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‘Holiday Weekend Movie Preview’ Review: 5 Big Movies for the Weekend


Brent Leuthold

Whatzup Features Writer

Published November 22, 2018

Heads Up! This article is 4 years old.

Creed II, starring Michael B. Jordan and Sylvester Stallone, is the sequel to 2015’s Creed, which re-booted the Rocky franchise along with being a critical and commercial success. This time around, Creed is training to fight the son of Ivan Drago, the Russian heavyweight who killed Creed’s father in the ring during the events of Rocky IV. Stallone reprises his iconic role once again and is also credited as a co-screenwriter along with Juel Taylor. Steven Caple Jr. steps up to the director’s chair, replacing Ryan Coogler in the wake of his tremendous success with Black Panther. With its name recognition and a built-in audience, look for this one to replicate the financial (and possibly critical) success of its predecessor.

The Front Runner, starring Hugh Jackman and Vera Farmiga, follows the rise and fall of Gary Hart, a senator-turned-presidential hopeful whose political career crumbled after his extramarital affair was uncovered by the press. The true story of the 1988 scandal comes right around election time, although the film could instead be a victim of post-election fatigue. While the reviews have been favorable enough, particularly for Jackman’s performance as Hart, the box office numbers from its limited release have been far from promising ($56,000 in its opening weekend). The movie is directed by Jason Reitman, who has had his share of hits (Juno, Up in the Air) and flops (Labor Day, Men, Women & Children). Hopefully there’s enough left in the marketing budget to give this a push before its wider release.

Green Book, starring Viggo Mortensen and Mahershala Ali, tells the story of Jamaican-American classical pianist Don Shirley and his chauffeur Tony Lip as they tour the Deep South in the 1960s. While the two seem to have nothing in common during the start of their relationship, they begin to bond through shared experiences that erode the racial obstructions of the era. As one half of the Farrelly Brothers (Dumb and Dumber, There’s Something About Mary), Peter Farrelly has typically excelled at gross-out comedies, but he’s directing here for the first time on his own and the subject material is quite different than what he’s handled before. Positioned right in the heart of Oscar season, I could see this getting quite a few nominations. I could also see this being a runaway box office success along the lines of last year’s Hidden Figures.

Ralph Breaks the Internet: Wreck-It Ralph 2, starring John C. Reilly and Sarah Silverman, looks to mirror the breakout success of its charming predecessor Wreck-It Ralph back in 2012. This installment follows the titular video game character along with his friend Vanellope as they break out of their arcade machine and find their way onto the World Wide Web. Based on the early advertising for this movie, it seems to rely much more heavily on pop culture references than the first film, integrating characters from loads of Disney properties from Star Wars to The Muppets. This could generate plenty of crossover appeal and translate to even bigger box office numbers than the original film, but it could detract from the quality of the narrative if it goes too far with its cross-branding.

Robin Hood, starring Taron Egerton of the Kingsman films, is yet another re-telling of the classic tale of the hero in green who steals from the rich and gives to the poor. The supporting cast includes Jamie Foxx as Robin’s mentor Little John and Ben Mendelsohn as the treacherous Sheriff of Nottingham. With its over-the-top fight choreography, the trailer for the film makes it out to be a cross between last year’s King Arthur: Legend of the Sword and the video game adaptation Assassin’s Creed. Both of those movies performed quite poorly at the box office, at least in the United States, and I could see Robin Hood sharing a similar fate. There have been countless other renditions of this story, including one as recent as Ridley Scott’s from 2010, and there doesn’t seem to be enough in this 2018 entry to distinguish itself from the pack.

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