Next weekend, the video game based 3D animated feature Ratchet & Clank plays in theaters and will try to gain a fanboy audience and a family audience who may still be distracted by The Jungle Book. The pic features the voices of Paul Giamatti, John Goodman, Bella Thorne, Rosario Dawson, and Sylvester Stallone.
I’m not confident at all that this will manage to ratchet up any business. Films based on video games have a shoddy track record and the aforementioned competition (Disney’s Jungle juggernaut should still be #1) could hinder its potential.
I’ll predict this just clears $5 million and that Ratchet & Clank will be available for viewing on PlayStation consoles in short order.
Ratchet & Clank opening weekend prediction: $5.2 million
It’s Dwayne “The Rock” Johnson vs. Mother Nature in disaster pic San Andreas, which gives us impressive visuals of destruction and a screenplay that feels like it was written by a computer program. With its 90s action score pounding into our heads, this is essentially a near two hours of buildings and landmarks being decimated. The Golden Gate Bridge has a bad day, as has become tradition in these proceedings.
While millions of people are subject to the earthquakes and tsunamis wrought here, San Andreas concentrates on fire and rescue worker Ray Gaines (Johnson), his estranged wife (Carla Gugino), and their daughter (Alexandra Daddario). Their family dynamic (with Ray’s divorce papers having just arrived in the mail) is the stuff of lazy Screenplays 101. Gugino is now dating a stuffy British real estate tycoon (Ioan Gruffudd). The separated couple is still mourning the tragic drowning of their other daughter and if you think the circumstances in which she perished will be presented to our protagonist again, you have seen movies before.
A subplot involves a seismologist played by Paul Giamatti and he gets to yell warnings to his fellow citizens. This is a good thing because Giamatti has shown since Private Parts that he’s terrific at yelling stuff and it’s fun to watch him do it here.
Most of our time, however, is spent with the Gaines clan as they fly, drive, boat, tandem parachute jump, and bad wisecrack their way to finding each other. The daughter is joined in her journey by a British hunk (Hugo Johnstone-Burt) and his little brother (Art Parkinson) that adds another romantic angle.
Lost veteran Carlton Cuse has sole script credit and I was a bit surprised how lackluster it is. You might find yourself mouthing the predictable lines — “Let’s go get our daughter!!” — before the actual characters utter them. That said, I can’t deny that San Andreas is directed well by Brad Peyton and Johnson is sturdy and dependable as the anchor. This is nothing special but it’s certainly no disaster and is passable enough for a lazy couch day.
Chronicling approximately a decade of time following the three most notable members of gangsta rap supergroup N.W.A. and named after their landmark debut album, Straight Outta Compton is a musical biopic that often approaches the large proportions these artists deserve. This is not “Behind the Music” nor the chintzy examples of this genre that we sometimes find on VH-1 or Lifetime. F. Gary Gray’s movie is a timely tale about timeless music that was thought to be a total fad when Dr. Dre first spun his iconic beats for fellow group members Eazy-E, Ice Cube, DJ Yella, and MC Ren.
It begins in 1986 with the group’s formation in the drug infested Los Angeles suburb of Compton. Talented DJ Andre “Dr. Dre” Young (Corey Hawkins) recruits local drug dealer Eric “Eazy E” Wright (Jason Mitchell) to help fund the group. O’Shea Jackson aka Ice Cube (played by Cube’s real life son O’Shea Jackson Jr.) is the fiery rapper and lyricist along their side. MC Ren and DJ Yella… well, they’re also in N.W.A. I don’t say this to minimize their contributions. The film just really doesn’t spend any time exploring them. This is understandable because Compton has a lot on its plate and packs a lot in during its two and a half hour run time.
The period of time covered here does explore two managers who both helped make the group’s and Dre’s solo masterworks occur and employed nefarious tactics that wreaked havoc. For N.W.A., it’s Jerry Heller (played with gusto by Paul Giamatti) and later on it’s notorious Death Row cofounder Suge Knight (R. Marcos Taylor). For those familiar with the story, we get the expected high and lowlights beyond the corporate intrigue – the young men adjusting to fame, Cube’s controversial exit, Eazy’s eventual health issues, and the group’s dealings with police brutality both before and after they achieved fame. Of course, some of those instances lead to their most notable tracks.
What helps Compton achieve more than most of its contemporaries is likely due to director F. Gary Gray, who early in his career directed videos for Cube and Dre and helmed 1995’s weed classic Friday, which starred and was cowritten by Cube. Mr. Jackson and Mr. Young are also producers and this all leads to an air of authenticity that permeates the production. It elevates this material to superior heights, even if we’ve seen these tales (whether based in truth or not) before.
