Tag: Almost Famous

Oscar Predictions: Song Sung Blue

Focus Features may focus part of their awards campaigning on Song Sung Blue as it readies a Christmas Day release. The musical drama comes from Hustle & Flow and Dolemite Is My Name director Craig Brewer and tells the true story of a down-on-their-luck couple who form a Neil Diamond tribute band. Hugh Jackman and Kate Hudson play the crooners with a supporting cast including Ella Anderson, King Princess, Michael Imperioli, Mustafa Shakir, Fisher Stevens, and Jim Belushi.

Blue played at the AFI Fest earlier this week and word-of-mouth indicates this could be a crowdpleaser with holiday box office potential. There aren’t a large volume of reviews out yet with 80% on Rotten Tomatoes and perhaps a more telling 57 on Metacritic. Best Picture is likely not in the cards.

The best and probably only chance at a nomination is Kate Hudson for lead Actress. Even some of the negative ink is singing her praises. If she makes the cut, it would come 25 years after her first and only nod in supporting for Almost Famous.

I believe it’s pretty safe to assume Jessie Buckley (Hamnet), Renate Reinsve (Sentimental Value), and Cynthia Erivo (Wicked: For Good) have secured placement in the quintet. That leaves two slots for a handful or so of contenders and Hudson could have an enticing narrative for voters in a showy role. My feeling right now is she just misses, but my thoughts could shift based on precursors. Frontrunner Buckley, by the way, is contending in another Focus distributed project and they could train their sights on securing her the victory.

The film seems poised to be a factor at the Golden Globes in the Musical/Comedy categories including Picture and Jackman, and Hudson in their lead derbies. Oscar could be a tougher sell and my Oscar Prediction posts will continue…

98th Academy Awards: The State of the Best Actress Race (October Edition)

Instead of writing a full update on my Oscar predictions this week, I’m doing a deep dive on the six highest profile races: Picture, Director and the four acting derbies. Best Actor and the supporting fields have been covered. If you missed my write-ups on them, please find them here:

98th Academy Awards: The State of the Best Actor Race (October Edition)
98th Academy Awards: The State of the Supporting Actress Race (October Edition)
98th Academy Awards: The State of the Supporting Actor Race (October Edition)

I published my first preview of the lead Actress field on April 11th. In that post, I listed my initial predictions for the quintet of hopefuls along with ten other possibilities. At that impossibly early stage of the game, my selections were:

Jessie Buckley, Hamnet

Cynthia Erivo, Wicked: For Good

Renate Reinsve, Sentimental Value

Julia Roberts, After the Hunt

Amanda Seyfried, The Testament of Ann Lee

Other Possibilities:

Rose Byrne, If I Had Legs I’d Kick You

Olivia Colman, The Roses

Jodie Foster, A Private Life

Jessica Lange, Long Day’s Journey Into Night

Jennifer Lawrence, Die, My Love

Lucy Liu, Rosemead

Emma Mackey, Ella McCay

June Squibb, Eleanor the Great

Emma Stone, Bugonia

Tessa Thompson, Hedda

What’s pretty amazing is how viable many of these contenders still are. In fact, it wouldn’t be totally crazy for my initial quintet to still be the final quintet. I believe there’s an excellent shot that 80% of them get in. Before we get to them, let’s dispense with the other possibilities that are no longer possibilities, shall we?

Olivia Colman (The Roses) and Jodie Foster (A Private Life) have OK chances to make the cut at the Globes in lead Actress in a Musical/Comedy. However, the former Oscar winners will not be returning to that ceremony. I’d say the same for June Squibb as Eleanor the Great drew mixed notices from critics and was a non-factor at the box office. Then there’s Jessica Lange. It seems like Long Day’s Journey Into Night is always about to come out, but never does. I’ve had her listed as a possibility in 2023 and 2024 and now 2025 and there’s still no release date. Perhaps she’ll pop up again for 2026.

