#They’ll probably be really similar to the Croods movie

[raiinshowers]

Making a trolls au based off The Croods

'What happens to BroZone’s parents?'

The same thing as Guy's.

It was little Branch's first outing, and as was tradition in the family, he was the only one of their children to go out with them. After not one of the three came back before the end of sunset, John knew that they wouldn’t be returning. He took over. Like his parents had always prepared him to do. Just like Grug in the movie (and like with the BroZone band), he would micromanage everything, but only to try and keep his remaining family safe. Later on he found signs of their parents and Bitty B around the tar(?)… he could assume what had happened. At least Grandma Rosiepuff is still around! (she’s a tad crazy)

John Dory never told anyone else what he saw. They moved immediately. Bitty B would finally find his way back home, alone, only to find it abandoned.

He would always think that he should have been able to save his parents

More GIFs/info below cut

Remember how everybody always thought Branch was catastrophizing about disasters in the 1st Trolls movie?

Yeah, that happens again. (same poses and expressions ha)

Branch also still went gray in this au, just this time due to watching his parents die. And it only got worse after finding their old cave empty and the rest of his family gone, almost as if they were never even there (were they? did he just imagine them?)

The Trolls movie roles are a bit reversed here. His brothers are the ones hiding in something like a 'bunker' (the Croods cave), always on the alert, while he spends the years roaming the lands. Eventually he doesn’t really remember that he once had a family outside of his parents. He doesn’t even remember his actual name: just something like 'B', or 'Bitty'. But that’s not a name. So he goes by — yep — 'Guy'. (Not to be confused with Guy Diamond). When he does 'meet' them again a decade or two later, he doesn’t recognize them at first, and they don’t either. They’ve never known a gray troll after all. John Dory doesn’t even trust him. At least, not until around the end of the movie's events… when 'Guy's' backstory is revealed and it sounds awfully familiar to old JD…

There's only one thing Poppy remembers about her sister —

She had loved the light.

As mentioned in The Croods, they once had other neighboring families that were over time, picked off. Following a disaster with Poppy's own family years ago they were all assumed to be dead besides her. After the fresh loss of his own sibling and parents, John Dory didn’t hesitate to take the orphaned trolling in to live with his grandmother and (remaining :)) brothers. And that’s where Eep's role came in.

One day though Poppy will reunite with her older sister 💕 Maybe even her dad too!

Come on…… Look at these two, you can’t tell me they don’t scream Poppy and Branch

They could even still have the whole 'grrr'/'rawr' thing going on

The brothers are all very protective over Poppy after losing their little sibling

Imagine them + Poppy doing a sleep pile or kill circle. 🙁💕

ALSO THAT would totally be Rhonda beside them :)

[weekendwarriorblog]

The Weekend Warrior 8/13/21 - CODA, FREE GUY, DON’T BREATHE 2, RESPECT, THE LOST LEONARDO, WHAT IF, and More!

Well, that was kind of a disappointing last weekend as James Gunn’s The Suicide Squad pretty much tanked at the box office, making less than Birds of Prey did back in February 2020 with all sorts of backseat analysis explaining why it didn’t do well as anyone, other than a scant, few thought. I mean, I’m still kind of stunned, even though COVID and the Delta variant seem to be losing steam as far as being news. It certainly didn’t help that HBO Max decided to release the movie concurrently on HBO Max on Thursday at 7pm.

The nice thing about this week is that we have three new movies, none of which are on streaming or On Demand at the exact same time, so if you want to see any of them, you’ll have to put on your N96 masks and get yourself to theaters. Two of the three movies are originals, while the third is a sequel to quite an original horror movie from about five years back. All of them are pretty good, actually. We’ll get to them soon...

