oscar race

Until this morning, Adam McKay‘s Dick Cheney biopic was presumed to be a possible end-of-the-year award-season release. Four and a half weeks ago L.A. Times industry columnist Glenn Whipp included the forthcoming film as one of “ten movies we could be talking about at the 2018 Oscars.”

Now the N.Y. Times‘ Brooks Barnes is reporting that Paramount Pictures and Plan B Entertainment “hope to begin shooting in September,” which almost certainly means a 2018 release.

Barnes’ story conflicts with a 4.5 report by Variety‘s Justin Kroll, which states that “the studio and producers [are] aiming to shoot the movie in the spring for an awards-season push, similar to The Big Short.”

The fastest turnaround in Hollywood history was Otto Preminger‘s Anatomy of a Murder, which began shooting on 3.23.59, wrapped on 5.15.59 and opened on 7.2.59 — three and a half months between the start of principal and the theatrical debut. The Cheney biopic would have to be even faster on the draw if it begins in shooting in early September, especially considering the demands of having to (a) issue screeners of Best Picture contenders and (b) screen them for critics groups in early December.

So which reporter is dead wrong, Kroll or Barnes?

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Last Tuesday all the Cinemacon journos went apeshit after seeing ten minutes of footage from Alexander Payne‘s Downsizing (Paramount, 12.22), myself especially. Yes, it’s “comedic” but a long way from lighthearted. For all the humor and cleverness and first-rate CG it feels kind of Twilight Zone-y…a kind of Rod Serling tale that will have an uh-oh finale or more likely an uh-oh feeling all through it.

Last Tuesday I wrote that the undercurrent felt a teeny bit spooky, like a futuristic social melodrama in the vein of Fritz Lang’s Metropolis.

In its matter-of-fact portrait of middle-class Americans willing to shrink themselves down to the size of a pinkie finger in order to reap economic advantages, Downsizing doesn’t appear to be the sort of film that will instill euphoric feelings among Average Joes. It struck me as a reimagining of mass man as mass mice — a portrait of little people buying into a scheme that’s intended to make their lives better but in fact only makes them…smaller. A bit like Trump voters suddenly realizing that their lot isn’t going to improve and may even get worse.

A day after the Downsizing presentation I was chatting with a bespectacled heavy-set female who works, she said, for an Arizona exhibitor (or some exhibition-related business) in some executive capacity. She struck me as a conservative, perhaps one who processes things in simplistic “like/no like” terms, definitely not a Susan Sontag brainiac. 

I told her that I thought Downsizing was brilliant and asked what she thought of it. Her response: “I don’t know what I think of it.”

HE translation: “No offense but I don’t want to spill my mixed feelings with some Los Angeles journalist I’ve just met. I didn’t like the chilly feeling underneath it. It didn’t make me feel good. My heart wasn’t warmed by the idea of working people shrinking themselves down so they can live a more lavish lifestyle. I have to work really hard at my job and watch my spending and build up my IRA, and I didn’t appreciate the notion that I’m just a little struggling hamster on a spinning wheel.”

Again — my initial reaction to the footage.

If nothing else, Cinemacon 2017 persuaded me that three previewed films may well become finalists in the 2017/18 Best Picture race — Alexander Payne‘s Downsizing, Steven Chbosky and Steven Conrad‘s Wonder (this year’s Lion-like contender) and The Greatest Showman, an apparently sumptuous musical biopic about the legendary P.T. Barnum with Hugh Jackman in the title role.

Pic costars Zac Efron, Rebecca Ferguson, Michelle Williams, Yahya Abdul-Mateen II, Natasha Liu Bordizzo and Zendaya. It’s been directed by Australian commercial director and (uh-oh) “visual effects artist” Michael Gracey and written by Michael Arndt, Jenny Bicks and Bill Condon. A handsome, spirited trailer (pic’s dp is Seamus McGarvey) was screened.

Showman‘s musical numbers were composed by Benj Pasek and Justin Paul, the lyricists for Justin Hurwitz‘s La La Land tunes.