Emma Mackey’s work for December’s Ella McCay is still unseen. The fact that it skipped autumn festivals could be telling, but you never know. Lucy Liu’s performance in Rosemead has been heralded at fests and distributor Vertical should push her as they picked up distribution rights for a December bow. I’m just not convinced it’ll get enough eyeballs for her to truly contend.

The other nine actresses among the 15 above are very much worthy of discussion, along with a couple others. That discussion begins (and ultimately could end) with Jessie Buckley in Hamnet. As Agnes Shakespeare, wife to the famed playwright in Chloé Zhao’s historical drama, she drew raves at Telluride and Toronto. Slated for wide release in December, the pic should garner multiple noms and Buckley is in the pole position for a victory.

Her biggest competition could be Renate Reinsve from another fest favorite Sentimental Value. I had her at #1 for awhile until Hamnet was unveiled.

While it’s still unseen, Cynthia Erivo could make it two in a row with the second part of Wicked and once again join her costar Ariana Grande (in supporting) as a nominee.

And while the movie itself drew divergent reactions, Amanda Seyfried was widely praised for The Testament of Ann Lee and Searchlight seems poised to mount a spirited campaign.

All four were in my inaugural April predictions. All four still are at the moment. The one that’s not is Julia Roberts in After the Hunt despite her being on top when I did my first ranked projections a few months ago. Since then, Hunt has been hindered plenty of negative reviews and poor box office. It’s not unthinkable for the 2000 Best Actress recipient to make the cut though it is a more remote possibility at this juncture.

Of the other possibilities from April, four still are. I could easily give two-time winner Emma Stone the spot. A Bugonia BP nom would help. The Academy could also feel like she’s been honored enough.

Rose Byrne has never been nominated for an Oscar and she’s getting career best notices for If I Had Legs I’d Kick You. Precursor attention and critics groups trophies could put her in.

Jennifer Lawrence (Die, My Love) and Tessa Thompson (Hedda) face trickier odds and if either got in, it’d be considered an upset right now. That dynamic could shift if the Globes/Critics Choice/SAG start naming either of them.

When it comes to names not mentioned in the initial 15, Sydney Sweeney has many critics saying she delivers in the boxing biopic Christy. Her chances could be KO’d by middling reviews for the pic itself.

Eva Victor (Sorry, Baby) got her flowers at Sundance and beyond. She would need precursors to gain any momentum.

There are two actresses not in the April mix that certainly are now. Chase Infiniti will be campaigned in lead for One Battle After Another which could become the next BP. The Warner Bros announcement that Infinti (in her first feature film role) is going for Actress and not Supporting Actress has caused many prognosticators to shift their thinking. She’s far from automatic (or close to it) like her costars Leonardo DiCaprio, Sean Penn, and Teyana Taylor but she could find herself joining them on the red carpet.

Finally, Kate Hudson was up 25 years ago in supporting for Almost Famous. Her role in the forthcoming Song Sung Blue is rumored to be an Oscar-baity part. We’ll know more tomorrow when it screens at the AFI Fest.

My in-depth look at the big races will continue with Best Director!

98th Academy Awards: The State of the Supporting Actress Race (October Edition)

Instead of writing a full update on my Oscar predictions this week, I’m doing a deep dive on the six highest profile races: Picture, Director and the four acting derbies. It began with Supporting Actor and continues today with Supporting Actress. If you missed my write-up on Supporting Actor, you can find it here:

98th Academy Awards: The State of the Supporting Actor Race (October Edition)

I published my first preview of the Supporting Actress field on April 6th. In that post, I listed my initial predictions for the quintet of hopefuls along with ten other possibilities. At that impossibly early stage of the game, my selections were:

Ayo Edebiri, After the Hunt

Ariana Grande, Wicked: For Good

Angelina LookingGlass, The Rivals of Amziah King

Gwyneth Paltrow, Marty Supreme

Teyana Taylor, One Battle After Another

Let’s dispense with a couple of those names. Angelina LookingGlass’s heralded work in The Rivals of Amziah King has not been scheduled for 2025. At this point, I’m assuming it will come out in 2026.

After the Hunt has lost its awards luster after a poor commercial and critical reaction. While her costar Julia Roberts may have a long shot chance at making the Actress cut, I don’t see the same for Edebiri.

