The Directors Guild of America bestowed their honors yesterday and it was yet again a big night for the Mexican drama Roma. The acclaimed Netflix effort won Outstanding Directing for a Feature Film for its maker Alfonso Cuaron. It’s his second DGA prize after winning for Gravity in 2013.
This particular award has rightly been seen as a harbinger for what will occur at the Oscars. In this decade, the DGA victor has gone onto win the Academy directing race seven out of eight times. The lone exception was in 2012 when Ben Affleck took the Guild trophy for Argo and surprisingly wasn’t even nominated for the Oscar.
Simply put, the DGA solidifies Cuaron’s position as the strong front-runner for Best Director and increases the chances for Roma emerging as the winner for Best Picture. Any other name called last night could’ve boosted their standing as a threat to Cuaron, but it didn’t happen. His Oscar night is looking good in three weeks.
It’s been quite some time since I’ve done an Oscar History post (about two and a half years) and I’m at 2012. It was a year in which Seth MacFarlane hosted the show – fresh off his comedy smash Ted. Here’s what transpired in the major categories with some other pictures and performers I might have considered:
The year saw nine nominees for Best Picture in which Ben Affleck’s Argo took the top prize. Other nominees: Amour, Beasts of the Southern Wild, Django Unchained, Les Miserables, Lincoln, Silver Linings Playbook (my personal favorite of the year), and Zero Dark Thirty.
Many Wes Anderson fans would contend that Moonrise Kingdom should have made the cut. And I could certainly argue that The Avengers (perhaps the greatest comic book flick and the year’s biggest grosser) was worth a nod.
The nominations in Best Director were a huge surprise at the time. While Argo won the top prize of all, Affleck was not nominated for his behind the camera efforts. It was the first time since Driving Miss Daisy‘s Bruce Beresford where an Oscar-winning Picture didn’t see its filmmaker nominated.
Instead it was Ang Lee who was victorious for Life of Pi over Michael Haneke (Amour), David O. Russell (Silver Linings Playbook), Steven Spielberg (Lincoln), and Benh Zeitlin (Beasts of the Southern Wild).
In addition to Affleck, it was surprising that Kathryn Bigelow (Zero Dark Thirty) was not included. And I certainly would have put in Tarantino for Django.
The race for Best Actor seemed over when the casting of Daniel Day-Lewis as Abraham Lincoln was announced. And that’s exactly how it played out as he won his third Oscar over a strong slate of Bradley Cooper (Playbook), Hugh Jackman (Les Miserables), Joaquin Phoenix (The Master), and Denzel Washington (Flight).
The exclusion of John Hawkes in The Sessions could have been welcomed, but I’ll admit that’s a solid group.
Jennifer Lawrence won Best Actress for Silver Linings over Jessica Chastain (Zero Dark), Emmanuelle Riva (Amour), Quvenzhane Wallis (Beasts), and Naomi Watts (The Impossible).
Again, no major qualms here. I did enjoy the work of Helen Mirren in Hitchcock (for which she did get a Golden Globe nod).
Supporting Actor was competitive as Christoph Waltz won his second statue for Django (three years after Inglourious Basterds). He was a bit of a surprise winner over Tommy Lee Jones in Lincoln. Other nominees: Alan Arkin (Argo), Robert De Niro (Playbook), and Philip Seymour Hoffman (The Master).
Here’s a year where there’s a lot of others I thought of. Waltz won, but I think the work of Leonardo DiCaprio and Samuel L. Jackson in Django was equally impressive. There’s Javier Bardem as one of the greatest Bond villains ever in Skyfall. Or John Goodman’s showy role in Flight. As for some other blockbusters that year, how about Tom Hiddleston in The Avengers or Matthew McConaughey in Magic Mike? And my favorite comedic scene of that year was due to Giovanni Ribisi in Ted…
In Supporting Actress, Anne Hathaway was a front-runner for Les Miserables and there was no upset. Other nominees: Amy Adams (The Master), Sally Field (Lincoln), Helen Hunt (The Sessions), and Jacki Weaver (Playbook).
