Oscar Watch: The Banker

Last November, The Banker was scheduled to have its rollout at the AFI Film Festival. The period drama tells the true story of two of the first African-American bankers in the United States, as played by Anthony Mackie and Samuel L. Jackson. Yet the picture hit a hiccup on its way to the festival. One of the film’s coproducers was hit with sexual abuse allegations and the premiere was canceled. The original awards friendly December release date was indefinitely postponed. I wrote about it here:

https://toddmthatcher.com/2019/11/20/oscar-watch-the-banker-bounced/

Now The Banker is at last ready for its close up. It opens this weekend on limited screens before a debut on Apple TV two weeks later. That streaming service is attempting to get in the Netflix game with features that Oscar voters could notice.

I wouldn’t bank on this being that movie. In addition to a now unfriendly release date, critical reaction is mixed with a current 69% Rotten Tomatoes score. While Mackie and Jackson are getting solid notices, I just can’t picture The Banker being fresh on the minds of the Academy at the end of the year. My Oscar Watch posts will continue…

Oscar Watch: The Banker Bounced

The AFI Film Festival is ongoing and it serves as the final opportunity for releases to stake their claim for Oscar consideration in the fest format. George Nolfi’s The Banker had been selected to close the proceedings tomorrow evening. Not only was this a chance for it to enter into awards chatter, but it’s also among the first feature films that will be shown on Apple TV’s new streaming service. In other words, while Netflix looks to have a banner 2019 when it comes to various contenders like The Irishman, Marriage Story, The Two Popes, and Dolemite Is My Name – this picture marks a way for Apple TV to get into the game.

However, the surprise announcement came this afternoon that AFI organizers are pulling its gala screening. Details are rather scarce as reports indicate there’s potential allegations surfacing about a member of the family played by Anthony Mackie’s character. Expect those details to be fleshed out in short order. Mackie and Samuel L. Jackson star in this true tale of two African American businessmen in the 1960s. Costars include Nicholas Hoult, Nia Long, Jessie Usher, and Colm Meaney.

The Banker is scheduled for a December 6th theatrical release prior to Apple’s streaming rollout early next year. That early December slot put in contention for nominations and now its release at this juncture now appears to be in doubt. I was planning to do an Oscar Watch post on it by the end of the week, but it looks like that’s in the vault for the foreseeable future. My Oscar Watch posts will continue…

Oscar Watch: Queen & Slim

The Los Angeles based AFI Fest is the last major calendar year opportunity for Oscar hopefuls to strut their stuff and there’s always a few premieres to go along with it. In 2019, that includes Clint Eastwood’s Richard Jewell and The Banker with Samuel L. Jackson and Anthony Mackie. The opener is Queen & Slim from director Melina Matsoukas, who’s been known for her visionary music videos for Beyonce and Rihanna.

Slim centers on a couple (Daniel Kaluuya of Get Out fame and newcomer Jodie Turner-Smith) whose first date becomes intertwined with a police brutality incident. Early critical reaction is strong and it stands at 100% on Rotten Tomatoes. Indications are that this could turn into a cult hit and perhaps even a real one, with an insightful and politically charged screenplay from Lena Waithe. She’s known primarily for acclaimed TV projects Master of None and The Chi.

Despite the praise, Oscar attention could be… well, slim. Anything arriving this late in the game would need to be a game changer for Picture visibility and some reviews are positive but with some reservation. Turner-Smith is garnering a lot of chatter, but it could be a leap to think she’ll factor into an already crowded Best Actress race.

Bottom line: look for Queen to become a conversation piece upon its November 27th release. I’m just not confident that will include talk about Academy nods. My Oscar Watch posts will continue…

Summer 1999: The Top 10 Hits and More

My recap of the summer seasons from 30, 20, and 10 years ago continues with 1999. It was a banner year for film in general with many acclaimed features hitting theaters at the turn of the century.

If you missed my previous post recounting 1989, you can find it here:

https://toddmthatcher.com/2019/07/10/summer-1989-the-top-10-hits-and-more/

As with other look backs, I’ll give the top 10 highest earners along with other notable pics and some flops. Interestingly, the list begins at #10 with probably the most high profile misfire:

10. Wild Wild West

Domestic Gross: $113 million

The July 4th holiday weekend had literally become reserved space for Will Smith. Independence Day in 1996 and Men in Black the following year both came out in that frame and ended up as their summer’s biggest blockbusters. This update of a 1960s TV series cast the Fresh Prince with Kevin Kline and reunited him with MIB director Barry Sonnenfeld. Critics and audiences weren’t impressed.

