In September of last year, Mike Flanagan’s The Life of Chuck was a surprise winner of the People’s Choice Award at the Toronto Film Festival. Yet it’s the Cannes Film Festival that may dash Chuck‘s hopes for awards love at the 98th Academy Awards.
Allow me to explain. The People’s Choice Award at TIFF has, for nearly two decades, been one of the more reliable indicators of an eventual Best Picture nomination at the Oscars. How much so? 15 of the last 16 Choice recipients achieved a BP mention including winners Slumdog Millionaire, The King’s Speech, 12 Years a Slave, Green Book, and Nomadland. The current streak of PCA’s to BP nominees stands at 12 in a row. In 2023, American Fiction instantly became an Academy player after the People’s prize and it resulted in five nominations.
However, distributor Neon did an unexpected thing after Chuck took the Toronto prize. They chose not to release the picture in calendar year 2024 and dated it for 2025. The sci-fi drama based on a 2020 Stephen King novella arrives in limited release on June 6th with a nationwide expansion the following week. Tom Hiddleston leads a cast that includes Chiwetel Ejiofor, Karen Gillan, Jacob Tremblay, and Mark Hamill.
Leaving a nine month gap between the TIFF publicity and its release date was a gamble. At Cannes, which concluded just days ago, Neon went on a spending spree. The distributor bought up the rights to Palme d’Or winner It Was Just an Accident from Iranian filmmaker Jafar Panahi as well as Grand Prix taker Sentimental Value from Joachim Trier and acclaimed Brazilian political thriller The Secret Agent. Conventional wisdom is that Value has already reserved a slot among the ten Oscar BP contenders. Accident and Agent could also factor into the competition.
Needless to say, that leaves Neon in the mode of picking and choosing their favorites. Unless Chuck becomes a sizable sleeper hit at the box office (which seems questionable), Neon may opt to put their full weight behind their international films. Last year when they delayed Chuck, they went all in on Sean Baker’s Anora and that obviously paid off with victories in Picture, Director, Actress (Mikey Madison), and Original Screenplay.
I’ve had Chuck in my 10 predicted BP nominees for the last several weeks, including my latest update from seven days ago. When I publish my updated predictions next weekend, I suspect it will drop out. I do think it stands a solid shot at Adapted Screenplay and maybe Mark Hamill in Supporting Actor. However, Neon’s fortunes at Cannes seem to have diminished Chuck‘s exposure a few months down the line. My Oscar Prediction posts will continue…
Steve McQueen’s World War II drama Blitz opened the London Film Festival today and it’s one of the final major awards puzzle pieces to screen. Opening in limited fashion on November 1st before an Apple TV streaming rollout on November 22nd, the cast includes Saoirse Ronan, young newcomer Elliot Heffernan, Harris Dickinson, Benjamin Clementine, Kathy Burke, Paul Weller, Stephen Graham, Erin Kellyman, and Leigh Gill.
I’ve had Blitz placed in either the 1 or 2 slot in Best Picture in my predictions over the past several months. It’s easy to understand why. In 2013, McQueen’s 12 Years a Slave was a Best Picture winner. Before Blitz, there was only one feature film in between with 2018’s Widows. Despite solid reviews, Widows was not an Academy player. Yet the genre of Blitz seems ripe for consideration.
Following its festival bow, the Rotten Tomatoes meter is at 94% with 76 on Metacritic. That’s just fine, but it’s not that simple. A deeper dive into the critical reaction tells me that Blitz will no longer be placed in the 1 or 2 position for BP. In fact, it will likely drop from the top 5 of possibilities to somewhere between 6-10. In other words, I don’t see it as a threat to win.
As for the cast, not much has changed. Ronan will be campaigned for in Supporting Actress and she is probably the only performer that could (and I suspect will) make the cut. If so, she stands an excellent shot at being a double nominee coupled with her lead work in The Outrun. Such nods would mark her fifth and sixth tries at gold behind Atonement, Brooklyn, Lady Bird, and Little Women. As for Heffernan, he could be a shoo-in for a Best Young Performer nom at the Critics Choice Awards.
