming an autumn rollout with possible spots at other fests like Telluride and/or Toronto. Its distributor will need to mount a robust campaign. Based on its buzz, I’m assuming they will and that Rivals is a title to watch out for throughout the season. My Oscar Prediction posts will continue…
The Friend played Telluride and is about to hit Toronto and the dramedy has found some allies already. Based on the novel by Sigrid Nunez, the team known as Siegel & McGehee direct. They are known for indie pics such as The Deep End, What Maisie Knew, and Montana Story. Naomi Watts is a writer caring for her late mentor’s dog. Supporting work comes from Bill Murray (as said mentor), Sarah Pidgeon, Constance Wu, Ann Dowd, Owen Teague, and Carla Gugino. There’s also what’s said to be a terrific performance by Great Dane Bing as Apollo.
Several critics, while saying The Friend is formulaic, also say it often rises above similar doggie tales. Early buzz indicates it earns the tears of audience members. The Rotten Tomatoes score is 100% with Metacritic at 70.
Still seeking domestic distribution, it remains to be seen whether this makes the 2024 cut. If so, Watts is getting plenty of applause. She’s a two-time nominee for 2003’s 21 Grams and 2012’s The Impossible. Becoming a contender isn’t an impossibility, but it is a stretch. There’s no Best Canine category so Bing doesn’t need his tux pressed. My Oscar Prediction posts will continue…
Kingdom of the Planet of the Apes, for starters, gets its name right. Arriving seven years after War for the Planet of the Apes, a common criticism (not an especially important one) of the preceding trilogy was that their titles were a bit misleading. 2011’s Rise of the Planet of the Apes should’ve been Dawn of the Planet of the Apes. Yet that one came three years later and a more appropriate moniker for it would be War for the Planet of the Apes. However, War was in 2017 even though Rise of the Planet of the Apes would’ve fit better. Apes are indeed ruling the planet in the fourth entry of this Apes run and the tenth overall in the franchise. Climb of the Planet of the Apes might’ve stuck as well since the plot needs the creatures to use their upward mobility to get them out of jams.
Ultimately Kingdom gets more right than its name. A brief prologue reminds us where we left off in War. In its climax, simian leader Caesar (played iconically by Andy Serkis in probably the greatest motion capture performance ever) stopped being an Earthbound dweller and belonged to the ages. “Many generation later” (like 200-300 years), there are groups who study and honor Caesar’s work. Others are agnostic. Young ape Noa (Owen Teague) is in the latter bunch. His clan is more preoccupied with their birding activities which involve coming-of-age rituals that Noa is primed for. This is interrupted by human contact in the form of Freya Allan’s character Mae. All members of that race have been rendered speechless (as we started to witness in War). By Kingdom‘s coming, they’re also undomesticated and homeless and rare to come across.
This interaction inadvertently brings harm to Noa’s loved ones and sets the young ape on a course of discovery and retrieval of kidnapped family members. The abductor is Proximus Caesar (Kevin Durand’s superb and complex villain), whose mission involves bringing all clans together where he can rule with an iron paw. While that ape bends the teachings of Caesar to his own twisted ideology, others succeed in extolling the virtues. This includes orangutan Raka (Peter Macon) who joins Noa on the journey and first exposes him to the dominant force in Rise, Dawn, and War (or more appropriately… Dawn, War, and Rise but’s let not get hung up on it).
Raka is maybe my favorite character in a screenplay (by Avatar: The Way of Water scribe Josh Friedman) filled with promising new ones. I say promising because Kingdom is clearly world building to more installments. In that sense, comparisons to Rise of the Planet of the Apes from 2011 are apt. That tale explained Caesar’s childhood upbringing and eventual imprisonment that created the wide divide between apes and human. The movie itself was lean and efficient with a short runtime compared to Dawn, War, and this. Parts of Kingdom could’ve used a shave and tighter edit. The end result, though, is similar to 2011’s reboot in that I look forward to what’s coming while valuing what I just saw. Wes Ball takes over directorial responsibilities from Matt Reeves, who excelled at making the darker Dawn and War. Ball’s contribution may not be quite as distinctive, but it’s well-executed in reintroducing the audience to its visual landscapes and consistent tug-of-war between species coexisting in them.
This is smarter summer blockbuster sci-fi than any other franchise going and the series has been pulling that off for nearly 60 years. There’s been dips in quality (hi Tim Burton and various portions of the 1970s sequels). These past four Apes sagas have climbed to the top in terms of overall quality.
20th Century Studios is back in the monkey business this weekend with Kingdom of the Planet of the Apes. Wes Ball takes over the directorial reins for the 56-year-old franchise with Owen Teague, Freya Allan, Kevin Durand, Peter Macon, and William H. Macy among the cast.
