Tag: Susan Sarandon

Oscar Predictions: Nonnas

Dramedy Nonnas is available for order on Netflix this weekend with Vince Vaughn as a new restauranteur attempting to honor the legacy of his mother. Susan Sarandon, Lorraine Bracco, Talia Shire, and Brenda Vaccaro are the title characters cooking the food. Linda Cardellini, Drea de Matteo, Joe Manganiello, Michael Rispoli, and Campbell Scott are also part of the ensemble. Stephen Chbosky, known for The Perks of Being a Wallflower and Wonder, directs.

Several critics are being kind and complimenting the Nonnas’ heart. Rotten Tomatoes (which probably aren’t available for consumption in the pic’s venue) is at 79% with a more lukewarm 57 Metacritic rating. So despite some reviews saying this is likable enough, this shouldn’t be on the menu for awards prognosticators. My Oscar Prediction posts will continue…

Oscar Predictions: The Six Triple Eight

Focused on the sole predominantly black female battalion to serve overseas in WWII as postal clerks, Tyler Perry is behind the camera for The Six Triple Eight. Kerry Washington leads a cast that includes Ebony Obsidian, Milauna Jackson, Kylie Jefferson, Shanice Shantay, Susan Sarandon, Dean Norris, Sam Waterston, and Oprah Winfrey. The war drama is in limited release this weekend before a Netflix bow on December 20th.

This doesn’t sound like it will turn out to be Madea Goes to the Oscars. The Rotten Tomatoes score is 50% with Metacritic at 57. There is praise for some of the performances and highlighting an underreported true story. Yet reviews aren’t strong enough for this to be a contender… with one notable exception.

Diane Warren contributed “The Journey” to the soundtrack and it’s performed by H.E.R. As is the stuff of Oscar lore, Warren has 15 tunes that have been nominated for Best Original Song. These include “Nothing’s Gonna Stop Us Now” from Mannequin, “Because You Love Me” from Up Close & Personal, and “I Don’t Want to Miss a Thing” from Armageddon. Her 15th nod arrived last year courtesy of “The Fire Inside” from Flamin’ Hot. She’s 0 for 15 as far as victories. H.E.R., on the other hand, was victorious in Original Song at the 93rd ceremony courtesy of “Fight for You” from Judas and the Black Messiah. Don’t be surprised if “The Journey” makes the cut for Warren’s 16th recognition, but I don’t see it winning. My Oscar Prediction posts will continue…

August 2-4 Box Office Predictions

M. Night Shyamalan’s thriller Trap looks to set a solid second place showing after the MCU behemoth that is Deadpool & Wolverine. We also have Harold and the Purple Crayon looking to draw in a family audience as August arrives at multiplexes. You can peruse my detailed prediction posts on the newcomers right here:

Trap Box Office Prediction
Harold and the Purple Crayon Box Office Prediction

Trap could have breakout potential with its concept of a serial killer being cornered at a concert with his unknowing daughter. The brand name recognition of its director could assist. Mid 20s seems doable, but I have it in the high teens. That should be enough to give it runner-up status over the third frame of Twisters which should also be in that same forecasted range.

Harold and the Purple Crayon is a tricky one. Based on a nearly 70-year-old kids book, parents and kids may turn up since most have already viewed Despicable Me 4 and Inside Out 2. I suspect the so-so trailers and quiet word-of-mouth could mean just higher single digits. That might mean fifth place just under Despicable.

Now we move to Deadpool & Wolverine. The eagerly awaited Marvel mashup smashed my projection (more on that below). This should be fairly front loaded as anticipation was sky high. Similar MCU fare that reached close to the D & W level (like Black Panther: Wakanda Forever and Doctor Strange in the Multiverse of Madness) experienced sophomore drops in the low to high 60s. This may see high 50s or low 60s which would put it in the low to mid 80s.

