Tag: Will Patton

Oscar Predictions – Horizon: An American Saga – Chapter 2

Horizon: An American Saga – Chapter 1 was a critical and commercial disappointment when it opened in late June following its Cannes premiere in May. Kevin Costner’s epic western underwhelmed enough so that part 2’s release plan is undetermined (though it’s still expected to be out by year’s end). The second chapter of a planned four (part 3’s principal photography is underway) has also debuted in Europe via the Venice fest. The director/cowriter headlines a cast that includes Sienna Miller, Sam Worthington, Giovanni Ribisi, Danny Huston, Jena Malone, Ella Hunt, Will Patton, Luke Wilson, Isabelle Fuhrman, Thomas Haden Church, Glynn Turman, and Kathleen Quinlan.

Initial word-of-mouth is that while Chapter 2 is a slight improvement, don’t get your hopes too high. In other words, awards voters are not likely to get their sights on either 2024 Horizon. My Oscar Prediction posts will continue…

Horizon: An American Saga – Chapter 1 Box Office Prediction

Warner Bros is hoping Horizon: An American Saga – Chapter 1 is more Dances with Wolves, less The Postman when it comes to Kevin Costner’s behind the camera filmography. The three-hour Western epic is the first of four planned sagas with Chapter 2 slated for mid-August and part 3 shooting. Costner, who has experienced a recent career resurgence thanks to Yellowstone on the small screen, also stars and co-scripts. The large supporting cast includes Sienna Miller, Sam Worthington, Jena Malone, Abbey Lee, Michael Rooker, Danny Huston, Luke Wilson, Isabelle Fuhrman, Jeff Fahey, Will Patton, Tatanka Means, Owen Crow Shoe, Ella Hunt, Jamie Campbell Bower, and Thomas Haden Church.

A May premiere at Cannes yielded shaky buzz. The Rotten Tomatoes score is only 43%. There is no doubt that Horizon is a risky summer proposition. Costner apparently financed the bulk of the project himself.

I do think the Yellowstone exposure could cause this to surprise with a better than expected turnout of older viewers. A best case scenario might be a kickoff in the high teens to low 20s. I’ll hedge my bets and go with low to mid teens.

Horizon: An American Saga – Chapter 1 opening weekend prediction: $14.8 million

For my A Quiet Place: Day One prediction, click here:

A Quiet Place: Day One Box Office Prediction

For my Kinds of Kindness prediction, click here:

Kinds of Kindness Box Office Prediction

Oscar Predictions – Horizon: An American Saga – Chapter One

When it comes to Academy possibilities for Kevin Costner’s latest directorial epic, think The Postman more than Dances with Wolves. The latter from 1990 was up for 12 Oscars and took home 7 including Picture and Director. The former was a flop at multiplexes and on the awards circuit.

His latest is Horizon: An American Saga – Chapter One and it has premiered at Cannes ahead of its June 28th theatrical bow. The Western is not only directed by Costner, but he stars and cowrites what is a mostly self-financed project. The large supporting cast includes Sienna Miller, Sam Worthington, Giovanni Ribisi, Danny Huston, Duval Branch, Jena Malone, Abbey Lee, Jamie Campbell Bower, Owen Crow Shoe, Tatanka Means, Luke Wilson, Ella Hunt, Will Patton, Isabelle Fuhrman, Jeff Fahey, and Thomas Haden Church.

I kind of thought Cannes seemed like an odd launch pad for the Yellowstone lead’s first behind the camera big screen production since 2003’s Open Range. Critics have not been kind as evidenced by the 29% Rotten Tomatoes rating.

I’m not sure how much the reviews will hurt its commercial prospects. This could be effective adult counter programming in the summer months and Costner’s visibility from his hit show won’t hurt. Chapter 2 will follow in mid-August. Who knows? Maybe it will garner better notices from cinematic pundits. You can close the book on any Oscar buzz for this first chapter. My Oscar Prediction posts will continue…

Oscar Predictions: Janet Planet

Pulitzer Prize winning playwright Annie Baker enters the cinematic realm penning and directing Janet Planet. The coming-of-age drama doesn’t hit screens until June 21st, but it debuted at Telluride last fall and a trailer is now up. Julianne Nicholson, newcomer Zoe Ziegler, Elias Koteas, Sophie Okonedo, and Will Patton are among the cast members.

