Movie Preview: October 2022

And we’re back. Here with the October movie preview not too long after the late September preview. And this one on time, given that I covered the weekend of September 30 – October 2, in which “Smile” dominated with a $22.6 million opening weekend, in the September preview. That opened made for a similarly identical weekend as the previous two weekends where “The Woman King” and “Don’t Worry Darling” opened to $19.1 million and $19.4 million respectively.

What that all added up to, though, was a historically low September. But that’s what happens when Hollywood forgets to schedule much. While those three movies did fine, there was no “IT” or “Shang-Chi” type of movie opening to boost the month’s numbers and thus we were left with the lowest accumulative September box office since 1996, not counting September 2020 when movies were just barely starting to come back. But if you’re a movie fan and you feel you are suffering from a lack of options, no need to worry. The holiday season is around the corner and that should leave the year off with a bang. October specifically is a bit light on quantity, but there are some major hits on schedule that should help prime the box office for said holiday season.

As always, release date information for this post is courtesy of the-numbers.com and boxofficepro.com. The movies listed are the ones currently scheduled for a wide theatrical release in the United States and Canada and are always subject to change.

October 7 – 9

Sony Pictures' "Lyle, Lyle, Crocodile"

The first weekend of October, the beginning of the final quarter of the year, begins with what might be a bit of a slow start. In fact, Box Office Pro suggests in their weekend preview that it’s a possibility that “Smile” repeats at No. 1.

As far as the two new wide releases, the one likely to open ahead is Lyle, Lyle, Crocodile. This is based off of the 1965 children’s book of the same name, written by Bernard Waber, which was actually a sequel to the 1962 book, “The House on East 88th Street.” The general idea of the book series is that a family moves into a home where a performing crocodile is living in the bathtub and they eventually learn to love him and accept him as family. In 1987, it was adapted into an animated musical TV special for HBO and now we’re coming full circle, combining all of that in a live-action feature-length musical film starring Shawn Mendes as Lyle, with original music by Pasek and Paul, who did the music for “La La Land,” “The Greatest Showman” and “Dear Evan Hansen.” Whether or not anyone asked for this is a different conversation, but the family audience it is intended for is the audience that is less critical, so any sort of reviews and reaction will probably be irrelevant. Last year the live-action “Clifford the Big Red Dog” opened to $16.6 million. Somewhere along those lines in the mid-teen millions is where “Lyle” will probably open. Depending on how good “Smile” holds, that could be good enough for No. 1.

The second movie opening this weekend is David O. Russell’s Amsterdam. David O. Russell is a filmmaker who has been a very strong awards darling over the years, achieving plenty of success with “The Fighter,” “Silver Linings Playbook” and “American Hustle.” So his first film since “Joy” in 2015 has come with lots of anticipation. And as often is the case with David O. Russell films, it’s an acting party, with Christian Bale, Margot Robbie, John David Washington, Chris Rock, Anya Taylor-Joy, Zoe Saldana, Mike Myers, Michael Shannon, Timothy Olyphant, Rami Malek, Robert De Niro, and even Taylor Swift, amongst others, all joining said party. Unfortunately for this movie, though, is that critical reaction is in the dumpster, with a 30 percent Rotten Tomatoes score through nearly 100 reviews. In this case, that’s the audience that needs to be pleased if it’s going to achieve its ultimate goal of being a major awards contender. That reaction says that awards are out of the question, which puts this in a bit of an awkward spot. What is the movie? Yeah, that’s the question here. Advertising has it framed as a 1930s murder mystery, but much of the reaction so far has it pegged as a big, convoluted mess in terms of plot, tone, and pretty much overall movie identity. Unless general audience reaction is stronger than critical reaction, this could be forgotten in record time.

That’s it for the wide releases, but since we’re beginning awards season, with the major film festivals having happened this past month, a couple of notable releases on the limited release front. First is TÁR, which is directed by Todd Field and sees Cate Blanchett play a fictional character named Lydia Tár, who in the context of this movie’s universe is a world famous music composer and conductor of a German orchestra. Word is that Blanchett, who is in pretty much every scene of this film, is well on her way to a Oscar nomination for best actress and may be one of the early strong contenders to win.

The other limited release is Triangle of Sadness. While this might be a bit too heavy and/or unique for major Oscar contention – it’s about cruise ship full of super rich people that sinks and leaves the survivors trapped on an island – this is the winner of the Palme d’Or, the big prize coming out of the Cannes Film Festival. While not a great Oscar predictor by any means, the 2019 winner was “Parasite” and that did end up winning best picture. So this one is at least worth mentioning.

And finally, Fathom Events is having their Fright Fest event throughout October. As a part of that pertaining to this weekend, they will be playing Steven Spielberg’s 1982 film Poltergeist from October 6 – 12. On October 9th and 10th, they will be releasing Scream 2.  Later in the month with this event, they will be releasing Bram Stoker’s Dracula on October 23rd and 27th. And on October 29th they will have a one-day double feature of Creature from the Black Lagoon from 1954 and Phantom of the Opera from 1943.

October 14 – 16

Universal's "Halloween Ends"

The second weekend of October is where things start firing up at the box office. And that’s because this weekend sees the final entry in the Halloween franchise, Halloween Ends. Or that’s what they claim, anyways. Never believe Hollywood when they say something is the final chapter, especially with this franchise and its very complicated timeline that has probably seen the franchise “end” several times already. And Michael Myers gets “killed” in just about every movie. But nevertheless, that’s what they’re going with this particular premise, given the title and the marketing. The whole film is centered around the idea of a final battle between Michael and Laurie Strode. Even if they find a way to continue the franchise yet again, the idea of a final film in a popular franchise can often be a very strong selling point. It often puts the movie onto a more event-level status that boosts the box office.

In terms of that box office, the 2018 reboot of this planned trilogy performed very well, opening to $76.2 million and finishing with $159.4 million domestically. The middle chapter, “Halloween Kills,” fell off quite a bit in compared to that, but still opened to $49.4 million and finished with $92 million. So yeah, both films were extremely front-loaded, which is not surprising for a major horror franchise, but nevertheless those openings are still among the best ever for the horror genre. While middling reaction to “Kills” might lead to some fall-off with this third film, that idea of it being a final film should at least make this come close to that $49.4 million mark. “Halloween Ends” is also being released day-and-date on Peacock for subscribers, which doesn’t help its box office outlook, but “Kills” actually did the same thing, so the comparison still very much stands.

“Halloween Ends” is the only new wide release of the weekend, but again on the limited front with awards season heating up, this weekend will see the release of Till in select locations before its scheduled wide expansion on October 28. The subject matter here immediately puts it into the spotlight as this is a movie about Emmett Till, a 14-year-old black kid who was abducted, tortured, and lynched in the summer of 1955, and whose killers were acquitted in trial. This particular movie centers around Emmett’s mother, Mamie Till Mobley, and her relentless pursuit justice for her son.