And with that, my take on this weekend’s high five:

1. Deadpool & Wolverine

Predicted Gross: $84.6 million

2. Trap

Predicted Gross: $19.2 millionm

3. Twisters

Predicted Gross: $18.1 million

4. Despicable Me 4

Predicted Gross: $9.4 million

5. Harold and the Purple Crayon

Predicted Gross: $7.6 million

Box Office Results (July 26-28)

Filmgoers devoured Deadpool & Wolverine, providing record setting numbers as the 34th MCU tale spawned the largest R-rated debut ever at $211.4 million (dwarfing my $176.1 million prediction). That’s also the 6th biggest domestic haul in history (between Star Wars: The Last Jedi and Jurassic World) and 4th highest MCU beginning behind Avengers: Endgame, Spider-Man: No Way Home, and Avengers: Infinity War. The all-time July record was additionally achieved. Furthermore it marks a personal best for Peggy, the dog who plays Mary Puppins or Dogpool. After a rough couple of years for the MCU, this gets the franchise back in phenomenal order.

The massive over performance of Wade and Logan meant Twisters spiraled more than most thought it would. It fell an understandable 57% to second at $34.9 million compared to my $42 million estimate. The two-week tally is still a potent $154 million.

Despicable Me 4 was third with $14.5 million, in line with my $15.2 million call. The animated smash has amassed $291 million in four weeks.

Speaking of animated smashes, Inside Out 2 became the #1 domestic animated title of all time with $613 million and replacing previous champion Incredibles 2. The fourth placing showing this weekend gave it another $8.6 million (I said $8.4 million). Pixar’s sequel also stands as the gold medalist for worldwide numbers in its genre.

Longlegs rounded out the top five with $6.7 million, in range with my $6.4 million projection. The horror hit has scared up $58 million in three weeks.

Finally, the geriatric comedy The Fabulous Four with Bette Midler and Susan Sarandon belly flopped in eighth with a mere $1 million. I thought it might manage $1.5 million.

And that does it for now, folks! Until next time…

July 26-28 Box Office Predictions

Ryan Reynolds and Hugh Jackman come together for what should be the biggest opening of 2024 so far in Deadpool & Wolverine. The MCU pic is poised to dominate the weekend though Susan Sarandon and Bette Midler will try to bring in older females with The Fabulous Four. You can peruse my detailed prediction posts on both here:

Deadpool & Wolverine Box Office Prediction
The Fabulous Four Box Office Prediction

My take on Deadpool & Wolverine gives it the 16th best domestic start of all time (and ninth highest for the MCU). The projected number puts it above Mr. Pool’s two direct predecessors.

Let’s dispense with Fabulous. My tiny $1.5 million estimate puts the geriatric comedy well outside the top five.

As for holdovers, Twisters could fall by over 50% after its terrific start (more on that below). I’m going to be a bit more generous and say it eases in the high 40s. The animated offerings of Despicable Me 4 and Inside Out 2 should hold the 3-4 slots with Longlegs rounding out the top five.

And with that, my take on the frame ahead:

1. Deadpool & Wolverine

Predicted Gross: $176.1 million

2. Twisters

Predicted Gross: $42 million

3. Despicable Me 4

Predicted Gross: $15.2 million

4. Inside Out 2

Predicted Gross: $8.4 million

5. Longlegs

Predicted Gross: $6.4 million

Box Office Results (July 19-21)

Twisters blew away expectations with $81.2 million, eclipsing my $72.3 million take. It also edged Godzilla x Kong: The New Empire as the year’s biggest live-action debut (a record that will stand until this weekend per above).

Despicable Me 4 slid to second with $24.4 million, on target with my $24.8 million prediction for a three-week total of $260 million.

Inside Out 2 was third with $12.8 million. That’s right in line with my $13.2 million call as the Pixar behemoth is up to $596 million in six weeks.

Longlegs had solid legs in fourth with $11.9 million in weekend #2. I was close at $11 million and it has $44 million in its coffers.

A Quiet Place: Day One was fifth with $6.3 million (I said $6.6 million) for $127 million after four outings.

And that does it for now, folks! Until next time…

The Fabulous Four Box Office Prediction

Out July 26th, The Fabulous Four is the latest entry in the growing number of comedies centered on senior women. The actresses making up the title quartet are Susan Sarandon, Bette Midler, Sheryl Lee Ralph, and Megan Mullaly. Jocelyn Moorhouse directs with a supporting cast including Bruce Greenwood, Timothy V. Murphy, and Michael Bolton (!).