Reviews range from raves to just so-so write-ups with a RT score at 83%. Variety, for example, lovingly compares it to the acclaimed Eighth Grade (another A24 project). Praise for Nicholson and Ziegler is particularly strong. The former is one of those actresses who may not be far away from their Oscar play. An Emmy winner for Mare of Easttown, Nicholson has shown up recently in Blonde and Dream Scenario and draws positive notices everywhere she turns up.

I’m not confident Janet Planet is that project. A24 would need to mount a serious campaign and they might be preoccupied elsewhere. My Oscar Prediction posts will continue…

Halloween Ends Review

One of the most violent moments in Halloween Ends involves an actual record (as in the vinyl variety) skipping and it’s one of the cooler parts of this trilogy ender. There’s also many instances where a record skipping sound effect would’ve been appropriate. As in – what in the world is this movie doing?!?! 

Our final pairing of Laurie Strode (Jamie Lee Curtis) and Michael Myers after almost four and a half decades features some bewilderingly bad decisions. The odd choices that don’t work stack up higher than the body count. On the plus side, I at least found its unpredictable nature to be more intriguing than most of what occurred in predecessor Halloween Kills. Does that make it better? Probably not. It means neither were of much quality and 2018’s starter was just OK too. That could be the legacy of the 11th, 12th, and 13th overall franchise entries.

In Haddonfield, Illinois in 2019, there were tragedies on the spooky holiday not related to Mr. Myers. Corey (Rohan Campbell) is babysitting a young boy when their game of hide and seek takes an unplanned head banging turn. Though accidental in nature, Corey is looked upon as a pariah by the townspeople four years later. He does find a sympathetic figure in Allyson (Andi Matichak), granddaughter of Laurie who is accustomed to grief. Their blossoming romance concerns Grandma, who notices something is off with Corey in a way that reminds her of her tormentor (who’s been AWOL).

This previous paragraph could beg your question: why is a dude who accidentally offed a kid and his strange relationship with Allyson getting so much attention? Well, it’s what Halloween Ends is about for quite a while. On that level, there are problems. First and foremost, any character development of Allyson from the first two features is slashed as she inexplicably falls for Corey in about five minutes. I’m not asking for realism in this genre, but this romance is a badly developed one.

Myers is often a supporting player in Ends along with Laurie (though she has more to do than her bedridden hospital appearance in Kills). Instead we have the potential Natural Born Killers like union of Corey/Allyson and the former dealing with boring high school bullies and his domineering mother. What we expect from a Halloween flick, eh??

Truth be told, my interest piqued a little when I realized David Gordon Green and his three cowriters (including Danny McBride) were going off the rails. The diversionary tactics mostly stall. By the time we get to the showdown between Laurie and Myers, it seems almost anticlimactic. Even though this trilogy ignores everything after 1978’s brilliant original, we’ve kinda been there and done that with 1998’s Halloween: H2O. 

Curtis brings the tough survivor attitude that we’ve witnessed before and it helps in the final act. Campbell truly is the lead character and his performance is shaky at best. I’m not sure I buy the “ends” part of the title though Laurie and Michael’s saga does appear to have reached its conclusion. Maybe The Shape will take another form someday in the reboot/requel/prequel or whatever term comes next. The mediocrity of this three-arch journey dies here.

** (out of four)

Halloween Ends Box Office Prediction

The culmination of this iteration of Laurie Strode (Jamie Lee Curtis) battling  Michael Myers arrives on October 14th with Halloween Ends. Said to be Curtis’s final appearance in the 44-year-old franchise (though I’m sure Myers will manage to return in some form), David Gordon Green is back directing along with cowriter Danny McBride. It comes a year after Halloween Kills and four years behind Halloween which began the trilogy. It’s the 13th overall entry in the series overall. Costars include James Jude Courtney and OG Nick Castle doubling up again as the iconic slasher, Andi Matichak, Will Patton, and Kyle Richards.

2018’s Halloween was a juggernaut with a $76 million opening and $159 million eventual domestic haul. Kills still killed, but to a lesser degree with a $49 million start and $92 million overall take. Like its predecessor, Ends will be simultaneously available on Peacock.

In addition to the streaming option that could siphon away viewers, horror fans have had plenty to enjoy lately (Barbarian and Smile for example). That said, there’s obviously a built-in base here.

