Oscar Watch: Toy Story 4

The fourth edition of Toy Story is unveiled in theaters next weekend and reviews are out today. It is the 21st film for Pixar that began in 1995 with… Toy Story. And when it comes to Oscar voters honoring the studio’s works, there’s a rich history.

Critics so far have given a 100% stamp of approval to the sequel. The Academy established the Best Animated Feature in 2001. There’s been 18 winners and half of them are Pixar pics. The studio has also nabbed two nods in Best Picture with 2009’s Up and 2010’s… Toy Story 3.

First things first: there is approximately zero doubt that part four will get Animated Feature recognition. And unless something special comes along in the second half of the year (perhaps Frozen 2?), it has an excellent shot at winning. It’s also feasible that it could land Pixar’s third Picture nod, but that is far less certain at this juncture.

Another category where Toy Story 4 could contend is Best Original Song. There’s two possibilities: Randy Newman’s “I Can’t Let Yourself Throw Away” and “The Ballad of the Lonesome Cowboy”, which was written by Newman and is performed by country superstar Chris Stapleton.

My Oscar Watch posts will continue…

Toy Story 4 Box Office Prediction

Blogger’s Note (06/19)… and it’s a significant one. Revising my estimate down from to $191.5 million to $167.5 million.

With the release of Toy Story 4 next weekend, Pixar should have no problem having the top three animated openings of all time. The big question is whether or not it manages to have the largest so far. The sequel arrives nearly a quarter century after Toy Story kicked off the Disney owned Pixar phenomenon and nearly a decade since Toy Story 3. The iconic characters of Woody (Tom Hanks) and Buzz (Tim Allen) return along with the vocal works of Annie Potts, Joan Cusack, Wallace Shawn, John Ratzenberger, Estelle Harris, and the late Don Rickles. New actors joining the party include Keegan-Michael Key, Jordan Peele, Tony Hale, Christina Hendricks, and Keanu Reeves. Josh Cooley makes his directorial debut.

Each chapter in this cinematic universe has seen its overall domestic gross increase with each entry. Part 3 took in $110 million in its first frame and legged out to $415 million. That predecessor currently has the fifth highest animated start ever. Toy Story 4 is in line to easily top that and more.

Last summer’s Incredibles 2 nabbed the record for the genre by a wide margin when it took in $182 million. Pixar also holds the #2 spot with 2016’s Finding Dory with $135 million. I don’t see Woody and Buzz’s fourth go round having any issue topping that and it could definitely hit the #1 designation.

I’ll say it falls just a manages a few million over the Incredibles sequel for a historic start.

Toy Story 4 opening weekend prediction: $167.5 million

For my Child’s Play prediction, click here:

https://toddmthatcher.com/2019/06/13/childs-play-box-office-prediction/

For my Anna prediction, click here:

https://toddmthatcher.com/2019/06/13/anna-box-office-prediction/

The Long and Winding Bond

It’s amazing to think that The Beatles released their first single in 1962. This was also the first year that a Bond picture came out with Dr. No. Both entities are still extraordinarily relevant. Famously, Sean Connery’s Bond dissed the Fab Four in 1964’s Goldfinger. 

007 fans got some welcome news this week as Cary Fukunaga was announced as the director of the 25th (and as yet untitled) official James Bond film. By the time it comes out, Mr. Fukunaga will be the first American filmmaker to make a Bond pic in its 58 year history.

He brings an exciting resume to the fold. In addition to a filmography that includes varied directorial efforts like Sin Nombre, Jane Eyre, and Beasts of No Nation, his screenwriting credits include last year’s smash It and TV’s The Alienist. His work behind the camera for television also includes the critically lauded first season of HBO’s True Detective and Netflix’s Maniac with Emma Stone and Jonah Hill (which premieres today).

The pick was a surprise and it wasn’t just due to his U.S. heritage. The producers behind Bond had recently gone with a certain type… awards friendly directors branching out to the super spy series. After Martin Campbell successfully kicked off the Daniel Craig era (just as he did for Pierce Brosnan in Goldeneye), Marc Forster (maker of Monster’s Ball and Finding Neverland) did the disappointing Quantum of Solace. Then it was Academy Award winning Sam Mendes behind Skyfall and Spectre. 

When Danny Boyle was announced as director for Bond 25, it seemed to fit the mold. He’s an Oscar winner for Slumdog Millionaire. He’s also directed some other genre fare (including Trainspotting and 28 Days Later) that made him a fairly exciting pick. Yet it somehow seemed a little safe. After creative differences caused his exit, I figured someone like Joe Wright (who last directed Darkest Hour) could be the replacement.