From Book Club and its recent sequel to Queen Bees and 80 for Brady, this sub genre continues to expand. The first Club and Brady both managed to exceed expectations at the box office, but Four faces a significant challenge. Distributor Bleecker Street is not known for opening their pictures to impressive grosses.

I have yet to see a screen count for this, but recent Bleecker releases like What Happens Later with Meg Ryan and Ezra with Robert De Niro rolled out between 1300-1500 venues. Their respective starts were $1.5 million and $1.2 million. Assuming Four hits about the same number, I’ll project similar results. In fact, I’ll give it exactly what Later managed.

The Fabulous Four opening weekend prediction: $1.5 million

For my Deadpool & Wolverine prediction, click here:

Deadpool & Wolverine Box Office Prediction

Oscar Predictions: Blue Beetle

We will see if it struggles at the box office (which is expected) or exceeds projections, but Blue Beetle is topping expectations with its reviews. The 14th pic in the DC Universe currently has the 4th best Rotten Tomatoes score (81%) behind Wonder Woman, Shazam!, and The Suicide Squad. Ángel Manuel Soto directs the origin story with Xolo Maridueña as the title hero.

The MCU has racked up plenty of Visual Effects nods (though no victories) in addition to a BP nod for Black Panther five years ago. The DCU’s awards exposure has been far more limited. 2016’s Suicide Squad (not the stronger reviewed 2021 reboot The Suicide Squad) won for Makeup and Hairstyling. And that, my friends, is the extent of the DCU Oscar mentions.

It is worth noting that Visual Effects this year looks kind of thin. The unseen Dune: Part Two is probably the easy frontrunner while the other four slots are up for grabs. Beetle is getting some praise for its visuals and it likely stands a better chance than earlier ’23 DCU titles Shazam! Fury of the Gods and The Flash. If it can make the shortlist, maybe it gets in. I wouldn’t bet on it, but it’s doable. My Oscar Prediction posts will continue…

Blue Beetle Box Office Prediction

The DCEU, via Black Adam and The Flash, has had a rough go at the box office lately and Warner Bros hopes that turns around with Blue Beetle on August 18th. This could be a tall order. Angel Manuel Soto directs with Xolo Maradueña as the title hero. Costars include Adriana Barraza, Damián Alcázar, Raoul Max Trujillo, Susan Sarandon, Elpidia Carrillo, and George Lopez.

Originally slated for HBO Max, the studio changed its plans to a theatrical release. Budgeted at a reported $120 million, Beetle will battle the fact that plenty of moviegoers simply aren’t familiar with the character (and that the DCEU brand is not exactly firing on all cylinders lately).

Projections have varied over the past few weeks ranging from low teens all the way to the low 30s. Anything below $20 million would be considered a disaster. I’ll give it a little credit and say it climbs just over that figure. Unless it manages to generate significantly positive buzz, it could be gone in a flash.

Blue Beetle opening weekend prediction: $23.7 million

For my Strays prediction, click here:

Strays Box Office Prediction

The Card Counter Review

For a filmmaker who always focuses on loners, it stands to reason that Paul Schrader’s newest picture is about playing cards. That’s not really what The Card Counter is ultimately about as the emotional damage inflicted upon the man at the poker and blackjack table is the real story.

William Tell (Oscar Isaac) follows the archetype of many a Schrader creation. Emotionally distant and more comfortable on his own, he spends considerable time in casinos across the nation. Tell, as the title suggests, knows how to count them. He also knows when to fold them. Tell could cash in big, but prefers modest winnings and even more modest motels (where he covers all the room’s decor in plain white sheets that he provides). His existence seems to suggest not wanting to be noticed at all.