I do expect diminishing returns though not close to the disparity between 2018 and 2021. Mid to high 40s is where I see it and considering the reported $20 million budget, that’s a profitable cut for Universal.

Halloween Ends opening weekend prediction: $47.6 million

Halloween Kills Review

Laurie Strode (Jamie Lee Curtis) spends the 12th Halloween experience laid up in a hospital bed after her near mortal injuries incurred from the 11th one. In that sense, Halloween Kills is quite similar to the first official sequel from 1981. The samesies comparisons don’t stop there as this is an inferior follow-up to what came before it. The difference is that the 1978 original was a slasher classic to which all followers have been judged. 2018’s Halloween was not and therefore the letdown isn’t as steep.

Kills takes place (like Halloween II) during the immediate events after its predecessor. Laurie, daughter Karen (Judy Greer), and granddaughter Allyson (Andi Matichak) had left Michael Myers (James Jude Courtney) to burn at her tricked out house. Unsurprisingly, it turns out to be mission unaccomplished as the masked one escapes that space and leaves plenty of dead firefighters in his wake.

While Laurie is recovering from her own stabbing, Michael has his knives out for plenty of other townsfolk in Haddonfield. As you may recall, we are on our third iteration of the killer’s most famous prey reuniting with her predator. The 1981 sequel continued John Carpenter’s storyline and revealed that Laurie is Michael’s little sister. 1998’s Halloween: H20 set their sibling rivalry 20 years later.

By the time David Gordon Green and company came around and another two decades passed, 2018’s Halloween ignored all of that. The familial connection was slashed in favor of Laurie becoming a survivalist and waiting for escaped booby hatch patient Myers to find her. Kills allow for other figures in the ’78 pic to return – Tommy Doyle (who Laurie babysat) is now Anthony Michael Hall. Kyle Richards reprises her role as Lindsey, one of the other kids tormented that night. And we catch up with Sheriff Bracket (Charles Cyphers) and Nurse Chambers (Nancy Stephens). We also spend some unnecessary time with flashbacks to 40 years before that don’t add much (though if you want CG Donald Pleasance, you’re in luck).

The phrase “Evil Dies Tonight” is repeated ad nauseam as the denizens of our Illinois murder spot (led by Tommy) seek to end Michael’s return engagement. Of course, we know that ain’t happening. Halloween Kills is the second of a trilogy that will end (?) with next year’s ambitiously titled Halloween Ends. This has the feel of stopgap viewing with no real payoffs and our star player relegated to the sideline. There are a few garish highlights. I was entertained by the couple Big John (Scott MacArthur) and Little John (Michael McDonald… not that one) who live in Michael’s childhood house of horrors and probably should’ve upped their homeowners insurance. A hospital set scene where the residents chase down another of the escaped mental patients is shot effectively.

Ultimately Halloween Kills, for most of its running time, feels painfully average. It’s more violent than part one… which was actually part II if you ignore that other part II. So I suppose this is part III when ignoring nine other movies. The gimmick of Laurie coming back (again) had its pleasures in 2018. Tommy and Lindsey coming back in the mix doesn’t really cut the mustard. Michael cuts the tracheas and tendons with dutiful impassioned restraint. It seldom rises above the mediocrity where most of this series has dwelled since part one (the real one).

** (out of four)

Halloween Kills Box Office Prediction

Arriving one year after its COVID delay, Halloween Kills stalks theaters October 15th. The 12th film in the nearly 45-year-old franchise, it’s a direct sequel to 2018’s Halloween, which served as a follow-up to 1978’s original (therefore ignoring everything that came in between). Got all that? David Gordon Green returns to direct. So do Jamie Lee Curtis, Judy Greer, Andi Matichak, Will Patton, and, of course, Nick Castle as Michael Myers. Anthony Michael Hall, Thomas Mann, and Kyle Richards are newcomers.

Three Octobers ago, Halloween blew away expectations with a $76 million opening gross and $159 million overall domestically. The debut weekend alone made it the highest earning feature in the series.

Universal Pictures recently made the surprising choice to simultaneously release this in cinemas and on the Peacock streaming service. I’m not so sure how much that hurts its chances in multiplexes (Peacock still isn’t on the level of its better known competitors). However, it doesn’t help.