9. Notting Hill

Domestic Gross: $116 million

Julia Roberts and Hugh Grant were a rom com match in heaven with this well reviewed pic from the writer of Four Weddings and a Funeral. Our lead actress isn’t finished yet…

8. The Blair Witch Project

Domestic Gross: $140 million

Truly a phenomenon upon release, this handheld camera indie supernatural horror tale was made for a reported $60,000. Many audience members thought it was a real documentary and it scared up nearly $250 million worldwide and spawned two lesser regarded follow-ups.

7. Runaway Bride

Domestic Gross: $152 million

I told you we weren’t done with Julia Roberts. This rom com reunited her with her Pretty Woman director Garry Marshall and costar Richard Gere. It might not have captured the acclaim of that flick, but it made plenty of cash.

6. The Mummy

Domestic Gross: $155 million

Loosely updating the 1932 classic, The Mummy managed to turn Brendan Fraser into a temporary action star. Two sequels followed and a spin-off (The Scorpion King) that turned Dwayne Johnson into an action hero.

5. Big Daddy

Domestic Gross: $163 million

20 summers ago marked the height of Adam Sandler’s box office potency. Big Daddy remains his biggest live action grosser of all time.

4. Tarzan

Domestic Gross: $171 million

Disney was still knocking traditional animated hits out summer after summer. Tarzan managed to nab Phil Collins an Oscar for a song contribution.

3. Austin Powers: The Spy Who Shagged Me

Domestic Gross: $206 million

The original Powers came out two summers prior. While it performed decently in theaters, it became a massive hit with its home video release. Due to that, this sequel made more in its opening weekend than part 1 achieved in its entire theatrical run. A third edition arrived in 2002.

2. The Sixth Sense

Domestic Gross: $293 million

An unexpected smash, this is the movie that introduced the world to M. Night Shyamalan and the line “I see dead people”. Bruce Willis didn’t get an Oscar nod, but the picture itself did. So too did Shyamalan’s direction, screenplay, and the supporting performances of Haley Joel Osment and Toni Collette.

1. Star Wars: Episode 1The Phantom Menace

Domestic Gross: $431 million

Its reputation certainly hasn’t grown through the years, but George Lucas’s return to the cherished franchise after 16 years easily ruled the summer. We’re still haunted by Jar Jar two decades later.

And now more some other notable titles from the ‘99 season:

American Pie

Domestic Gross: $102 million

The raunchy teen comedy was a surprise smash that introduced us to a new group of young actors and spawned three theatrical sequels and four direct to DVD sequels.

The Haunting

Domestic Gross: $91 million

Jan de Bont followed up mega hits Speed and Twister with this critically unappreciated remake of The Haunting of Hill House. It didn’t reach the heights of those blockbusters, but came close to the century mark domestically.

Deep Blue Sea

Domestic Gross: $73 million

Renny Harlin’s tale involving sharks that could potentially cure Alzheimer’s (yes it’s absurd), Sea is best known for a killer death scene involving Samuel L. Jackson.

The Thomas Crown Affair

Domestic Gross: $69 million

Arriving smack dab in the middle of his Bond run, this remake of Steve McQueen’s heist film was a solid midsize performer.

Bowfinger

Domestic Gross: $66 million

The box office grosses were decent, but Bowfinger gave us a satisfying pairing of two comedic legends in Eddie Murphy and Steve Martin.

Eyes Wide Shut

Domestic Gross: $55 million

The swan song of Stanley Kubrick (who died shortly before release), this dreamlike sexual drama with then married Tom Cruise and Nicole Kidman polarized audiences and critics.

South ParkBigger, Longer and Uncut

Domestic Gross: $52 million

The landmark Comedy Central show from Trey Parker and Matt Stone got the big screen treatment and translated well to the multiplex, even nabbing an Oscar nod for Best Original Song (“Blame Canada”).

The Iron Giant

Domestic Gross: $23 million

A commercial failure at the time, this animated pic marked the debut of Brad Bird who went onto helm Pixar classics. Its reputation has grown significantly in time.

Now… let’s recount some flops:

Mickey Blue Eyes

Domestic Gross: $33 million

Hugh Grant had a $100 million plus earner with Notting Hill, but this mob themed comedy was not a hit.

