LAS VEGAS – Frankly, the last thing any studio really wants to do with their CinemaCon presentation is start an awards conversation about one of their releases. That is, of course, unless they think that hype will encourage theater owners to book that picture more or in more ideal scenarios. Often though, a film that has unique commercial prospects that fits right into that Oscar window ends up being teased in some manner or another.
Last year award season buzz ignited for “A Star is Born,” “First Man,” “BlacKkKlansman,” “Bohemian Rhapsody” and also-rans such as “Boy Erased” and “Beautiful Boy.” Two years before it was a live performance of “This Is Me” from “The Greatest Showman” and “Darkest Hour.” Previous years saw the first footage of “The Revenant,” “The Martian” and “La La Land,” among others. And sometimes it’s just a reminder from the head of a major studio to be on the lookout for something special such as Universal’s Donna Langley making sure everyone notes Sam Mendes’ “1917” is coming your way at the end of the year.
And, of course, we often discover films that were assumed to be awards players such as “Passengers” and “Life Itself” really aren’t playing that game. It’s worth noting that this year Ang Lee’s “Gemini Man” is your likely entry in that category.
Now that CinemaCon is over, the biggest player is one we assumed for months anyway, Dexter Fletcher’s “Rocketman.” The Paramount Pictures release will be in theaters very soon (May 31st actually) and there are rumors of a Cannes debut (likely out of competition if at all). The footage shown in Vegas was simply fantastic. Live performances with Elton John and the trailer already told us Taron Egerton could sing, but we can now report there should be no worries about him playing John over a good thirty plus years of his life (at least it appears its that long).
[Note: There will be spoilers revealed from the footage shown for some films moving forward.]
The sneak began with a shy young Elton arriving at a musical school audition. The older instructor was playing a piece of classical music on a grand piano until she notices he’s walked in. She stops and asks him if he has anything to play. He replies “no,” so she asks him to show her what he can do. He sits at the piano and starts playing the exact same classical piece she had. Then, he abruptly stops. After the instructor asks why he replies something along the lines, “That’s where you did.”
Other scenes depicted how Reginald Dwight took on the moniker of Elton John (there is a Beatles connection), his introduction to eventual writing partner Bernie Taupin (Jamie Bell), a record executive (Steven Graham) who seems incredulous to some of the incredible songs John and Taupin have written and his first American performance at the legendary Troubadour in West Hollywood. It also hints at his life becoming unraveled due to massive success because of the “identity” of “Elton John” and his romantic relationship with manager John Reid (Richard Madden). Oh, and there are musical numbers with Edgerton and extras dancing through the streets to John’s classic songs. This is clearly not “Bohemian Rhapsody” which, frankly, is the big elephant in the room when it comes to “Rocketman.”
If Fletcher has crafted an awards-worthy biopic (and there is no guarantee the final product will turn out that way), the other film he helped get to the finish line, “Bohemian,” will absolutely affect how the Academy views it. Will members discount it because they think it’s too similar to the Queen and Freddie Mercury biopic? (The one major concern about “Rocketman” is the “look,” the production design and cinematography may be just a bit too familiar). Will Edgerton have a shot at an acting nomination just one year after Rami Malek won for playing another British, gay musical icon? And if “Rocketman” only earns – gasp – $200 million or so worldwide will the fact it’s not as big a hit as “Rhapsody” affect the prism it’s viewed through as well? Thankfully, we’ll have a much better idea about its awards prospects in about eight weeks or so.
Another film that previewed footage at CinemaCon which earned a huge amount of buzz was 20th Century Fox’s “Ford vs. Ferrari.” The James Mangold-directed flick was the only title previously unseen that was highlighted during Fox’s portion of the Walt Disney Studios presentation. And, judging by the preview and the theater owner reaction, it may help put a dent into that $71 billion acquisition price Disney paid for the studio.
“Ferrari” tells the real-life story of automotive racing guru Carroll Shelby (Matt Damon) and signature racer Ken Miles (Christian Bale in skinny mode) as they attempt to knock Ferrari from their long-winning perch atop the yearly 24 Hours of LeMans race. The preview sets the story up with Lee Iacocca (Jon Bernthal) recruiting Shelby to build a Ford racing car from scratch. One very funny scene finds Shelby taking Henry Ford II (Tracy Letts) for a spin in one of the prototypes (we won’t spoil what happens at the end of the ride) and that’s key when judging the response to this flick. Not only does it look epic, but very entertaining. The theme of the film is a group of upstart, unrespected “Americans” trying to take down the infamous Italian racing machine and even if they are backed by a gigantic American corporation it’s the sort of tale older Academy members can’t resist. Oh, and did we note the production value and racing footage was off the charts?
Executives from both 20th Century Fox and Walt Disney Studios were gushing over “Ferrari” which you rarely hear so effusively for a film not hitting theaters for another six months (although it sounds strangely familiar to all that “Star is Born” buzz at this time last year, doesn’t it?). Even if “Ferrari” doesn’t become a major awards season player (the industry overlooked Ron Howard’s fine “Rush” just five years ago), it could give Fox the big hit to justify making more than the rumored three to four films a year Disney has allotted for them.