Mitchell stands out as Eazy and he is given the most emotional story arch to work with. Jackson, as you’d expect, has probably had plenty of practice mimicking his old man and does a commendable job and Hawkins is a suitable Dre. And of course, there’s the music. A sound that was dangerous to so many ears and still is. It was also brilliant and Dre’s incredible contributions to the sound of the last 30 years is given its proper due.
Straight Outta Compton sometimes does feel like its trying to pack in so much recent history that it feels fragmented. The N.W.A. tale and Death Row saga could easily be separate pics (brief glimpses of Snoop and 2Pac make you wish for that 2 1/2 hours of devotion). For what we’ve been presented, though, Compton is on the higher (not a Chronic reference) end of these tales with beats by Dre that keep its propulsive rhythm humming.
In 2002, the New York Film Critics Circle (NYFCC) went gaga over Todd Haynes’s drama Far From Heaven, bestowing it with their award for Best Picture, Director, Supporting Actor (Dennis Quaid), and Supporting Actress (Patricia Clarkson). Yet when it came time for Oscar nominations, none of those picks were reflected with the Academy.
Thirteen years later, could history repeat itself again for Mr. Haynes? It’s a worthy question as the NYFCC have showered love upon his latest project, Carol. The 1950s drama centering on a lesbian relationship won big at their ceremony today, taking Picture and Director. The Big Apple critics appreciation for Carol gives it a somewhat needed boost for its Oscar chances. When it screened at film festivals earlier this year, it seemed close to a lock for Picture recognition but its stock has waned some.
As I did yesterday with the National Board of Review’s selections, it’s important to show you how often each critics organization matches what the Academy ends up doing. With the NYFCC, 12 out of their last 15 selections for Best Picture (the ones in the 21st century) have gone onto Oscar nominations in the same category. The exceptions were the aforementioned Heaven, 2001’s Mulholland Drive, and 2006’s United 93.
The same 12/15 ratio extends to the Directing category in which winners were Academy snubbed. Besides Haynes, the others were Mike Leigh for 2008’s Happy Go Lucky and Kathyn Bigelow for 2012’s Zero Dark Thirty.
I believe it’s much more likely that Carol manages a slot in the Picture race come Oscar nomination time than Haynes himself, but we’ll see how that plays out well as my predictions continue to be updated on the blog.
As for the acting races – the NYFCC hit us with two surprises. The biggest was Supporting Actress where they selected Kristen Stewart for her work in the little seen Clouds of Sils Maria. While she’s been mentioned as a possibility, very few prognosticators (this one included) have picked her for a Oscar nomination. I still don’t see it happening, but this win does raise her profile for sure. It’s also worth noting that only 2 of the last 15 NYFCC recipients in this category haven’t received Academy attention (the aforementioned Clarkson for Heaven and Maria Bello in 2005’s A History of Violence). Even more surprising is that the NYFCC didn’t honor Rooney Mara’s work in Carol, since many consider her the most likely winner for the gold statue.
The other surprise was Best Actor, which went to Michael Keaton in Spotlight. The shocker was the category he won for because Mr. Keaton is being campaigned for in Supporting Actor and not lead. It’s highly likely that the Bat/Birdman will be recognized come Oscar time… just not in the race where the NYFCC feted him. Of note: three past winners in the 21st century didn’t get Oscar nods: Paul Giamatti in 2004’s Sideways and the last two recipients: Robert Redford for All is Lost and Timothy Spall as Mr. Turner.
Actress went to Saoirse Ronan for Brooklyn and her Academy nod seems pretty much assured. She joins Room‘s Brie Larson (who won the NBR yesterday), Joy‘s Jennifer Lawrence, and Carol‘s Cate Blanchett as front runners for award attention into the future. As with Actor, three winners out of the past 15 didn’t receive Academy attention: Hope Davis for 2003’s American Splendor, Sally Hawkins for 2008’s Happy Go Lucky, and Rachel Weisz for 2012’s The Deep Blue Sea.
Supporting Actor went to Mark Rylance in Bridge of Spies and he’s also a strong contender in the big race. It is worth noting that the NYFCC has actually picked five out of their last 15 winners that never made it to the Academy’s red carpet: the previously mentioned Quaid in 2002, Steve Buscemi for Ghost World (2001), Eugene Levy in A Mighty Wind (2003), Albert Brooks in Drive (2011), and Matthew McConaughey for Magic Mike and Bernie (2012).
