Oscars: The Case of Carey Mulligan in Maestro

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.

It began with the ten BP contenders and now it alternates alphabetically between the hopefuls in the five other big races. Today we arrive at our fourth performer in Best Actress and that’s Carey Mulligan in Maestro. Let’s get to it!

Previous Oscar Acting Nominations:

An Education (2009, Actress); Promising Young Woman (2020, Actress)

The Case for Carey Mulligan:

After likely coming up just a little short to Frances McDormand (Nomadland) in 2020 for Promising Young Woman, Mulligan has made the cut at key precursors with the Golden Globes, Critics Choice, BAFTA, and SAG. As Leonard Bernstein’s spouse Felicia, she has a number of Oscar clips to choose from alongside costar Bradley Cooper.

The Case Against Carey Mulligan:

So do Emma Stone (Poor Things) and Lily Gladstone (Killers of the Flower Moon) and they’ve taken the hardware in ceremonies that have already occurred.

The Verdict:

The third time won’t be the charm for Mulligan.

My Case Of posts will continue with Cillian Murphy in Oppenheimer…

Best Picture 2009: The Final Five

And now for a new category on my blog that will update itself yearly after 13 initial posts covering 2009-21. It’s a simple concept. In 2009 – the Academy shifted their rules from a set amount of five Best Picture nominees to 10. That lasted for 2 years. In 2011, the number could fluctuate anywhere from 5-10. In most years, the magic number was 8 or 9 (it was never less than 8). Last year, the big race reverted back to a definite 10.

So… what if it hadn’t? What if 5 nominees was never altered? Well, Oscar speculators like yours truly would have to write posts predicting what would’ve been the final five. So that’s what this is all about.

Naturally it begins with 2009. Before that, something from 2008 might’ve contributed to the shift when The Dark Knight famously missed BP even though it was a critical darling and box office smash. A shift to 10 allowed popcorn favorites and smaller titles to make the cut. And they did.

When it comes to whittling down from 10 (or later 8 or 9) to five, there’s plenty of factors in play. What else did the movie get nominated for or win? Some races are more important than others like Director and Editing or the Screenplay derbies.

Yet it’s far from an exact science. This is educated guesswork based on Oscar history. I’ll walk through each title and give an ultimate Yes or No on whether it makes the five. The first is automatic and that’s whatever won. In 2009 that honor belonged to…

The Hurt Locker

Does It Make the Final Five?

Yes because it won Best Picture.

The other 9? That’s where it gets interesting. Let’s take them alphabetically, shall we?

Avatar

When Oscar nominations rolled out near the beginning of 2010, James Cameron’s 3D sensation was basking in the glow of becoming the biggest movie ever. That meant he was breaking his own record from 13 years earlier with Titanic. Cameron was nominated for Director – losing to ex-wife Kathryn Bigelow for Locker. The film also didn’t manage a Screenplay nod though Cameron is known more for his technical prowess than writing skills. On the tech side it managed 7 nods and won three (Art Direction, Cinematography, Visual Effects). So…

Does It Make the Final Five?

Yes. Though it lost a number of its nods to Locker, the gargantuan grosses would’ve been enough for it to advance.

The Blind Side

Sandra Bullock’s crowd pleasing football drama made her an Oscar winner. Yet those are the only two nominations it received as it couldn’t make the Adapted Screenplay shortlist. In fact, Avatar and this are the only two BP nominees not to see their scripts mentioned.

Does It Make the Final Five?

No. This is a perfect example of a blockbuster getting in due to the expansion that wouldn’t have with just five.

District 9

Neill Blomkamp’s acclaimed sci-fi tale was a surprise summer hit and he’s yet to replicate its mix of audience and critical appreciation. It was nominated in three other races – Adapted Screenplay, Visual Effects, and Film Editing. No wins.

Does It Make the Final Five?

This one is actually close for me. The screenplay and editing nods certainly make it doable. If it had landed Director, I’d probably say yes. A bit of a coin flip, but I’ll land on No.

An Education

The coming-of-age pic scored Carey Mulligan an Actress nod as well as Adapted Screenplay.

Does It Make the Final Five?

It’s not totally out of the realm of possibility that it could’ve snuck in, but gotta go No. It missed a Golden Globe nod for example and a lot of the focus was on Mulligan’s work.

Inglourious Basterds

Quentin Tarantino’s WWII opus was his return to significant awards attention 15 years following Pulp Fiction. In addition to the Pic nod, he was nominated for his direction and screenplay (losing both to Locker). Other nominations: Sound Editing, Sound Mixing, Cinematography, Film Editing, and a Supporting Actor victory for Christoph Waltz.