October 21 – 23

Warner Bros.' "Black Adam"

The biggest movie event of the month for October falls in this third weekend with DC’s release of Black Adam. Played by Dwayne Johnson in this film introduction of the character, Black Adam is an anti-hero in the DC universe and has often been one of the main archenemies of Shazam. In fact, there was a time in which it was planned on introducing him as a character in 2019’s “Shazam!,” before switching course and deciding to introduce him in his own solo film. While DC has certainly been in a constant, unstable whirlwind for much of the last decade or more, a “Shazam!” movie has been in talks since the 2000s and Dwayne Johnson has been a part of those talks for almost the whole time in one way or another. He was almost cast as Shazam before officially being cast as Black Adam in 2014. It was in 2017 when they decided to split the two projects and give Black Adam his own solo film. And while an official crossover hasn’t been announced between the characters of Black Adam and Shazam, that seems more of a matter of time than anything, especially since “Shazam! Fury of the Gods” is next up for DC after “Black Adam,” currently scheduled for March 17, 2023.

Financially, Black Adam as a character isn’t as well-known as some of the others in the DC library. And as a whole, the reputation of DC as of late is still shaky at best. Audiences haven’t been nearly as willing to rush out to see the latest DC movie like they have been for most things Marvel. But still, there does seem to be plenty of positive anticipation for this, especially considering the star power of Dwayne Johnson. And although “Shazam!” in 2019 didn’t quite break the bank in compared to other comic book films, it did have a healthy $53.5 million opening at the time and has been mostly well-received, not only initially but also in the few years since as more people have discovered. That should lead “Black Adam” to an opening of at least $50 million, if not approaching a $70-80 million opening of various Marvel solo outings.

Opening alongside “Black Adam” as this weekend’s other wide release is Ticket to Paradise. This is a rom-com that stars George Clooney and Julia Roberts as a divorced couple that travel to Bali to attempt to sabotage their daughter’s wedding after learning she’s about to marry a man named Gede that she just met. Their motivation is to stop their daughter from making the same mistake they believe they made. As somewhat of a throwback to a cheesy 2000s rom-com, this very much could play as some good counterprogramming for those that either aren’t interested in superhero affair or horror films. And it certainly has the star power to work out and 32 million views on its YouTube trailer, which says that it has people’s attention. The counter against it is that the rom-com in 2022, or even in the last several years, hasn’t been as strong as it once was in regards to box office draw. “Marry Me” from earlier in this year had similarly everything going for it as well, but could only muster a $7.9 million opening. And that was around Valentine’s Day. So this is not a guaranteed hit, but rather stands as something with potential. And perhaps it might play better as a streaming option in the near future.

Again on the limited front, another major candidate for awards hitting this weekend will be The Banshees of Inisherin. This is a movie from Martin McDonagh, whose previous movie was “Three Billboards Outside Ebbing, Missouri,” a double Oscar winner with seven total nominees. “Banshees” stars Colin Farrell and Brendan Gleeson as two lifelong friends on a remote Irish island who find themselves in an awkward situation when one of them decides they don’t want to be friends anymore. After a very successful festival run, “Banshees” currently has a perfect 100 percent on Rotten Tomatoes with 60 reviews counted to go along with a 90 score on Metacritic. What that translates to when it hits general audiences might present a different story, but its rewards prospects initially seem very high, especially since this is also one of Searchlight’s big awards contenders. For context, Searchlight has won best picture with one of their releases five times since 2009, so they have a good track record.

The other notable limited release is Aftersun, another popular festival hit that debuted in Cannes and has hit just about everything else along the way afterwards. This might have a slightly more difficult uphill battle than “Banshees,” which comes from a director with high Oscar prestige, whereas “Aftersun” is directed by Charlotte Wells in her feature-length directorial debut, but nevertheless it’s about a girl reflecting on the relationship she had with her father, which seems to come with plenty of positives and negatives. The release is handled by A24, which has had a very strong year. If not an awards contender, it might at least be in conversations of smaller movies worth seeing.

October 28 – 30

Lionsgate's "Prey for the Devil"

Halloween will be on a Monday this year, which means there’s a whole weekend of movie going possible leading up to the actual holiday. The could work to the advantage of some horror movies in the market, especially this final one of the month, Prey for the Devil. And yes, that is the correct spelling of the word “prey.” A bit of play on words there. But they’re hunting the devil. Preying. Not kneeling down and praying. By the looks of this trailer, it looks like it’s almost cut and paste from 1973’s “The Exorcist,” which is something that has been done a thousand times before, so that’s nothing shocking. In this exorcism movie spin, there’s a nun who is feeling the calling to become the first female exorcist, possibly to chase a demon that has been haunting her or has some connection to her past. Now despite the timely release date, there’s no guarantee that this movie hits. If reaction is poor, horror fans might just catch up on “Smile” or “Halloween Ends” instead. So a lot will be riding on what the reviews are like here.

Only one new wide release this week, which means it’s almost a sure thing that “Black Adam” will repeat as the box office champ, but another awards hopeful opening in limited release is Armageddon Time. This is the latest from director James Gray, who is a filmmaker that hasn’t quite yet broken out on the awards front, but has built up a strong enough reputation with movies like “Two Lovers,” “The Immigrant,” “The Lost City of Z,” and most recently “Ad Astra,” that a lot of awards pundits feel like his time is coming soon. Perhaps with this one? Word out of the festivals is a bit more lukewarm than maybe the team here would hope, but this still has a strong cast featuring Anne Hathaway, Jeremy Strong, and Anthony Hopkins. The movie is a flashback to Gray’s childhood, set in New York in the 1980s and follows a young 11-year-old kid and his friend figuring out life, being essentially parallel to what “Belfast” was last year for director Kenneth Branagh. The title here is in reference to a Ronald Reagan speech wherein the former president said that this is the generation that might see Armageddon.

Movie Preview: September 2022

Life is like a box of chocolates. You never know what you’re going to get next. Like when things become super busy and you aren’t able to make time for your monthly movie preview and get it out before your personally set deadlines. But that’s OK. Life moves on. What that means is that this is another monthly preview that is part recap and part preview.

Luckily for me, there’s not a whole to recap in the first two weeks of September. While this summer brought quite the list of huge successes that made this feel like a normal, pre-COVID summer movie season, studios forgot to schedule things at the tail end of the summer. Of the past three weeks, two of those weeks saw the No. 1 movie at less than $10 million, while the other week was barely above $10 million. While this is fairly typical of late August and early September, “Shang-Chi” proved last year that movies CAN succeed at this time of year, so there’s no longer an excuse for studios to simply not try. But nevertheless, it is what it is. And that means we’re still in good shape on the preview front because the most interesting titles were in the end of September anyways, so let’s get going.

As always, release date information for this post is courtesy of the-numbers.com and boxofficepro.com. The movies listed are the ones currently scheduled for a wide theatrical release in the United States and Canada and are always subject to change.

September 2 – 4

Focus Features' "Honk for Jesus. Save Your Soul."

