No great surprise that Pixar’s charming “Coco” is pulling in another $27 million on this weekend after Thanksgiving.
Or that “Justice League” and “Thor” continue to rake in the cash just behind it.
But A24’s Oscar contender, “The Disaster Artist,” a comedy about the making of “the best worst movie ever made,” is only on 19 screens. And damned if it didn’t almost crack the top ten, pulling in nearly $1 million, if Friday projections hold.
It would have joined other Oscar contenders “Lady Bird” and “Three Billboards Outside Ebbing, Missouri,” if it had. An expanded release should deliver that, even if it is a James Franco picture, with Seth Rogen and assorted others in funny supporting roles.
Is “Wonder” an Oscar contender? I should think not, a sappy holiday feel-good picture about a square peg kid dealing with a bunch of round-hole classmates featuring a tearful Julia Roberts, it’s closing in on $100 million. So. Maybe.
It’s doing a helluva lot better than “Roman J. Israel, Esq.,” which Deadline.com and others are treating as if it’s got another Denzel Washington nomination in the offing. That one is fading faster than a pair of knock-off bluejeans. I don’t think this is one of Denzel’s better performances, and the movie’s a dog. So. No.
“Murder on the Orient Express” is rolling towards the $100 million mark and that should guarantee that Kenneth Branagh will get to make the sequel promised in that film’s coda, “Death on the Nile.” The film’s old fashioned setting, murder mystery, “all star cast” and sumptuous production values make it the perfect picture to take older parents or grandparents to when you’re visiting them over the holidays.
Bleecker St.’s “The Man Who Invented Christmas” could have given it a run for its money in that corner of the “older audience” marketplace, a generally smart and well-mounted period piece about Charles Dickens writing “A Christmas Carol.” But it was incompetently marketed and despite a wide release, will be gone from most screens long before Santa shows up.
“Call Me By Your Name” and “The Shape of Water” are doing great per-screen numbers in limited release, a platform release being part of their Oscar strategy.
Woody Allen is doing decent per-screen numbers in New York, where “Wonder Wheel” is set and they’ve been propping up the increasingly dotty old pedophile (allegedly) for years.