While his Stranger Things costars Caleb McLaughlin and David Harbour provide voiceover work for Goat next weekend, Joe Keery is part of the cast for horror comedy Cold Storage. Opening February 13th, Jonny Campbell directs with a script from veteran scribe David Koepp. Besides Keery, Georgina Campbell, Sosie Bacon, Vanessa Redgrave, Lesley Manville, and Liam Neeson appear.
With solid reviews thus far, Storage will attempt to stake its claim among numerous competitors debuting over the Valentine’s/President’s Day frame. It might have a tricky time finding its niche. Outside of some franchise stalwarts, mixing these two genres is a risky gambit.
I have yet to see a theater count and that could alter my forecast. My hunch is it doesn’t even reach mid single digits over the three or four-day premiere.
Cold Storage opening weekend prediction: $1.7 million (Friday to Sunday); $2 million (Friday to Monday)
Sony Pictures Animation hopes for Goat to be golden when it opens over President’s Day weekend. The sports comedy is directed by Tyree Dillihay with Stranger Things star Caleb McLaughlin voicing the title creature who dreams of playing pro ball. Other performers providing behind the mic contributions include Gabrielle Union, real life ball champ Stephen Curry, Nicola Coughlan, David Harbour, Jenifer Lewis, Aaron Pierre, Andrew Santino, Jelly Roll, and Jennifer Hudson.
Goat takes place over the NBA All-Star weekend and it has been promoted heavily on ESPN during games. The studio is hoping parents take their kiddos before the nighttime activities. It could be a decent marketing move considering it’s the sole pic seeking families in a weekend with new material catering to grown-ups.
I’m thinking that means a Friday to Sunday gross in the mid 20s with around $30 million over the four-day.
Goat opening weekend prediction: $26.7 million (Friday to Sunday); $30.4 million (Friday to Monday)
As we await the final season of Stranger Things and a third Enola Holmes tale, Millie Bobby Brown’s Netflix adventures continue this weekend in Damsel. The fantasy comes from Juan Carlos Fresnadillo, best known for making zombie sequel 28 Weeks Later. Brown headlines with a supporting cast including Ray Winstone, Angela Bassett, Brooke Carter, Nick Robinson, Robin Wright, and Shohreh Aghdashloo voicing a dragon.
Reviews are of the mixed variety at 59% on RT. The genre can lead to certain tech nods. However, some of the criticism is directed toward the CGI and visual effects appears to be a non-starter. I doubt Netflix will stress Damsel in any awards campaign months down the road. My Oscar Prediction posts will continue…
Let’s start with the fact with Mike Schmidt (Josh Hutcherson), the night guard at the now abandoned entertainment center in Five Nights at Freddy’s is just bad at his job. It’s an excuse to sleep, but there’s a purpose. He’s trying to conjure up the circumstances of what happened to his kidnapped brother years ago. Mike believes his visions during the dreams will lead to finding his sibling or at least uncovering who took him. Emma Tammi’s adaptation of the wildly successful video game series that began in 2014 (which I have no familiarity with) might lead to counting sheep as well, especially in the first half. That’s instead of counting on the animatronic animals to provide worthy scares. It doesn’t happen often.
The genealogical drama doesn’t stop at the protagonist’s abduction visions. He also has a much younger sister Abby (Piper Rubio). Their aunt (Mary Stuart Masterson) wants custody for the paycheck. Mike is desperate for employment to keep little sis with him. He reluctantly accepts the graveyard shift at Freddy Fazbear’s Pizza. Matthew Lillard of Scream distinction interviews him for the gig. The long closed pie shop with four singing critters probably would’ve been an awesome experience back in the 1980s. I could imagine Eleven and the Stranger Things gang or a Goonie hanging at it while working with a better script. Freddy’s is mysteriously not torn down. Kindly and pretty policewoman Vanessa (Elizabeth Lail) tells Mike they have a tough time keeping guards on duty. Apparently security during the day is not warranted.