The other three names are very much viable. Ariana Grande was nominated last year as Glinda the Good Witch and was probably runner-up to Zoe Saldaña (Emilia Pérez). While For Good has yet to screen, it stands to reason that she could make a return to the lineup. I’ve had her ranked first the whole year and we’ll see if that remains when word-of-mouth comes in.

Teyana Taylor’s performance dominates the first third of One Battle After Another (arguably the BP frontrunner). That should be enough for her to be the most likely Supporting Actor nominee in the film and we’ll get to Regina Hall shortly.

Gwyneth Paltrow is not a guaranteed competitor like her costar Timothée Chalamet is in lead actor. However, her work in Marty Supreme is definitely viable in this unformed race. The same could be said for her costar Odessa A’Zion though I’d put Paltrow ahead.

My 10 other possibilities that I listed back in April are:

Emily Blunt, The Smashing Machine

Glenn Close, Wake Up Dead Man: A Knives Out Mystery

Laura Dern, Jay Kelly

Elle Fanning, Sentimental Value

America Ferrera, The Lost Bus

Regina Hall, One Battle After Another

Greta Lee, Late Fame

Nia Long, Michael

Jennifer Lopez, Kiss of the Spider Woman

Emily Watson, Hamnet

Let’s start with Regina Hall. When it was announced that Chase Infiniti would compete in lead Actress for Battle, it opened the door for Hall. I maintain that she’s behind her costar Taylor. I currently have her on the outside looking in, but wouldn’t be surprised if she hears her name called. In the 21st century, we’ve seen double nominees in this category 10 out of 25 times. The last example was 2022 when Jamie Lee Curtis won for Everything Everywhere All at Once while her cast mate Stephanie Hsu was also up. The other times were as follows:

2000: Frances McDormand and Kate Hudson, Almost Famous

2001: Helen Mirren and Maggie Smith, Gosford Park

2002: Catherine Zeta-Jones (winner) and Queen Latifah, Chicago

2006: Adriana Barraza and Rinko Kikuchi, Babel

2008: Amy Adams and Viola Davis, Doubt

2009: Vera Farmiga and Anna Kendrick, Up in the Air

2010: Melissa Leo (winner) and Amy Adams, The Fighter

2011: Octavia Spencer (winner) and Jessica Chastain, The Help

2018: Emma Stone and Rachel Weisz, The Favourite

Another possibility of two nominees from the same pictures lies with Elle Fanning (Sentimental Value) and her costar Inga Ibsdotter Lilleass. The former seems marginally more likely but Lilleass is absolutely a threat to make the quintet.

A third possibility of two actresses from one feature is Wunmi Mosaku and Hailee Steinfeld from Sinners. That’s a more remote possibility and the film would really have to over perform for either to get in.

Back to those 10 other possibilities. Michael was pushed to 2026 so there goes Nia Long. Laura Dern, America Ferrera, Greta Lee and Emily Watson are all long shots at best after their movies screened. For Dern and Watson, they could see some of their costars nominated.

Emily Blunt could factor in if she manages SAG or Critics Choice or a Globe nod. Yet The Smashing Machine was a major box office flop and that doesn’t help. The same logic applies to Jennifer Lopez for Kiss of the Spider Woman.

Glenn Close is arguably considered the best thespian who hasn’t won an Oscar despite eight attempts. That could help her cause in Rian Johnon’s latest murder mystery, but none of the actors from Knives Out and Glass Onion made it despite respective buzz for Ana de Armas and Janelle Monae.

One name not on my radar in April was Amy Madigan in Weapons. The summer sleeper gave the veteran actress an unforgettably creepy role that should inspire many a Halloween costume next week. I’m starting to really think she could find herself in the quintet.

So there you have it, readers! I would say Grande, Taylor, Fanning, Lilleass, Madigan, Paltrow and Hall are the seven likeliest contestants with potential surprises including Close, Lopez, Blunt and Mosaku. I will zone in on Best Actor in the next write-up!

