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 Best Picture contenders and now alternates alphabetically between the hopefuls in the other five races. The BP nominee posts are up and they’re readily available for your perusing pleasure. Today is our third entry in Best Actress and that’s Mikey Madison in Sean Baker’s Anora. If you missed my posts covering Cynthia Erivo (Wicked) and Karla Sofia Gascón (Emilia Pérez), they’re linked at the bottom.
Previous Acting Oscar Nominations:
None
The Case for Mikey Madison:
She’s the titular character in arguably the Best Picture frontrunner. and Cannes Palme d’Or recipient. The 25-year-old has been nominated at the Golden Globes, Critics Choice, SAG, and BAFTA. Just yesterday, she won the BAFTA in an unexpected development over the favored Demi Moore (The Substance).
The Case Against Mikey Madison:
Her BAFTA trophy was a bit of a surprise because Moore was victorious over her at the Globes and Critics Choice. Moore’s narrative might be too enticing for Academy voters to ignore and they might figure Madison has plenty of time for a return engagement.
The Verdict:
This race definitely seems headed for a showdown between Madison and Moore. All eyes are on SAG this weekend to determine who might have the slight edge.
My Case Of posts will continue with the third hopeful in Best Actor and that’s Colman Domingo in Sing Sing…
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 begins with the ten BP contenders and then alternates alphabetically between the hopefuls in the other five races. I’ve already covered the first half of the BP contenders and if you missed them, they are linked at the bottom of the post. Next up is Jacques Audiard’s Emilia Pérez.
The Case for Emilia Pérez:
This multi-genre mashup of music and crime mixed with social commentary has been at the forefront of awards attention since it debuted at Cannes last summer and took the Jury Prize. That’s essentially second place to the Palme d’Or which went to Anora. Pérez landed an Academy ceremony leading 13 nominations including Director, Actress (Karla Sofia Gascón), Supporting Actress (Zoe Saldaña), Adapted Screenplay, International Feature Film, Cinematography, Film Editing, Makeup & Hairstyling, Original Score, two in Original Song, and Sound. Precursor nods have been in abundance for BP at Critics Choice, BAFTA, and PGA and Best Ensemble at SAG. Mr. Audiard is in contention at DGA. At the Golden Globes, Pérez beat a field in Best Motion Picture (Musical or Comedy) that included fellow BP nominees Anora, The Substance, and Wicked.
The Case Against Emilia Pérez:
While festival crowds have lauded it, general audiences have not. Pérez sports an 18% audience score on Rotten Tomatoes while the next lowest among the BP hopefuls is The Substance at 75%. If you’re not buying the Tomato measuring accuracy of that stat, the critics aren’t over the moon either. The RT score of 73% is the least of the bunch with the next lowest being A Complete Unknown at 80%. The 71 Metacritic rating is second to bottom with Unknown at 70. There’s also the Netflix factor. The distributor has yet to win Best Picture and that could be due to voter aversion to the giant streaming service. Some believe this was a major factor at the 91st Academy Awards when Green Book took top honors over Roma. The movie with the leading amount of nominations has failed to win BP more often than not in the 21st century (14 out of 24 times). Additionally, I’m Still Here (with its unexpected Pic nom) has emerged as serious competition in International Feature Film where Pérez was seen as the easy frontrunner. Then there’s the events of the last week where Karla Sofia Gascón’s troubling social media posts from a few years back resurfaced. The story has dominated headlines in the trades and beyond and could hinder the frontrunner status it has held with pundits.
The Verdict:
Obviously a lot to unpack here. I have never had Pérez 1st in my BP rankings, but it’s undeniably a major threat to win. I fully understand why many do have it above the others (especially after the Globe victory). Yet for the lengthy information contained above in Case Against, I’m highly hesitant to push the chips in for it.
My Case Of posts will continue with I’m Still Here…
The Academy voters have been very tolerant of the Dutch in the 21st century when it comes to the International Feature Film race. Two of their submitted features – 2010’s In a Better World and 2020’s Another Round – won the prize. Six more were nominated: 2006’s After the Wedding, 2012’s A Royal Affair and The Hunt from 2013, A War in 2015, 2016’s Land of Mine, and 2021’s Flee.