Mystery Men

Domestic Gross: $29 million

Ben Stiller had the previous summer’s largest comedy with There’s Something About Mary. This failed superhero spoof didn’t even make half its budget back stateside.

The Astronaut’s Wife

Domestic Gross: $10 million

This Johnny Depp sci fi thriller is not a title discussed often in his filmography or Charlize Theron’s. There’s a reason.

Dudley DoRight

Domestic Gross: $9 million

The Mummy provided Brendan Fraser with a franchise. This cartoon remake couldn’t hit double digits.

And that wraps my recap! Look for 2009 on the blog shortly…

Oscar Watch – Spider-Man: Far From Home

SpiderMan: Far From Home opens on Tuesday next week with solid reviews in its corner. With a 90% rating on Rotten Tomatoes, many critics are calling it an improvement on its direct predecessor – 2017’s SpiderMan: Homecoming.

When it comes to Oscar’s history with the Spider-Verse over multiple features, there is past and very recent occurrences. The first two editions of Sam Raimi’s Tobey Maguire trilogy garnered nods. 2002’s SpiderMan nabbed Sound and Visual Effects nominations. Its 2004 sequel won Visual Effects, in addition to Sound nods. Since then, the four live-action features (one more with Maguire, two with Andrew Garfield, and Homecoming) received no awards love. However, last year’s animated and acclaimed SpiderMan: Into the SpiderVerse was the winner of Best Animated Feature.

Far From Home is, of course, part of the massive Marvel Cinematic Universe. If the studio pushes for Oscar votes, their attention in 2019 is likely to focus on Avengers: Endgame. So even with sturdy critical reaction, I would anticipate this being the fifth non-animated Spidey pic in a row to go empty handed. My Oscar Watch posts will continue…

Spider-Man: Far From Home Box Office Prediction

Peter Parker’s European vacation goes awry and Marvel looks to have its third massive 2019 blockbuster in a row when SpiderMan: Far From Home opens next week over a long holiday weekend. The sequel to 2017’s SpiderMan: Homecoming finds Tom Holland returning to the title role after appearing in Avengers: Infinity War and Avengers: Endgame in between. Jon Watts is back directing with familiar MCU faces Samuel L. Jackson, Cobie Smulders, and Jon Favreau among the cast. Returnees from Homecoming include Zendaya, Marisa Tomei, and Jacob Batalon. Newbies to this cinematic universe are J.B. Smoove and Jake Gyllenhaal as main villain Mysterio.

The sequel should benefit tremendously from the MCU’s hot streak. Endgame and Captain  Marvel stand as the top two grossers of the year so far. Homecoming was well received two summers ago with a $334 million domestic haul. Advance word of mouth is strong.

Spidey flicks have a history of debuting over the July 4th frame. 2004’s SpiderMan 2 also had a six-day rollout and earned $180 million in that time frame. Same goes for 2012’s reboot The Amazing SpiderMan with $137 million from Tuesday to Sunday.

Far From Home gets underway on Tuesday and I believe earnings approaching $200 million is doable. I’ll say this manages a bit under $100 million from the traditional Friday to Sunday frame with just under the double century mark over the holiday.

Spider-Man: Far From Home opening weekend prediction: $92.5 million (Friday to Sunday); $190.4 million

For my Midsommar prediction, click here:

https://toddmthatcher.com/2019/06/26/midsommar-box-office-prediction/

Shaft Box Office Prediction

The third generation of the Shaft family debuts in theaters next weekend with Jessie Usher playing an FBI agent in the action pic. Arriving nearly 50 years after Richard Roundtree played John Shaft and almost two decades after Samuel L. Jackson played his nephew, both actors are present in the newest iteration. Tim Story (maker of the Ride Along pics) directs with a supporting cast including Alexandra Shipp, Regina Hall, and Method Man.

Reportedly made for a smallish $30 million budget, the studio behind Shaft would love to match the $21 million opening weekend debut of the 2000 Jackson led summer flick. Tracking puts in right in that range. However, we’ve seen reboots disappoint in 2019.

I’ll say this gets to mid to high teens and considering the price tag, that’s not too shabby.

Shaft opening weekend prediction: $16.8 million

For my Men in Black: International prediction, click here:

https://toddmthatcher.com/2019/06/05/men-in-black-international-box-office-prediction/

For my Late Night prediction, click here:

https://toddmthatcher.com/2019/06/09/__trashed/

For my The Dead Don’t Die prediction, click here:

https://toddmthatcher.com/2019/06/09/the-dead-dont-die-box-office-prediction/