When Paul Greengrass directed Tom Hanks seven years ago in Captain Phillips, the result was six Oscar nominations that included Best Picture, Best Adapted Screenplay, and a supporting nod for newcomer Barkhad Abdi. It was not nominated for Director or Hanks in Best Actor (something I still vehemently disagree with). With the release of their second collaboration on Christmas, the western drama News of the World, history could absolutely repeat itself.
The review embargo is up today and News is currently breaking at 91% on Rotten Tomatoes. While that’s a great rating, much of the critical reaction is not of the rave variety. However, this looks to be a feature that should appeal to older members of the Academy and that very well could be enough to nab it a Best Picture nomination. I suspect that when I update my Oscar predictions tomorrow on the blog, I will still have it listed in my estimated nine.
It’s been 20 years since the beloved Hanks scored his last Best Actor nod for Cast Away, though he was featured in last year’s Supporting Actor derby for A Beautiful Day in the Neighborhood. Like in 2013 when he was snubbed for Phillips, this year’s contest is likely too crowded for him to be included. Like with Abdi, on the other hand, there is a newcomer here that could garner attention. 12-year-old Helena Zengel is his costar and the fifth slot in Supporting Actress seems to be open. This is assuming that Glenn Close (Hillbilly Elegy), Amanda Seyfried (Mank), Olivia Colman (The Father), and Ellen Burstyn (Pieces of a Woman) make the cut and I currently am. Zengel, who critics are certainly praising, is a strong hopeful for #5.
Greengrass may struggle to make it in for his direction just as he did with Phillips. Adapted Screenplay (by the director and Luke Davies) seems more of a possibility. There’s also tech races where it stands a solid chance and this includes Original Score, Cinematography, Film Editing, Production Design, and Sound. My feeling is that it will show up in most or all. In fact, I’ll go out on an early limb and say that News of the World will get the most 2020 Oscar nominations without winning any. My Oscar Watch posts will continue…
I’m not entirely sure I’d call Lawrence Michael Levine’s Black Bear a totally satisfying experience, but it features a heckuva lead performance and I’m still trying to figure out of its puzzle of a plot. This is an arthouse movie about characters involved in arthouse filmmaking. They’re self-indulgent, needy, usually drunk or stoned, and they often have fascinating conversations and arguments with each other. There is also the distinct possibility that none of what we’re witnessing is actually happening. I’m not sure. And I think that’s the way Levine intended it.
Aubrey Plaza is Allison, a former indie actress turned director. She’s got writer’s block and retreats to a secluded lake house in the Adirondacks to refuel. Or maybe not. Solitude is not her primary goal as the property is inhabited by struggling musician Gabe (Christopher Abbott) and his pregnant wife Blair (Sarah Gadon). They’re far from a perfect couple as they constantly bicker about big subjects like gender roles and whether Gabe is still actually in the music business (she’s not sure 53 cent royalties qualify). During their boozy evening together and with even the expectant Blair imbibing, Allison reveals some details about her life. Or maybe not as we begin to suspect this could all be her way of dismantling an already disgruntled couple’s marriage. A more conventional movie would have this build into a thriller about a romantic triangle.
That is certainly not the direction Black Bear follows. Without divulging too much, the picture is divided in half. The second portion involves the making of a movie where roles from the previous hour are reversed. When we are in the first part, Plaza is basically playing a variation of other roles we’ve seen her in. She’s deadpan, dry, and mostly unbothered by her strange surroundings. It particularly bothers Blair that she can never tell when Allison is being serious or funny. When the switch flips midway through, we see a damaged and emotional wreck slugging and swigging her way toward a hoped for artistic breakthrough. Her performance is remarkable to behold.
Black Bear is often pitch black in its comedy. Abbott’s Gabe goes from hapless hubby to over-the-top auteur over the course of the proceedings. The screenplay’s treatment of him as director is pretty brutal with his self seriousness and crew members around him that are forced to take him seriously. His dichotomous part is challenging as well and he pulls it off.