Judi Dench had more heft to her part as M in Skyfall that year and I’ll also give a shout-out to Salma Hayek’s performance in Oliver Stone’s Savages.
And there’s your Oscar history for 2012! I’ll have 2013 up… hopefully in less than two and a half years!
Continuing with my recaps of the movie summers from 30, 20, and 10 years ago – we arrive at 1998. If you missed my post recounting the 1988 season, you can find it right here:
1998 was a rather astonishingly sequel lite summer with only one making up the top ten moneymakers. And while 2018 will be known for its Avengers phenomenon, it was a much different story with Avengers two decades ago.
Behold my synopsis of the top 10 hits, along with other notables and flops:
10. The Mask of Zorro
Domestic Gross: $94 million
He may be playing Pablo Picasso on TV now, but Antonio Banderas had a significant hit (alongside Catherine Zeta-Jones and Anthony Hopkins) in this tale of the famed swashbuckler. A less successful sequel would follow in 2005.
9. Mulan
Domestic Gross: $120 million
Disney’s 36th animated feature (with a voice assist from Eddie Murphy) didn’t reach the heights of titles like Aladdin or The Lion King, but the Mouse Factory has already commissioned a live-action version slated for 2020.
8. The Truman Show
Domestic Gross: $125 million
Jim Carrey’s first major big screen foray outside of zany comedy, Peter Weir’s reality show pic garnered critical acclaim for the film itself and the star’s performance.
7. Lethal Weapon 4
Domestic Gross: $130 million
The final teaming of Mel Gibson and Danny Glover (with Chris Rock and Jet Li joining the mix) made slightly less than part 3 and was generally considered rather mediocre, especially considering the heights that the franchise started from.
6. Godzilla
Domestic Gross: $136 million
Coming off the massive success of Independence Day, Roland Emmerich’s tale of the giant green monster was expected to possibly be summer’s biggest hit. It came in well below expectations with critics and audiences. A better regarded version arrived in 2014.
5. Deep Impact
Domestic Gross: $140 million
Our first asteroid disaster flick on the list came from Mimi Leder with a cast including Tea Leoni, Elijah Wood, and Robert Duvall. Moviegoers loved their asteroids 20 years ago.
4. Dr. Dolittle
Domestic Gross: $144 million
Eddie Murphy was still in popular family guy mode with this remake of the Rex Harrison animal tale. A sequel would follow in 2001.
3. There’s Something About Mary
Domestic Gross: $176 million
The Farrelly Brothers had the comedic smash of the summer in this effort that made Ben Stiller a huge star and had a showcase role for Cameron Diaz’s talents.
2. Armageddon
Domestic Gross: $201 million
Our second asteroid pic (this one from Michael Bay) comes with Bruce Willis, Ben Affleck, and Liv Tyler… and an Aerosmith ballad that played all season long.
1. Saving Private Ryan
Domestic Gross: $216 million
Steven Spielberg’s acclaimed World War II drama with Tom Hanks has one of the most intense first scenes in cinematic history. It was considered the Oscar front-runner until it lost in an upset to Shakespeare in Love.
And now for some other notable films:
The X-Files
Domestic Gross: $83 million
Bringing David Duchovny and Gillian Anderson’s alien themed FOX TV show to the big screen turned out to be a profitable venture. An ignored sequel would follow 10 years later.
Blade
Domestic Gross: $70 million
The vampire-centric Wesley Snipes flick spawned two sequels and major cult status.
Out of Sight
Domestic Gross: $37 million
Its box office performance was middling, but Steven Soderbergh’s romantic crime pic showed George Clooney and Jennifer Lopez at their best. Critics dug it.
Fear and Loathing in Las Vegas
Domestic Gross: $10 million
Not a success at the time, but Terry Gilliam’s wild ride featuring Johnny Depp as Hunter S. Thompson created a serious following in subsequent years.