Original Screenplay is also possible, but I don’t think it’s automatic. Tech recognitions in Production Design (which seems especially plausible), Costume Design, Cinematography, Original Score, Sound, and maybe Visual Effects are feasible. My Oscar Prediction posts will continue…
Silver Linings Playbook. 12 Years a Slave. The Imitation Game. Room. La La Land. Three Billboards Outside Ebbing, Missouri. Green Book. Jojo Rabbit. Nomadland. Belfast. The Fabelmans. American Fiction. What do those films have in common? They are the last 12 recipients of the Toronto Film Festival’s People’s Choice Award. Another commonality? Every one of them was nominated for Best Picture at the Academy Awards. Three (Slave, Green Book, Nomadland) won the top prize.
The surprise victor of People’s Choice at TIFF this morning is Mike Flanagan’s The Life of Chuck. Based on a novella by Stephen King, it finds the writer/director once again adapting the legendary author as he’s previously done with Gerald’s Game and Doctor Sleep. Chuck is said to be more of crowdpleaser sci-fi drama. Tom Hiddleston, Mark Hamill, Chiwetel Ejiofor, Karen Gillan, and Jacob Tremblay lead the ensemble.
Chuck managed to outpace runners-up Anora and Emilia Pérez (both expected BP hopefuls) in Toronto. With the stats given above, Chuck has immediately entered the awards chat. That said, there are issues to consider before placing it in your BP ten.
First and foremost, Chuck has yet to acquire a stateside distributor. That will surely occur quickly. Yet we don’t know at press time whether it will release in 2024. If it does, it’s hard to argue with the power of TIFF’s biggest trophy. In 2023, American Fiction essentially became a contender in Canada and went onto 5 Academy nods with an Adapted Screenplay victory.
With 88% on Rotten Tomatoes and 66 on Metacritic, Flanagan’s flick is generating nice notices. Frankly, though, I wasn’t really considering it a true contender until this TIFF announcement.
So what are Chuck‘s prospects now? In addition to Picture, Director and especially Adapted Screenplay are in the mix. If there’s an acting play, it might be Luke Skywalker himself Mark Hamill in supporting. If it continues to gain momentum, Editing, Original Score, and Visual Effects might be down ballot categories to keep an eye on. Toronto has potentially brought good luck to Chuck. It hasn’t been mentioned in my forecasts before. This will change at the next update later this week. My Oscar Prediction posts will continue…
The Toronto Film Festival has concluded its 2024 business with the reveal of its People’s Choice Award and the 1st and 2nd runners-up for the prize. This announcement is eagerly awaited by Oscar prognosticators and for good reason. Since the Academy expanded beyond 5 nominees for Best Picture (it now stands at a firm ten but has been 8 or 9 in other years), the People’s Choice recipient has received a BP nod in 14 of those 15 years. The exception was 2011 when Where Do We Go Now? was the victor. Therefore the past 12 winners were Oscar BP contenders.
In 2023, we saw Cord Jefferson’s American Fiction vaulted into contention and ended up with five total nominations, taking the statue for Adapted Screenplay. In 2010, there was only one runner-up. Since 2009, that means 44 features have been People’s Choice selections or runner-ups. Of those 44, 25 went onto Academy nominations for BP. This includes Best Picture winners The King’s Speech, Argo, 12 Years a Slave, Spotlight, Green Book, Parasite, and Nomadland. In recent years, it’s become the norm for 2 of the 3 movies that Toronto names to make the Oscar ten. In addition to Fiction last year, The Holdovers was 1st runner-up.
All that context is pretext to an obvious point… this is a key precursor to the Oscars. Much speculation centered on Sean Baker’s Anora taking TIFF’s highest honor. The acclaimed film already picked up the Palme d’Or at Cannes and is seen as a threat to not only be nominated for Best Picture, but win. Mikey Madison is among the frontrunners for Best Actress. Instead it was 2nd runner-up. That third place showing, by the way, has been shared by Spotlight, Call Me by Your Name, Roma, Parasite, and The Power of the Dog.