Bottom line: a solid day for Carol and we’ll see if the momentum keeps up as my analysis for the 2015 awards season keeps rolling along…
Telling the story of one of hip hop music’s most iconic groups, Straight Outta Compton hits theaters next Friday and could be poised for a stealthy debut. Centering on the story of N.W.A. and its members Dr. Dre, Ice Cube, Eazy E, MC Ren and DJ Yella, Compton is directed by F. Gary Gray, who made music videos for Dre and Cube back in the day prior to becoming an accomplished maker of Friday and The Italian Job, among others. A cast of relative unknowns formulate the cast with the exception of Paul Giamatti as band manager Jerry Heller. Cube’s son O’Shea Jackson Jr. plays his pop.
Fans of the hip hop genre should flock to this. Shot on a meager $25 million budget, it stands to top that (probably easily) in its first weekend. Dre and Cube served as executive producers and Dre has a highly awaited album coming out tomorrow that’s inspired by the film. Reviews have been strong with a current rating of 91% on Rotten Tomatoes.
While Compton is unlikely to reach the heights of Eminem’s 8 Mile ($51 million debut) in 2002 when that artist was at the top of his drawing power, I think believe Compton should rule its weekend. I believe it could approach and maybe surpass $40 million for its premiere, I’ll go just a tad under.
Straight Outta Compton opening weekend prediction: $39.3 million
For my The Man from U.N.C.L.E. prediction, click here:
The disaster flick that was popularized so effectively in the 1970s returns in summer 2015 with San Andreas, opening Friday. Dwayne “The Rock” Johnson, fresh off megahit Furious 7, stars in a reunion with his Journey 2: The Mysterious Island director Brad Peyton. Carla Gugino and Paul Giamatti costar. The $100 million budgeted pic will attempt to break out in a season where most action fare is sequels and reboots.
It could work. The trailers and TV spots have at the least indicated that the budget is up there on the screen. And it certainly doesn’t hurt that Johnson has been omnipresent in front of moviegoers with the enormous Furious franchise.
As I see it, a debut above $40 million would be a win for Warner Bros. International grosses should be solid as well. I think San Andreas will just manage to top that number and will look to top the box office frame during May’s final weekend.
San Andreas opening weekend prediction: $43.4 million
It’s a feeling that I simply couldn’t shake when I watched 2012’s reboot The Amazing Spider-Man: this movie isn’t necessary. Yet it was. If Sony Pictures wanted to keep the rights to the Spidey brand (and did they ever), a new pic had to be produced. Tobey Maguire and Kirsten Dunst weren’t interested in a fourth entry so the franchise was started over just ten years after it began.
However, that didn’t mean it felt necessary… Sony’s financial consideration aside. Too often The Amazing Spider-Man felt like a remake of 2002’s original and there was no reason to have one. There were silver linings. The chemistry between Andrew Garfield as Peter Parker/Spidey and Emma Stone as Gwen Stacy was stronger than the Maguire/Dunst dynamic. Come to think of it… that was about the only silver lining in director Andrew Webb’s playbook. The rest of the pic was reasonably entertaining but familiar… way too familiar.
This brings us to the inevitable sequel in which the filmmakers (Webb returns behind the camera) inexplicably make the same errors that sunk the original trilogy by the time the mediocre Spider-Man 3 entered multiplexes in 2007. Too many villains. Too many subplots you don’t care about. It’s the same problems that have hindered Batman and Iron Man flicks in their weakest entries, too.
New characters include Jamie Foxx as Electro/Max Dillon, an Oscorp employees who worships Spider-Man and then finds himself as his nemesis when an electrical accident turns him into a super villain. His character is not terribly interesting and Foxx’s performance is not among his strongest.
Dane Dehaan is Harry Osborn, who takes over his Dad’s corporation following his death. Harry finds out he’s terminally ill and believes he needs Spidey’s blood to keep him alive. He doesn’t know his best childhood friend Peter Parker is also… well, you know. Complications ensue and an iconic baddie from Spidey lore enters the picture. Dehaan gives the role his all, but by the time his metamorphosis occurs, you’re checking your watch.
There’s also Paul Giamatti in a curiously small role as a Russian mobster who you won’t care about and where the character’s incredibly talented and Oscar nominated actor hams it up pretty embarrassingly.
And Sally Field is back as Aunt May with Campbell Scott and Embeth Davidtz returning in flashback sequences as Peter’s parents. Denis Leary as Gwen’s late father is also seen, but not heard.