Denmark has chosen the black & white historical true crime thriller The Girl with the Needle as their horse for IFF. From director Magnus von Horn, it premiered at Cannes before playing in Toronto. Vic Carmen Sonne and Trine Dyrholm star. Hitting the coasts on December 6th, Needle drew positive fest reactions with 91% on Rotten Tomatoes and 82 on Metacritic.
As I’ve mentioned previously on posts covering submissions in this competition, there are three assumed frontrunners in Emilia Pérez, The Seed of the Sacred Fig, and I’m Still Here. Based on its country’s recent track record, Needle is certainly a possibility to fill one of the other two slots. My Oscar Prediction posts will continue…
Briarcliff Entertainment is banking on audiences being fired up for The Apprentice when it opens October 11th. The biopic from Ali Abbasi focuses on Sebastian Stan’s Donald Trump being mentored in the 70s and 80s by ruthless lawyer Roy Cohn (Jeremy Strong). Maria Bakalova (as first wife Ivana) and Martin Donovan (as patriarch Fred Trump) costar.
After its premiere at Cannes, it was questionable whether The Apprentice would debut stateside before the November 5th election. The former POTUS and current GOP candidate’s legal team threatened to block its pathway in multiplexes. A distribution deal was reached in August and here we are. Reviews are mostly of thumbs up variety at 76% on RT and 60 on Metacritic. Reactions probably aren’t strong enough to make it a Best Picture contender though Stan and Strong could be in the mix for nods.
The Apprentice‘s biggest hurdle could be a longstanding aversion to political pics when it’s all over TV. For example, 2008’s W. from Oliver Stone underwhelmed with $25 million domestically. Viewers may certainly feel they see enough of the 45th President on their home airwaves.
With a reported theater count of under 1800, this may only reach low single digits.
The Apprentice opening weekend prediction: $2.4 million
The nation of India has seen only one of their features (2001’s Lagaan) nominated for Best International Feature Film in the 21st century. Prior to that, you have to go back to 1988 and Salaam Bombay! Some prognosticators (including this one) thought they had a great shot at inclusion this year via All We Imagine as Light. Payal Kapadia’s acclaimed drama has a 100% on Rotten Tomatoes, 93 on Metacritic, and took the Grand Prix (essentially first runner-up) at the Cannes Film Festival behind Anora. There was some suspicion, however, that India might not go with it as their pick due to controversial subject matter.
That was proven correct today as the selection body went with Laapataa Ladies. From Kiran Rao, the dramedy originally was seen at the 2023 Toronto Film Festival. It came out in April on Netflix. The cast includes Nitanshi Goel, Pratibha Ranta, Sparsh Shrivastava, Chhaya Kadam, and Ravi Kishan.
Like Light, the Ladies Tomato meter is also perfect. While certainly positive, the reviews are not near as effusive. Last year, France was seen as dropping the ball by choosing The Taste of Things instead of Anatomy of a Fall. If India’s pick ends up making the shortlist, I’ll be singing a different tune. This does potentially appear to be their unforced error for the 97th Academy Awards. It is reminiscent of the 95th ceremony when India inexplicably decided against RRR and it probably would have made the nominated quintet. My Oscar Prediction posts will continue…
While Hasbro’s Transformers One fell short of expectations this past weekend, DreamWorks Animation looks to bring families out in force with The Wild Robot this Friday. We also have Francis Ford Coppola’s long in the works sci-fi epic Megalopolis premiering. You can peruse my detailed prediction posts on the newcomers here:
I projected a mid 30s start for Transformers and came to regret it (more on that below). I’m estimating the same for The Wild Robot which is generating stronger reviews and comes from a studio whose animated works usually perform well.
As for Megalopolis, it might be a megaflop. Coppola’s passion project premiered at Cannes to plenty of negative reaction. This might do decent business on the coasts, but I don’t expect much interest in between. A mid single digits gross could mean fourth place.
Beetlejuice Beetlejuice will drop to second after three weeks on top with a percentage dip in the low to mid 40s. Despite an A Cinemascore grade, Transformers will likely suffer with a low to mid 50s decline due to the Robot competition. Speak No Evil should round out the top five.