There’s a moment early on when Allison tries to explain her process for writing and coming up with ideas. In short, she can’t. She mumbles about finding something meaningful to happen. In the second part of this experience, we see the lengths of artists trying to achieve something meaningful. They might be misguided in their methods, but I think Levine is both satirizing and celebrating how anything gets made or written at all. Or maybe not. Maybe there’s just a half formed idea that keeps getting interrupted by a furry animal that comes out of nowhere and you have to start all over again.
Despite a number of critically praised lead and supporting roles, Emily Blunt has yet to break through with Oscar voters. That certainly makes her one of the most high profile actresses yet to get a nomination. Other awards shows and critics groups (including SAG and the Globes) have feted her in pics including The Devil Wears Prada, The Young Victoria, Salmon Fishing in the Yemen, Edge of Tomorrow, Sicario, Into the Woods, The Girl on the Train, A Quiet Place, and Mary Poppins Returns.
Her time probably isn’t far off, but it doesn’t sound as if she’ll get there with Wild Mountain Thyme. The romcom set in Ireland is slated for release this weekend. It comes from director John Patrick Shanley (adapting his own play) and he was on the radar screen of the Academy over three decades ago with Moonstruck, in which he won Best Original Screenplay. Costars here include Jamie Dornan, Jon Hamm, and Christopher Walken.
The reviews out today are on the negative side and it currently sports just a 33% Rotten Tomatoes score. Simply put, any Oscar attention is highly unlikely to materialize. On the other hand, the Hollywood Foreign Press has nominated Blunt six times. If distributor Bleecker Street mounts a spirited campaign for her in the Musical/Comedy category, I wouldn’t count her out for inclusion. The Academy is a totally different story. My Oscar Watch posts will continue…
Netflix’s slew of December releases that are potential Oscar contenders continues with George Clooney’s The Midnight Sky. The sci-fi drama stars its director as an Arctic scientist attempting to prevent a group of astronauts from their return to Earth due to environmental hazards. The roughly $100 million budgeted pic hits theaters in a limited fashion this Friday though most viewers will see it when it materializes on the streaming service on December 23rd. Costars include Felicity Jones, David Oyelowo, Tiffany Boone, Kyle Chandler, Demian Bichir, and Caoilinn Springall.
The review embargo lifted today and it is most certainly a mixed bag. The Rotten Tomatoes rating is at only 54%. Numerous critics have brought up recent and similar genre fare in comparison, including Gravity (which also featured Clooney), Interstellar, The Martian, and Ad Astra. Several of them say that Sky doesn’t measure up.
It has been 15 years since Clooney’s work behind the camera has significantly attracted Oscar attention with Good Night, and Good Luck. His last two directorial efforts, The Monuments Men and Suburbicon, were both critical and commercial disappointments. With a number of write-ups skewing so-so or even negative, it’s hard to envision Sky aiming for a Picture nod or for any of the actors involved to contend.
On the other hand, reviews do suggest this could be a factor in some technical races. Most notable of them is Visual Effects, Production Design, and Sound. There is also plenty of praise for the Original Score by Alexandre Desplat, a two-time winner for his work on The Grand Budapest Hotel and The Shape of Water.
Bottom line: it will be a struggle for The Midnight Sky to reach the attention of voters in the major races, but it could still end up with close to a handful of nominations. My Oscar Watch posts will continue…
David Fincher’s Mank is only about the making of one cinema’s greatest achievements Citizen Kane in a limited fashion. Its plot line is a disputed one in which the picture’s cowriter Herman J. Mankiewicz (Gary Oldman) takes the vast lions share of the credit for creating the masterpiece. This falls in direct contradiction with what some historians have said. There has been a decades long debate as to whether Mankiewicz or director/producer/star Orson Welles was the magic behind the scenes. And there’s no doubt that some viewers could be upset with what Mank is and is not about.