Before reviewing some of the other potential awards season contenders it should be noted that everyone is going to have to take Universal’s “Cats” very seriously. Yes, I’m very aware that the stage musical’s storyline is almost non-existent and the idea of actors with CG fur may look crazy silly, but the cast is lit with prestige players (Ian McKellen, Judi Dench, Jennifer Hudson, Idris Elba) and director Tom Hooper has guided at least one Oscar-winning performance for his last three films. Does that mean “Cats” is landing a Best Picture nod? Not at all, but don’t ignore it because of dismissive takes on social media or the fact you’re “allergic” and are crazy to hate felines in the first place (I see you).
Oh, and there’s a little movie called “The Lion King,” too. Of course, the question is whether the Academy will embrace it or not (they didn’t bite at “The Jungle Book”).
As for the rest of CinemaCon’s reveals…
“The Good Liar” (Warner Bros.)
Bill Condon has pretty much directed only two good movies over the last 13 years, “Dreamgirls” and “Mr. Holmes.” It looks like Warner Bros.’ “The Good Liar” is a welcome return to form. Based on Nicholas Searle‘s novel, the thriller centers on an aging conman, Roy Courtney (McKellen), whose latest intended victim (Helen Mirren), may not be all that she seems (or her frustrated son played by Russell Tovey isn’t). Throw in the fact Courtney’s past seems to be catching up with him in more ways than one and you have a potentially potent recipe for a star-turning performance. Well, actually, the footage shown teases that McKellen and Mirren are absolutely bringing it. Granted, whether the movie is more than a well-made thriller is unclear, but a November release date and the fact WB brought both Condon and Mirren to CinemaCon to pitch it means it shouldn’t be ignored.
“Knives Out” (Lionsgate)
If you’re looking for a movie to immediately put on an Original Screenplay nomination list it might be Rian Johnson‘s latest. The “Star Wars” filmmaker told theater owners he was inspired to make “Knives Out” by his love for Agatha Christie “Whodunnits” and his preview promised that to a T. The mystery begins after the patriarch of the family (Christopher Plummer) murdered. Now it’s up to two detectives (Lakeith Stanfield and Daniel Craig with another hilarious southern accent) to figure out who in the family did it. That family includes Chris Evans, Toni Collette, Ana de Armas, Katherine Longford, Jamie Lee Curtis and Don Johnson who are throwing verbal and physical zingers of all sorts at each other (and the detectives for that matter). The movie screams TIFF world premiere (Johnson’s “Looper” debuted there) and its Thanksgiving release perfectly times for awards season consideration.
“Queen+Slim” (Universal)
The feature debut of Melina Matsoukas (Beyonce’s “Formation”) and screenwriter Lena Waithe, this contemporary dramatic thriller finds a couple (Daniel Kaluyaa and Jodie Turner-Smith) on the run after a dramatic run-in with a police officer. The film just wrapped production a week ago, so the footage on display was clearly a very hastily put together “teaser,” but it showed that the movie has the potential to transcend the genre. Throw in an end of November release date and it immediately deserves to be on your awards season radar.
“The Goldfinch” (Warner Bros.)
This is puzzling. A pairing of director John Crowley and cinematographer Roger Deakins should automatically equal – at the worst – a very good movie. An adaptation of Donna Tartt’s 2014 Pulitzer Prize-winning novel with a cast that includes Ansel Elgort, Nicole Kidman, Jeffery Wright, Sarah Paulson and Denis O’hare could easily be something truly special. The footage shown was admittedly captivating. The problem, however, is the date. If it truly is a great film that could be fueled by awards season acclaim why is it dated for Sept. 13? (The earliest a true contender would ever open after the fall festival season is the last weekend in Sept.). Ponder, pt. 1.
“Motherless Brooklyn” (Warner Bros.)
This Edward Norton directed period passion project finds the mercurial actor on screen beside Willem Dafoe, Bruce Willis, Cherry Jones, Gugu Mbatha-Raw, Bobby Carnevale and Alec Baldwin, among others. It’s another adaption of an acclaimed novel (in this case Jonathan Lethem‘s 1999 debut). It has a strategic Nov. 1st release date (you can bet that will be a limited debut). But we have questions. Dick Pope‘s cinematography looks strangely flat and Norton’s depiction of his character’s Tourette’s Syndrome seemed absolutely jarring on the big screen. Ponder, pt. 2.
“The Secret Garden” (STX)
Yet another adaptation of Frances Hodgson Burnett’s seminal novel (and the first big-screen version since 1993), this version is the feature directorial debut of Marc Munden and produced by David Heyman (“Harry Potter” and “Paddington” franchises, “Gravity,” Quentin Tarantino’s “Once Upon A Time In Hollywood”). The film’s cinematographer is Lol Crawley (“Vox Lux,” “Four Lions,” “45 Years”) who has crafted a beautiful world for young Mary Lennox (Dixie Egerickx) to explore. The adult cast is rounded out by Colin Firth and Julie Walters. Noted screenwriter and playwright Jack Thorne wrote the adapted screenplay. STX has given the production a year-end release date. And, yet, it all feels a bit…off? Ponder, pt. 3.