But first, let’s start with this week’s “The Chosen One” and it’s gotta be Siân Heder’s CODA i.e. “Child of Deaf Adults,” which will play in select theaters and on Apple TV+ starting Friday. If you hadn’t heard, it was the belle of the ball at this year’s Sundance Film Festival, winning the Jury Prize and Audience Award alike. Heder previously directed Tallulah and is the showrunner on Apple’s Little America, but this really is a very special film that I’ve enjoyed on repeat viewings now.

It stars Emilia Jones as Ruby Rossi, the sole hearing person in her family of Gloucester fishermen, who are out every day on the sea making the latest catch in their nets. Ruby has other aspirations, and when she joins the school choir, the teacher, Mr. Villalobos (Eugene Derbez) sees talent in Ruby that he thinks might get her into the Berklee College of Music. Ruby has to weigh that with her family’s need to have her as an interpreter while dealing with the other fishermen of the town.

I didn’t know what to expect when I saw this at Sundance back in January, and it still surprised me when I rewatched it again, because it’s a movie that involves a lot of elements that shouldn’t necessarily work, between the fishing and the singing and all the ASL between the amazing ingenue, Ms. Jones, and the deaf actors playing her family, including the one and only Oscar-winning Marlee Matlin. If not for these disparate elements, Coda might be a fairly standard indie family drama, but Heder finds just the right balance of showing how these disparities in Ruby’s life make it hard for her to pursue her dreams.

Ferdia Walsh-Peelo from Sing Street plays the classmate who Ruby is set up with to perform a duet at their high school recital, and of course, he also becomes an unwitting love interest. Unfortunately that’s the aspect of the film that’s the weakest, because Jones’ scenes with Matlin and the other actors, including Derbez, as well as Troy Kotsur and Daniel Durant, as Ruby’s father and brother, are just so powerful and moving even if they’re all in ASL with no dialogue or even incidental score.

Coda is Heder’s second film after Talllulah, a movie starring Elliot Page that never really connected with me, but Coda is such a strong and exceedingly crowd-pleasing film that I have to imagine that this would connect with everybody. I’m not sure if Apple’s gonna be able to get this movie all the way to Oscar night, but I do like its chances for Adapted (?) Screenplay, and maybe Matlin and Kotsur Supporting? I don’t know, because it’s so early and hard to tell, but hopefully the decision to wait so long after the virtual Sundance won’t hurt this movie as it hurt other Sundance award-winning films. Coda is just a joy that I’m sure will be many people’s favorite movie.

You can read my interview with Ms. Heder over at Below the Line.

Incidentally, in last week’s column, I talked about the 20th New York Asian Film Festival, but I didn’t realize that it was only running at Film at Lincoln Center for a week before going down to the SVA Theater on 23rd Street, and you can check out the schedule of movies playing there at the official site. And of course, there’s still the Virtual Festival that’s running through August 22. Also, Fantasia is still going on in Montreal, and I still haven’t had time to watch very much. What can I say? I suck.

Let’s get to some wide releases, shall we?

First up and probably the most likely to win the weekend is Ryan Reynolds’ new action-comedy, FREE GUY (20th Century Studios), directed by Shawn Levy and co-starring Jodie Comer from Killing Eve. The high-concept comedy has Reynolds playing Guy, a bank teller, who actually is a non-player character in a video game called “Free City” that’s kind of a cross between Grand Theft Auto and Fortnite. When he meets Comer’s character in the game, he falls mady in love and decides to do whatever it takes to get on her level. (Get it?) In doing so, Guy ends up becoming a hero for Free City, as well as a viral sensation across the globe as gamers thrill to Guy’s adventures.

Free Guy is Ryan Reynolds’ first live-action starring role theatrical release since…. Oh…. the action-comedy sequel The Hitman’s Bodyguard’s Wife a little under two months ago. Considering that barely made half of what its predecessor did, and that’s with Reynolds sharing the screen with Samuel L. Jackson and Salma Hayek, one wonders if his draw as an A-lister can be maintained during a pandemic. Before that, you’d have to go all the way back to 2018’s Deadpool 2 for a fully live Reynolds movie, because he wasn’t seen as himself for most of his role in and as Detective Pikachu. Of course, Reynolds’ unmistakable voice was back in DreamWorks Animation’s The Croods: A New Age, the sequel to the 2013 blockbuster that made the ballsy move to be one of the first movies to open during the pandemic. It grossed $58.6 million in theaters, which was slightly more than Christopher Nolan’s Tenet and even more than the Warner Bros. sequel, Wonder Woman 1984.