William’s orbit expands when he happens on a global security convention during a gambling spree and meets Cirk (Tye Sheridan). They share a connection. Cirk’s father is deceased ex-military who was present at Abu Ghraib. So was Tell. The speaker at the conference is Major John Gordo (Willem Dafoe), who’s now a private contractor. He escaped any blame for the horrific actions overseas. Tell did not and flashbacks show us the subhuman conditions he witnessed, participated in, and was incarcerated for. In Cirk, our card counter attempts to help a troubled soul by winning him some some cash and paying off debts. Tell enlists La Linda (Tiffany Haddish, going for no laughs), a players manager on the mission.

From Travis Bickle in Taxi Driver to Ethan Hawke’s pastor in First Reformed, Isaac’s Tell fits the mold of the auteur’s central figures. These are damaged figures tired of what the world have to offer while making last ditch attempts to help another troubled soul. The problem with The Card Counter is that there’s not much in this example that we haven’t witnessed before from the same author. Most distressing is that the players around Tell simply aren’t compelling. In Schrader’s Light Sleeper (see that one), Susan Sarandon provided a captivating counterpart to Willem Dafoe’s lonesome drug dealer. Haddish’s character is barely written and her late inclusion as a love interest seems forced. So too is the case with Sheridan’s mopey apprentice. Dafoe’s character here hints at a fascinating backstory that’s unexplored.

Isaac’s performance, as we’ve come to anticipate, is quite good. Yet his tale isn’t nearly as gripping as others in the director’s previous works. We catch a glimpse of Tell’s training as a torturer and it is riveting and brief. With First Reformed, Schrader is righteously angry at political events. In that predecessor, it involved the Earth’s destruction via environmental means. In The Card Counter, it’s the hell on Earth that Tell witnessed in an Iraqi prison.

The screenplay offers not enough exploration of its universe. Had Schrader delved into the redundant and seedy world of casino dwellers more deeply, perhaps it could have paid off. After all, few writers have succeeded better in their other scripts penning depraved figures. The plot just never seems to properly call its ideas to fruition and the result feels unfinished. That’s rare when Schrader is at the table and it makes The Card Counter all the more disappointing.

** (out of four)

Summer 1991: The Top 10 Hits and More

It is officially summertime 2021 and that brings my annual seasonal three-part series where I take a look back at the top ten pics, flops, and other notable selections from 30, 20, and 10 years ago. That means I’ll begin with 1991 at a time where Arnold Schwarzenegger said hasta la vista to all competitors.

Let’s count down from #10 to numero Ah-nuld along with other entries worthy of discussion (both good and bad).

10. Doc Hollywood

Domestic Gross: $54 million

Michael J. Fox had a midsize hit with this fish out of water comedy about an uppity surgeon stuck in the rural south. It marks the star’s last solid performer that he headlined.

9. Boyz n the Hood

Domestic Gross: $57 million

John Singleton had one of cinema’s most memorable directorial debuts with this coming-of-age drama set in South Central. He would become the youngest filmmaker ever to be nominated at the Oscars and the critically hailed pic kickstarted the careers of Cuba Gooding Jr. and Ice Cube.

8. One Hundred and One Dalmatians 

Domestic Gross: $60 million

Disney re-released their 1961 classic three decades after its release and picked up a cool $60 million for it. Later in 1991, the studio would begin another renaissance with Beauty and the Beast becoming the first animated film to nab a Best Picture nomination. Five years later, Glenn Close would headline the live-action version and another reboot, Cruella with Emma Stone, is currently in the top five.

https://www.youtube.com/watch?v=Ei-2hZTmDpk

7. What About Bob?

Domestic Gross: $63 million

Bill Murray had one of his signature roles as the multi-phobic patient tormenting shrink Richard Dreyfuss on his vacation. Apparently this comedy was a bit dramatic behind the scenes with the two leads having an actual antagonistic relationship.

6. Hot Shots!

Domestic Gross: $69 million

Spoofs were a hot commodity in the early 90s following the success of 1988’s The Naked Gun. Jim Abrahams, one of that film’s writers, created this sendup of Top Gun and many others that starred Charlie Sheen. A sequel would follow two years later.

5. Backdraft

Domestic Gross: $77 million

Ron Howard directed this firefighting drama that heated up the box office with Kurt Russell, William Baldwin, Robert De Niro, and a creepy Donald Sutherland as a pyromaniac. There was even a sequel released in 2019 with Baldwin and Sutherland that went direct to streaming and that I frankly forgot existed.