The story of Labor Day at the box office was one of familiar titles. Sony re-released “Spider-Man: No Way Home” into theaters with an extended edition of the movie subtitled “The More Fun Stuff Version.” This added 11 additional minutes of content. On top of that, Universal also re-released “Jaws” into IMAX theaters. This after “E.T.” got an IMAX re-release back in August and “Rogue One” made a return as Disney prepares for their new show “Andor,” which starts September 21. So library titles were the story of the week.

What actually won the weekend was “Top Gun: Maverick” in its 15th week of release. Sure, it only required $6 million to win the weekend, but it’s still an impressive feat considering the movie opened on Memorial Day weekend and managed to outlast everything that came after it to return to No. 1 on Labor Day weekend. Interestingly enough, the original “Top Gun” pulled off a nearly identical feat in its release in 1986 as it also opened in May then held well enough to go back to No. 1 in September. “Maverick” has also now passed the $700 million mark domestically, entering the top five of the highest grossing movies ever at the domestic box office.

As far as new releases this weekend, there was not much to write home about. The top new release was Honk for Jesus. Save Your Soul., which opened way down in 13th place with $1.4 million from 1,882 theaters. That’s a per theater average of $756 over the weekend, which is not particularly good. Lots of empty or mostly empty screens. For those who did see it, a bit of confusion seems to be the story. No, this is not an evangelical Christian movie. It’s actually a satire of organized religion that came out of Sundance. Critics were fairly nice with it, awarding it a 72 percent on Rotten Tomatoes. Audiences were not kind, though, as they gave it a 26 percent to go along with a 5.3 on IMDb. One can imagine that a Christian satire might be naturally polarizing. It’s also possible that people just did not get what they expected from this or may have been confused as to what it was in the first place.

Amusingly, the other semi-wide release that opened two spots below “Honk for Jesus” was the exact opposite in terms of reaction. Gigi & Nate suffered a miserable 14 percent on Rotten Tomatoes, but its audience score was sky high at 95 percent. Granted, the sample size here is not exactly very, but the critics who did write a review were generally not impressed, while the small number of audience who did see it were rather pleased. It opened with less than a million, $990,361 to be exact, from 1,184 theaters. It’s about a man named Nate who is left as a quadriplegic after a near-fatal illness and is helped through it all thanks to a service animal named Gigi, who is a capuchin monkey.

If you missed either of these two releases and are curious, you might have to wait for PVOD or streaming because, given the low totals, they’ll probably be gone from theaters before September concludes

September 9 – 11

20th Century Studios' "Barbarian"

The second weekend of September, while not much better financially compared to the first weekend, did see the winner hit $10 million as opposed to the single-digit million winner of the previous two weeks as Barbarian opened at the top with $10.5 million. This is a movie that has the chance to be a lot like last year’s “Malignant,” which seemingly has gained quite the online following despite opened to just $5.4 million on this same exact weekend. I say this because buzz on “Barbarian” has also been pretty high with its Rotten Tomatoes critics score of 93 percent to go along with decently high audience scores. “Barbarian” is a horror movie about a woman who rents a house via Airbnb, only to get there and realize there’s another guy there who is already renting it. They both end up staying and, of course in true horror fashion, there’s a bit of a house of horrors thing going on with this place, with plenty of surprises hiding around each corner of the movie.

Coming in right behind “Barbarian” in second place at the box office with $4.5 million was a movie out of India titled Brahmastra Part 1: Shiva. Indian cinema has actually been decently popular recently, so a movie like this coming seemingly out of nowhere to do very well is fairly common. That $4.5 million might seem a bit low, but with only 810 theaters, that count becomes more impressive. Although the report is that this is one of the most expensive Indian films ever made, so it’ll have to have much more help in other countries around the world, especially its home country of India. This movie is actually the first of a planned trilogy that has been in development since 2014. It’s a fantasy action-adventure film about a DJ named Shiva who learns he has a connection with the element of fire and holds the power of Brahmastra, a supernatural weapon that is able to destroy the universe.

Beyond the top two, the actual Christian movie Lifemark opened at No. 7 with $2.2 million from 1,531 theaters. “Lifemark” saw the Kendrick Brothers team up with Kirk Cameron to make a movie about a boy who was almost aborted, but whose mother chose adoption instead. This is a bit on the nose with recent events, but is also par for the course when you consider said filmmakers involved. And the other movie that hit wide release was Medieval down in 14th place from 1,311 theaters. Speaking of expensive international films, this is reportedly the most expensive Czech film ever made and is a historical drama about the life of Jan Zizka, a Czech military general who lived from 1360 to 1424 and never lost a single battle, despite being completely blind in his last stages of life.

September 16 – 18

Sony Pictures' "The Woman King"

If you’re reading this post on or around the weekend that I’m posting this, which is this weekend right here, this is where the fun begins as The Woman King looks to give a spark to the depleted September box office. This is a movie about the Agojie, an all-female warrior unit who protected the West African kingdom of Dahmey from the 1600s up until the very early 1900s. “The Woman King” stars Viola Davis in the lead role and is set specifically in the 1820s as she’s a general who’s training the next generation of warriors. This is a movie that seems like it’s hitting on multiple quadrants. To general audiences, it seems like a very relevant and fun action flick that can be very appealing to a wide audience. But also, on the festival and awards circuit, this is a movie that’s had a lot of awards buzz for months now as a potential major Oscar contender. Based on its 94 percent critics score on Rotten Tomatoes, combined with its 99 percent audience score and a rare A+ CinemaScore, this looks like it’s hitting all the right notes. And even if that doesn’t translate into a monumental opening (it’s tracking for around $15-20 million) that should lead to a long and healthy run at the box office and beyond.

The other notable release on the weekend is the return of Kevin Smith with Clerks III. Now the fan base for Kevin Smith is a bit of a niche one, but for that audience, “Clerks III” is a big deal as “Clerks” is a 1994 film that gave Kevin Smith his start. He wrote, directed, produced, and starred in the movie. And it was his first time doing any of that on a feature length level. Since “Clerks,” he’s gone onto make movies such as “Chasing Amy,” “Dogma,” “Mallrats” and “Jay and Silent Bob Strike Back,” while recently doing the likes of “Tusk” and “Jay and Silent Bob Reboot.” But returning for a third Clerks movie after “Clerks II” in 2006 is a big deal. How it impacts the box office is almost irrelevant. Kevin Smith movies often have unique release patterns. “Jay and Silent Bob Reboot” had a travelling tour sort of thing and “Clerks III” started a similar thing back on September 4 in Red Bank, New Jersey. And it’s also co-released by Lionsgate and Fathom Events. And any sort of Fathom Events thing can be a bit unpredictable. But nevertheless, Kevin Smith fans will find a way to see this at some point.