As for this viewer, I often marveled at it. This is David Fincher’s first feature in over six years and it’s a pleasure to have him back behind the camera. The screenplay is from the director’s late father. While it certainly falls more on the side of Mank being the force behind the landmark 1941 production, I found myself wrapped up in its stunning production values and dynamic performances. In other words, the debate of Kane‘s credit can be left to scholars. I was left mostly enthralled by the overall experience.
To say Mank is a movie for cinephiles is not inaccurate. A passing knowledge of the history of Citizen Kane is helpful. An understanding of California politics in the 1930s doesn’t hurt either. Oldman’s Mank is a rather young man when we first see him in 1940. The actor playing him is in his sixties while his subject is about 20 years younger. For those who believe that’s a stretch, I invite you to look at photos of Mankiewicz at that time period. He looked beyond his years due to severe alcoholism as he was climbing the Tinsel Town ladder with his brilliant words.
By 1940, he’s known around town as much for his boorish behavior as his screenplays. He’s laid up due to an auto accident when the new boy wonder from Hollywood Orson Welles (Tom Burke, nailing the legend’s vocal patterns) calls him with an offer. Mank gets working on a massive manuscript that draws on his past experiences. The caveat is that Mank will not receive credit for his contribution. The writer dictates his words to two assistants at a California ranch with his leg in cast. One is Rita Alexander (Lily Collins) and part of her duties is keeping Mank away from the hard liquor that serves as his liquid fuel. This job also falls to Orson’s right hand man John Houseman (Sam Troughton) and, less occasionally, to Mank’s wife (Tuppence Middleton). Everyone refers to her as “Poor Sara” (including her spouse) because just dealing with his personality is a full time occupation.
As he toils away at his pages, the flashbacks begin a decade earlier. In 1930, Mank makes the acquaintance of starlet Marion Davies (Amanda Seyfried). They hit it off and she soon brings him into the uber-wealthy universe of her older flame, newspaper magnate William Randolph Hearst (Charles Dance). Hearst takes a liking to our title subject partly because he’s good entertainment to be around and always has a witty quip at the ready.
In 1934, Mank’s connections with the titans of industry coincide with the political scene. The gubernatorial campaign of Upton Sinclair and his socialist Democratic policies has studio head Louis B. Mayer (Arliss Howard, in a memorable performance) spooked. Hollywood was far less liberal in these days, you see. MGM implements extraordinary measures to get their candidate elected and that involves their massive make believe factory usually dedicated to Civil War epics and Munchkins. Mank does not approve of these tactics that are ultimately green lit by Mr. Hearst.
These developments are what shape Mank’s screenplay years later as the characters in the eventual Kane treatment resemble both Hearst and Marion. Mank, more than anything, is about what drives the writing process. It’s about how one’s demons and one’s tragedies and shortcomings can result in something special on the page. As we watch the events unfold that result in Kane, we do so in sumptuous black and white with gorgeous cinematography from Erik Messerschmidt. Fincher has fashioned this to look like it was made in early 1940s and he certainly succeeds.
Mank is the latest reminder of Oldman’s ability to disappear into a performance. When he finally works up the nerve to (very) drunkenly confront Hearst at a lavish dinner party concerning the political drama, it’s a sight to behold. This is due to the acting of its lead, as well as Dance’s Hearst and Seyfried’s Marion. Any sequence with Mank and Marion is a fascinating one with their complicated relationship. It might be the most honest one he has.
Returning to historical accuracy, I’m reminded that it’s not particularly my business. Whether Mankiewicz or Welles raised Kane from the start is an enduring mystery. The director and his father present a side here. It’s certainly one Mank would cheers to. It is one that hardcore movie lovers also should.