And now for some flops:
Six Days, Seven Nights
Domestic Gross: $74 million
Harrison Ford was flying high off the success of Air Force One one summer earlier, but audiences and reviewers weren’t as kind to this action comedy with Anne Heche.
Snake Eyes
Domestic Gross: $55 million
Likewise, Nicolas Cage experienced a trilogy of mega hits during the two previous summers with The Rock, Con Air, and Face/Off. This one from Brian De Palma didn’t impress nearly as much.
The Avengers
Domestic Gross: $23 million
Not THOSE Avengers, ladies and gents. This big screen adaptation of the 1960s TV series with Ralph Fiennes, Uma Thurman, and Sean Connery landed with a thud in August. No sequels here.
54
Domestic Gross: $16 million
Mike Myers was coming off a little something called Austin Powers: International Man of Mystery when this pic about the famed NYC nightclub opened. Critics weren’t kind and crowds didn’t turn up.
BASEketball
Domestic Gross: $7 million
Trey Parker and Matt Stone rarely create something that isn’t massively successful – like “South Park” and The Book of Mormon. This sports comedy is the rare exception, though it has developed a following since.
And there you have it – the summer of 1998! Look for 2008 shortly…
BatmanvSuperman: DawnofJustice was a bit of a mess and it earned its reputation as such in many ways. However, I found myself seemingly in the minority of those who sort of dug it. Where it failed – it failed significantly. That includes the casting of Jesse Eisenberg as Lex Luthor with his manic and bizarre take on the iconic villain. There were some narrative choices that were questionable. Yet when BvS worked, I felt it worked well and that included Ben Affleck succeeding as Batman.
JusticeLeague is less cluttered. Zack Snyder, directing this DC Universe for the third time, captains a tighter ship with a shorter running time than what’s preceded it… and nearly all recent comic book adaptations for that matter. It is, of course, Warner Bros venture into Avengers territory. There’s a somewhat lighter tone that we first saw in the summer’s WonderWoman stand-alone feature. The inclusion of The Flash (Ezra Miller) and Aquaman (Jason Momoa) contribute to that. So does the fact that the unusually somber Superman (Henry Cavill) who brooded through much of ManofSteel and BvS is absent much of the time.
As you’ll recall, Superman was dead and buried at the BvS conclusion. JusticeLeague opens with the world missing him and crime on the rise. Batman is doing his level best, but he needs a squad. Wonder Woman (Gal Gadot) is still dealing with the loss she experienced in her own movie, but she’s game to help. They recruit the newbies only glimpsed upon in BvS: The Flash, Aquaman, and Cyborg (Ray Fisher). It is their mission to thwart the Earth dominating plans of Steppenwolf (voiced by Ciaran Hinds), a motion capture evil alien. The League incorporates their powers to do so, but they know they must resurrect the Big S to complete the task.
TheAvengers had the advantage of having introduced several of its core characters in separate entries. That doesn’t hold true here for half of the Justice League. Miller provides some decent comic relief, Momoa has a memorable moment or two and Fisher’s backstory is a bit blah. Their inclusion feels a little rushed and a little watered down.
Curiously the villain issue of BvS, while highly disappointing, was at least fascinating to witness in a rather bad way. Here the character of Steppenwolf isn’t really interesting at all. Many of these comic book adaptations have suffered the most from bland baddies and this is another.
League finds time to bring back Alfred (Jeremy Irons), Lois Lane (Amy Adams), and Clark’s mama (Diane Lane) in limited fashion. J.K. Simmons turns up briefly as the previously MIA Commissioner Gordon. It is Gadot who shines brightest, which is no surprise considering her rock solid solo spotlight just months prior.
In essence, JusticeLeague feels ordinary too often. It’s got the same flaws as others in the genre. It has the same bright spots with certain performances. There’s action sequences that impress and others with dodgier CG. Call me crazy, but I admired BvS often for its occasional audacity and untidiness. With Justice, it joins a league of plenty others like it.