This is also a big movie for Jodie Comer, who won an Emmy and was nominated for two Golden Globes for Killing Eve, but hasn’t really been in too many movies, other than playing Rey’s Mum in Star Wars: The Rise of Skywalker. Later this year, she’ll star in Ridley Scott’s The Last Duel and may possibly be back in the awards game again, we’ll see. The movie also stars Lil Rel Howery, who seems to be everywhere and in everything these days, as well as Taika Waititi who is super-hot right now due to 2019’s Jojo Rabbit, and his various television projects, as well as having a small role in James Gunn’s The Suicide Squad last week.

In some ways, Free Guy is gonna be a test for a lot of things, the first one being whether Reynolds is a big enough draw when not playing Deadpool to get people into theaters, just as people are starting to get skittish again about going into movie theaters. More importantly, it will show whether not having a movie on streaming or VOD means that people who want to see it will put aside their fears and return to theaters… like they did with F9 and Black Widow and Godzilla vs. Kong. Is an original non-franchise movie like Free Guy enough to get people interested in getting their butts off the couch and into a far more comfortable movie theater seat? (I’m being facetious, if you didn’t guess.)

After The Suicide Squad last week, I’m really not sure whether I can trust my own instincts, but I also don’t want to lower my prediction to something ridiculous out of fear that the pandemic really is destroying any chance of the box office fully recovering. One thing working in Free Guy’s favor, besides its PG-13 rating is that it’s not available on streaming and VOD. Anyone who has been intrigued by the film’s great reviews will HAVE to go out to a movie theater to see it or else, they’ll have to wait 45 days.

Maybe if this opened last month, I could see it open in the $30 million to $40 million range, but with things being the way they are, I’d probably go with high $20 million, so close to $30 million but not quite.

You can read my review over at Below the Line, and I’ll have an interview with the film’s Production Designer, Ethan Tobman, fairly soon.

Also opening Friday is the horror sequel DON’T BREATHE 2 (Sony/Screen Gems), starring Stephen Lang as the blind former Navy Seal who terrorized a bunch of kids who broke into his house in 2016’s Don’t Breathe.

The original movie, which starred Jane Levy, reuniting with director Fede Alvarez after the two remade Evil Dead for producer Sam Raimi, opened in late August, on the fourth weekend of the original Suicide Squad, in fact, and it knocked the movie out of the #1 spot. Its $26 million opening in 3,000 theaters was impressive for the time, partially because late August has never been great. It stayed #1 for a second weekend, over Labor Day, and it ended up grossing $89.2 million in North America, which is great for an R-rated horror film.

Levy isn’t around for the sequel and Alvarez has moved into a co-writer/producer role for his creative partner, Rodo Sagayes, to take over the directing reins, but honestly, I’m not sure how many people will know or care, because Lang’s character and the film’s violence and chills are it’s real selling point. Like many horror movies, there isn’t much in terms of star power other than Lang, but that has never really hindered the success of a horror movie in the past.

As with every movie I cover in this column, there’s the pandemic in the room and whether that might hold people back from going to theaters. I wish there was a way to calculate the effect that’s had on moviegoing, because it seems to affect movies differently. For instance, the recent The Conjuring: The Devil Made Me Do It was able to open with $24.1 million just two months ago, although that was down from the $40 million of the previous two chapters. So that’s about a 40% drop-off in a similar five-year gap between movies. (Actually, it’s kind of strange that 2021 is replicating 2021 with three sequels to movies from five years earlier.) There’s no denying that the number of Covid cases are way up since June and movie theaters are still being painted as the “enemy” even though no significant cases have been traced back to the movies.