The picture’s only strength lies in the genuine chemistry of Garfield and Stone, just like in the first. It’s not enough. The Amazing Spider-Man 2 has that unmistakable whiff of needlessness that plagued its predecessor. There’s a sequence in the beginning when Gwen and Peter are having a quarrel and she sadly says, “You have done this again and again, Peter Parker! I can’t live like this.” We’ve seen that scene between Spidey and his girl again and again… and again… and again. We’ve seen the breakup of Peter and Gwen… and Peter and Mary Jane. And we’ve seen it too much in the past 12 years. Sony Pictures needs to keep the gravy train rolling, but I can live without this fading franchise.
Two summers back, the Spidey franchise was rebooted with Andrew Garfield in the title role and summer 2014 kicks off with its sequel The Amazing Spider-Man 2 on Friday. Emma Stone is back as Gwen Stacy as is Sally Field as Aunt May, with a trio of villains joining the mix. They are Jamie Foxx as Electro, Paul Giamatti as Russian mobster Aleksei Sytsevich, and Dane DeHaan as Harry Osborn, who will likely become the Green Goblin at some point. Marc Webb, who helmed the original, is back behind the camera.
Interestingly, among the four current Spidey flicks, each has grossed less than the previous one. Here’s the stats:
Spider-Man (2002): $403 million
Spider-Man 2 (2004): $373 million
Spider-Man 3 (2007): $336 million
The Amazing Spider-Man (2012): $262 million
Judging the opening gross of this sequel based on its 2012 predecessor is a bit tricky because it opened over the Fourth of July weekend. While its Friday to Sunday gross was $62 million, it rolled out over a six-day period beginning on a Tuesday with $137 million.
I think the real question here is whether or not The Amazing Spider-Man 2 will have the biggest superhero opening so far this year. In other words – can it top the $95 million opening that Captain America: The Winter Soldier accomplished a month ago?
As I see it, the possibility of Spidey topping $100 million out of the gate is real. It pretty much has the weekend to itself and has the advantage of being the first high-profile summer 2014 blockbuster. On the other hand, the original wasn’t exactly beloved and the low end opening possibility to me would be around $75 million – which would be considered a bit of a letdown.
My spidey sense tells me this won’t quite reach what Captain America did, but it’ll come close.
The Amazing Spider-Man 2 opening weekend prediction: $90.1 million
The 2005 Oscars showcased easily the biggest Best Picture upset since 1998 when Shakespeare in Love won out over Saving Private Ryan. This time around, Ang Lee’s cowboy romance Brokeback Mountain was widely expected to take the top prize.
However, at the end of the evening, it was Jack Nicholson reading the name of Paul Haggis’s Crash as the winner. Other nominees were Bennett Miller’s Capote, George Clooney’s Good Night, and Good Luck, and Steven Spielberg’s Munich.
The ensemble race relations drama Crash has since garnered the reputation of one of the most undeserving Best Pic recipients of all time. While I agree it wasn’t the year’s best, it’s a pretty damn good film in my estimation. Other flicks I would’ve considered: Woody Allen’s Match Point and Christopher Nolan’s Batman Begins, which I rank as the greatest superhero flick of all time.
While Mountain was snubbed for the big prize, Ang Lee did take Best Director in a category where the nominated directors matched the pictures honored (this was rare before the Academy switched to five to ten nominees in 2009). Lee won out over Haggis, Miller, Clooney, and Spielberg.
The Best Actor category went as planned with Philip Seymour Hoffman winning for his spot-on portrayal of Capote. Other nominees: Terrence Howard in Hustle&Flow, Heath Ledger in Brokeback Mountain, Joaquin Phoenix for Walk the Line, and David Strathairn in Good Night, and Good Luck.
I might have considered Russell Crowe in Cinderella Man or Viggo Mortensen in A History of Violence. Of course, the Academy rarely honors comedy which left out someone else I would have thought about – Steve Carell for his terrific work in The 40 Yr. Old Virgin.
As June Carter Cash, Reese Witherspoon was victorious in the Best Actress category in Walk the Line, over Judi Dench for Mrs. Henderson Presents, Felicity Huffman in Transamerica, Keira Knightley in Pride&Prejudice, and Charlize Theron for North Country.
My list would have certainly included Scarlett Johannson in Match Point.
George Clooney won Supporting Actor for Syriana over Matt Dillon in Crash, Paul Giamatti in Cinderella Man, Jake Gyllenhall in Brokeback Mountain, and William Hurt in A History of Violence.
Clifton Collins Jr.’s fine work in Capote should have been included and, for an outside the box pick, Mickey Rourke in a memorable role in Sin City.