Here’s how I see it playing out:
1. The Wild Robot
Predicted Gross: $33.8 million
2. Beetlejuice Beetlejuice
Predicted Gross: $14.8 million
3. Transformers One
Predicted Gross: $11.5 million
4. Megalopolis
Predicted Gross: $4.7 million
5. Speak No Evil
Predicted Gross: $3.4 million
Box Office Results (September 20-22)
In an upset, moviegoers made Tim Burton’s sequel the champion three times in a row as Beetlejuice Beetlejuice took in $25.9 million. That’s right on target with my $26.7 million forecast as its total has reached $226 million.
Transformers One couldn’t catch on in the runner-up position with $24.6 million. That’s well under my $35.4 million take and it’s another underwhelming result for the franchise behind last year’s Transformers: Rise of the Beasts.
Speak No Evil was third at $5.7 million, a bit shy of my $6.5 million call. The thriller has grossed $21 million after two weeks in multiplexes.
Halle Berry’s survival thriller was another yawner for Lionsgate in fourth with $4.4 million, on pace with my $4.7 million prediction.
Deadpool & Wolverine rounded out the top five with $3.8 million (I said $3.9 million). In nine outings, 2024’s second largest domestic earner has amassed $627 million.
Finally, I didn’t do a projection for Demi Moore’s critically hailed The Substance. It opened in sixth with a fairly respectable $3.2 million.
Financed on his own dime for $120 million, legendary filmmaker Francis Ford Coppola brings his passion project Megalopolis to the big screen on September 27th. The sci-fi epic has a sprawling cast to match its budget including Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Aubrey Plaza, Shia LaBeouf, Jon Voight, Laurence Fishburne, Talia Shire, Jason Schwartzman, Kathryn Hunter, Chloe Fineman, and Dustin Hoffman.
This is only Coppola’s fourth feature in the 21st century and his first in 13 years (since the little seen Twixt). Cinephiles should have an interest on that fact alone, but there should be struggles for this to have any sort of mainstream breakthrough. When Megalopolis premiered at Cannes, it did so with mixed to negative reactions (the RT score is 52 and Metacritic is 59). It may not help that Coppola was recently subject to news stories about unprofessional behavior on set.
Lionsgate picked up distribution and they’ve had a string of failures in recent weeks including Borderlands and The Crow. This may turn out to be the biggest bomb of all. Tracking is suggesting only mid single digits and I don’t see it getting beyond that.
Megalopolis opening weekend prediction: $4.7 million
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.
Horizon: An American Saga – Chapter 1 was a critical and commercial disappointment when it opened in late June following its Cannes premiere in May. Kevin Costner’s epic western underwhelmed enough so that part 2’s release plan is undetermined (though it’s still expected to be out by year’s end). The second chapter of a planned four (part 3’s principal photography is underway) has also debuted in Europe via the Venice fest. The director/cowriter headlines a cast that includes Sienna Miller, Sam Worthington, Giovanni Ribisi, Danny Huston, Jena Malone, Ella Hunt, Will Patton, Luke Wilson, Isabelle Fuhrman, Thomas Haden Church, Glynn Turman, and Kathleen Quinlan.
Initial word-of-mouth is that while Chapter 2 is a slight improvement, don’t get your hopes too high. In other words, awards voters are not likely to get their sights on either 2024 Horizon. My Oscar Prediction posts will continue…
Our neighbor to the north had a solid run in the International Feature Film at the Oscars for the front half century of this 21st century. Not so much in the second. In 2003, The Barbarian Invasions was Canada’s first and thus far only winner in the race. A nomination followed three years later for Water. From 2010-12, they went three for three in the quintet of hopefuls with Incendies, Monsieur Lazhar, and War Witch. Since then, the nation has not been represented in IFF’s final five.
Universal Language was initially unveiled at Cannes in early summer. From director Matthew Rankin, the absurdist comedy stars Rojina Esmaeili, Saba Vahedyousefi, Soban Javadi, and Pirouz Nemati. Canada announced this week that it’s their latest at bat for Academy consideration.
The pic definitely has its ardent admirers and it stands at 100% on Rotten Tomatoes. The Canadians will probably need to campaign hard for it to make the cut. They’ve not even made the shortlist since 2016. However, the strong reviews should mean this is their best chance in some time. My Oscar Prediction posts will continue…
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