The DC Cinematic Universe has reached Marvel Cinematic Universe territory as Justice League debuts next weekend. The reported $300 million production brings many of the company’s comic book creations together as it hopes to have the largest opening of the fourth quarter of 2017 until Star Wars hits next month.
In March of 2016, Batman v Superman: Dawn of Justice brought Superman (Henry Cavill) and Batman (Ben Affleck) together for the first time. Now they’re joined by Aquaman (Jason Momoa), The Flash (Ezra Miller), and Cyborg (Ray Miller). And, oh yes, there’s Wonder Woman (Gal Gadot), who just happened to star in her own summer 2017 pic that surprisingly turned out to the season’s biggest blockbuster ($412 million). Man of Steel and BvS director Zack Snyder is behind the camera once again. Other costars include series returnees Amy Adams, Diane Lane, Jeremy Irons, and the introduction of J.K. Simmons as Commissioner Gordon. Expect some other familiar faces to pop up too.
Batman v Superman opened to a terrific $166 million a year and a half ago. However, poor reviews and mixed word-of-mouth meant a heavily front loaded gross. It ended up with $330 million. If nothing had happened in the interim, it may be a legitimate question as to whether some moviegoers are primed to see these characters again. The fantastic reception earned by Wonder Woman should help (there could be a sizable female audience who go to this simply to see Gadot’s character so quickly again).
That said, I don’t expect League to get close to that BvS number in its first three days. In fact, it could compete for biggest comic book adaptation debut of the month since Thor: Ragnarok posted $122 million this past weekend.
I believe it will just get there and probably post a premiere in line with another DC property – summer 2016’s Suicide Squad, which made $133 million for its start. I’ll put it just a bit under that.
Justice League opening weekend prediction: $128.4 million
Gavin O’Connor’s TheAccountant is, on one hand, an often routine Jason Bourne style thriller with lots of decent fights. It even stars Mr. Bourne’s buddy Ben Affleck. On the other hand, Bill Dubuque’s screenplay contains some plot elements that left me shocked it was green lit. I don’t necessarily mean that in a negative way. You just don’t see action flicks where the central character is an autistic math whiz who mows down bad guys everyday. Said script also comes with a generous heaping of plot holes and meandering subplots.
Affleck is Chris Wolff, suburban number cruncher by day who moonlights for criminal empires catching embezzlers for his real work. He gets paid in cash at times, but also with cool stuff like original Action Comics (appropriate for the newest Caped Crusader) and Picasso paintings. When Chris takes a seemingly legit job auditing a robotics company, he uncovers some questionable practices. Anna Kendrick is one of the business’s employees assisting him.
The myth of Chris and his exploits have caught the attention of a Treasury agent (J.K. Simmons) looking to nab him. He’s about to retire because of course he is, so he blackmails a fellow agent with a shady past (Cynthia Addai-Robinson) to join his mission. Jon Bernthal is a hit man whose motivations you’ll spot from a mile away, which by the way is about the distance where Chris can hit any target.
We’re also given flashback sequences detailing the title character’s childhood. It begins in 1989 as Chris’s parents are struggling to deal with his diagnosis. Mom leaves. Dad’s solution is to toughen him up, along with their other son. His military background helps turn the boys into badasses.
Does this all sound just slightly weird? Oh it is. TheAccountant is loaded with a lot of plot and much of it ends up making little sense. It’s also written with an earnestness and directed with a soberness more than it warrants. This could have worked (maybe – just maybe) if the creative forces and actors just went all in on its B movie goofy as hell material.
Our lead actor plays this about as stone-faced and humorless as he can muster. No performances really stand out among the supporting players, though John Lithgow is always a welcome sight as he plays a corporate meanie. The talented Kendrick is thoroughly wasted.
I was more bemused by TheAccountant than entertained by it. I’ll give it a small amount of credit for attempting to inject something different into an otherwise ordinary genre pic. Still, like The Joker said in a franchise Affleck is now part of: Why So Serious?? You may ask that at times along with “Are You Serious?”