First runner-up went to another Cannes premiere: Jacques Audiard’s musical crime flick Emilia Pérez. It’s also widely assumed to be a BP hopeful a few months down the line with potential acting nominations for Karla Sofia Gascón, Zoe Saldaña, and Selena Gomez. Recent 1st runners-up include Argo, Marriage Story, and the aforementioned The Holdovers.
Had Anora or Pérez gotten first place, no one would have been surprised. Same logic applies to Jason Reitman’s Saturday Night which was picked by some to win, place, or show. The actual recipient was unexpected and it’s The Life of Chuck from Mike Flanagan. It joins fellow People’s Choice honorees Precious, The King’s Speech, Silver Linings Playbook, The Imitation Game, Room, La La Land, Three Billboards Outside Ebbing, Missouri, Green Book, Jojo Rabbit, Nomadland, Belfast, and The Fabelmans.
Mr. Flanagan is best known for his contributions to the horror genre. That includes adaptations of Stephen King novels Gerald’s Game and Doctor Sleep. His largest claim to fame is his show running work on Netflix series The Haunting of Hill House, Midnight Mass, and The Fall of the House of Usher.
Chuck is a departure… sort of. It’s adapted from a Stephen King novella, but is more of a sci-fi effort. Reviews were solid (87% on Rotten Tomatoes and 66 on Metacritic). However, this was not really seen as a BP contender. Distribution and the release date are still influx. There’s no trailer.
Its awards narrative has certainly changed as of today. You can expect the People’s Choice champ starring Tom Hiddleston, Mark Hamill, Chiwetel Ejiofor, Karen Gillan, and Jacob Tremblay to pick up a distributor in a hurry. An awards campaign will surely follow. I’ve yet to even consider Chuck in my top 25 possibilities for BP. That won’t be the case when I pen my next update. Even if it’s not ultimately up for BP, Adapted Screenplay seems like a strong possibility now. Make no mistake. Toronto has given unanticipated life to Chuck.
In 2018, Regina King was a Supporting Actress victor at the Oscars for If Beale Street Could Talk. Her latest project, at least on paper, appears to be another hopeful. In the biographical drama Shirley (not to be confused with 2020’s same titled biographical drama with Elisabeth Moss), King portrays Shirley Chisholm, the first African-American woman to run for President in 1972. Depicting that time in her life, John Ridley (an Academy winner for penning 2013’s 12 Years a Slave) directs with a supporting cast including the late Lance Reddick, Terrence Howard, Lucas Hedges, Brian Stokes Mitchell, and André Holland. The film is out in limited release this weekend before its March 22nd Netflix premiere.
Early reviews are mostly complimentary while none are really raves. The RT score is 78%. Any thoughts of this being a BP contender can go away (the release date kind of clued us into that). Unsurprisingly, King is being highly praised. I just question whether this will be in the minds of voters several months down the road. Netflix will need to keep her busy on the campaign trail for any possibility of a second nom. My Oscar Prediction posts will continue…
As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
I will begin with the ten BP contenders and then alternate alphabetically between the hopefuls in the other five big races. Cord Jefferson’s American Fiction kicks it off!
The Case for American Fiction:
The awards buzz for Hustle went into high gear when it won the People’s Choice Award at the Toronto Film Festival. That prize has also been bestowed to BP victors American Beauty, Slumdog Millionaire, The King’s Speech, 12 Years a Slave, Green Book, and Nomadland. The satire has been nominated for BP at Critics Choice and the Golden Globes and it exceeded expectations with 5 totals noms: Jeffrey Wright in Actor, Sterling K. Brown for Supporting Actor, Adapted Screenplay, and Original Score being the others.
The Case Against American Fiction:
It hasn’t won any of the previous BP derbies. Despite the five mentions, it missed out in key BP winning races like Director and Film Editing.
The Verdict:
American Beauty should still be the most recent BP recipient beginning the word American. Fiction‘s best hope for a statue is in the seemingly wide open Adapted Screenplay category where it emerged victorious at Critics Choice.