4. The Naked Gun 2 1/2: The Smell of Fear

Domestic Gross: $86 million

The spoofing love continued as Leslie Nielsen reprised his role as doofus detective Frank Drebin in this sequel to the 1988 classic. It couldn’t hold up the original, but it was better than part 3 which followed in 1994. And, needless to say, this was a simpler time for costar O.J. Simpson.

3. City Slickers

Domestic Gross: $124 million

As New Yorkers learning life lessons on a cattle drive, Billy Crystal, Daniel Stern, and Bruno Kirby starred in the comedy smash of the summer and costar Jack Palance even ended up with a Best Supporting Actor victory. A less regarded follow-up would come in 1994.

2. Robin Hood: Prince of Thieves

Domestic Gross: $165 million

While his accent was spotty at best, Kevin Costner parlayed his Oscar success from the previous year’s Dances with Wolves into this blockbuster about the robbing from the rich and giving to the poor hero. The highlight was Alan Rickman’s sublime work as the Sheriff of Nottingham while critics mostly turned up their noses.

1. Terminator 2: Judgment Day

Domestic Gross: $204 million

Arnold Schwarzenegger’s android went from being the bad guy in the 1984 original to the good robot in James Cameron’s sequel that gave us eye popping and revolutionary special effects and a dynamite Linda Hamilton returning as a buffed up Sarah Connor. There’s been four more entries in the franchise and none have matched the potency of this one.

Now let’s turn the focus to some other notable releases:

Thelma & Louise

Domestic Gross: $45 million

Susan Sarandon and Geena Davis both scored lead actress Academy nods for Ridley Scott’s now iconic tale of feminism and revenge with an unforgettable ending. This also marked audiences falling in love with a then unknown actor by the name of Brad Pitt.

Point Break

Domestic Gross: $43 million

Patrick Swayze starred in the previous summer’s high earner with Ghost. This surfing action pic from director Kathryn Bigelow paired the actor with Keanu Reeves and has amassed a deserved cult following. An unnecessary remake wiped out in 2015.

Dead Again

Domestic Gross: $38 million

Kenneth Branagh’s sophomore effort after the acclaim of his Shakespearian Henry V was this Hitchcock homage costarring his then wife Emma Thompson, Andy Garcia, and Robin Williams. As tributes to the Master of Suspense go, this is one of the best.

Soapdish

Domestic Gross: $38 million

Sally Field, Kevin Kline, Robert Downey, Jr., and Whoopi Goldberg are part of the ensemble in this comedy set in the world of the afternoon melodramas that populate the airwaves. Not a big hit at the time, its reception has since grown.

Jungle Fever

Domestic Gross: $32 million

Spike Lee’s tale of an interracial couple played by Wesley Snipes and Annabella Sciorra received critical kudos. The two most memorable performances come from Samuel L. Jackson as a crack addict and Halle Berry (in her feature debut) as his girlfriend.

Madonna: Truth or Dare

Domestic Gross: $15 million

As she often is, Madonna was ahead of the cultural curve with this documentary set during her 1990 Blond Ambition Tour. This was reality programming before it exploded.

Barton Fink

Domestic Gross: $6 million

The Coen Brothers pitch black comedy was the darling of the Cannes Film Festival, winning Picture, Director, and Actor for John Turturro. It would land three Academy nominations including Michael Lerner in Supporting Actor.

Now it’s time for the pictures that either didn’t land with audiences or critics (or both):

The Rocketeer

Domestic Gross: $46 million

Disney was hoping for a new franchise with this comic book based property. Yet the period adventure underwhelmed at the box office. This was a different era for the genre before the MCU changed everything. Director Joe Johnston, coincidentally, would go on to make Captain America: The First Avenger 20 years later.

Dying Young

Domestic Gross: $33 million

This seems hard to believe now, but Premiere magazine predicted this romance would be the largest grossing feature of the summer. Not so much. However, Julia Roberts was just coming off her smash breakthrough Pretty Woman. This didn’t land with audiences in the same way.