Live by Night marks Ben Affleck’s fourth time behind the camera in a directorial career that has been quite impressive thus far. The crime drama, in which he also stars, is his first effort since 2012’s Oscar winning Argo. Costars include Elle Fanning, Brendan Gleeson, Sienna Miller, Zoe Saldana, and Chris Cooper. Based on his filmography, Night was once seen as a potential awards contender around the Hollywood town. Yet since its critical screenings, that notion appears to be gone, baby, gone. The pic has not garnered praise by reviewers and it currently holds a Rotten Tomatoes score of 35%.
Will that hurt its box office potency? My feeling is that it will. Like his directorial debut Gone Baby Gone (mentioned in the aforementioned bad pun), this is based on a novel by Dennis Lehane and comes with a reported $65 million budget. The chances of Night coming in below expectations could be due to more factors than mediocre reviews. It opens on a packed weekend where Patriots Day will going for a similar audience (as will Sleepless with Jamie Foxx). On the other hand, Affleck’s latest starring vehicle The Accountant exceeded expectations three months ago with an opening weekend of nearly $25 million.
So where will this land? I believe it’ll debut over the four-day MLK weekend with far less than Patriots Day (which I’ve got pegged at $23M) and in the low double digits to mid teens neighborhood.
Live by Night opening weekend prediction: $13.2 million
Nearly a decade ago, Casey Affleck received a Supporting Actor Oscar nomination for TheAssassinationofJesseJamesbytheCowardRobertFord. It was that same year in 2007 that he starred in his brother Ben’s well-received directorial debut GoneBabyGone and appeared for the third time in OceansThirteen as part of that blockbuster trilogy.
Since then, Affleck’s career has been a mix of smaller flicks like Ain’tThemBodiesSaints and OutoftheFurnace with supporting roles in studio fare like TowerHeist and Interstellar. He also made a strange excursion into directing with the Joaquin Phoenix “documentary” I’mStillHere.
His 2016 started rather unremarkably with two pics that came and went – TheFinestHours and Triple9. Yet it was that same time early in the year that word came out from Sundance about ManchesterbytheSea, Kenneth Lonergan’s drama about grief and family. And the word was quite impressive.
At the close of 2016, Manchester stands as a serious awards contender with its star assured a nomination for Best Actor. It is likely it will come down to Affleck and Denzel Washington (Fences) for the win. The former has already picked up a number of critics prizes for his most acclaimed role thus far. He closed out the year by hosting the “Saturday Night Live” Christmas show, including a very amusing bit involving Dunkin Donuts.
The Sundance Film Festival next month will showcase Affleck’s next project – AGhostStory alongside Rooney Mara. Who knows what that will bring, but it certainly kickstarted a supremely lauded year for Affleck this year.
In the near decade that Ben Affleck has become a director, he’s had quite an impressive showing at both the box office and in the awards derby. His debut feature, 2007’s Gone Baby Gone (based on a Dennis Lehane novel),nabbed Amy Ryan a nod for Supporting Actress. His follow-up, 2010’s The Town, earned Jeremy Renner a Supporting Actor nomination. His third feature, 2012’s Argo, really hit the Oscar jackpot. It garnered seven nominations and won three – Best Picture, Adapted Screenplay, and Editing. Argo also had the curious and rare distinction of winning the biggest prize without Mr. Affleck receiving a nomination for his direction (the first time that had happened since 1989’s Driving Miss Daisy).
On Christmas Day, Affleck’s fourth feature Live by Night opens in limited release for Oscar consideration prior to its wide release in January. It also finds its source material from a book by Dennis Lehane. Based on Affleck’s track record, it stood to reason that the pic could be a potential Academy contender. Yet reviews out today strongly suggest otherwise. Night stands at only 33% at press time on Rotten Tomatoes and none of the precursors (SAG Awards, Golden Globes) have bestowed it with any recognition.