My Case Of posts will continue with Anatomy of a Fall…
The Toronto Film Festival has wrapped and our friends up north have bestowed their People Choice’s Award along with the first and second runner-ups. Just how important is this prize in correlating to a Best Picture spot at the Oscars? Let’s go to the numbers and they’re telling.
Of the last 15 People’s Choice winners from TIFF, 14 received a BP nomination and 5 of them ultimately took the big prize: 2008’s Slumdog Millionaire, 2010’s The King’s Speech, 2013’s 12 Years a Slave, 2018’s Green Book, and 2020’s Nomadland.
When it comes to the 1st and 2nd runners-up, 10 of them in the past 15 cycles have received BP attention. That includes three winners in 2012’s Argo, 2015’s Spotlight, and 2019’s Parasite.
So… it’s a key harbinger to Academy attention. And that’s why it’s a tad surprising that Cord Jefferson’s directorial debut American Fiction is the pick. That’s not because it didn’t get great reviews (it’s at 96% via 24 write-ups on RT). It just snuck up on prognosticators like myself with the TIFF love (there’s not even a trailer yet). The dramedy focused on race relations is now undeniably a factor in awards discussions as it moves towards its November 3rd debut. Jeffrey Wright’s lead performance and the Adapted Screenplay are also in the mix for attention.
The first runner-up, unsurprisingly, is Alexander Payne’s The Holdovers (which many were picking to receive People’s Choice). For Payne, it’s looked at as a return to form after his underwhelming predecessor Downsizing in 2017. This 1970s set Christmas tale appears poised for possible nods in BP (joining earlier Payne efforts Sideways, The Descendants, and Nebraska) and Paul Giamatti and Da’Vine Joy Randolph, and certainly Original Screenplay.
The Boy and the Heron is Hayao Miyazaki’s latest acclaimed animated feature which opened TIFF. It’s pretty much a given that this will contend in Best Animated Feature though it could be a tall order to overcome frontrunner Spider-Man: Across the Spider-Verse.
Here are the facts: TIFF has boosted Fiction in a serious way. Keep an eye on the blog for further Oscar Predictions updates!
Steve McQueen’s Occupied City, based on buzz out of Cannes, may not be the best documentary we’ll see in 2023. It certainly sounds like it’s the most documentary. Clocking in at about four and a half hours, it tells dual stories of Amsterdam from its Nazi occupation in WWII and its last few years during the pandemic.
A decade ago, the filmmaker’s 12 Years a Slave was crowned Best Picture (while McQueen himself lost the directorial race to Alfonso Cuarón for Gravity). His lone theatrical follow-up is 2018’s Widows. McQueen’s anthology series Small Axe from 2020 was critically heralded on the small screen and the historical drama Blitz with Saorise Ronan is on the way.
The plaudits for his body of work hasn’t fully extended to City. The Rotten Tomatoes meter early on is 67%. A common complaint is its length and stodginess. I don’t see this occupying one of the five spots in Documentary Feature a few months down the road. My Oscar Prediction posts will continue…
The BAFTAs, Britain’s version of the Academy Awards, airs this Sunday (February 19) and it can often serve as a preview for where the Oscars will go. That holds true in same races more than others like the acting derbies.
In the past decade, 32 of the 40 winners in Actress, Actor, Supporting Actress, and Supporting Actor became Oscar recipients. That’s 8 out of the past 10 Actresses, 9 for 10 in Actor, 7 for 10 in Supporting Actress, and 8 for 10 in Supporting Actor.
It’s a different story for the grand prize. A mere 3 of 10 Best Film winners at BAFTA are BP victors at the Oscars – Argo, 12 Years a Slave, and Nomadland. The percentage goes up considerably for Director at 7/10.
I’m going to keep it simple here. I’ll give you the nominees and my predicted winner and a runner-up. Let’s get to it!