Opening on a slightly smaller scale, although looking at a top 5 debut given the current competition, is the horror movie Pearl. The unique thing about this movie is that it’s a prequel… to a movie that came out earlier this year, that being “X.”  While “X” only opened to $4.3 million and made just $11.8 million total, the A24 horror film had very strong reaction amongst the film community and many on Film Twitter especially have listed it among their top movies of the year. So it seems like it’s the type of horror movie that will develop a solid cult following as a fun throwback to classic slasher horror. “X” is set in 1979 rural Texas as a group of young filmmakers set out to make an adult film that obviously goes quite wrong. All that context is important because “Pearl” is a prequel to “X” about how the movie’s killer, named Pearl, played by Mia Goth, becomes the vicious killer that’s seen in “X.” Current tracking has the movie earning around a similar total to the $4.3 million that “X” opened to in March.

Opening just below “Pearl” in around the same number of theaters (about 2,500) is Disney releasing See How They Run via their Searchlight banner. Searchlight has had a very strong history with smaller to moderate releases as they’ve gotten into the best picture race pretty much every year and have won the award with “Slumdog Millionaire,” “12 Years a Slave,” “Birdman,” “The Shape of Water,” and “Nomadland.” This is not that awards movie. Searchlight’s big awards contenders this year will probably be either “The Banshees of Inisherin" or “Empire of Light,” but nevertheless, the studio’s history is still notable to point out. “See How They Run” is a throwback whodunit murder mystery comedy set in the 1950s with a sleazy Hollywood film director setting out to adapt a popular stage play when things come to a halt when the director is murdered. The movie stars Sam Rockwell, Saoirse Ronan, Adrien Brody, and David Oyelowo in various roles and has received mostly positive reviews as it currently sits in the low 70s range with both critics and audiences on Rotten Tomatoes.

Nope, we’re not quite done yet. The fifth and final wide release of the weekend is a Christian-themed baseball movie called Running the Bases. This comes from UP2U Films, whose YouTube channel and movie credits currently include… this movie. So they appear to be a new film company who don’t even have a Wikipedia page yet. But nevertheless they’ve built enough hype to get “Running the Bases” released into just over 1,000 theaters and hope to be fighting for a spot in the top 10, although they might fall just short of that. But the movie is about a small-town baseball coach who gets hired to coach at a larger 6A High School, but gets into a bit of hot water as the school’s superintendent doesn’t exactly like the way he’s mixing coaching baseball with religion, so he feels like he’s stuck between trying to choose what he’s being asked to do with what he feels God wants him to do. While there’s a lot of choices this weekend, “Running the Bases” does have the advantage of a PG rating, meaning there’s potential appeal to both family audiences and religious audiences.

September 23 – 25

Warner Bros.' "Don't Worry, Darling"

There’s only one new release in the fourth weekend of September, but it’s one that’s garnered a lot of attention as of late and that is Olivia Wilde’s Don’t Worry, Darling. Olivia Wilde has been on the acting scene since the mid-2000s, but has just recently joined the directing party and had quite the splash in 2019 with “Booksmart,” her feature-length directorial debut. And now she’s following that up with this mystery thriller in “Don’t Worry, Darling” that is about a 1950s housewife living with her husband in a utopian, experimental community who begins to worry that her husband’s company could be hiding disturbing secrets. The big red flag here is that early critical reviews are coming in very sour at the moment. The positive note is that a man named Harry Styles is in the lead role and he’s had the No. 1 song on the Billboard Hot 100 for 13 weeks now, so negative critical reviews might not matter. At least not for opening weekend. They might hurt the movie’s staying power if audience reaction is similar. And obviously any awards talk is probably gone. Florence Pugh, Chris Pine, and Olivia Wilde herself also co-star and that star power alone is what’s going to lead this movie to success.

No other new wide releases this weekend, but it is worthy of pointing out that James Cameron is bringing back “Avatar” back to theaters in preparation for December’s release of “Avatar: The Way of Water.” No introduction needed on this. “Avatar” was released in 2009 and became the highest grossing movie ever both on the domestic and worldwide charts. It is currently fourth place now on the domestic chart, as it has been passed by “Star Wars: The Force Awakens,” “Avengers: Endgame” and “Spider-Man: No Way Home” on the domestic charts, putting it in fourth place. And it also briefly got passed by “Endgame” on the worldwide charts before a Chinese re-release in 2021 brought it back to No. 1. This current re-release probably won’t make a huge dent in the box office, but for the sake of comparison, “No Way Home” opened to $5.3 million on Labor Day with its re-release, so there’s your current bar that’s been set. While “Avatar” shouldn’t be underestimated, it would take $60 million for it to pass “No Way Home” on the domestic chart to re-take No. 3 and another $100 million for it to pass “Endgame” for No. 2. And it’s highly unlikely for it to get close to those numbers.

September 30 – October 2

Paramount Pictures' "Smile"

The final weekend of September poaches into October for both Saturday and Sunday, but if you’ve followed this long enough, you’ll know that Friday is what I count for which month this goes in, so that’s why this weekend is here.

But anyways, October means Halloween and that means horror films looking to cash in on the holiday. Before we get to the big one with “Halloween Ends” in mid-October, Smile will be looking to draw in that horror crowd. Paramount has been pushing this really hard for quite some time now. And they’ve had a good year so far, so it’s hard to bet against them right now. “Smile,” if you haven’t seen the trailers everywhere yet, is a movie where a woman starts seeing people smile in bizarrely weird ways. She is a doctor or a psychologist of some sort and sees this first with a patient of hers, who quickly dies. According to the trailers, this smiling is a bad omen wherein most people who’ve seen it also die within a week, giving it an “It Follows” or a “Truth or Dare” sort of feel, the latter of which might be a fairly apt comparison. “Truth or Dare” was a critically panned movie at 15 percent on Rotten Tomatoes, but yet still opened to $18.7 million in April 2018. If reviews for “Smile” end up being positive, or at least some degree of lukewarm, then the narrative could be even better. It’ll get its first test prior to its wide release as it opens at Fantastic Fest on September 22.

For those not into horror or otherwise not interested in checking out “Smile,” the other option in terms of a new release is the romantic comedy Bros. This is directed by Nicholas Stoller, whose filmography varies from “Forgetting Sarah Marshall” to “Neighbors” and “Storks.” So quite the variety there. The advertising is zeroing in on that “Forgetting Sarah Marshall” rom-com connection, which is smart. The obvious difference there is that this is a romantic comedy centering around two gay men, one being a more “traditional” gay man who is a museum curator who falls in love with a macho, “manly” gay man. So you have two guys on the opposite side of the gay spectrum in a trailer and movie that seems to be trying to be as gay as humanly possible. And I mean that in an objectively descriptive way, not in any sort of derogatory sense. Now LGBTQ romance movies are far from a new thing in Hollywood, but this movie still hopes to connect with that audience in a way to bring them out for this. And if “Smile” tanks and burns, there is definitely an avenue in which this over-performs and takes the weekend.

There is also an avenue in which both underperform and “Don’t Worry, Darling” ends up strong enough to take a second weekend at No. 1. But of course, all of that will come down to audience reaction to these movies that aren’t guaranteed for success. That before “Halloween Ends” and “Black Adam” destroy everything in October. But more on that in next month’s preview, which will hopefully come much earlier in the month.