By night 3 of Mike’s gig that he can’t stay alert for, he is forced to bring Abby along. That’s at about the midway point when we already know the house band is capable of wreaking havoc on unwanted visitors. They befriend Abby while Mike is confounded by their existence. At least he’s awake now even if Hutcherson’s performance is missing much of a pulse. I was less groggy too after muddling through the Schmidt family misfortunes for almost an hour. The bear, rabbit, chick, and fox come from Jim Henson’s Creature Shop and they are effective creature designs.
If only the screenplay (cowritten by the game’s creator Scott Cawthorn) allowed them to play more in their venue. We have a promising setting that is underutilized. I know this is massively successful IP with millions of young diehard fans and maybe this will deliver for them. Regular old horror fans unfamiliar with the source material (like me) have to settle for infrequent PG-13 frights. I found myself hungering to see what kind of Reagan era games occurred when kiddie customers were devouring mediocre pizza instead of the overly plotted mechanics served here. That makes it hard to recommend one night in this setting so I just say no.
Mille Bobby Brown has battled plenty of otherworldly creatures on Netflix’s smash Stranger Things or Godzilla, King of the Monsters. In Enola Holmes, she fights with her wits inherited from her revolutionary minded mum and world famous brother. I suspect she’ll solve plenty more mysteries for the streaming pleasure of its young and female target audience.
Based on a series of novels from Nancy Springer, Brown’s title character is the youngest in her family. Dad has passed and her two older brothers are long gone. Mom Eudoria (Helena Bonham Carter) spends her days teaching Enola skills including martial arts and decoding. They come in handy when Eudoria vanishes on her daughter’s 16th birthday. The disappearance is not sweetened when it seems the matriarch has left on purpose.
This puts Enola back in contact with her siblings. Mycroft (Sam Claflin) is a stuffy politico now serving as her ward. He wants to send her to finishing school to sand down the rough edges. The middle child is the superstar of the clan (no Jan Brady issues here). That would be Sherlock Holmes (Henry Cavill) who’s distant from the brood due to all his investigative commitments.
Enola isn’t about to spend her days learning how to be a “proper” lady so she hits the road in search of Eudoria. Leaving some breadcrumbs as to her whereabouts, the trail leads to London where she may be part of a rogue women’s suffrage group. It’s the late 19th century and this is the center of political upheaval.
It turns out Enola has more capers to consider. She’s introduced to Viscount Tewkesbury (Louis Partridge) on the journey. The teenage British royal is on the run as someone is trying to kill him. He’s introduced to Enola hiding in an overhead bag on a train as he nearly falls on her. They soon fall for each other.
The dual cases of the Missing Mother and Tewkesbury becoming a Missing Person fill an overstuffed two hours. Brown carries the material even though neither mystery is particularly absorbing. She also talks to and mugs for the camera… a lot. As in probably too much. Sherlock is relegated to the sideline in this tale of his little sister harnessing her girl power. This might be an elementary introduction to her, but it’s got appeal.
Marlon Wayans is a frequent presence in comedic horror mashups and they’ve been of the R rated variety with Scary Movie and its first sequel and A Haunted House and its follow-up. On the Netflix circuit, The Curse of Bridge Hollow ditches the scatological humor for a family friendly concoction about a Halloween obsessed town where the decorations come to life. It’s not hard to envision Adam Sandler or Eddie Murphy in the Dad role that Wayans fills. In fact, Sandler mined similar territory recently with Hubie Halloween. This one isn’t exactly a treat, but I found it more tolerable than that one.