The joy of witnessing Vince Vaughn in the body of an awkward teenage girl provides intermittent comedic thrills in Christopher Landon’s Freaky. It’s just too bad there aren’t more of them in the latest spotty but certainly watchable low-budget horror flick from the Blumhouse shop. If you have seen the director’s two Happy Death Day pictures, you won’t be surprised he’s behind the camera with this. The first Death reconfigured the Groundhog Day concept to the slasher genre while its sequel veered more toward a sci-fi Back to the Future vibe. Freaky‘s influence is simple and in the title without mentioning the word Friday.
Our body swap involves an urban legend but very real serial killer who goes by the Blissfield Butcher and is played by Vaughn. Millie (Kathryn Newton) is the high schooler mourning the loss of her father while her alcoholic mom coddles her. When the Butcher swipes a mysterious ancient dagger from his previous killing in an attempt to off Millie, it switches their forms. This is just in time for Friday the 13th and they have 24 hours to reverse the effect.
I’ll use this opportunity to praise title cards. I enjoyed how in the lead up to the big day, we see “WEDNESDAY THE 11TH” and “THURSDAY THE 12TH” in bloody scrawl font as if they’re meant to provide a jolt. When Millie does inhabit the Butcher’s 6’5″ frame and has a long pined for romantic moment with her crush, it provides the funniest scene of all (Vaughn’s humorous talents are on full display there).
Yet Freaky is also tonally challenged. Millie’s tragic family dynamics feel slightly forced. The backstory involving that mystical knife called La Dola might be something its makers hope to explain further in a sequel. I’ll credit the screenwriters for finding a couple of Friday the 13th style inventive ways to off lustful adolescents, but the film isn’t exactly scary.
This is more occasionally funny than truly freaky and it ends up being about as entertaining as both Happy Death Day experiences. It succeeds from time to time with its mashup of well known properties, but leaves a bit to be desired.
Lawrence Michael Levine’s Black Bear premiered long, long ago in something called January 2020 at the Sundance Film Festival and became available for streaming this weekend. The drama casts Aubrey Plaza as a filmmaker looking for inspiration in dangerous places and many critics are calling it her finest performance to date. Costars include Sarah Gadon and Christopher Abbott.
The Rotten Tomatoes score stands at a sturdy 87%. Plaza is having a nice year as reviewers also praised her supporting work in the recent holiday rom com Happiest Season. That said, I have discussed how competitive Best Actress is numerous times here. Black Bear probably isn’t high profile enough to earn its star her first Oscar nod, but she’s certainly earning her critical bonafides as of late. My Oscar Watch posts will continue…
I took a little Turkey Day hiatus from my Oscar estimates, but I’m back at it today with fresh predictions! The major categories have stayed the same (albeit with some ranking movement) with one notable exception. In Best Actress, I have moved both Sophia Loren (The Life Ahead) and Michelle Pfeiffer (French Exit) out of the top five in favor of Carey Mulligan (Promising Young Woman) and Meryl Streep (The Prom).
We also have changes in both Screenplay races. In Original, Promising Young Woman (which seems to be gaining steam) is elevated over Da 5 Bloods. In Adapted, I’m Thinking of Ending Things gets the 5 spot and replaces News of the World.
You can peruse all the movement below and I’ll be back at it next week!