Licorice Pizza Review

I’ve been grooving to the beat of Paul Thomas Anderson’s cinematic vibes for a quarter century. There was the magnificent Boogie Nights in 1997 and the iconic Daniel Day-Lewis milkshake monologue in There Will Be Blood ten years later. A decade after that, my PTA appetite was satiated by Phantom Thread. 

His latest is Licorice Pizza and it’s his most laid back experience. This coming-of-age slice of life takes place in the Valley circa 1973. It feels lived in and authentic and personal. There’s individual scenes where the filmmaker’s brilliance is on full display. Like all of his efforts, there’s memorable performances. And unlike most of his catalogue, this Almost Famous feeling flick has flaws I couldn’t overlook. It’s almost joyous and almost worth the viewing and ultimately more problematic than rewarding.

Loosely based on the teen years of former child actor Gary Goetzman (now a highly successful producing partner of Tom Hanks), Cooper Hoffman is 15-year-old Gary Valentine. He’s costarred in movies and commercials and is far more confident than anyone his age has a right to be. That self-assured nature is evident when he asks 25-year-old photographer’s assistant Alana Kane (Alana Haim) out on a date. She rebuffs his advances at first but ends up meeting him out. The two strike up a friendship and the benefit for us is watching Hoffman and Haim shine in their acting debuts. The son of Anderson’s late frequent collaborator Philip Seymour Hoffman and one third of a well-known rock band, Hoffman and Haim are naturals. The drawback is an age difference I couldn’t overlook… so let’s go there.

This is where the sunny tone of Pizza conflicted with their borderline (perhaps over borderline) inappropriate coupling. It’s not overtly sexual and Alana is well aware that hanging with the decade younger Gary is far from normal. Yet there’s enough of a leftover distasteful feeling that it hindered the entertainment value for me. One could argue Gary is more mature than Alana and perhaps that justifies some of what happens. That’s a tough needle to thread and I just couldn’t get there.

Pizza has a lazy hangout atmosphere that recalls Tarantino’s Once Upon a Time in Hollywood. Like that picture, it’s steeped in exploring a different showbiz era and the technical aspects we expect from PTA (production design, cinematography, costumes, and more) are top notch.

The episodic nature is hit or miss. Pizza‘s best course involves Bradley Cooper as hairdresser turned producer Jon Peters. His segment moves at a thrilling clip as Gary’s failing waterbed business and the 70s era gasoline shortage play important roles. I can’t say the same for Sean Penn’s bit as an aging movie star (based on William Holden) and his motorcycle exploits. By the time we arrive at Alana trying a new career as a campaign worker for conflicted mayoral candidate Joel Wachs (Benny Safdie), the pic was starting to run on fumes.

When a director of immense capabilities makes an almost misfire, there’s no denying it’s more of a letdown. That’s where I stand with Licorice Pizza and it brings me no joy to deliver that news.

**1/2 (out of four)

Oscar Watch: Stillwater

Matt Damon is a three-time nominee for his acting with leading nods for 1997’s Good Will Hunting and 2015’s The Martian and his supporting turn in 2009’s Invictus. He does have himself a gold statue for his cowriting of Hunting. The Cannes Film Festival has debuted his latest effort Stillwater where the Bourne star plays an Oklahoma dad transported to France when his daughter (Abigail Breslin, a nominee 15 years ago as Little Miss Sunshine) is accused of murder. So for those wondering – no, this is not about the fictional band from Almost Famous.

This marks the latest directorial effort from Tom McCarthy, whose 2015 journalistic expose Spotlight won Best Picture. Fun fact: McCarthy has to have one of the most unexpected follow-ups to a Best Pic recipient with the Disney Plus kiddie comedy Timmy Failure: Mistakes Were Made. 

Stillwater looks like more of an awards contender. However, Failure‘s 84% Rotten Tomatoes score currently outshines the 80% held by Damon’s French excursion. That said, early critical reaction is calling this one of the actor’s best performances.