Does It Make the Final Five?

Yes. The 8 nominations are enough to indicate as much.

Precious

The breakthrough drama from Lee Daniels scored five other mentions for Directing, Gabourey Sidibe in Actress, Mo’Nique in Supporting Actress (a victory), Adapted Screenplay (another win), and Editing.

Does It Make the Final Five?

Yes. The screenplay win puts it over the top.

A Serious Man

The Coen Brothers dark comedy received just one other nod for their screenplay with acclaimed lead Michael Stuhlbarg missing the Best Actor cut.

Does It Make the Final Five?

Even with the love for its brotherly makers – No.

Up

As far as I’m concerned, the Pixar masterpiece’s first few minutes should win Best Picture every year. The tearjerker was a rare animated Best Picture contender and it contended for four others. It obviously won Animated Feature as well as Original Score in addition to mentions in Original Screenplay and Sound Editing.

Does It Make the Final Five?

I’m saying No, but I’m not sure of that. I’d probably put it sixth.

Up in the Air

Our other Up contender is Jason Reitman’s workplace dramedy which received six nods. The others were Director, Actor (George Clooney), Supporting Actress (both Vera Farmiga and Anna Kendrick), and Adapted Screenplay.

Does It Make the Final Five?

Yes. While it retrieved no statues, I think it would’ve just edged other hopefuls such as Up or District 9.

So that means if 2009 had just five Best Picture nominees, I believe they would’ve been:

The Hurt Locker (winner)

Avatar

Inglourious Basterds

Precious

Up in the Air 

An important note – the movies here match the five Best Director nominees. That’s rare and that will be rare in subsequent postings on years that follow. From 2000-2008 that only occurred twice (2005 and 2008). So don’t get used to it.

I shall return soon with my rumblings and final five for 2010!

Oscars 2020: The Case of Carey Mulligan

Carey Mulligan’s performance in Emerald Fennell’s Promising Young Woman wraps up my Case Of posts for the five Best Actress contenders. If you missed the first four, they can be read here:

Oscars 2020: The Case of Viola Davis

Oscars 2020: The Case of Andra Day

Oscars 2020: The Case of Vanessa Kirby

Oscars 2020: The Case of Frances McDormand

The Case for Carey Mulligan

Earning her second nomination following 2009’s An Education, Mulligan’s work here was part of Promising‘s five nominations. She’s managed nods in all the major precursors (with the surprising exception of BAFTA) and won the Critics Choice Award.

The Case Against Carey Mulligan

I predicted Mulligan to take the Golden Globe and she lost to Andra Day (The United States vs. Billie Holiday). I predicted her for the SAG Award and Viola Davis (Ma Rainey’s Black Bottom) took the prize. The wide open Best Actress race is hard to pin down.

The Verdict

Mulligan absolutely could win next week, but so could do Davis, Day, or McDormand. I’ll be going back and forth on this one until I make my final predictions on Wednesday.

My Case Of posts will continue with Steven Yeun in Minari…

Oscars 2020: The Case of Promising Young Woman

My Case Of posts covering the nominees for Best Picture continues with Emerald Fennell’s directorial debut Promising Young Woman. This is my sixth write-up for the 8 nominated films. If you missed any of the previous entries, you may find them here:

Oscars 2020: The Case of The Father

Oscars 2020: The Case of Judas and the Black Messiah

Oscars 2020: The Case of Mank

Oscars 2020: The Case of Minari

Oscars 2020: The Case of Nomadland

The Case for Promising Young Woman

Like The Father and Minari, this jet black revenge dramedy premiered over a year ago at the Sundance Film Festival where it earned rave reviews. It landed five Oscar nods and that includes its director, Carey Mulligan in Actress (where she’s considered a soft frontrunner), Original Screenplay, and Film Editing. The screenplay and editing nods are precisely the nominations a picture needs to be considered a threat to win it all. Furthermore, Fennell’s script just took the Writers Guild of America honor. Promising Young Woman has done what it needs to do to establish itself a genuine threat to the favored Nomadland.

The Case Against Promising Young Woman

While it’s come on strong lately, Nomadland still enjoys its status as the movie to beat this season. If the PGA goes for an upset this week and picks this (or Minari or anything else for that matter), look for that narrative to shift. As of today, however, a Promising victory would be a pretty major upset.

The Verdict

Promising Young Woman could be assisted by its movie of the moment feel. That said, victories in Actress and Original Screenplay are more likely than the grand prize.