Best Picture
Predicted Nominees:
1. The Trial of the Chicago 7 (Previous Ranking: 1)
2. Mank (PR: 3)
3. Nomadland (PR: 2)
4. One Night in Miami (PR: 4)
5. Ma Rainey’s Black Bottom (PR: 6)
6. The Father (PR: 5)
7. Minari (PR: 7)
8. News of the World (PR: 8)
9. Da 5 Bloods (PR: 9)
Other Possibilities:
10. Judas and the Black Messiah (PR: 11)
11. Soul (PR: 10)
12. The United States vs. Billie Holiday (PR: 12)
13. The Prom (PR: 14)
14. Promising Young Woman (PR: Not Ranked)
15. The Midnight Sky (PR: 13)
Dropped Out:
First Cow
Best Director
Predicted Nominees:
1. David Fincher, Mank (PR: 1)
2. Chloe Zhao, Nomadland (PR: 2)
3. Regina King, One Night in Miami (PR: 4)
4. Aaron Sorkin, The Trial of the Chicago 7 (PR: 3)
5. Florian Zeller, The Father (PR: 5)
Other Possibilities:
6. Lee Isaac Chung, Minari (PR: 7)
7. George C. Wolfe, Ma Rainey’s Black Bottom (PR: 6)
8. Paul Greengrass, News of the World (PR: 8)
9. Spike Lee, Da 5 Bloods (PR: 9)
10. Shaka King, Judas and the Black Messiah (PR: 10)
Best Actress
Predicted Nominees:
1. Viola Davis, Ma Rainey’s Black Bottom (PR: 1)
2. Vanessa Kirby, Pieces of a Woman (PR: 2)
3. Frances McDormand, Nomadland (PR: 3)
4. Carey Mulligan, Promising Young Woman (PR: 6)
5. Meryl Streep, The Prom (PR: 8)
Other Possibilities:
6. Andra Day, The United States vs. Billie Holiday (PR: 7)
7. Michelle Pfeiffer, French Exit (PR: 5)
8. Sophia Loren, The Life Ahead (PR: 4)
9. Kate Winslet, Ammonite (PR: 9)
10. Amy Adams, Hillbilly Elegy (PR: 10)
Best Actor
Predicted Nominees:
1. Chadwick Boseman, Ma Rainey’s Black Bottom (PR: 1)
2. Anthony Hopkins, The Father (PR: 2)
3. Gary Oldman, Mank (PR: 3)
4. Riz Ahmed, Sound of Metal (PR: 5)
5. Delroy Lindo, Da 5 Bloods (PR: 4)
Other Possibilities:
6. Kingsley Ben-Adir, One Night in Miami (PR: 7)
7. Steven Yeun, Minari (PR: 6)
8. Tom Hanks, News of the World (PR: 8)
9. Ben Affleck, The Way Back (PR: Not Ranked)
10. Tom Holland, Cherry (PR: 10)
Dropped Out:
Colin Firth, Supernova
Best Supporting Actress
Predicted Nominees:
1. Glenn Close, Hillbilly Elegy (PR: 1)
2. Amanda Seyfried, Mank (PR: 2)
3. Olivia Colman, The Father (PR: 3)
4. Ellen Burstyn, Pieces of a Woman (PR: 4)
5. Helena Zengel, News of the World (PR: 5)
Other Possibilities:
6. Yuh-Jung Youn, Minari (PR: 6)
7. Saoirse Ronan, Ammonite (PR: 7)
8. Maria Bakalova, Borat Subsequent Moviefilm (PR: 8)
9. Olivia Cooke, Sound of Metal (PR: Not Ranked)
10. Natasha Lyonne, The United States vs. Billie Holiday (PR: 9)
Dropped Out:
Nicole Kidman, The Prom
Best Supporting Actor
Predicted Nominees:
1. Sacha Baron Cohen, The Trial of the Chicago 7 (PR: 1)
2. Daniel Kaluuya, Judas and the Black Messiah (PR: 2)
3. Leslie Odom, Jr., One Night in Miami (PR: 3)
4. Mark Rylance, The Trial of the Chicago 7 (PR: 5)
5. Bill Murray, On the Rocks (PR: 4)
Other Possibilities:
6. Chadwick Boseman, Da 5 Bloods (PR: 6)
7. Stanley Tucci, Supernova (PR: 7)
8. David Strathairn, Nomadland (PR: 8)
9. Frank Langella, The Trial of the Chicago 7 (PR: 9)
10. Yahya Abdul-Mateen II, The Trial of the Chicago 7 (PR: Not Ranked)
Dropped Out:
Shia LaBeouf, Pieces of a Woman