We also have to look at Sony’s last horror sequel, Escape Room: Tournament of Champions, which I quite enjoyed, but it ended up opening with about $10 million less than the original movie a few years back. We can probably expect Don’t Breathe 2 to have a similar pandemic drop-off even if it’s another movie that won’t be on streaming or VOD this weekend.

I think Don’t Breathe 2 should be good for around $15 million this weekend since it’s catering towards a young audience that’s a bit more devil-may-care about going out to theaters. It will also probably appeal more to older single guys than something like Free Guy, which seems different enough to pull in a different audience.

My review will be posted over at Below the Line later on Thursday, plus I have a bunch of interviews coming, including this one with Rodo Sayagues and Fede Alvarez.

Next up is RESPECT (MGM), the long-awaited Aretha Franklin biopic (for those that didn’t see Genius, like me, I guess), starring Oscar-winner Jennifer Hudson as the Queen of Soul. The movie directed by Liesl Tommmy was supposed to be released in January to take part in last year’s Oscars race, but I guess MGM wanted to make sure it got a proper theatrical release, which wasn’t possible since NYC and L.A. movie theaters didn’t reopen until March after the cut-off. But MGM had already decided to push the movie back to the summer in hopes of having more theaters able to play the movie, which is kind of true now?

It’s been a while since we’ve seen JHud in a high-profile theatrical release, and unfortunately, the last one was 2019’s Cats, a movie in which she probably was the best thing, although it still only grossed $27 million domestically, a flat-out bomb. Before that, she provided her voice for the animated blockbuster Sing in 2016, and then a bunch of smaller movies before that. She’s joined in the movie by the likes of Oscar winner Forest Whitaker, Marlon Wayans, Titus Burgess, Mary J. Blige, Marc Maron, and Audra MacDonald, quite an impressive array of talent that shows how many wanted to be involved with this project. Director Liesl Tommy is making her feature directorial debut after directing a ton of theater and TV shows like The Walking Dead and Jessica Jones.

Even so, it’s obviously that the ongoing popularity of Aretha Franklin, especially since her death in 2018, is going to go a long way into getting people into theaters, which includes a lot of older black women who really haven’t had much to get them out into theaters in recent months. Will this be enough?

Before Respect was delayed from its original January release, many thought that Hudson would receive another Oscar nomination for her performances. Having not seen the movie at the time of this writing, I can’t confirm or deny those chances. If that’s still the case, then releasing the movie towards the end of the summer (similar to The Help, successfully, and The Butler, not so much) is an odd decision rather than just holding the movie for festival season by holding until next month.

Either way, I think the love Aretha’s fans have for the Queen of Soul as well as Hudson’s fans, Respect should be good for between $8 and 10 million this weekend -- hard to pinpoint exactly without knowing how many theaters MGM is getting for it against the stronger summer movies.

Mini-Review: I wasn’t really sure what to expect from Respect, even after seeing the trailer a couple dozen times in front of other movies, but it’s a respectable biopic that cover 20 years in the life of the Queen of Soul from singing at a young age in her father’s church to returning to church for the gospel records as captured in the recently-released doc, Amazing Grace.

But first, we go back to 1952 where Aretha is a young girl (played by Skye Dakota Turner) is uncertain of her future as she’s being ordered about by her preacher father (Forrest Whitaker) and trying to find direction. The movie casually sets up the fact that young Aretha was sexually abused by a family friend, and maybe she got pregnant, too? It’s hard to tell and maybe a little odd since she would only have been 10 at the time, but it’s something that will be brought up (just as subtly) over the course of the film.