Movie Preview: August 2022

There’s only one month left of the 2022 summer season. And so far it’s been a refreshingly healthy summer season, seeing a total of five different movies cross the $300 million mark at the domestic box office, with “Top Gun: Maverick” being the clear winner at $650 million and counting, good enough for one of the top 10 domestic performances of all time. A pair of Marvel behemoths, a Minions movie, and the theoretical conclusion of the Jurassic franchise filling out the rest of those five, with “Doctor Strange” being the lone of the final four to cross the $400 million mark at this point.

Not everything was a massive success. “Lightyear” and “DC League of Super Pets” failed to take flight, but “Elvis,” “The Black Phone” and “Nope” were among a decent crop of moderate successes to help stabilize things. Do we have at least one more success story waiting in the wings for August? Well, it’s a possibility. But the forecast seems to lean on the side of it being a quieter, cool down month, which is often par for the course when it comes to August. Nevertheless, let’s take a look at which movies will be vying for your time before fall season hits.

As always, release date information for this post is courtesy of the-numbers.com and boxofficepro.com. The movies listed are the ones currently scheduled for a wide theatrical release in the United States and Canada and are always subject to change.

August 5 – 7

Sony Pictures' "Bullet Train"

The biggest attempt at a late summer hit comes right in the first weekend with David Leitch’s Bullet Train. This is a movie that is officially based on the 2010 Japanese novel “MariaBeetle,” translated in English to “Bullet Train,” although it’s possible most seeing this won’t be aware they’re watching an adaptation. The movie will probably play out like an original action film starring Brad Pitt as an assassin fighting enemies while riding a Japanese bullet train. The movie has been fairly buzzy in the weeks and months since the trailer has been released and definitely has the potential of being a crowd-pleasing late summer action flick. Director David Leitch was one half of the directing duo of the original John Wick, who has gone on to direct the likes of “Atomic Blonde,” “Hobbs & Shaw,” and “Deadpool 2,” while his partner in crime, Chad Stahelski, has continued to direct the remaining John Wick movies.

Financially this is tracking to open around $30 million, which is about where I would’ve expected. That’s actually right about in line with last August’s “Free Guy,” which opened to $28.4 million, on its way to a very leggy $121.6 million. An easy comparison that I would’ve pointed to is Leitch’s last non-franchise film, “Atomic Blonde,” which opened to $18.3 million, finishing with $51.6 million domestically in summer 2017. Later that same summer, “The Hitman’s Bodyguard” opened to a similar $21.4 million, but was a bit more leggier, finishing with $75.5 million. If “Bullet Train” does hit the expected $30 million this week and has a similar multiplier as “The Hitman’s Bodyguard,” it has a chance to sneak past the $100 million mark, especially with almost no competition from the rest of the month. A mixed reaction from critics is a bit concerning (54% on Rotten Tomatoes), but the audiences seem to be a lot more forgiving (81 percent), which was also the exact case with “The Hitman’s Bodyguard.”

There is a movie competing in wide release with “Bullet Train” this weekend, although the early weekend numbers suggest it isn’t a very competitive competition. That movie is Easter Sunday. The movie is a comedy starring comedian Jo Koy and is described as a movie that’s based around a family gathering to celebrate Easter Sunday, based on Jo Koy’s life experiences and stand-up comedy. Jo Koy is a Filipino American, so in theory that might be able to attract a bit more of an international audience, especially with the movie’s Filipino supporting cast, but early tracking on the weekend suggest awareness just isn’t that high and it might struggle to land a spot in the top 10 with an opening of $5 million or less.  

August 12 – 14

Gravitas Ventures' "Mack & Rita"

The second weekend of August is about where things start to slow down. Although in terms of quantity, there’s a trio of movies throwing themselves in the market, hoping for a spot in the top 10. Whether or not any of them have breakout potential is a different story, but they’ll at least be options. The first of these is Mack & Rita, which is a body swap drama of sorts. Except instead of swapping bodies with someone else, a 30-year-old writer named Mack goes on a trip to Palm Springs and magically wakes up as her 70-year-old self. In the niche film community, this movie has a bit of a stacked cast. Outside four time Oscar nominee (and winner for “Annie Hall”) Diane Keaton, the movie also stars Taylour Paige from “Zola” and Simon Rex from “Red Rocket,” two highly praised movies from last year. Elizabeth Lail from Netflix’s “You” also plays as the younger version of Mack. So the movie has enough going for it on paper. The battle will be getting noticed by general audiences. Reviews will also be critical here.

Movie No. 2 of the weekend will go from the comedy side to the thriller side with Lionsgate’s Fall. Perhaps a bit of a basic and generic title, it’s fairly descriptive, too, as it’s about two friends who climb up the top of a 2,000 foot radio tower, but get stuck up there when the ladder down falls and leaves them stranded. The rather plot-detailed trailer depicts one of the friends having gone through heavy trauma when her partner fell to his death when they were on a climb. This climb up the radio tower has her friend finally convincing her to go climbing again. And of course this is what the result is. The challenge here is that both the director and the cast are fairly lesser known, comparatively, so it’s the premise itself that will be the draw. And again, awareness be the key there. The trailer does reference it being from the studio that did “47 Meters Down.” While connected by studio alone, that movie opened to $11 million in August 2017 and was leggy enough to warrant a sequel, which opened to $8 million. Matching either of those numbers might satisfy Lionsgate here, but that might not be a guarantee.

On the expansion from, perhaps the buzziest film of this weekend is the A24 horror Bodies Bodies Bodies. This is currently experiencing a limited run in theaters, opening on August 5. It also played at the South by Southwest Film Festival back in March, so it has buzz from there. A24 has it as a planned expansion on this weekend, although exactly how wide is a question. It might be more of a moderate wide release in 1,000 or so theaters. Or it could be like “Men,” A24’s latest horror from this May, which opened in 2,212 theaters, making $3.2 million. Either way, A24 is the brand here and they are a studio that has a history of releasing more unconventional indie horror films that hit well with critics and movie buffs, but confuse general horror audiences. With a 91 percent critics score, “Bodies Bodies Bodies” seems well poised to follow in that trend. The movie is actually more of a horror comedy, meant as a satire or a social commentary, surrounding a group of people in their 20s at a party at a remote family mansion that goes horribly wrong. Critics describe it as a smart and uncommonly well-written whodunit. What audiences say is to be determined, but at the very least this should attract those who are fans of the more unconventional, A24-style horror film.