Best Original Screenplay
Predicted Nominees:
1. The Trial of the Chicago 7 (PR: 1)
2. Mank (PR: 2)
3. Minari (PR: 3)
4. Soul (PR: 4)
5. Promising Young Woman (PR: 7)
Other Possibilities:
6. Da 5 Bloods (PR: 5)
7. Judas and the Black Messiah (PR: 6)
8. Sound of Metal (PR: 9)
9. On the Rocks (PR: 8)
10. Supernova (PR: Not Ranked)
Dropped Out:
Never Rarely Sometimes Always
Best Adapted Screenplay
Predicted Nominees:
1. Nomadland (PR: 1)
2. One Night in Miami (PR: 2)
3. The Father (PR: 3)
4. Ma Rainey’s Black Bottom (PR: 4)
5. I’m Thinking of Ending Things (PR: 7)
Other Possibilities:
6. News of the World (PR: 5)
7. The United States vs. Billie Holiday (PR: 6)
8. First Cow (PR: 8)
9. The Midnight Sky (PR: 9)
10. The Mauritanian (PR: Not Ranked)
Dropped Out:
Borat Subsequent Moviefilm
Best Animated Feature
Predicted Nominees
1. Soul (PR: 1)
2. Wolfwalkers (PR: 2)
3. Over the Moon (PR: 3)
4. Onward (PR: 4)
5. The Croods: A New Age (PR: 6)
Other Possibilities:
6. The Willoughbys (PR: 8)
7. Earwig and the Witch (PR: 7)
8. Connected (PR: 5)
9. Bombay Rose (PR: 9)
10. Lupin III: The First (PR: 10)
Best Documentary Feature
Predicted Nominees:
1. Totally Under Control (PR: 1)
2. Time (PR: 4)
3. Dick Johnson Is Dead (PR: 2)
4. Crip Camp (PR: 3)
5. The Dissident (PR: 5)
Other Possibilities:
6. Boys State (PR: 7)
7. All In: The Fight for Democracy (PR: 6)
8. Collective (PR: Not Ranked)
9. The Truffle Hunters (PR: 10)
10. 76 Days (PR: 8)
Dropped Out:
MLK/FBI
Best International Feature Film
Predicted Nominees:
1. Another Round (PR: 1)
2. Quo Vadis, Aida? (PR: 2)
3. Night of the Kings (PR: 3)
4. My Little Sister (PR: 7)
5. I’m No Longer Here (PR: 6)
Other Possibilities:
6. Never Gonna Snow Again (PR: 8)
7. Dear Comrades! (PR: Not Ranked)
8. Collective (PR: Not Ranked)
9. Charlatan (PR: 10)
10. Notturno (PR: Not Ranked)
Dropped Out:
The Life Ahead
The Disciple
Atlantis
Best Cinematography
Predicted Nominees:
1. Mank (PR: 1)
2. Nomadland (PR: 2)
3. News of the World (PR: 3)
4. The Midnight Sky (PR: 4)
5. Da 5 Bloods (PR: 7)
Other Possibilities:
6. Tenet (PR: 6)
7. The Trial of the Chicago 7 (PR: 8)
8. Ma Rainey’s Black Bottom (PR: 5)
9. Judas and the Black Messiah (PR: 9)
10. Minari (PR: Not Ranked)
Dropped Out:
One Night in Miami
Best Costume Design
Predicted Nominees:
1. Mank (PR: 1)
2. Ma Rainey’s Black Bottom (PR: 2)
3. Mulan (PR: 5)
4. Emma (PR: 3)
5. The United States vs. Billie Holiday (PR: 10)
Other Possibilities:
6. The Personal History of David Copperfield (PR: 4)
7. The Prom (PR: Not Ranked)
8. News of the World (PR: 7)
9. The Trial of the Chicago 7 (PR: 8)
10. Wonder Woman 1984 (PR: Not Ranked)
Dropped Out:
Rebecca
Ammonite
Best Film Editing
Predicted Nominees:
1. The Trial of the Chicago 7 (PR: 1)
2. Mank (PR: 2)
3. Nomadland (PR: 3)
4. The Father (PR: 4)
5. News of the World (PR: 5)
Other Possibilities:
6. Ma Rainey’s Black Bottom (PR: 6)
7. Da 5 Bloods (PR: 7)
8. One Night in Miami (PR: 10)
9. Tenet (PR: 8)
10. Judas and the Black Messiah (PR: Not Ranked)
Dropped Out:
The Midnight Sky
Best Makeup and Hairstyling
Predicted Nominees:
1. Ma Rainey’s Black Bottom (PR: 1)
2. Hillbilly Elegy (PR: 3)
3. Mank (PR: 2)
4. The United States vs. Billie Holiday (PR: 6)
5. Borat Subsequent Moviefilm (PR: 4)
Other Possibilities:
6. Birds of Prey (PR: 5)
7. Pinocchio (PR: Not Ranked)
8. Mulan (PR: 7)
9. Emma (PR: Not Ranked)
10. Wonder Woman 1984 (PR: Not Ranked)
Dropped Out:
The Prom
The Trial of the Chicago 7
News of the World
Best Original Score
Predicted Nominees:
1. Mank (PR: 2)
2. Soul (PR: 1)
3. News of the World (PR: 3)
4. The Midnight Sky (PR: 4)
5. Hillbilly Elegy (PR: 9)
Other Possibilities:
6. The Trial of the Chicago 7 (PR: 5)
7. Da 5 Bloods (PR: 7)
8. Tenet (PR: 6)
9. One Night in Miami (PR: Not Ranked)
10. Minari (PR: 8)
Dropped Out:
Ammonite
Best Original Song
Predicted Nominees:
1. “Speak Now” from One Night in Miami (PR: 1)
2. “Seen” from The Life Ahead (PR: 2)
3. “Rocket to the Moon” from Over the Moon (PR: 3)
4. “Hear My Voice” from The Trial of the Chicago 7 (PR: 4)
5. “Turntables” from All In: The Fight for Democracy (PR: 5)
Other Possibilities:
6. “Wear Your Crown” from The Prom (PR: 6)
7. “(If Only You Could) Save Me” from Mank (PR: Not Ranked)
8. “Only the Young” from Miss Americana (PR: 7)
9. “Love Myself” from The High Note (PR: Not Ranked)
10. “Free” from The One and Only Ivan (PR: 8)
Dropped Out:
“Husavik” from Eurovision Song Contest: The Story of Fire Saga
“Carried Me with You” from Onward
Best Production Design
Predicted Nominees:
1. Mank (PR: 1)
2. Ma Rainey’s Black Bottom (PR: 3)
3. The Midnight Sky (PR: 6)
4. Mulan (PR: 2)
5. Emma (PR: 9)
Other Possibilities:
6. The United States vs. Billie Holiday (PR: 7)
7. News of the World (PR: 4)
8. The Trial of the Chicago 7 (PR: 5)
9. The Prom (PR: 10)
10. Wonder Woman 1984 (PR: Not Ranked)
Dropped Out:
Rebecca
Best Sound
Predicted Nominees:
1. Mank (PR: 2)
2. Sound of Metal (PR: 4)
3. Tenet (PR: 1)
4. The Midnight Sky (PR: 7)
5. News of the World (PR: 8)
Other Possibilities:
6. Ma Rainey’s Black Bottom (PR: 6)
7. Soul (PR: 3)
8. Wonder Woman 1984 (PR: Not Ranked)
9. The Trial of the Chicago 7 (PR: 5)
10. The Prom (PR: Not Ranked)
Dropped Out:
Greyhound
Da 5 Bloods
Best Visual Effects
Predicted Nominees:
1. The Midnight Sky (PR: 2)
2. Tenet (PR: 1)
3. Wonder Woman 1984 (PR: 7)
4. The Invisible Man (PR: 3)
5. Mulan (PR: 8)
Other Possibilities:
6. Birds of Prey (PR: 5)
7. Greyhound (PR: 4)
8. Sonic the Hedgehog (PR: 6)
9. Mank (PR: 10)
10. The Call of the Wild (PR: 9)
And that equates to the following films garnering these numbers in terms of nominations:
12 Nominations
Mank
7 Nominations
Ma Rainey’s Black Bottom, The Trial of the Chicago 7
6 Nominations
The Father, News of the World, Nomadland
5 Nominations
The Midnight Sky, One Night in Miami
3 Nominations
Da 5 Bloods, Hillbilly Elegy, Mulan, Soul
2 Nominations
Emma, Minari, Over the Moon, Pieces of a Woman, Promising Young Woman, Sound of Metal, Tenet, The United States vs. Billie Holiday
1 Nomination