Will that be enough to get Damon to the final five? I’m skeptical. Competition will likely be steep. This reminds me a bit of The Way Back from a year ago. It gave his Hunting writing partner Ben Affleck some of the strongest notices of his filmography and garnered him some buzz. Yet he ended up not making the cut.

Bottom line: Stillwater‘s only chance at Academy recognition seems to be with Damon, but he could face an uphill climb. My Oscar Watch posts will continue…

Oscars 2020: The Case of Frances McDormand

The fourth contender is up in what has become the most fascinating competition at the Oscars (Best Actress) with Frances McDormand in Nomadland. If you missed coverage on the first three (Viola Davis in Ma Rainey’s Black Bottom, Andra Day in The United States vs. Billie Holiday, Vanessa Kirby in Pieces of a Woman), they’re here:

Oscars 2020: The Case of Viola Davis

Oscars 2020: The Case of Andra Day

https://toddmthatcher.com/2021/04/09/oscars-2020-the-case-of-vanessa-kirby/

The Case for Frances McDormand

She’s starring in the Oscar favorite for Best Picture and Director with one of her most acclaimed roles. That’s saying a lot. Nomadland marks McDormand’s sixth nomination overall. She’s been nominated thrice in supporting for Mississippi Burning, Almost Famous, and North Country where’s she 0 for 3. However, in her previous Best Actress plays, she’s 2 for 2 with Fargo and Three Billboards Outside Ebbing, Missouri. Just this weekend McDormand took the award at BAFTA and there is a 9/10 Oscar match from 2010-2019. Added to that is the history she would make. By taking three Best Actress honors, she would become only the second woman ever to do so (Katherine Hepburn received 4).

The Case Against Frances McDormand 

This is as unpredictable a race as it gets. While McDormand’s BAFTA is a sure sign that’s she in this, other precursors have not followed suit. Viola Davis is the SAG recipient. Andra Day took the Golden Globes and Carey Mulligan (Promising Young Woman) is the Critics Choice honoree. All stand reasonable chances and there could be a feeling that McDormand has been there and done that (twice). In an interesting stat, only one Best Actress winner in the 21st century has seen her film take the big prize (Hilary Swank, Million Dollar Baby).

The Verdict

The BAFTA vaults McDormand into even more serious consideration to take Oscar #3 in a race that seems to be coming down to the wire.

My Case Of posts will continue with Gary Oldman in Mank…

Rocketman Movie Review

Rocketman, the biopic of legendary piano man Elton John, exists in familiar territory. Yet it manages to do so in an often inventive fashion with a commanding performance by its lead. The pic is directed by Dexter Fletcher, who filled in on Bohemian Rhapsody when Bryan Singer was dumped. They share similar themes of a shy boy coming into his own as an eventual iconic music figure. Unlike Rhapsody, Taron Egerton quite capably and bravely provides the vocal work of the man he’s playing.

The opening finds Elton in a high place both literally and figuratively as he’s about to once again play to a sold out crowd. He’s also at a low in terms of multiple kinds of addiction. Finally asking for help via Alcoholics Anonymous, Lee Hall’s screenplay then provides the framework for flashbacks of his life. It begins with him as the pint sized Reginald Dwight in 1950s England. He’s ignored by his father (Steven Mackintosh) and treated with ambivalence by his mum (Bryce Dallas Howard). His discovery of the piano is a watershed moment. Reginald has natural talent but a laser focus on perfecting the craft.

His most significant encounter comes through Bernie Taupin (Jamie Bell). He writes the songs and Elton provides the melodies. Bernie is often the only figure in his life who genuinely cares about the newly christened Elton. Fighting through timidity, the newly named vocalist gets loud on the mic and with his outfits. Fame, fortune, and drug addiction follow as they so frequently do.

Those plot points are as known as the lyrics to many Elton tunes. Lucky for us, this isn’t just about a musician. It’s a genuine musical with tightly choreographed numbers set to high energy bangers like “Saturday Night’s Alright” and “The Bitch is Back” and contemplative pieces like “Don’t Let the Sun Go Down On Me” and the title track. It has the second best movie scene set to “Tiny Dancer”. It’s a tall order to top Almost Famous.