And finally, the last movie hitting theaters is one of the most well-known and successful movies of all-time, E.T. the Extra-Terrestrial. Fun fact, “E.T.” has accumulated a domestic total of $435.1 million, $359 million of that coming in its initial run, which ran from June 1982 to June 1983. Yes, it last a whole year in theaters, opening to just $11.9 million. While that was still solid for 1982 dollars, its story was how long it lasted at the time. In that initial run, it was No. 1 at the box office for 16 non-consecutive weeks and was in the top 5 for its first 27 weeks. It was released again in 1985 and 2002, which added to its $435.1 million total. Because of that, adjusted for ticket price inflation, it is the fourth-highest grossing movie of all-time, according to Box Office Mojo’s tracking, behind only “Gone with the Wind,” “Star Wars” and “The Sound of Music.” Unadjusted it’s still the 25th highest grossing movie at the domestic box office. At some point in 1983, it became the highest grossing movie of all time, surpassing “Star Wars.” It held that record for 14 years… when “Star Wars” took it back after they released the Special Edition in 1997. “Star Wars” held that record for another year or so until “Titanic” passed it. Anyways, the 2022 release of “E.T.” will be in IMAX theaters, something that might become a bit of a trend as “Jaws” gets an IMAX release around Labor Day.

August 19 – 21

Universal's "Beast"

After a somewhat busy second weekend of August, at least in terms of the number of releases, the third weekend adds two new titles. And if nothing hits, it shouldn’t be too terribly hard for one of these two to actually hit No. 1. Unless “Bullet Train” does just well enough to cruise at the top for the whole month, which is a realistic possibility.

Anyways, of the two new titles, Beast seems most likely to perform the best. This is a lion-centric horror movie where a father played Idris Elba takes his family on a vacation to a game reserve, where they start getting hunted by a very angry, man-eating lion. Based on the trailers, I’m not sure if this is a demonically-possessed lion or if it’s even an extra-large male lion, but either way it’s not a very happy creature and Idris Elba and his family are in a lot of trouble. Outside the obvious comparison to the 10,000 killer shark movies out there, the 2019 film “Crawl” comes to mind. That was a movie about a man and his daughter getting hunted by alligators in their house during a hurricane. That opened to $12 million in July 2019. As referenced above, “47 Meters Down” opened to $11 million in August 2017. That’s about the predicted range for “Beast.” Based on the fact that the trailer has 30 million views and Universal seems to be pushing it pretty hard, I wouldn’t be surprised to see this one over-perform, but $10-15 million seems to be at least where it’ll hit.  

If there’s a competitor for the top spot, I definitely wouldn’t count out Dragon Ball Super: Super Hero. Anime like this has actually had a growing audience of late and there’s been several instances where an anime film from a popular anime franchise comes almost out of nowhere to vastly over-perform at the domestic box office, not to mention many doing incredibly well overseas. And “Dragon Ball” is an anime franchise that’s been extremely popular dating way back to the 80s. The original manga was published in 1984 and has spawned several different anime series over the years, from “Dragon Ball” from 1986 to 1989, to “Dragon Ball Z” from 1989 to 1996, to “Dragon Ball GT” from 1996 to 1997, to “Dragon Ball Super” from 2015 to 2018. And maybe more that I’m missing. Anyways, after “Dragon Ball Super” ended, a sequel movie came out, “Dragon Ball Super: Broly,” which opened to $9.8 million domestically in January 2019 from just 1,247 theaters. It would make sense for “Dragon Ball Super: Super Hero” to match that and possibly exceed, which puts it right in the range of where “Beast” is expected to open. And like “Beast,” I wouldn’t be surprised if this over-performs.

August 26 – 28

Sony Pictures' "The Invitation"

The final weekend of August almost always seems to be a black hole. That and Labor Day weekend have historically been very bad that Hollywood usually avoids. That trend was broken by “Shang-Chi” last year, which proved that this time of year can be lucrative, if some studio at Hollywood decides to take a rise. This Labor Day will be interesting as it sees the re-release of “Spider-Man: No Way Home,” specifically the extended “More Fun Stuff” version, but we’ll get to that next month.

This final weekend of August does not have any sort of superhero movie getting released, but rather one final late-August horror film, this one titled The Invitation. If you watch the trailer for this movie, it’ll seem like you’ve watched the whole movie. In which case you’ll learn that it’s about a girl who gets invited by some mysterious family she didn’t know of to a fancy wedding in England. And, because this is a horror film, this goes from Jane Austin feel to some sort of supernatural presence or cult of sorts where this whole mysterious new family is cuckoo for Cocoa Puffs - and potentially all vampires - and our main girl has to fight them all off. This does give off a vibe of a “Ready or Not” from August 2019, which was a late August surprise in terms of audience reception. If “The Invitation” ends up with similar reception, it wouldn’t be too hard to match the $8 million of “Ready or Not” or even exceed that. On the flip side, if it’s a poor received horror, it might end up dead on arrival. That said, at this point it’ll probably only take $10 million to win the weekend, so that’s a pretty low bar that could be met.

That’s it for this weekend. Only one new wide release. Of note, the newest George Miller movie, “Three Thousand Years of Longing,” a movie about a woman who falls in love with a Genie she finds, starring Idris Elba and Tilda Swinton, does get released in August. The very final day – August 31, which is a Wednesday. But its official opening weekend will be a part of Labor Day weekend, so I’ll cover it more there, in next month’s preview.

An exploration of the musical biopic genre + Elvis Review

Warner Bros.' "Elvis"

One of the current popular trends in Hollywood is that of the musical biopic. It seems like everyone who has been influential in the music industry is getting their turn in the spotlight and so naturally it only makes sense that the king himself is the next in line. One might wonder why this hasn’t been done before. Well, it has. Kinda. Movies with Elvis Presley as a character in them do exist, but perhaps not to this scale where he is the focal point of his own musical biopic. Like most human beings who exist on Earth, I would certainly consider myself an Elvis fan. You’d be hard pressed to find someone who doesn’t at least like a song or two from him, I would think. So this seems like a winning formula, right?

Well, not so fast. Not for me, anyways. Sure, it’s Elvis Presley. I love his music. He certainly had a life and a career that’s worth diving into and learning about. And it’s directed by Baz Luhrmann, who often only does a feature length movie once every five years or so. His entire feature length filmography (so not counting short films, TV, music videos, or anything like that) is “Strictly Ballroom” (1992), “Romeo + Juliet” (1996), “Moulin Rouge!” (2001), “Australia” (2008), “The Great Gatsby” (2013), and now “Elvis” (2022). 30 years. 6 movies. An average of 5.8 years in between each. So when he shows up, I think it’s worth paying attention to at the very least, especially considering some of those on the list.

So what’s the hesitation on my part?

Well… it’s the genre.

Honestly, I wasn’t planning on doing any sort of deep dive into this. I’ve been a tad bit behind on some of the films I’ve seen recently. And as you may have noticed, I’ve been selective of which movies get their own review on this blog. For the most part I’ve been doing shorter “mini reviews” on Facebook and other social media. I have reasons for this that are not worth diving into at this current time. But when I finally caught up with “Elvis” this past week and gave myself time to ponder over it, I realized this required more than just a quick Facebook post. Especially considering the response. Certified fresh from critics at 78 percent, a 94 percent Rotten Tomatoes audience score, and a 7.8 on IMDb. Clearly there is plenty of enjoyment of this film going on. And I’ll be straight up right up front here and say that I was not one of them. Yet the reasons for that go slightly beyond the individual points of this one film. As I’ve said, the musical biopic genre as a whole is one that I’ve been growing more and more frustrated with and I think my dislike of “Elvis” requires a tad bit of context in that regard.