Howard Gordon (Wayans) is a science teacher transported from Brooklyn to Bridge Hollow, a small New England town that looks quaint but is far from it. The residents wear their Patriots jerseys loudly and talk even more thunderously about the town’s spooky history. It involves the tale of Stingy Jack, whose mythology gave us the Jack-o’-lantern. You don’t want to wake him and that’s precisely what Howard’s teenage daughter Sydney does when they settle into their haunted house. She’s played by Priah Ferguson, a consistent bright spot on Netflix’s Stranger Things. The father/daughter relationship is a cliched one with Howard as the overbearing holiday skeptic who just needs to listen more. Mom (Kelly Rowland) really gets the short shrift. Her defining character trait is that she bakes inedible vegan desserts. The screenplay could’ve done better than “the wife can’t cook” material for the former Destiny’s Child and Freddy vs. Jason star.
Priah and Dad must get over their differences as they battle a slew of creatures of the crawly and skeletal variety. The special effects aren’t half bad. Hollow is aimed squarely at delighting kids and placating the adult supervision. It’s an easy and breezy watch and Wayans seems committed to the part. That’s more than I could say for Murphy, who appeared downright bored in The Haunted Mansion. Ferguson, on the other hand, doesn’t quite get to display the personality that’s so winning on her smash hit role as Erica Sinclair. A few chuckles come from a supporting cast including Rob Riggle, John Michael Higgins, and Lauren Lapkus as Bridge Hollow’s very New England accented Mayor.
Jeff Wadlow, whose traditional scary movies Truth or Dare and Fantasy Island were subpar, directs. Bridge Hollow is better than either of them. I realize all of my compliments likely sound hollow. That’s not inaccurate, but youngsters could do worse than dialing this up and the more seasoned viewer shouldn’t curse themselves for having to watch it.
The Venice Film Festival is where filmmaker Darren Aronofsky debuted 2008’s The Wrestler, which was a career resurgent role for Mickey Rourke that resulted in a Best Actor nomination (he was probably runner-up after Sean Penn as Milk). In 2010, his follow-up Black Swan‘s premiere in Lido began Natalie Portman’s eventual trip to the Academy’s stage in Best Actress.
Prognosticators have been expecting the same from Aronofsky with The Whale as it seeks to bring Brendan Fraser into the Oscar fold. Based on Samuel D. Hunter’s 2012 play, the pic takes place in one apartment with Fraser as 600 pound teacher attempting to reconnect with his daughter (Sadie Sink of Stranger Things). Costars include Hong Chau, Ty Simpkins, and Samantha Morton.
Reviews are just starting to surface and they are of the mixed variety. Some are claiming it’s an effective tearjerker while others say it misses the mark. However, Fraser’s work is being lauded to the extent that his first Best Actor nomination seems assured. Any other nods are iffy (with the likely exception of Makeup and Hairstyling due to the prosthetics work involved). In Supporting Actress, Chau is being singled out more than Sink and she appears to have a fair shot. As for Picture and Adapted Screenplay, let’s see how the coming days (it will hit Toronto as well) play out with the buzz. With the critical reaction varying widely, Fraser can at least plan his trip to the red carpet. Other races are up in the air. My Oscar Prediction posts will continue…
The original Ghostbusters, lest we forget, was filled with ribald humor coming from SNL vets that were in the prime of their careers. Overloading the reboot/sequel Afterlife with gooey family drama feels, in many ways, as misplaced as the missteps that 2016’s version took or that 1989’s traditional follow-up was a fairly weak retread of the first. This franchise hasn’t succeeded in their attempts to capitalize on what made 1984’s pic special and that extends to this.
It’s not for a lack of trying as the 2021 iteration goes to extreme lengths to get our nostalgia radars working into overdrive. Jason Reitman takes over directorial duties from his father Ivan, who made the 80s blockbusters. There’s not a piece of attire or Twinkie or demonic marshmallow from 1984 that isn’t placed with the clear purpose of inspiring wild cheers. Sometimes you wanna go where everybody knows the name of every nearly four decade old artifact, vehicle or gadget. In this Afterlife, it more often feels forced than welcome.