Elton’s love life and homosexuality are explored from an ill-conceived marriage to a woman to his turbulent romance with manager John Reid (Richard Madden). By the time “I’m Still Standing” rises over the speakers, I felt pretty satisfied with this journey through his career and road to sobriety. There’s certainly a theme of Elton forging through his issues and creating his own reality with his outlandish persona. He may not have written all of the words that skyrocketed him to superstardom, but he provided the unforgettable notes. Rocketman often succeeds at capturing them.

*** (out of four)

Best Supporting Actress: A Look Back

Today begins a new blog series where I’m looking back at five of the major Oscar categories from 1990 to the present: the four acting races and Best Picture. This is essentially the time period where I’ve closely watched and analyzed. My charge? Picking the three largest upsets in each said category and the three least surprising winners… a film or performer where it truly would have been a shock if they didn’t emerge victorious.

We begin with Best Supporting Actress and this is one in which there have been some genuine upsets over the past quarter century plus. Unlike some other races we’ll get to later, it was not a challenge to pick three unexpected winners.

The other agenda item here is I’m picking my personal selections for strongest and weakest overall field among the five nominees in the acting derby’s and five-ten for Best Picture.

For starters, here’s the list of women that won gold statues in the supporting race from 1990 to now:

1990 – Whoopi Goldberg, Ghost

1991 – Mercedes Ruehl, The Fisher King

1992 – Marisa Tomei, My Cousin Vinny

1993 – Anna Paquin, The Piano

1994 – Dianne Wiest, Bullets Over Broadway

1995 – Mira Sorvino, Mighty Aphrodite

1996 – Juliette Binoche, The English Patient

1997 – Kim Basinger, L.A. Confidential

1998 – Judi Dench, Shakespeare in Love

1999 – Angelina Jolie, Girl, Interrupted

2000 – Marcia Gay Harden, Pollock

2001 – Jennifer Connelly, A Beautiful Mind

2002 – Catherine Zeta-Jones, Chicago

2003 – Renee Zellweger, Cold Mountain

2004 – Cate Blanchett, The Aviator

2005 – Rachel Weisz, The Constant Gardner

2006 – Jennifer Hudson, Dreamgirls

2007 – Tilda Swinton, Michael Clayton

2008 – Penelope Cruz, Vicky Christina Barcelona

2009 – Mo’Nique, Precious

2010 – Melissa Leo, The Fighter

2011 – Octavia Spencer, The Help

2012 – Anne Hathaway, Les Miserables

2013 – Lupita Nyong’o, 12 Years a Slave

2014 – Patricia Arquette, Boyhood

2015 – Alicia Vikander, The Danish Girl

2016 – Viola Davis, Fences

2017 – Allison Janney, I, Tonya

I’ll begin with the least surprising winners. Truthfully, there are plenty of selections (and will be in each race) to pick from here. It’s normal procedure for the front runner to actually win. Here’s three that did just that:

3. Dianne Wiest, Bullets Over Broadway

Of the 28 recipients to choose from, note that 3 of them were under the direction of Woody Allen. None were surprise winners. That’s most evident with Wiest’s showcase work as an aging diva here. Her win here came just eight years following her Oscar winning role in another Allen pic, Hannah and Her Sisters.

2. Jennifer Hudson, Dreamgirls

Fans of the Broadway play this is based upon knew Ms. Hudson could have a legitimate breakthrough part here. She nailed it and her win was never in much doubt.

1. Anne Hathaway, Les Miserables

Similar to Hudson’s victory, Hathaway’s casting as Fantine and her “I Dreamed a Dream” dramatic solo made her the odds-on favorite from the moment the project was announced. That never changed.

Now we get to the upsets and there were four to choose from. I could easily include Anna Paquin in The Piano, who became the second youngest winner when she beat out favorite Winona Ryder for The Age of Innocence. Here’s 3 I rank as even more surprising:

3. Marcia Gay Harden, Pollock

Harden had won no significant precursors and Kate Hudson was expected to have her name called for Almost Famous. She wasn’t even nominated for a Golden Globe or SAG.