Jennifer Hudson takes over as Aretha as she turns 19 and goes to New York City to start recording, meets Marlon Wayans’ Ted White, makes him her manager and marries her, which basically has her going from one abusive man in her father to another one. It feels like the movie spends a long than normal time on the ��60s, which is when Franklin’s career really took off with “Respect” and then a series of hits that took her all around the world. That whole time, she’s dealing with Ted’s abuses and jealousy while trying to write and record those hits, before her dark demons return and she starts drinking heavily.

As you might imagine, you go to see Respect to see how well Jennifer Hudson pulls off the Queen of Soul, and she’s an incredibly complex character that needs a nuanced performance, which Hudson tries to pull off by bringing different aspects of her life into different scenes.

There are some scenes that don’t work as well as others, and it feels like there’s a bit of time-crunching or futzing around so that at a certain point, her father seems to be de-aging, although I was just as impressed (possibly even moreso) with Forrest Whitaker, whose performance as Aretha’s father is more than just a full-on villain despite his violent treatment of his daughter. Wayans is also good and almost unrecognizable at first, and there are a few other nice performances in there as well, including Marc Maron as record label head Jerry Wexler.

But the performances Hudson gives as Franklin are goosebump-inducing, leading up to the recording of her record-selling gospel record as depicted in the aforementioned doc.

A fairly decent representation of Franklin’s little-known life leading up to her fame, Respect probably succeeds the most when Jennifer Hudson is performing as the Queen of Soul, but she’s also created a fairly moving portrait with strong dramatic moments that far outweigh any of the film’s issues. Rating: 8/10

With that in mind, this is how I see the weekend looking with two of the new movies bumping Suicide Squad down to third place where it will be facing off against Respect.

1. Free Guy (20th Century/Disney) - $28.5 million N/A

2. Don’t Breathe 2 (Sony/Screen Gems) - $15 million N/A

3. The Suicide Squad (Warner Bros.) - $10 million -62%

4. Respect (MGM) - $9.6 million N/A

5. Jungle Cruise (Walt Disney Pictures) - $8.7 million -55%

6. Old (Universal) - $2.5 million -36%

7. Black Widow (Marvel/Disney) - $2.4 million -39%

8. Stillwater (Focus) - $2 million -39%

9. Space Jam: A New Legacy (Warner Bros.) - $1.3 million -43%

10. The Green Knight (A24) - $1.1 million -56%

Donnie Yen stars in Bennie Chang’s RAGING FIRE (WELL GO USA), which premiered at the New York Asian Film Festival on Monday and at Fantasia in Montreal on Tuesday, and I’m not going to review this, because honestly, it’s such a cookie-cutter Hong Kong police action-thriller that I’m not sure I really have much to say about it, so I won’t.

On the other hand, I do have more to say about Andreas Koefoed’s documentary, THE LOST LEONARDO (Sony Pictures Classics), the Leonardo being Da Vinci, the master artist behind the Mona Lisa and many other works. Since I don’t really follow the world of art, I really didn’t know about the Salvator Mundi painting found about 10-12 years ago that was thought to be an original Da Vinci worth in the hundreds of millions, often dubbed “The Male Mona Lisa.” But it’s also a painting that was surrounded by controversy due to the 5-year restoring job that may have left very little of the original painting.

As the film began, I was groaning a little about sitting through another movie of art experts and historians talking about how important a find this is and why it’s either great or horrible, depending on who is being interviewed. Eventually, the film gets more interesting as it starts getting into the idea of selling it. After being sold to a wealthy Russian oligarch by an unscrupulous Swiss art dealer who made a nice profit on it, the painting ends up being auctioned by Christie’s, and the story just keeps getting more and more interesting as it goes along.

While I’m not one to go ga-ga over any painting by Da Vinci or otherwise, I do like a good mystery or suspense-thriller, so good on Koefoed for realizing about halfway through this movie that the talking heads will never be as interesting as actual footage. And that’s what happens here, too. I actually feel a little ignorant that I wasn’t aware this was going on as it was, maybe because I don’t really follow the art world in that respect. Maybe I just missed it, so it’s good that Sony Classics (who loves making movies about art) is giving this a fairly high-profile release following its premiere at the Tribeca Film Festival a few months back. In that sense, The Lost Leonardo is quite a gem.