The Prohibition era gangster drama looks like a non-factor in any of the larger races, including Picture, Director, Adapted Screenplay, or any acting slots for Affleck and his costars which include Sienna Miller, Elle Fanning, Brendan Gleeson, Zoe Saldana, and Chris Cooper. Night could be a factor in some down the line races including Production Design and Costume Design, though even those could be a long shot.
Well – we’ve reached November, loyal blog readers and as I’ve mentioned before, I’m paring down the list of Oscar hopefuls in the eight major categories. Over the past two months, I’ve listed 25 possibilities for Best Picture and 15 for the Directing, Acting, and Screenplay races. Today, it gets whittled down to 20 in BP and 10 in the others. One development of note this week: it appears Dev Patel will be competing in Supporting Actor for Lion instead of Lead. That enters him in the derby for that race, which looks more unpredictable than any other at this moment.
There are still a number of Oscar hopefuls left to screen: Silence, Fences, Live by Night, Rules Don’t Apply, Passengers, The Founder, Hidden Figures, Miss Sloane, Gold among them. In other words, look for shifts in placement as these movies start receiving reviews and buzz in the near future.
Here’s how I have the respective competitions shaping up in this early November period:
Best Picture
Predicted Nominees
1. La La Land (Previous Ranking: 1)
2. Silence (PR: 2)
3. Fences (PR: 3)
4. Moonlight (PR: 4)
5. Lion (PR: 5)
6. Manchester by the Sea (PR: 7)
7. Jackie (PR: 6)
8. Loving (PR: 8)
9. Arrival (PR: 9)
Other Possibilities
10. Hidden Figures (PR: 10)
11. Hell or High Water (PR: 12)
12. 20th Century Women (PR: 11)
13. Hacksaw Ridge (PR: 13)
14. Live by Night (PR: 15)
15. Rules Don’t Apply (PR: 24)
16. Sully (PR: 14)
17. The Jungle Book (PR: 17)
18. Billy Lynn’s Long Halftime Walk (PR: 16)
19. Allied (PR: 20)
20. Florence Foster Jenkins (PR: 18)
Dropped Out:
Nocturnal Animals, Miss Sloane, Passengers, Gold, 13th
Best Director
Predicted Nominees
1. Damien Chazelle, La La Land (PR: 1)
2. Martin Scorsese, Silence (PR: 2)
3. Denzel Washington, Fences (PR: 4)
4. Kenneth Longergan, Manchester by the Sea (PR: 3)
5. Barry Jenkins, Moonlight (PR: 6)
Other Possibilities
6. Denis Villeneuve, Arrival (PR: 7)
7. Garth Davis, Lion (PR: 8)
8. Pablo Larrain, Jackie (PR: 5)
9. Jeff Nichols, Loving (PR: 9)
10. Theodore Melfi, Hidden Figures (PR: 10)
Dropped Out:
Mike Mills (20th Century Women), Ang Lee (Billy Lynn’s Long Halftime Walk), Mel Gibson (Hacksaw Ridge), Ben Affleck (Live by Night), Clint Eastwood (Sully)
Best Actor
Predicted Nominees
1. Denzel Washington, Fences (PR: 1)
2. Casey Affleck, Manchester by the Sea (PR: 2)
3. Joel Edgerton, Loving (PR: 4)
4. Ryan Gosling, La La Land (PR: 3)
5. Tom Hanks, Sully (PR: 5)
Other Possibilities:
6. Andrew Garfield, Silence (PR: 6)
7. Warren Beatty, Rules Don’t Apply (PR: 9)
8. Andrew Garfield, Hacksaw Ridge (PR: 8)
9. Matthew McConaughey, Gold (PR: 13)