2. Juliette Binoche, The English Patient

While the film itself was the anticipated winner for Picture (which it did), the Oscars were expected to select the legendary Lauren Bacall for her work in Barbra Streisand’s The Mirror Has Two Faces. Yet it was Binoche’s performance that was unexpectedly honored.

1. Marisa Tomei, My Cousin Vinny

For starters, comedic roles are rarely nominated and wins are even more unheard of. Tomei was a newcomer in a picture that wasn’t a factor in any other category. Her competition was a list of venerable actresses: Judy Davis (Husbands and Wives), Joan Plowright (Enchanted April), Vanessa Redgrave (Howards End), and Miranda Richardson (Damages). The victory here was so shocking that conspiracy theories emerged that presenter Jack Palance had accidentally read the wrong name. That’s been debunked, but Tomei’s trip to the stage remains one of Oscar’s largest jaw droppers.

As for the fields, I’m going with 1991 for the weakest link in the chain. I probably would have given the award to Juliette Lewis in Cape Fear. However, the group was not particularly strong:

Mercedes Ruehl, The Fisher King (Winner)

Diane Ladd, Rambling Rose

Juliette Lewis, Cape Fear

Kate Nelligan, The Prince of Tides

Jessica Tandy, Fried Green Tomatoes

For the strongest field overall, I went with 2004 when Cate Blanchett won for her portrayal of Katherine Hepburn in Martin Scorsese’s The Aviator. The other nominees:

Laura Linney, Kinsey

Virginia Madsen, Sideways

Sophie Okonedo, Hotel Rwanda

Natalie Portman, Closer

And there you have it! I’ll have Supporting Actor up soon…

The Best Picture Coulda Been Contenders: 1990-2008

In 2009, the Academy underwent a change in the number of Best Picture nominees honored each year. The rule change allowed a fluctuation of five to ten nominees per year, as opposed to a finite five (all other categories stayed at that number).

As has been discussed on this blog, many felt the change was triggered by 2008’s The Dark Knight, the critically acclaimed comic book pic that was also highest earner of the year. It failed to a garner a Best Picture nod and the thinking was that it was time for more popular options to make it into the mix.

Since the change, the magic number has been nine nominated pictures in most years. This got me thinking: what if that rule had been in effect during prior years? What movies that failed to get a nomination would have certainly made it?

That brings us here. I have gone back to 1990 through 2008 and I’m listing two films from each year that I am confident would have made the shortlist. In selecting each title, here were some of the key indicators. If a Director was nominated for his work and the film failed to get nominated, that probably means it would have been included. Additionally, the screenplay races are a decent predictor of some titles that might have made the magic nine (or eight or ten). For reference sake, I am including the five movies that did get nominated.

So here goes! Two features from 1990-2008 that coulda and likely woulda been contenders…

1990

The Actual Nominees: Dances with Wolves (Winner), Awakenings, Ghost, The Godfather Part III, GoodFellas

The Two Coulda Been Contenders: The Grifters, Reversal of Fortune

1991

The Actual Nominees: The Silence of the Lambs (W), Beauty and the Beast, Bugsy, JFK, The Prince of Tides

The Two Coulda Been Contenders: Boyz N The Hood, Thelma & Louise

1992

The Actual Nominees: Unforgiven (W), The Crying Game, A Few Good Men, Howards End, Scent of a Woman

The Two Coulda Been Contenders: Malcolm X, The Player

1993

The Actual Nominees: Schindler’s List (W), The Fugitive, In the Name of the Father, The Piano, The Remains of the Day

The Two Coulda Been Contenders: Philadelphia, Short Cuts

1994

The Actual Nominees: Forrest Gump (W), Four Weddings and a Funeral, Pulp Fiction, Quiz Show, The Shawshank Redemption

The Two Coulda Been Contenders: Bullets Over Broadway, Three Colors: Red

1995

The Actual Nominees: Braveheart (W), Apollo 13, Babe, Il Postino, Sense and Sensibility