Only the Lonely

Domestic Gross: $25 million

Chris Columbus was basking in the box office bonanza that was Home Alone. This rom com with John Candy and Ally Sheedy that followed six months later didn’t cause many filmgoers to leave their homes.

Mobsters

Domestic Gross: $20 million

1990 was gave us lots of mobster fare such as GoodFellas, The Godfather Part III, and Miller’s Crossing. Crowds and critics didn’t take to the Christian Slater and Patrick Dempsey versions of Lucky Luciano and Meyer Lansky, respectively.

Hudson Hawk

Domestic Gross: $17 million

Bruce Willis’s vanity project is considered one of the gargantuan flops in history. Grossing only about a fourth of its $65 million budget, it was awarded the Golden Raspberry for Worst Picture of the year.

V.I. Warshawski

Domestic Gross: $11 million

Based on a series of successful novels, audiences didn’t take to Kathleen Turner in the title role for this detective action comedy. It made less than half its budget.

Delirious

Domestic Gross: $5 million

Also set in the world of soap operas, this marked another dud for John Candy in the same season.

Another You

Domestic Gross: $2 million

Richard Pryor and Gene Wilder are a classic combo with well-regarded comedies like Silver Streak and Stir Crazy. Even See No Evil, Hear No Evil in 1989, despite critical scorn, performed well. That’s not the case with their last collaboration (which reviewers also drubbed).

And that concludes my look back at summer 1991. Next up is the sweltering season of 2001!

Those Who Wish Me Dead Review

Taylor Sheridan’s Those Who Wish Me Dead is the second recent Warner Bros/HBO Max venture that would have felt more common as a mid 90s release. Take an Oscar winner/nominee and put them in a generic thriller where you’re saving a kid from generic assassins or solving the crimes of a demented mass murderer. Let the guilty pleasures commerce. In the serial killer genre, we saw it early this year with Denzel Washington and The Little Things. This one reminds me of titles like The Client with Susan Sarandon or The River Wild with Meryl Streep (the latter especially since it deals with forces of nature).

I’ll confess that I’ve developed a soft spot for material like this. It takes me back to a simpler time a quarter century ago where blockbusters didn’t primarily involve CG spectacles. And, yes, when movies like this took up whole shelves at Blockbuster and were rated R for non-gimmicky reasons.

Hannah (Angelina Jolie) is a smokejumper in Montana assigned to desk duty due to a wildfire that ended in tragedy. That demotion places her in a lookout tower with gorgeous natural settings that clash with her unnatural hair extensions. The monotony of her assignment takes a turn when she comes across Connor (Finn Little). The preteen is on the run from assassins (Nicholas Hoult and Aiden Gillen) who offed his forensic accountant dad. Why did his father meet his demise? The screenplay doesn’t much delve into that, but you might be interested to know that Tyler Perry has something to do with the dirty deed.

As Hannah attempts to bond with Connor, the killers frantically try to find them. Jon Bernthal is Ethan, a local sheriff with ties to the boy and he happens to be Hannah’s ex-boyfriend. He helps run a survivalist school with his expectant wife Allison (Medina Senghore) and they make it tricky for the bad guys to complete their business. This is an example of where Sheridan’s screenplay (with Michael Kortya and Charles Leavitt) hints at more compelling directions it might have gone in. When Allison gets to show her abilities while in danger and quite pregnant and on horseback, I couldn’t help but think a script about her handling these thugs would have been more rewarding.

With Jolie, she doesn’t have much of a character to work with. Her backstory involving past career missteps is thin. Her rapport with Little (in a solid performance) does have some highlights. Sheridan has created far more memorable moments in his previous written and directed works like Sicario and Hell or High Water. He’s continually shown an ability to make his scouted locations a gripping participant. That holds true with the Montana wilderness and the fire that eventually rips through it.

With Those Who Wish Me Dead, this is where words like serviceable get overused. It is, however, accurate. I found myself reasonably entertained during its brisk 100 minutes and the 90s throwback feeling makes it easier to forgive lapses in logic. This is hardly a towering achievement, but the inferno didn’t bore.

*** (out of four)