All In: The Fight for Democracy, Another Round, Borat Subsequent Moviefilm, Crip Camp, The Croods: A New Age, Dick Johnson Is Dead, The Dissident, I’m No Longer Here, I’m Thinking of Ending Things, The Invisible Man, Judas and the Black Messiah, The Life Ahead, My Little Sister, Night of the Kings, On the Rocks, Onward, The Prom, Quo Vadis, Aida?, Time, Totally Under Control, Wolfwalkers, Wonder Woman 1984
HBO Max (which is certainly in the news today for other reasons involving Warner Bros) has teamed with Steven Soderbergh and Meryl Streep for the streaming debut of Let Them All Talk on December 10th. The dramedy casts 21-time Oscar nominee Streep as an author taking a cruise with friends including Candice Bergen and Dianne Wiest. Lucas Hedge and Gemma Chan round out the supporting cast.
The review embargo is up today and based on a dozen write-ups, it actually sits at 100% on Rotten Tomatoes. However, its Oscar chances seem iffy and that’s probably being generous. While some critics are quite positive, many of their takes do not indicate this will be any sort of awards hopeful. In fact, Streep’s 22nd nod is more likely to be in Netflix’s The Prom, which debuts just one day after Talk.
Soderbergh and Streep had another collaboration in 2019 with The Laundromat. It was long thought of as a potential Academy player until mixed reviews sunk its prospects. With this teaming, it was never really thought of as a contender and that should hold true. My Oscar Watch posts will continue…
Prior to its December 11th bow on Netflix, the musical romantic comedy The Prom has screened for critics and the general consensus is that it’s a crowd pleaser that should see plenty of streams in a few days. An adaptation of the 2018 Broadway musical, super producer Ryan Murphy handles directorial duties with an impressive cast including Meryl Streep, James Corden, Nicole Kidman, Keegan-Michael Key, Ariana DeBose, Kerry Washington, and Jo Ellen Pellman.
The current Rotten Tomatoes score sits at 75%. Plenty of reviews praise its feel good vibes and that could be especially welcome in this thing we call 2020. On the other hand, the negative reaction is quite negative and that includes some pretty high profile publications that include EW and The AV Club. Netflix has plenty of major Oscar contenders this year and I wonder how hard they’ll press for inclusion here. While it should nab some Golden Globe nods (including the Musical/Comedy Picture race), the Academy’s love is far less certain.
If audiences sing its praises and it’s a runaway hit, I believe The Prom has an outside shot at Picture. As for its performers, Streep should never be counted out and this would mark her 22nd nomination. I feel her chances in the final five are better than they were a couple weeks back, but I’m currently reluctant having her make the cut. Same goes for Nicole Kidman in Supporting Actress or anyone else.
The best shot could be in down the line categories such as Costume Design, Sound, or one of its songs (though the recently released “Wear Your Crown” with Streep rapping has drawn plenty of eye rolls). Bottom line: don’t discount The Prom‘s ability to make it into the dance in Picture or Actress, but it’ll need lots of goodwill to get there.
