LAS VEGAS – Universal Pictures has some potential big hits on its upcoming release slate. There’s “The Fall Guy” with Ryan Gosling and Emily Blunt. Illumination returns with “Despicable Me 4.” It’s taken decades, but a “Twister” sequel, “Twisters,” arrives this summer. Blumhouse has adapted the Dutch horror film “Speak No Evil” with James McAvoy. DreamWorks Animation’s “The Wild Robot” is based on a wildly popular children’s book. But, the big bet is the long, long, long awaited adaptation of the Broadway musical, “Wicked.” And, the studio pulled out (almost) all the stops in pitching its importance to the world’s theater owners.
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As pre-provided white roses began to change colors throughout the auditorium, a rousing overture of the musical’s score was heard. It was quite a beautiful scene, but, per CinemaCon policy, no one could record it. Then a gigantic image of the Wizard (voiced by Jeff Goldblum), letting the audience know what they were in for. Not only did Goldblum appear on stage (in clashing houndstooth, no less), but so did stars Jonathan Bailey and Michelle Yeoh. And director Jon M. Chu and producer Marc Platt personally introduced the film’s Elphaba and Glinda; Cynthia Erivo and Ariana Grande (Chu got a bit choked up about it). Sadly, neither sang for the assembled convention attendees and press (ah, memories of Cher and “Mama Mia 2”), but they presented a very extended preview of the movie.
The new footage teased Peter Dinklage in his role as Dr. Dillamond, featured the vocal stylings of Grande singing “Popular,” demonstrated just how dastardly Madame Morrible (Yeoh) can be, and revealed how unexpected roommates Elphaba and Glinda finally bond in a school full of judgemental cliques. Oh and some beautiful production design, an extended listen to Erivo singing “Defying Gravity” (sorta) to boot.
Universal has a lot invested in “Wicked” having split the movie up into a “Part I,” arriving at Thanksgiving, and a “Part II,” landing a year later. And after the financial and critical disappointment of “Cats” and “Dear Evan Hansen,” the studio clearly would love to knock this out of the park. And while the studio’s presentation teased how genuinely horrifying “Speak No Evil” (I mean, watch the original) and how “The Wild Robot” could be something very special, the other winner of the afternoon was its sibling division, Focus Features.
Focus has had a bumpy year so far, but it’s hoping for some global box office success with the Amy Winehouse biopic “Back to Black” and Jeff Nichols’ “The Bikeriders” which could be a nice word-of-mouth summer play thanks to some great performances from Jodie Comer and Tom Hardy (and Austin Butler’s star-power won’t hurt either). The two films that really caught this writer’s eye, however, were Edward Berger’s “Conclave,” and, surprise, Robert Eggers’ “Nosferatu.”
Arriving in November, no doubt after a fall festival debut, “Conclave” is a fictional depiction of the Vatican’s attempts to find a new pope. Cardinal Lomeli, played by Ralph Fiennes, is tasked with driving this process and finds all sorts of political shenanigans making his job more difficult than it should be. Stanley Tucci absolutely popped as Cardinal Bellini and Isabella Rossellini has a significant role as a nun whose ear is lurking behind every closed door. Coming off the Oscar-winning “All Quiet on the Western Front,” Berger and cinematographer Stéphane Fontaine have given this melodrama a visual scope you wouldn’t expect for what is inherently an insular story. Whether it ads up to anything emotionally remains to be seen, but there is no doubt a reason Focus is dropping it in a prime November awards season slot.
Focus’ biggest swing is releasing Eggers’ latest on Christmas. “Nosferatu” appears (emphasis on appears) to be a faithful adaption of Bram Stroker’s “Dracula” but through Eggers’ distinct aesthetic. Lots of images of Nicholas Hault going through some personal hell. Willem Dafoe steadily and fearlessly investigating a potential demon. And, hiding in the shadows, Bill Skarsgård as the title vampire himself (although it’s very much a tease). Oh, and enough haunting imagery to make you reconsider that trip to Eastern Europe this summer (or next). It’s the sort of movie that, at a minimum, will early six below-the-line Oscar nominations. That should have happened on Eggers’ previous films such as “The Northman” and “The Lighthouse” (granted, it earned a Cinematography nom). Will “Nosferatu” finally see him take that awards season jump? Or will it be a nice alternative play over the holiday break for the A24/NEON moviegoing crowd. Ponder.
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