Fukunaga is an intriguing selection and I’m curious to see how he handles what is very likely to be Craig’s final appearance as 007. And this brings us to Mr. Craig’s longevity. Sean Connery made six movies in the official canon (1983’s Never Say Never Again isn’t considered part of it). George Lazenby did the one-off On Her Majesty’s Secret Service. Roger Moore is the leader with seven. Timothy Dalton had two. Pierce Brosnan made four.

This will be Craig’s fifth 007 turn. Surprisingly, he will have actually portrayed the MI6 agent the longest by the time #25 is released in February 2020. His 14 year reign will eclipse the 12 years that Moore played him.

Attention will soon turn to the next Bond. If I had to guess, I figure the seventh actor to play him will debut onscreen in November 2022. There’s been rumors of Idris Elba taking over the role. Expect plenty of speculation over the next couple of years. By that time, the Bond franchise will be 60 years old. Like The Beatles music, it will never die and the long and winding road of the franchise continues to interest us.

Summer 1987: The Top 10 Hits and More

As we begin the month of August and the dog days of summer, I’ll be traveling back 30, 20, and 10 years ago to seasons past giving you the top ten hits and more of that particular time frame. Today we are going all the way to 1987.

It was a simpler time back then. There were very few sequels and franchises and reboots and a good portion of the highest grossing flicks dealt with law enforcement in action type settings. Only one picture grossed over $100 million dollars. Yes, the times have changed, but what a hoot to look back at what was burning up the box office charts three decades ago. This post will also discuss some other notable flicks outside the top ten and some big ole flops.

Let’s get to it!

10. The Living Daylights

Domestic Gross: $51 million

The 15th James Bond picture kicked off the brief two picture reign of Timothy Dalton, who took over the iconic role after the late Roger Moore’s 12 year long portrayal of 007. It’s $51M gross would just surpass the $50M earnings of Moore’s swan song, 1985’s A View to a Kill. Two summers later, Dalton would star in his swan song Licence to Kill before Pierce Brosnan donned the tuxedo six years later.

9. Robocop

Domestic Gross: $53 million

Paul Verhoeven’s futuristic sci-fi action thriller nearly received the dreaded X rating upon its release. It also received critical acclaim and spawned two sequels and a 2014 remake.

8. La Bamba

Domestic Gross: $54 million

This biopic of singer Ritchie Valens starring Lou Diamond Phillips was a major summer sleeper and even earned a Golden Globe nod for Best Picture (Drama). It also featured the Los Lobos cover of the title song that was in the top ten summer songs of 1987.

7. Dragnet

Domestic Gross: $57 million

A few years before Tom Hanks was earning back to back Best Actor Oscars, he was costarring in silly remakes of 1950s cop dramas. Dragnet managed to perform well and it’s a guilty pleasure, especially Dan Aykroyd’s take on Sgt. Joe Friday (a role made famous by Jack Webb).

6. Predator

Domestic Gross: $59 million

One of Arnold Schwarzenegger’s finest action pics, Predator also kicked off an impressive three picture directorial run by John McTiernan that was followed up by Die Hard and The Hunt for Red October. This franchise is still going strong today, but nothing beats the hard edged original.

5. Dirty Dancing

Domestic Gross: $63 million

The biggest sleeper hit of the summer vaulted Patrick Swayze into super stardom and won the Oscar for Best Original Song for Bill Medley and Jennifer Warnes’s “(I’ve Had) The Time of My Life”.

4. The Witches of Eastwick

Domestic Gross: $63 million

Mad Max maker George Miller went Hollywood with this critically appreciated comedic fantasy with an all-star cast of Jack Nicholson, Cher, Susan Sarandon, and Michelle Pfeiffer.

3. Stakeout

Domestic Gross: $65 million

This was the height of the buddy cop era and it propelled this one starring Richard Dreyfuss and Emilio Estevez to big grosses. A less regarded sequel costarring Rosie O’Donnell would follow six years later.

2. The Untouchables

Domestic Gross: $76 million

Brian De Palma’s take on the classic TV series was a big-budget and highly entertaining affair headlined by Kevin Costner, Robert De Niro, Andy Garcia, and Sean Connery (who won a Supporting Actor Oscar for his work).

1. Beverly Hills Cop II

Domestic Gross: $153 million

Eddie Murphy was just about the biggest movie star in the world in summer 1987 and that’s shown here by the enormous gross of the sequel to his 1984 classic, directed by Tony Scott. A much less successful third entry would follow seven summers later after Murphy’s box office potency had waned.