Best Film
All Quiet on the Western Front, The Banshees of Inisherin, Elvis, Everything Everywhere All at Once, Tár
Predicted Winner: The Banshees of Inisherin
Runner-Up: Everything Everywhere All at Once
Best Director
Edward Berger (All Quiet on the Western Front), Park Chan-wook (Decision to Leave), Daniels (Everything Everywhere All at Once), Todd Field (Tár), Martin McDonagh (The Banshees of Inisherin)
Predicted Winner: Daniels, Everything Everywhere All at Once
Runner-Up: Todd Field, Tár
Best Actressin a Leading Role
Cate Blanchett (Tár), Viola Davis (The Woman King), Ana de Armas (Blonde), Danielle Deadwyler (Till), Emma Thompson (Good Luck to You, Leo Grande), Michelle Yeoh (Everything Everywhere All at Once)
Predicted Winner: Cate Blanchett, Tár
Runner-Up: Michelle Yeoh, Everything Everywhere All at Once
Best Actor in a Leading Role
Austin Butler (Elvis), Colin Farrell (The Banshees of Inisherin), Brendan Fraser (The Whale), Daryl McCormack (Good Luck to You, Leo Grande), Paul Mescal (Aftersun), Bill Nighy (Living)
Predicted Winner: Austin Butler, Elvis
Runner-Up: Colin Farrell, The Banshees of Inisherin
Best Actress in a Supporting Role
Angela Bassett (Black Panther: Wakanda Forever), Hong Chau (The Whale), Kerry Condon (The Banshees of Inisherin), Jamie Lee Curtis (Everywhere All at Once), Dolly de Leon (Triangle of Sadness), Carey Mulligan (She Said)
Predicted Winner: Kerry Condon, The Banshees of Inisherin
Runner-Up: Angela Bassett, Black Panther: Wakanda Forever
Best Actor in a Supporting Role
Brendan Gleeson (The Banshees of Inisherin), Barry Keoghan (The Banshees of Inisherin), Ke Huy Quan (Everything Everywhere All at Once), Eddie Redmayne (The Good Nurse), Albrecht Schuch (All Quiet on the Western Front), Micheal Ward (Empire of Light)
Predicted Winner: Ke Huy Quan, Everything Everywhere All at Once
Runner-Up: Brendan Gleeson, The Banshees of Inisherin
Best Original Screenplay
The Banshees of Inisherin, Everything Everywhere All at Once, The Fabelmans, Tár, Triangle of Sadness
Predicted Winner: The Banshees of Inisherin
Runner-Up: Everything Everywhere All at Once
Best Adapted Screenplay
All Quiet on the Western Front, Living, The Quiet Girl, She Said, The Whale
Predicted Winner: Living
Runner-Up: All Quiet on the Western Front
Best Animated Film
Guillermo del Toro’s Pinocchio, Marcel the Shell with Shoes On, Puss in Boots: The Last Wish, Turning Red
Predicted Winner: Guillermo del Toro’s Pinocchio
Runner-Up: Marcel the Shell with Shoes On
Best Film Not in the English Language
All Quiet on the Western Front, Argentina, 1985, Corsage, Decision to Leave, The Quiet Girl
Predicted Winner: All Quiet on the Western Front
Runner-Up: The Quiet Girl
Best Documentary
All That Breathes, All the Beauty and the Bloodshed, Fire of Love, Moonage Daydream, Navalny
Predicted Winner: Fire of Love
Runner-Up: Navalny
Best Casting
Aftersun, All Quiet on the Western Front, Elvis, Everything Everywhere All at Once, Triangle of Sadness
Predicted Winner: Everything Everywhere All at Once
Runner-Up: Elvis
Best Cinematography
All Quiet on the Western Front, The Batman, Elvis, Empire of Light, Top Gun: Maverick
Predicted Winner: All Quiet on the Western Front
Runner-Up: Elvis
Best Costume Design
All Quiet on the Western Front, Amsterdam, Babylon, Elvis, Mrs. Harris Goes to Paris
Predicted Winner: Elvis
Runner-Up: Mrs. Harris Goes to Paris
Best Editing
All Quiet on the Western Front, The Banshees of Inisherin, Elvis, Everything Everywhere All at Once, Top Gun: Maverick
Predicted Winner: Everything Everywhere All at Once
Runner-Up: Top Gun: Maverick
Best Make-Up & Hair