My Case Of posts will continue with Sound of Metal…

Oscar Watch: Promising Young Woman

Ahead of its April 17th stateside debut, the revenge thriller Promising Young Woman has screened at Sundance. The pic marks the directorial debut of Emerald Fennell and casts Carey Mulligan in the title role alongside a supporting cast including Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Adam Brody, Alfred Molina, Connie Britton, and Laverne Cox.

Early reviews are encouraging with a Rotten Tomatoes rating of 96%. Some critical reaction is effusive enough to make one wonder if Mulligan could nab her second Oscar nod after 2009’s An Education. 

In order for that, Focus Features will need to launch an aggressive campaign to keep voters focused on her work in the months that follow. The Sundance buzz, at least, is somewhat promising. My Oscar Watch posts will continue…

Oscar History: 2009

It’s been a little while, but this evening on the blog – we continue with my ongoing series of Oscar History posts and we’ve arrived at 2009. That year’s Academy Awards are notable for a couple of reasons. First, this was the year where the decision was made to expand the list of Best Picture nominees from five to ten. It’s likely not an accident that this occurred just one year after 2008’s commercial and critical smash The Dark Knight failed to make the five pic cut. This was the Academy’s way of including more commercially successful ventures. After all, there’s a direct correlation between hit pictures being nominated and the ratings of the telecast itself. Secondly, the real battle of nominated entries came down between the efforts of a couple that was married and divorced – James Cameron for his smash hit Avatar (which demolished all box office records) and ex wife Kathryn Bigelow for her war drama The Hurt Locker.

It would be Bigelow who would come out on top as The Hurt Locker would take Best Picture over her ex-husband’s blockbuster. The other eight nominated features: The Blind Side, District 9, An Education, Inglourious Basterds, Precious, A Serious Man, Up, and Up in the Air. The success of Hurt Locker would relegate Avatar to winning only the tech categories.

Up would mark the first animated flick nomination (and first and only Pixar one) since 1991’s Beauty and the Beast and it hasn’t happened since. Basterds would mark Quentin Tarantino’s second pic nod after Pulp Fiction fifteen years prior.

As for movies that might have made my personal cut, I advocate for Steven Soderbergh’s underrated and hilarious The Informant! And if the Academy wanted to include high profile pictures, why not consider the acclaimed Star Trek reboot or comedy smash of the year The Hangover? I’m also a big fan of Zack Snyder’s graphic novel adaptation of Watchmen.

Bigelow would go onto make history by becoming the first female Best Director winner in Oscar history over Cameron, Lee Daniels (Precious), Jason Reitman (Up in the Air), and Tarantino. I may have found room for Neill Blomkamp’s impressive work in District 9.

Beloved actor Jeff Bridges would score his first Best Actor win for Crazy Heart, beating out George Clooney (Up in the Air), Colin Firth (A Single Man), Morgan Freeman (Invictus), and Jeremy Renner (Hurt Locker). Firth would go onto win the prize the following year for The King’s Speech. Once again, my Informant! love would have meant an inclusion for Matt Damon’s terrific work in it.

Sandra Bullock would receive her first ever nomination and a win for her hit football drama The Blind Side. Other nominees: Helen Mirren (The Last Station), Carey Mulligan (An Education), Gabourey Sidibe (Precious), and Meryl Streep (Julie & Julia). Two names I would’ve considered: Alison Lohman’s great scared crapless work in Sam Raimi’s horror tale Drag Me to Hell and Zooey Deschanel in the rom com (500) Days of Summer.

Quentin Tarantino’s knack of finding the perfect actor in the perfect role landed an at the time unknown Christoph Waltz a win in Supporting Actor for Inglourious Basterds. Other nominees were Matt Damon for Invictus, Woody Harrelson for The Messenger, Christopher Plummer in The Last Station, and Stanley Tucci for The Lovely Bones. As I’ve mentioned in these posts before, the Academy usually ignores comedies and this race would have given them an excellent opportunity to nominate Zach Galifianakis in The Hangover. Also, I may have included Jackie Earle Haley for his work in Watchmen.

Mo’Nique would win Supporting Actress in Precious over previous year’s winner Penelope Cruz (Nine), Vera Farmiga and Anna Kendrick (both nominated for Up in the Air), and Maggie Gyllenhaal (Crazy Heart). I would have given consideration to either Melanie Laurent or Diane Kruger for their roles in Basterds.

And that’s 2009 for you, my friends! I’ll get to 2010 at same point in the future…