The Two Coulda Been Contenders: Dead Man Walking, Leaving Las Vegas

1996

The Actual Nominees: The English Patient (W), Fargo, Jerry Maguire, Secrets & Lies, Shine

The Two Coulda Been Contenders: The People Vs. Larry Flynt, Sling Blade

1997

The Actual Nominees: Titanic (W), As Good as It Gets, The Full Monty, Good Will Huinting, L.A. Confidential

The Two Coulda Been Contenders: Boogie Nights, The Sweet Hereafter

1998

The Actual Nominees: Shakespeare in Love (W), Elizabeth, Life is Beautiful, Saving Private Ryan, The Thin Red Line

The Two Coulda Been Contenders: Gods and Monsters, The Truman Show

1999

The Actual Nominees: American Beauty (W), The Cider House Rules, The Green Mile, The Insider, The Sixth Sense

The Two Coulda Been Contenders: Being John Malkovich, Topsy-Turvy

2000

The Actual Nominees: Gladiator (W), Chocolat, Crouching Tiger, Hidden Dragon, Erin Brockovich, Traffic

The Two Coulda Been Contenders: Almost Famous, Billy Elliot

2001

The Actual Nominees: A Beautiful Mind (W), Gosford Park, In the Bedroom, Lord of the Rings: The Fellowship of the Ring, Moulin Rouge!

The Two Coulda Been Contenders: Black Hawk Down, Mulholland Drive

https://www.youtube.com/watch?v=aeevxJaJl1U

2002

The Actual Nominees: Chicago (W), Gangs of New York, The Hours, Lord of the Rings: The Two Towers, The Pianist

The Two Coulda Been Contenders: Far from Heaven, Talk to Her

2003

The Actual Nominees: Lord of the Rings: The Return of the King (W), Lost in Translation, Master and Commander: The Far Side of the World, Mystic River, Seabiscuit 

The Two Coulda Been Contenders: City of God, In America

2004

The Actual Nominees: Million Dollar Baby (W), The Aviator, Finding Neverland, Ray, Sideways

The Two Coulda Been Contenders: Hotel Rwanda, Vera Drake

2005

The Actual Nominees: Crash (W), Brokeback Mountain, Capote, Good Night and Good Luck, Munich

The Two Coulda Been Contenders: Syriana, Walk the Line

2006

The Actual Nominees: The Departed (W), Babel, Letters from Iwo Jima, Little Miss Sunshine, The Queen

The Two Coulda Been Contenders: Pan’s Labyrinth, United 93

2007

The Actual Nominees: No Country for Old Men (W), Atonement, Juno, Michael Clayton, There Will Be Blood

The Two Coulda Been Contenders: Away from Her, The Diving Bell and the Butterfly

2008

The Actual Nominees: Slumdog Millionaire (W), The Curious Case of Benjamin Button, Frost/Nixon, Milk, The Reader

The Two Coulda Been Contenders: The Dark Knight, Doubt

And there you have it! There will be a part II to this post. What if the rule change had never occurred? From 2009 until the present, what would have been the five nominated Pictures if only that number was allowed. Stay tuned…

 

Oscar Watch: Three Billboards Outside Ebbing, Missouri

Another day, another entry in the Best Actress derby as Three Billboards Outside Ebbing, Missouri has premiered at the Venice Film Festival. This time it’s Frances McDormand, starring in Martin McDonagh’s pic about a mother going to great lengths to find her daughter’s killers.

Early reviews suggest a strong and nuanced performance from McDormand, who won Best Actress 21 years ago for Fargo. She’s also been nominated three other times in Supporting for 1988’s Mississippi Burning, 2000’s Almost Famous, and 2005’s North Country. While Missouri could feasibly nab McDormand her fifth nod, it’s no slam dunk and that’s due to competition that has been discussed on the blog all weekend.

An interesting nugget from the Venice buzz surrounds Sam Rockwell, whose performance seems to be generating more word-of-mouth than Woody Harrelson’s in Supporting Actor. If Rockwell manages to land a nomination, it would be his first and looked at as long overdue by many.

My Oscar Watch posts will continue…