I say that this is a popular trend in Hollywood right now. But it’s certainly not a new one. Musical biopics have been around for quite some time. There’s just been a heavy uptick of late that probably has everything to do with “Bohemian Rhapsody” in 2018 earning $886.9 million worldwide and scoring 5 Oscar nominations, which included best picture. It won four of those, all but the best picture. Since Hollywood is a copycat business, many filmmakers have desperately been trying to cash in on that trend. And it seems to me that quantity is the theme here rather than quality. Filmmakers taking big names in the music world and throwing together a biopic of them without taking much time to figure out what makes a good musical biopic. And I feel that there’s also a bit of a backwards train of thought in determining who gets the next one. Instead of finding a musician with a good story to tell that would fit nicely into a Hollywood movie, it feels like they’re going down the checklist of popular bands or artists based solely on popularity and starting production on their biopic without thinking twice about what the focus is going to be about or what story they’re planning to tell.

20th Century Fox's "Bohemian Rhapsody"

The result of this is a long string of musical biopics that I honestly haven’t cared for. And a handful I haven’t even bothered to see. In fact, I came close to just not watching “Elvis,” but did so because my options at the moment weren’t very plentiful as I’d seen all the major blockbusters dominating the screens right now.

The other thing that has bothered me is that a lot of these movies seem to have learned the wrong lessons from “Bohemian Rhapsody,” which to me is a textbook example of how to NOT make a musical biopic. Yet because it became so popular, filmmakers have started to read and copy from this erroneous textbook, which has seemingly caused things to spiral out of control in regards to degrading quality in a genre that I’m not so sure Hollywood ever figured out how to properly do in the first place. The good ones seem to be more of an accidental success than anything else. In fact, to this point of Hollywood never really figuring this out, there was a movie in 2007 called “Walk Hard: The Dewey Cox Story,” which is a fictional parody of the musical biopic genre. While it wasn’t a resounding success upon initial release, some film circles have really gone back to this movie to the point where they feel this movie should’ve ended the musical biopic genre. Or at least caused Hollywood to learn from it. But instead of paying attention to the things that “Walk Hard” directly made fun of and attempting to change and be different, many musical biopics that followed have continued to do the exact same things, which is a bit bewildering in my mind.

So what exactly makes a good musical biopic?

Well, the correct answer is that there’s no right or wrong way of doing it. And if certain movies like “Bohemian Rhapsody” and “Elvis” are extremely well-liked and very successful, then who am I to say that they’re doing things the wrong way. Movies are an art form and like all art, it’s 100 percent subjective. Different people can like different things and that’s OK.

But if you want my opinion on what I think makes a good musical biopic, then I suppose that’s why you clicked on this and are continuing to read. So let’s carry on.

This might sound a bit vague, but in my opinion the best musical biopics are the ones that latch onto a specific theme. There is a specific lesson to be learned that drives the narrative. And this leads to a story that feels very natural in movie form where the character arcs and plot are the strengths. These are typically films where the filmmakers saw a story from a person’s life that they wanted to tell rather than picking a popular character and figuring out how to make a movie about their life.

These are, of course, generalities in what I prefer. Things have to be taken on a case by case situation and sometimes there’s a movie that breaks the mold to what I expect that causes me enjoyment despite it not following what I want it to follow. But for the most part these are what I go in hoping or expecting out of a musical biopic and if it doesn’t feel like it is focusing on the right angles of the biopic, then it becomes easy for me to get frustrated.

One other thing that is also important to me in regards to biopics as a whole, musical or not, is accuracy. I get that most movies based on true stories often have to take certain creative liberties in order to make the movie work, but I prefer a biopic to be educational. If you’re going to make a movie about someone, I enjoy the experience of learning about that person. Some will give me pushback to that and argue that a movie’s purpose is to entertain, not to educate. Because of that, they don’t mind if the movie is completely fictional as long as the story told was one that they enjoyed. To each their own, I suppose, but it personally drives me bonkers when I put my educational hat on only to learn later on that the history lesson that was taught to me came from the figments of someone’s imagination rather than the actual historical facts. If a person’s life doesn’t follow the story that you want to tell, then find a story that does fit your narrative. Or simply create a fictional movie that tells your story. Don’t fictionalize someone’s real life in order to create your own story that you wanted to tell.

Again, I get the idea of taking certain creative liberties in order to make things work. And sometimes you have to combine events or do other things like that, but at the very least you should have the spirit of things correct in a way that accurate honors a person’s life.

Columbia Pictures' "Walk Hard: The Dewey Cox Story"

What not to do in a musical biopic?

If you take these thoughts and connect the dots here to what I’m getting at, I honestly don’t care for musical biopics that have no real focus or theme to them. Biopics that feel like generic highlight reels of someone’s life without an interesting story to follow are often movies that I get bored with. Granted, I love myself a good slice of life type of movie. But even those - often fictional - slice of life movies have a specific purpose to them or wrap things up in a way that ties things together. If you go from Point A to Point B to Point C to Point D in an aimless fashion and nothing really ties together in an interesting way, most of the time you’ll have successfully lost me back around Point B. If I’m wondering where this is going and I never get an answer to that question, then I’ll leave confused and unsatisfied at the experience.

If you have no theme or no point to your movie, then most of the time I’ll leave wondering what the purpose of the whole thing was. Give me a reason to care or give me a take home thought for me to ponder on. Don’t just blindly guide me through a random series of events. Tie it all together in some way.

And in a very specific critique towards the musical biopic, I really don’t care too much for what I call random concert films. That being a movie about a band or an artist and the whole thing is just going from song to song to song without any connective tissue between the songs. Yes, if I like the band or the singer, I’m going to enjoy it when I hear it performed, assuming the actor does a good job performing the piece, but the songs should be there to enhance the experience, not be the sole attraction. I can open my Apple Music app and listen to songs from my favorite singers. If I want to go to a concert, I can purchase those tickets when the band is in town or search for a previously recorded concert online if it exists. But if I’m going to a musical biopic, I want it to be more than just the movie aimlessly bouncing from song to song that an actor is singing and performing.

And for crying out loud, don’t tell a fictional version of a real person’s life. If I come home and realize that the movie was completely off in left field when it comes to telling a person’s story, that might be the one thing that drives me up the wall.

And finally, if your movie hits every point that the aforementioned “Walk Hard” movie hits, then I personally don’t think you made your movie in a very good, especially if there’s no sense of genuine emotion. I get that you can take a familiar premise and turn it into a solid movie if you show that you really care about the subject matter and the execution is done well, but if every musical biopic is the same movie with different central characters, can you maybe understand why that can be tiresome in 2022? And if you combined those last two points, meaning you fictionalized someone’s life in order to fit them into a generic biopic film that hits all the cliché beats, that’s obviously a whole lot worse.