We shift from the Big Apple to the sleepy town of Summerville, Oklahoma. Egon Spangler, Harold Ramis’s nerdy scientist from the OG ‘Busters, has relocated to a dilapidated farmhouse and cut off contact with his family and former colleagues. His demise in the prologue causes his heirs to inhabit the dusty domicile. This includes down on her luck daughter Callie (Carrie Coon) and her two kids. Since I think it’s now contactually necessary for Stranger Things players to participate in these reboots, Finn Wolfhard is her teenage son Trevor. Mckenna Grace is the real lead as 12-year-old daughter Phoebe, who resembles her granddad in looks and interests. An outcast at school, she bonds with fellow geek Podcast (Logan Kim) and her summer school teacher Mr. Grooberson (Paul Rudd).
Trevor and Phoebe are completely unaware that Egon was a Ghostbuster (we’ll just go with that I suppose). Paranormal activities start revealing his life’s work including Phoebe’s ongoing chess game with an unseen spirit. The iconic car (yay!) is stored on the property. Of course, the late Egon was in Summerville for a reason and it has to do with familiar haunters from ’84 and preventing them from returning.
This all leads to familiar heroic faces eventually turning up (though not with significant screen time). With their limited participation, the question is whether the new and much younger generation of spirit crushers is compelling enough to warrant a feature. I didn’t think so, but there are some positives. Grace’s performance is terrific (while Wolfhard and his budding romance with his bellhop coworker Celeste O’Connor adds little). Rudd’s considerable talents (he takes a liking to Callie) add a bit of fun. The sight of Bill Murray randomly turning up anywhere is good for a smile (though not much more here than reading about how he does so in real life).
However, the tone in general struck me as off. It’s hard not to be touched by its tribute to the late Harold Ramis (a man responsible for so many laughs in landmark comedies of the past). I felt the sentiment because of that and not the absence of Egon. Afterlife seems trapped in the notion that our emotional connections to these characters run deeper than they do. Like many reboots nowadays, the mere presence of something old is meant to provide the requisite entertainment value. It made me feel mostly dispirited.
Unique and formulaic are two terms mentioned in the descriptions for Concrete Cowboy, which has screened at the Toronto Film Festival. The drama marks the directorial debut of Ricky Staub. It casts Caleb McLaughlin of Stranger Things fame as a troubled teen sent to live with his father (Idris Elba), who’s part of a group of urban cowboys outside of Philadelphia. This is based on the Greg Neri novel Ghetto Cowboy. Costars include Lorraine Toussaint (who’s said to be a highlight), Jharrel Jerome (Emmy winner for HBO’s lauded When They See Us), and Method Man.
Some early reviews are very positive while others say it’s a familiar tale in an unfamiliar setting. Concrete is seeking U.S. distribution at the festival and it should have no trouble finding it. Finding awards chatter is another story as this doesn’t immediately jump out as a major contender. Stranger things have happened, but I don’t foresee it being much of a factor with Academy voters. My Oscar Watch posts will continue…
Blogger’s Note (09/08): I am downgrading my original estimate from $4.3 million down to just $2.3 million. Simply put, this probably would have been better off going the streaming route.
Sony Pictures is hoping that a young audience will turn out for next weekend’s The Broken Hearts Gallery. The romantic comedy comes from first time director Natalie Krinsky and was originally scheduled for a July release before the COVID-19 pandemic altered the plans. Executive produced by Selena Gomez, it stars Geraldine Viswanathan (best known for Blockers and HBO’s Bad Education) and Dacre Montgomery (Billy from Netflix’s Stranger Things). Costars include Utkarsh Ambudkar, Molly Gordon, and Bernadette Peters.
I’m a bit skeptical that this has any breakout potential. Many similar pics in this genre are based on novels with a hoped for built-in audience. Gallery doesn’t have that advantage or much star power to lure its intended demographic into the multiplex. The best hope for Sony is that this crowd is simply starved for anything to go see.
I don’t believe that’ll be enough to get this over $3 million.
The Broken Hearts Gallery opening weekend prediction: $2.3 million
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