Rachel Weisz’s win for Supporting Actress in The Constant Gardener showcased a weak category that included Amy Adams in Junebug, Catherine Keener in Capote, Frances McDormand in North Country, and Michelle Williams in Brokeback Mountain.
Two performances jump out in my mind that I would’ve had: Maria Bello in A History of Violence and Taryn Manning in Hustle&Flow.
Ultimately the 2005 Oscars will be remembered for that Crash upset. This would also not be the last time where Ang Lee would take home Best Director without his project winning Best Picture. We’ll get to that in an Oscar History post in the future.
In 1976, Martin Scorsese’s Taxi Driver was seen as a strong possibility to win Best Picture at the Oscars until a boxing movie unexpectedly captured audiences attention and took the prize. That would, of course, be Rocky. Fast forward to 2004 where Scorsese’s Howard Hughes biopic The Aviator seemed to be the odds-on favorite for Best Pic until, yet again, a pugilistic tale surprised moviegoers late in the awards season.
Clint Eastwood’s Million Dollar Baby wasn’t even talked about much as an awards contender during 2004’s calendar year. It was released very late in the year, but it turned out to be great timing.
Baby would win the top award over The Aviator, as well as Marc Forster’s Finding Neverland, Taylor Hackford’s Ray, and Alexander Payne’s Sideways.
As for other contenders not recognized, the Academy would ignore Quentin Tarantino’s fantastic Kill Bill and its Volume II after snubbing the first installment the year prior. It’s also worth noting that the greatest Harry Potter flick in the franchise (in my view) Prisoner of Azkaban could have been honored too. And there’s Michel Gondry’s highly original critical favorite Eternal Sunshine of the Spotless Mind. And a favorite of audiences – Mel Gibson’s mega-blockbuster Passion of the Christ. Any of one of these pics should have at least replaced Finding Neverland, which was decent but doesn’t belong in the category.
The Baby boom would extend to Eastwood, who won Best Director exactly a dozen years after winning the same award for Unforgiven. This prevented Scorsese from winning his first Oscar. Other nominees included Hackford, Payne, and Mike Leigh for Vera Drake.
Once again – Gondry, Tarantino, and Gibson are names worth mentioning that didn’t get in the mix.
Jamie Foxx would take Best Actor for his dead-on portrayal of the legendary singer Ray Charles in Ray, winning out over Leonardo DiCaprio in The Aviator, Don Cheadle in Hotel Rwanda, Eastwood in Million Dollar Baby, and Johnny Depp in Finding Neverland.
One major snub was Paul Giamatti for his fine work in Sideways. The Academy yet again snubbed Jim Carrey in Eternal Sunshine.
Hilary Swank won her second Best Actress award in five years for Baby (in 1999, she was victorious in Boys Don’t Cry). Other nominees: Annette Bening in Being Julia, Catalina Sandino Moreno in Maria Full of Grace, Imelda Staunton in Vera Drake, and Kate Winslet for Eternal Sunshine.
Once again, it was Uma Thurman left out for her work in the Kill Bill franchise.
Morgan Freeman would win his first Oscar in the Supporting Actor race for Million Dollar Baby over Alan Alda in The Aviator, Thomas Haden Church for Sideways, Jamie Foxx in Collateral, and Clive Owen in Closer.
Not to keep bringing up Kill Bill, but the late David Carradine should have been nominated.
The Aviator would finally receive some Academy recognition with Cate Blanchett winning Supporting Actress with her portrayal as Katherine Hepburn. Other nominees: Laura Linney in Kinsey, Virginia Madsen for Sideways, Sophie Okonedo in Hotel Rwanda, and Natalie Portman for Closer.
After all my mentions for Kill Bill and Eternal Sunshine receiving snubs, there’s one other 2004 pic that demonstrates the Academy’s constant ability to ignore comedies. So I give you the following snubs –
Best Actor – Will Ferrell, Anchorman: The Legend of Ron Burgundy
Best Supporting Actor – Steve Carell, Anchorman: The Legend of Ron Burgundy
Best Supporting Actor – Paul Rudd, Anchorman: The Legend of Ron Burgundy
Best Supporting Actor – David Koechner, Anchorman: The Legend of Ron Burgundy
Best Scene Involving a Cannonball – Anchorman: The Legend of Ron Burgundy
Best Scene With a Dog Being Punted – Anchorman: The Legend of Ron Burgundy
Best Rendition of “Afternoon Delight” In a Movie: Anchorman: The Legend of Ron Burgundy
I’ll be back with Oscar History: 2005 soon, my friends!
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