Tom Hanks in "Elvis"

If you came here for the “Elvis” review, I hope you don’t mind that you walked into an essay about what makes a good musical biopic in my eyes. If you made it this far into the review, I hope you at least found all of this informative and can use it to understand my vantage point when it comes to this.

Because “Elvis” did just about none of these things in the way that I wanted. I’m not saying it hit every egregious point that I just brought up, but it ran right through most of them.

That’s the short review. A complete swing and a miss on almost every bullet point. Use that as your pull quote from this review if you want.

The longer version of the review?

Well, first and foremost I think it’s important to point out what this movie actually did a good job at. And that’s Austin Butler as Elvis. This is a guy that’s been around a bit. His most notable role of late was that of Tex Watson in “Once Upon a Time… In Hollywood.” But this will absolutely be known as his major breakout role that should launch him into stardom. And this is a perfect example as to why casting directors should cast actors who fit the part rather than going for the big name just to get attention that way. Because you can find people like Austin Butler that can nail the part to perfection. He looks like Elvis. He sounds like Elvis. And he gets Elvis’s mannerisms down to perfection, including his classic hip movements that all the girls back in the day swooned over. And I don’t know exactly how the singing went down in this movie, but the individual Elvis performances where quite electric and absolutely on point. I don’t know if it was Butler doing the singing or if he was just expertly lip-synching, but whatever was done the movie pulled that off quite well.

But the No. 1 rule here that should be the most obvious point ever is that if you’re going to make an Elvis movie that is even called “Elvis,” then for crying out loud make the movie about Elvis. I was rather shocked to realize that Elvis felt almost like a side character in his own movie. Just about the entire focus of the movie was on a character they called “The Colonel.” Colonel Tom Parker is his full name, but I don’t know if they used Tom Parker much. This guy was Elvis’s manager. He’s narrating the film for most of it. He’s the focus. It’s about him finding Elvis and him dealing with Elvis’s unprecedented stardom and him trying to take full control of his musical career and him apparently being super shady in many ways, most notably keeping a large portion of the money for himself.

And I honestly did not care for any of that. The Colonel is played by Tom Hanks. And man alive, I have no idea what Baz was telling Tom Hanks to do, but it was just absolutely not working for me in any way, shape, or form. Tom Hanks is one of the best actors working today and I don’t know if I’ve seen a film where I thought he was bad in the movie. Not every movie of his has been perfect, but usually I can at least say that he did a good job in the movie, even if the movie around him was bad. And occasionally you might say that he is miscast in a certain role, but I honestly think that this might be my least favorite performance of his career. And I get that he was supposed to be ridiculous and annoying. He was portraying a character who is almost the antagonist of the movie in many ways. But every time he showed up on the screen, I wanted him gone. And it became increasingly frustrating that he refused to go away and pretty much had the movie to himself instead of letting Austin Butler do the heavy lifting.

I’m certainly not the Elvis expert here, but I don’t know if I even learned anything about Elvis. And I know that he had enough of a complex life for a really good educational story about him to be told, but none of that was really told. We just watched Elvis the whole time through the eyes of this really annoying manager character called the Colonel. To the point where I think they could’ve called the movie “The Colonel” instead of “Elvis.”

Covering the next major issue here, outside the “Elvis had a bad manager” angle of the movie, this is another musical biopic that seemed to just jump from song to song and from one moment of Elvis’s career to the next. But it didn’t really dive too deeply into his backstory, his upbringing, or explore his personal life too heavily. It just felt like we were going from one Elvis song to the next Elvis song while shoving down our throat that he had a bad manager in between songs. We ultimately cover 20 years of time, but rarely did I feel the transitions to each portion of his life had much of a purpose to it outside a mere obligation that the movie felt like touching on everything that he did in those 20 years before his death in 1977. And even then, we covered so much ground that most of the historical points felt like they were just lightly brushed on rather than focusing on a few key points. And again, outside “Elvis had a bad manager,” I don’t know what points I was supposed to take away from this movie. I could probably come up with some things that one could focus around in an Elvis biopic, but I don’t really feel that any of that stood out to me.

Austin Butler in "Elvis"

And if you got more out of this than I did, then I will be honest and say it’s probably because the movie is so freaking long that my attention span wandered out the door around halfway through. I will confess that my brain power was minimal going into the movie and I mistakenly went into a 10:20 p.m. without looking at the run time. But I’ve had movie experiences with low brain power where the movie captivated me so much that it energized me and I haven’t cared or noticed that it was super late. I went into this particular movie thinking I would probably get done not too long after midnight. When it finally ended, I was partially convinced that it would be dawn outside and I could immediately drive to work. Turns out it was just 1:30 a.m., but that wasn’t that much more comforting. That included your typical commercials and trailers, but the official runtime was 2 hours 39 minutes, or 159 minutes. And that is absolutely ridiculous. There’s no reason an Elvis biopic needed to be much longer than 100 or 120 minutes. Getting to 159 minutes feels inexcusable, especially with a movie that had so little to say.

I’d say that Baz Luhrmann forgot how to edit in his eight years since his last movie, but a more accurate statement would be that he forgot how to properly shorten a movie down to the length that it needed to be. Because there’s definitely a lot of editing going on. This is extremely flashy, upbeat, and a bit chaotic. Baz was definitely not interested in making this feel like a traditional biopic on a visual spectrum. Transitions from scene to scene are also this way. In many ways this is a compliment to the film. It gave it a unique flare to it that very much made it feel like a Baz Luhrmann film. But I’ll be honest and say that after a bit of this I was begging Baz to slow the thing down a bit. Give me some time to breathe a bit.

Maybe this is a movie that I need to revisit at some point. It was loud and chaotic. It was extremely long. And very little of the movie did anything to interest me. Given that I was already tired going it, and it was a late showing, this was all an extremely bad combination of events. There’s just nothing here that incentivizes me to return to this, especially when there’s always a whole lot of other things to catch up on.

And you know what, given that it’s taken me a few days to even get this post out into the world after seeing the movie, I can already feel this movie simply disappearing from my brain. Unless I get some sort of major backlash from people who loved the movie, which I honestly don’t anticipate happening, this might be a thing that I completely forget about in record time. And that’s almost the worst type of movie.

If you loved this movie, then that’s fantastic. If you’re curious enough about it, then check it out. It’s not a movie whose existence offends me. And if what you like from musical biopics goes completely the opposite way of what I’ve outlined in this post, that’s cool, too. I just hope you can understand where I’m coming from and accept that this was not the movie for me. The only thing that’ll make me mad is if you say that, “Well, you’re just not a fan of Elvis so you didn’t appreciate the movie like I did.” That’ll earn you a virtual slap in the face. People said that to me about Queen when I hated the movie “Bohemian Rhapsody” and it couldn’t be further from the truth. I love Queen. I love Elvis Presley. Hated “Bohemian Rhapsody.” Didn’t care for “Elvis.” That’s all. I hope we can still be friends.

Grade: 5/10