This is the 10th feature in the series and the previous nine entries netted six total Academy nominations. Three of them went to the 1968 original with nods for its Score and Costume Design as well as an honorary Oscar for its revolutionary makeup artist John Chambers.
Following that, there was a long break between awards mentions. None of the four sequels to Planet (Beneath the Planet of the Planet, Escape from the Planet of the Apes, Conquest of the Planet of the Apes, Battle for the Planet of the Apes) contended in any races. Neither did Tim Burton’s 2001 re-imagining of part 1.
It took Rise of the Planet of the Apes in 2011 and sequels Dawn of the Planet of the Apes (2014) and War for the Planet of the Apes (2017) to get back in the Oscar mix. All 3 were up for their fantastic Visual Effects. The win tally was 0 for 3 as they respectively lost to Hugo, Interstellar, and Blade Runner 2049. Despite high praise for Michael Giacchino’s score and Andy Serkis’s lauded motion capture work as Caesar in that trilogy, VE was the only derby that the Apes ran in.
Kingdom (set many years after the events of War) is perched at 86% on Rotten Tomatoes. That’s just ahead of Rise‘s 82% while a bit behind War‘s 94% and Dawn‘s 91%. Some reviews say its visuals don’t quite match what we witnessed in the previous decade. Yet this seems poised for a fourth nomination in a row in that competition. Like its predecessors, a victory seems unlikely as Dune: Part Two may already have it wrapped up. My Oscar Prediction posts will continue…
Kingdom of the Planet of the Apes marks the tenth franchise feature overall that began in 1968 and as a follow-up to the acclaimed and profitable trilogy from 2011-17. Out May 11th, Wes Ball (best known for The Maze Runner pics) takes over directorial duties from Matt Reeves. Set 300 years after the events of War for the Planet of the Apes, the cast includes Owen Teague, Freya Allan, Kevin Durand, Peter Macon, and William H. Macy.
Originally set for Memorial Day weekend, it was pushed up mainly to avoid a head to head with Furiosa: A Mad Max Saga. As mentioned, the last three Apes adventures were a success story for 20th Century Studios. Thirteen summers ago, Rise of the Planet of the Apes exceeded expectations with a $54 million start and $176 million overall domestically. 2014’s Dawn of the Planet of the Apes reaches a series apex with a $72 million premiere and $208 million eventual haul. 2017’s War was a slight letdown compared to its predecessor with a $56 million debut and $146 million stateside tally.
We have seen a recent example of a creature centric surpassing guesstimates in Godzilla x Kong: The New Empire. The seven year break could hurt Kingdom, but I suspect this will manage a beginning very similar to Rise and War and not Dawn.
Kingdom of the Planet of the Apes opening weekend prediction: $55.2 million
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Director Nicole Holofcener reunites with her Enough Said star Julia Louis-Dreyfus for You Hurt My Feelings, which has screened at Sundance. The comedy is drawing satisfactory notices in Utah with a 95% Rotten Tomatoes rating. Look for distributor A24 to mount an awards campaign as the year rolls along.
Enough Said was able to nab Louis-Dreyfus a Golden Globe Best Actress nod in Musical/Comedy and that could certainly occur again. She stands the best chance among costars that include Tobias Menzies, David Cross, Amber Tamblyn, Michaela Watkins, Arian Moayed, and Owen Teague.
Holofcener is already an Academy nominee for cowriting the adapted screenplay for 2018’s Can You Ever Forgive Me? I wouldn’t count on a second writing mention. While critics are being kind, this has the feel of a Globe Predictions post with its lead’s chances. My Oscar Predictions posts will continue…
Eileen is director William Oldroyd’s sophomore feature after his well-reviewed 2016 rendering of Lady Macbeth with Florence Pugh. This psychological thriller/romance set in the 1960s is based on Ottessa Moshfegh’s 2015 novel and has premiered at Sundance. Thomasin McKenzie and Anne Hathaway headline with a supporting cast including Shea Whigham, Owen Teague, and Marin Ireland.
It is already clear this project will generate lots of attention. A number of early takes are raves with some claiming career best work from McKenzie and Hathaway. Ireland is also being singled out as a scene stealer. There’s said to be a twist in the proceedings that has divided critics and may do the same with audiences.
At Sundance, plenty of pics are looking for distribution and Eileen (with comparisons to Carol and Hitchcock) should easily be snatched up. If an awards campaign is in the cards, we’ll see if the trio of actresses can materialize in the convo or if Adapted Screenplay is feasible. My Oscar Prediction posts will continue…
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