And now – here’s some other notable pictures from the season:

Full Metal Jacket

Domestic Gross: $46 million

Legendary director Stanley Kubrick’s first film in seven years (since The Shining) is now considered a modern classic, especially for its unforgettable first half featuring R. Lee Ermey’s Vietnam drill sergeant.

Spaceballs

Domestic Gross: $38 million

This Mel Brooks spoof of Star Wars may not be in Blazing Saddles or Young Frankenstein territory, but it’s certainly earned quite a cult status through the last 30 years.

Adventures in Babysitting

Domestic Gross: $34 million

The directorial debut of Chris Columbus (who would go on to make Home Alone, Mrs. Doubtfire and the first two Harry Potter pics), Babysitting has also achieved cult cred in addition to its decent box office showing at the time.

The Lost Boys

Domestic Gross: $32 million

Another flick with a rabid fan base, the teen pic cast Kiefer Sutherland, Jason Patric, and Corey Feldman in a California town overrun by vampires.

And now for a couple of 1987 summer box office bombs:

Jaws IV: The Revenge

Domestic Gross: $20 million

12 summers prior, Steven Spielberg’s original was a landmark motion picture. By the time the fourth entry came around, the series had gotten terrible. It still has a 0% score on Rotten Tomatoes and Michael Caine actually missed picking up his Oscar for Hannah and Her Sisters because he was shooting this turkey.

Superman IV: The Quest for Peace

Domestic Gross: $15 million

Not a solid summer for four-quels. This served as a bad ending to a series started nine years earlier. There was a moratorium on Supes pic for the next 19 years.

Ishtar

Domestic Gross: $14 million

Considered one of the largest bombs in film history at the time, this comedy with Warren Beatty and Dustin Hoffman was a punchline for years. Its reputation has grown a bit since.

And that’s my recap folks! I’ll be back recounting summer 1997 very soon…

In Defense of Timothy Dalton

When Spectre opens this weekend, it will mark the 24th official James Bond adventure and Daniel Craig’s fourth go round as the famed super agent. There is no doubt that Mr. Craig’s time as 007 has been a wildly successful venture and it’s brought the franchise to previously unseen billion dollar heights.

Regarding the general consensus of the six actors who’ve played Bond, the least regarded are typically George Lazenby and Timothy Dalton. Not so coincidentally, they’re the two thespians who played him the least. Lazenby played him just once in 1969’s On Her Majesty’s Secret Service and his mediocre work was crushed under the weight of Sean Connery comparisons, who was the only man at the time to have played him. The generally negative rap on Lazenby is one in which I agree.

With Dalton, it’s a different story in my view. When 1987 came around, it was clear that it was time for Roger Moore to call it a day. 1985’s A View to a Kill found Moore playing 007 at the advanced age of 57. It was a mostly rewarding 12 year run in the role, though the pics themselves varied considerably in quality. Enter Dalton, stepping into Bond’s designer shoes in his mid 40s. Ironically, it has since been revealed that Dalton was originally considered to replace Connery for Secret Service and that even the actor himself felt he was far too young at the time to do it.

The Living Daylights would be his first outing. Two years later, Licence to Kill would be his second and his final. Six years later, after MGM’s financial woes delayed production of new entries, Pierce Brosnan would take over with Goldeneye. And while Brosnan’s four picture time in the part is justifiably regarded as pretty strong, Dalton’s double effort is often not.

Yet when I made the daunting task of watching all 007 flicks in a row in late 2012 to early 2013, I ended that adventure by ranking my preferred Bonds from 1-23. And it turned out that both Daylights and Licence landed in the top ten. Not one Brosnan pic did. Daylights, which stands as a more traditional Bond experience, was 10th. Licence to Kill was 6th, just above the beloved Skyfall. That film  stands alone as less of a normal 007 movie and more of a hard edged late 80s action thriller popularized at the time by the likes of Lethal Weapon and Die Hard. So while 007 purists weren’t enthralled, I found Licence to work exceedingly well in the genre it was borrowing. I believe that it’s the most underrated motion picture of the entire franchise.

As for Dalton himself, he was perfectly serviceable as Bond and I would’ve been curious to see his evolution in a third or fourth entry. It was never to be, but if you re-watch his two performances, there are hints of the darker take on the character that audiences would celebrate with Daniel Craig.

So while many talk of the Timothy Dalton era as a forgettable one, my verdict is that it produced two of the top ten flicks among the 23. That’s not forgettable to me.