All Quiet on the Western Front, The Batman, Elvis, Roald Dahl’s Matilda the Musical, The Whale
Predicted Winner: The Whale
Runner-Up: Elvis
Best Original Score
All Quiet on the Western Front, Babylon, The Banshees of Inisherin, Everything Everywhere All at Once, Guillermo del Toro’s Pinocchio
Predicted Winner:Babylon
Runner-Up: All Quiet on the Western Front
Best Production Design
All Quiet on the Western Front, Babylon, The Batman, Elvis, Guillermo del Toro’s Pinocchio
Predicted Winner: All Quiet on the Western Front
Runner-Up: Babylon
Best Sound
All Quiet on the Western Front, Avatar: The Way of Water, Elvis, Tár, Top Gun: Maverick
Predicted Winner: All Quiet on the Western Front
Runner-Up: Top Gun: Maverick
Best Special Visual Effects
All Quiet on the Western Front, Avatar: The Way of Water, The Batman, Everything Everywhere All at Once, Top Gun: Maverick
Predicted Winner: Avatar: The Way of Water
Runner-Up: Top Gun: Maverick
Outstanding British Film
Aftersun, The Banshees of Inisherin, Brian and Charles, Empire of Light, Good Luck to You, Leo Grande, Living, Roald Dahl’s Matilda the Musical, See How They Run, The Swimmers, The Wonder
Predicted Winner: The Banshees of Inisherin
Runner-Up: Aftersun
Outstanding Debut by a British Writer, Director or Producer
Aftersun, Blue Jean, Electric Malady, Good Luck to You, Leo Grande, Rebellion
Predicted Winner: Aftersun
Runner-Up: Good Luck to You, Leo Grande
That equates to these movies generating these numbers in terms of wins:
4 Wins
All Quiet on the Western Front, The Banshees of Inisherin, Everything Everywhere All at Once
2 Wins
Elvis
1 Win
Aftersun, Avatar: The Way of Water, Babylon, Fire of Love, Guillermo del Toro’s Pinocchio, Living, Tár, The Whale
My Case Of posts will for the ten Best Picture hopefuls is past the halfway point as we consider the pros and cons of our sixth competitor The Fabelmans.
The Case for The Fabelmans:
Steven Spielberg’s 13th movie to be nominated for BP (only Schindler’s List won) is his most personal as arguably today’s most iconic director gets autobiographical. It was first seen at the Toronto Film Festival where it took the People’s Choice Award. That’s a prize shared by later Oscar winners such as The King’s Speech, 12 Years a Slave, Green Book, and Nomadland. At the Golden Globes, it had a big night as it was bestowed Best Motion Picture (Drama) and Spielberg nabbed the directorial trophy. A victory here could be seen as a genuine thank you for its maker’s cinematic contributions.
The Case Against The Fabelmans:
That genuine thank you could just as easily come with Spielberg being Best Director and BP going to something else. Despite the Globes love, BAFTA was shockingly dismissive as its sole nomination is for screenplay. At Critics Choice, it went a mere 1/11 with Gabriel LaBelle as Best Young Actor (a non-existent Academy race). While the seven nominations are decent, there were notable omissions including Film Editing and Cinematography. It’s also undeniably a box office dud with $16 million at press time.
Other Nominations:
Director (Spielberg), Actress (Michelle Williams), Supporting Actor (Judd Hirsch), Original Screenplay, Original Score, Production Design
The Verdict:
There is a universe in which The Fabelmans gets BP and Director, but I would put it behind Everything Everywhere All at Once and The Banshees of Inisherin right now. An Ensemble win at SAG could help momentum. It may be behind the aforementioned at that ceremony too.
My Case Of posts will continue with Tár!
If you missed my previous posts in the series, you can access them here:
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