Heinz Brinkman’s USEDOM: A CLEAR VIEW OF THE SEA (Big World Pictures) is a somewhat intriguing doc about the Baltic island of Usedom, the location of a number of imperial German health resorts, beaches and such, and how the Jews were kicked out by the Nazis before Usedom was split into a German and Polish half after WWII. I wish I could get into this more, but I just have a limited mental capacity for a lot of German talking heads.

Which brings us to Michael Tucker and Petra Epperlein’s THE MEANING OF HITLER (IFC Films), the new doc from the team behind Gunner Palace, which looks at the cultural fascination with Hitler and Nazism and the recent rise in white supremacy, antisemitism and the “weaponization of history itself.” I don’t know what that last part means, because I got so swamped this week that I didn’t get to watch this, and like another recent doc on the subject of Naziism and the Holocaust, I just couldn’t get into the right head space to hit play on this doc. Maybe I’ll watch it sometime down the road.

Similarly, I didn’t get around to watching Dutch filmmaker Jim Taihuttu’s THE EAST (Magnet Releasing), which I may like as a fan of Paul Verhoeven’s Dutch WWII films, and I probably should give this a look, but I just ran out of time this week. It’s about a young Dutch soldier who joins an elite unit led by a mysterious captain called “The Turk,” and it takes place in the Indonesian War of Independence after World War II.

As far as TV goes, Wednesday sees the debut of Marvel Studios’ WHAT IF...? on Disney+. I’ve seen the first three episodes, and I was a pretty big fan of the comics in the ‘70s (sadly, part of the giant collection that I sold a few years back), and I guess this is okay. The first episode is the one with Haley Atwell voicing “Captain Carter” i.e. Peggy Carter gets the Super Soldier Serum, which is one of the more obvious What Ifs that could possibly done, so that we can get another “women are as good as men, and they need to be heard” storyline that’s in 90% of the Marvel movies already. On the other hand, the first episode does include the voices of Sebastian Stan and others, so it’s quite a coup in that sense, but whoever wrote it, clearly doesn’t understand that people spoke differently in the ‘40s. I liked the 2nd episode, a mash-up of Black Panther and Guardians of the Galaxy, which is a fun idea that brings together a lot of great characters -- including Chadwick Boseman’s last voice performance -- but again, hearing the voices just isn’t the same when the writing isn’t as good as the movie. I feel like the animation for the show is okay, maybe not quite on par with some of the great Batman or Superman cartoons we’ve gotten over the years. On the other hand, the entire series features the great voice of Jeffrey Wright as The Watcher, acting kind of like the Rod Serling for the series, much like the Watcher does in the comics. I also dug the music by Emmy winner Laura Karpman (Lovecraft Country), and I’ll watch the rest of the series as it debuts, but I’m not sure it’s as much a rush to see each episode to avoid spoilers as with Loki or WandaVision.

Hitting Netflix this week is the limited series, BRAND NEW CHERRY FLAVOR (Netflix), starring Rosa Salazar, Eric Lange, and Catherine Keener. The tagline is: “Lisa Nova (Rosa Salazar) comes to LA dead set on directing her first movie. But when she trusts the wrong person and gets stabbed in the back, everything goes sideways and a dream project turns into a nightmare. This particular nightmare has zombies, hit men, supernatural kittens, and a mysterious tattoo artist who likes to put curses on people. And Lisa’s going to have to figure out some secrets from her own past in order to get out alive.”

Also, TITANS Season 3 debuts on HBO Max, but since I haven’t watched seasons 1 or 2 yet, it might be some time before I get to it.

Next week looks like it could be a bit of a dog with four or five new wide releases but nothing that really jumps out, plus I’ll be in Atlantic City all next weekend, so who knows how much I’ll be able to watch or write about?