10. Viggo Mortensen, Captain Fantastic (PR: 12)
Dropped Out:
Dev Patel (Lion – moved to Supporting), Michael Keaton (The Founder), Jake Gyllenhaal (Nocturnal Animals), Will Smith (Collateral Beauty), Miles Teller (Bleed for This)
Best Actress
Predicted Nominees
1. Emma Stone, La La Land (PR: 1)
2. Natalie Portman, Jackie (PR: 2)
3. Annette Bening, 20th Century Women (PR: 3)
4. Ruth Negga, Loving (PR: 5)
5. Amy Adams, Arrival (PR: 4)
Other Possibilities
6. Meryl Streep, Florence Foster Jenkins (PR: 6)
7. Jessica Chastain, Miss Sloane (PR: 7)
8. Isabelle Huppert, Elle (PR: 8)
9. Marion Cotillard, Allied (PR: 10)
10. Rebecca Hall, Christine (PR: 11)
Dropped Out:
Taraji P. Henson (Hidden Figures), Rachel Weisz (Denial), Jennifer Lawrence (Passengers), Amy Adams (Nocturnal Animals), Emily Blunt (The Girl on the Train)
Best Supporting Actor
Predicted Nominees
1. Michael Shannon, Nocturnal Animals (PR: 1)
2. Liam Neeson, Silence (PR: 2)
3. Mahershala Ali, Moonlight (PR: 3)
4. Dev Patel, Lion (PR: Not Ranked; considered to be Lead)
5. Stephen Henderson, Fences (PR: 5)
Other Possibilities
6. Peter Sarsgaard, Jackie (PR: 6)
7. Lucas Hedges, Manchester by the Sea (PR: 7)
8. Hugh Grant, Florence Foster Jenkins (PR: 4)
9. Mykelti Williamson, Fences (PR: 10)
10. Alan Rickman, Eye in the Sky (PR: 14)
Dropped Out:
Aaron Eckhart (Sully), Sunny Pawar (Lion), Jeff Bridges (Hell or High Water), Timothy Spall (Denial), Aaron Eckhart (Bleed for This), Kevin Costner (Hidden Figures)
Best Supporting Actress
Predicted Nominees
1. Viola Davis, Fences (PR: 1)
2. Naomie Harris, Moonlight (PR: 3)
3. Michelle Williams, Manchester by the Sea (PR: 2)
4. Nicole Kidman, Lion (PR: 4)
5. Greta Gerwig, 20th Century Women (PR: 5)
Other Possibilities:
6. Octavia Spencer, Hidden Figures (PR: 6)
7. Janelle Monae, Hidden Figures (PR: 7)
8. Molly Shannon, Other People (PR: 8)
9. Felicity Jones, A Monster Calls (PR: 9)
10. Margo Martindale, The Hollars (PR: 10)
Dropped Out:
Helen Mirren (Eye in the Sky), Elle Fanning (20th Century Women), Janelle Monae (Moonlight), Gugu Mbatha-Raw (Miss Sloane), Laura Linney (Nocturnal Animals)
Best Original Screenplay
Predicted Nominees
1. Moonlight (PR: 3)
2. La La Land (PR: 1)
3. Manchester by the Sea (PR: 2)
4. Loving (PR: 5)
5. Jackie (PR: 4)
Other Possibilities
6. 20th Century Women (PR: 6)
7. Hell or High Water (PR: 7)
8. The Lobster (PR: 9)
9. Miss Sloane (PR: 8)
10. I, Daniel Blake (PR: 11)
Dropped Out:
Toni Erdmann, Allied, Rules Don’t Apply, Gold, Florence Foster Jenkins
Best Adapted Screenplay
Predicted Nominees
1. Fences (PR: 1)
2. Silence (PR: 2)
3. Lion (PR: 3)
4. Arrival (PR: 4)
5. Nocturnal Animals (PR: 5)
Other Possibilities
6. Hidden Figures (PR: 6)
7. Hacksaw Ridge (PR: 9)
8. Live by Night (PR: 8)
9. Love & Friendship (PR: 7)
10. Certain Women (PR: 10)
Dropped Out:
Sully, Elle, Indignation, The Jungle Book, Billy Lynn’s Long Halftime Walk
And that shall do it for now, friends! Until next time…
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