Reviews for Kills aren’t as laudatory as part 1… err part 2 (or part 11… I suppose). The 2018 effort nabbed 79% on Rotten Tomatoes while this sits at 57%. Critical reaction shouldn’t determine its fate either. I do think the buzz surrounding Curtis’s return has dissipated. This should contribute to a lower premiere and I suspect low to mid 40s is where this ends up.

Halloween Kills opening weekend prediction: $41.2 million

For my The Last Duel prediction, click here:

The Last Duel Box Office Prediction

The Forever Purge Box Office Prediction

Opening on July 2nd, The Forever Purge is billed as the final picture in the horror franchise that began in 2013 and has now spawned four sequels. It is a direct sequel to 2016’s The Purge: Election Year and follows the 2018 prequel The First Purge. Everardo Gout directs and James DeMonaco (who made the first three entries) serves as co-producer and screenwriter. The cast includes Ana de la Reguera, Tenoch Huerta, Josh Lucas, Cassidy Freeman, Leven Rambin, Alejandro Edda, and Will Patton.

Forever sports the highest production budget of the quintet at approximately $25 million (the rest were all in single or lower double digits). The series has been a hugely profitable and consistent venture for Universal with all four pics grossing between $64-$79 million domestically. The high mark came with Election Year while the lowest was actually the original.

We are still at a point pandemic wise where releases are not generating what they normally might under traditional summertime circumstances. The lowest three-day start for a Purge is from 2018 with The First Purge. The Friday to Sunday total was $17.3 million. However, the five-day holiday tally was just over $31 million.

While expectations should be tempered, this franchise has shown an ability to attract an audience. A start in the high teens range is feasible. There would be champagne bottles popping if it somehow manages to top $20 million. Yet I’ll project that this final (?) Purge ends up with the lowest premiere of the bloody bunch.

The Forever Purge opening weekend prediction: $16.1 million (Friday to Monday estimate)

For my The Boss Baby: Family Business prediction, click here:

The Boss Baby: Family Business Box Office Prediction

Halloween Movie Review

The latest Halloween installment has so much reverence for the 1978 original that it has no use for the multiple sequels that followed. It ignores them and that includes the ones where Laurie Strode (Jamie Lee Curtis) appeared. She’s not Michael’s sister. She’s not living under an assumed name while working at a boarding school 20 years after his night of havoc. This Halloween ignores all of that and is a direct sequel from what happened four decades ago.

It cheats a little with that. As you’ll recall, John Carpenter’s classic concluded with Michael Myers apparently still on the loose. Here we learn that he was apprehended and has been in custody for 40 years. His psychiatrist Dr. Loomis (Donald Pleasance) is long gone with a new doc (Haluk Bilginer) studying him. Michael is about to be transferred to a new facility on the night before his beloved title holiday (maybe picking a different day for that would have been wise). You can correctly guess whether that transfer is successful.

Laurie is still experiencing PTSD from her encounter in ‘78. She’s an alcoholic reclusive double divorcée estranged from daughter Karen (Judy Greer) and grandchild Allyson (Andi Matichak). Her off the beaten path home is a survivalist den. Karen strayed after her mother (wisely it turns out) taught her how to take down a monster. Michael’s breakout session provides the chance.

David Gordon Green directs and shares co-writing duties with Danny McBride and Jeff Fradley. They sprinkle the screenplay with nods to part one both large and small. This reimagining recognizes that providing Michael a lot of back story isn’t needed, as the sequels eventually did to a ridiculous degree. He’s The Shape… an unstoppable machine who perhaps cannot be taken out. Nick Castle, who donned the infamous mask 40 years back, returns. Carpenter is around as well – providing the iconic music.

Halloween is effective in spurts. It takes some time to get its motor running while the original was lean and mean. Some of Michael’s kills are fine examples of blunt force creativity. Curtis clearly loves the role of Laurie and she has a few memorable moments as a now badass grandma. She’s not just an unwilling victim anymore. Laurie wants Michael to escape so she can finish him off and that’s a welcome touch.

Yet in all honesty, the 2018 edition never rises too much above the level of the first sequel in 1981. It continues the story from the greatest slasher ever in a serviceable, sometimes scary, and far more spotty way. Of course, I never expected this to match what came with Carpenter’s low-budget vision. Perhaps I hoped it would have a little more running time where it came closer.

**1/2 (out of four)