The Greatest Showman has been in the planning stages for several years. Gracey was hired to direct in August 2011. Principal photography began on 11.22.16.

Jackman’s presentation of the forthcoming 12.25 release was the highlight of the 20th Century Fox Cinemacon show, which was easily the finest and grandest of all.

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I hadn’t paid any attention to Wonder (Lionsgate, 11.17), a delicate family drama in the vein of Peter Bogdanovich‘s Mask, until today. But now I’m on it, and for good reason.

Based on three relatively recent novels by R.J. Palacio, it’s about the journey of a young kid with a facial deformity (Jacob Tremblay) as he acclimates to school, and how his parents (Julia Roberts, Owen Wilson) and extended family help him along.

Owen Wilson, Julia Roberts during filming of Wonder.

Jacon Tremblay

This kind of story can be cloying or worse in the wrong hands, but I was sensing from the brief trailer shown today that director Steven Chbosky (The Perks of Being A Wallflower) has handled things with restraint and the right kind of emphasis. Maybe.

Three things got my attention. One, it’s obviously going to be an emotionally affecting drama — I could feel the pangs right away. Two, a Lionsgate spokesperson mentioned that Wonder has gotten the highest test scores of any Lionsgate film ever. And three, Wonder‘s original release date, 4.7.17, was changed last February to 11.17, which means Lionsgate knows it has the Oscar nuts.

Who knows how good it’ll turn out to actually be, but I can almost guarantee you that the Academy members who nominated Garth Davis‘s heart-tugging Lion for six Oscars (including Best Picture) are going to give it up for Wonder.

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While Werner Herzog‘s Queen of the Desert “doesn’t deserve outright trashing, it can’t be classed as anything other than a disappointment. Because it’s not even the sort of bad that makes Bad Lieutenant: Port of Call — New Orleans such a gonzo blast. The notoriously stodgy historical biopic genre looks as self-serious, surface and inert as it would from any old journeyman. Herzog clearly loves both Nicole Kidman and his subject, Middle Eastern explorer and deal-maker Gertrude Bell, to the point of allowing no blemish to show. It’s such a disappointment when you consider the wild portraits of pioneers that Herzog has given us before, that he’s so reverent here. Isn’t he the director who can locate the madness in everything he sees? Where is Bell’s madness?” — from by a 2.6.15 review by Indiewire‘s Jessica Kiang. Yes, that’s right — filed over two years ago.

I’m going to need a little time to figure how the Left Banke’s “Walk Away Renee” relates to Martin McDonaugh’s Three Billboards Outside Ebbing, Missouri (Fox Searchlight, sometime this fall). But it’s obvious Frances McDormand is going to be a Best Actress contender — tough-talking, grief-struck mom puts a pair of Trump Country lawmen (Woody Harrelson, Sam Rockwell) through hell because they’re more concerned with giving black guys a hard time than finding the person who raped and murdered her daughter. 

 McDormand’s last big score was in HBO’s Olive Kitteridge; her most acclaimed screen performances have been in Moonrise Kingdom, Burn After Reading, North Country, Almost Famous and — her crowning glory — Brainerd police chief Marge Gunderson in Fargo, which opened 21 years ago. 

On 10.21.16 an HE tipster who’d attended a Three Billboards research screening called it “an incredibly smart, dark comedy with a great script.”

Said it last January: At the very least Roger Michell‘s My Cousin Rachel (Fox Searchlight, 7.14) is going to look great. The dp is Mike Eley, whose only major credit (at least in terms of high critical regard) is having co-shot Kevin McDonald‘s Touching The Void. You can tell right off that Rachel Weisz‘s Rachel is deranged and trouble for all concerned, and particularly for Sam Claflin‘s Philip. Claflin strikes me as a better looking, less creepy Michael Fassbender. Philip was played by Richard Burton in Henry Koster‘s 1952 version, which popped only a year after Daphne du Maurier’s novel was published.