Tag: DGA

77th Directors Guild of America Awards Reaction

As far as precursors go, it’s been a brutal weekend thus far for The Brutalist. At the Critics Choice Awards, the film’s sole victory was Adrien Brody in Actor. It lost the big race to Anora and, even more shockingly, Jon M. Chu took Director for Wicked over Brady Corbet.

At tonight’s Directors Guild of America Awards ceremony, this was the opportunity for Corbet to get back on track for what most prognosticators (including this one) figured would be a sweep over the season. The DGA’s main prize has matched Best Director at the Oscars 21 out of 24 times in the 21st century.

So what happened? Well, Anora went and altered Corbet’s narrative. Sean Baker is the winner and it makes what was considered a safe Oscar race to predict a tough one.

I correctly called the other two competitions as RaMell Ross (Nickel Boys) took the First-Time Feature prize while Brendan Bellomo and Slava Leontyev are your Documentary filmmaking recipients for Porcelain War.

My PGA reaction will be rolling in soon, but the DGA made an unpredictable season even more so.

30th Critics’ Choice Awards Reaction

The 30th Critics’ Choice Awards aired this evening and this body had some tricks up their sleeve with some seriously surprising selections. Leading up to Best Picture, you would’ve been right to count out Sean Baker’s Anora. It had emerged victorious nowhere, even in the races where it was supposed to like Original Screenplay. I listed it as my runner-up to The Brutalist. Fun fact: this is your first CCA BP to not receive any other wins.

Let’s not start writing those Anora will take the Oscar BP columns. While it is certainly a possibility, just half of the previous 10 CCA BP recipients repeated with the Academy. If it manages to grab PGA tomorrow, it could rightfully become the soft frontrunner.

I went 13 for 21 overall in my picks. While Anora‘s sole win in BP was unexpected, the biggest shocker was easily in Director. Brady Corbet (The Brutalist) was widely anticipated to sweep through the season and then CCA went and named Jon M. Chu for Wicked. He’s not even nominated for the Oscar. When’s the last time the Critics’ pick wasn’t up for the Academy’s trophy? That would be Ben Affleck for Argo and before that, you must go back to 2002 when they gave it to Steven Spielberg for his double feature of Minority Report and Catch Me If You Can.

My against the odds selection was Mikey Madison (Anora) over Demi Moore in The Substance. I should’ve gone bigger with my Anora upset calls. Moore did get Actress just as with the Globes. In fact, all the acting winners are also Globe takers: Adrien Brody in The Brutalist for its sole prize tonight in Actor and supporting players Zoe Saldaña in Emilia Pérez and Kieran Culkin for A Real Pain. The Moore/Brody/Saldaña/Culkin combo could absolutely be the Oscar quartet and they are certainly the favorites.

As for other categories, here’s where I was right:

Conclave in Adapted Screenplay; Emilia Pérez as Foreign Language Film and The Wild Robot in Animated Feature; A Real Pain is Best Comedy though it tied with Deadpool & Wolverine (so I guess I was half right); Wicked in Costume Design and Production Design; The Substance for Hair & Makeup, Challengers for Original Score; “El Mal” from Pérez in Original Song; and Dune: Part Two for Visual Effects.

Where I went wrong:

The Substance scored an out of nowhere win over BP Anora in Original Screenplay. Maisy Stella (My Old Ass) is the Best Young Actor/Actress instead of Izaac Wang in Dídi. Conclave is Best Ensemble over Wicked. In Cinematography, it’s Nosferatu and not The Brutalist. Challengers took the Editing category and not Anora.

What’s it all mean for BP? The Brutalist could’ve solidified frontrunner status tonight and it didn’t. The fact that Anora didn’t win anywhere else? Confusing. And we do have 4 legit acting favorites. Let’s see if PGA and DGA can muddy the waters tomorrow…

Here’s the win total for the various pictures in contention

3 Wins

Emilia Pérez, The Substance, Wicked

2 Wins

Challengers, Conclave, A Real Pain

1 Win

Anora, The Brutalist, Deadpool & Wolverine, Dune: Part Two, My Old Ass, Nosferatu, The Wild Robot

77th Directors Guild of America Awards Winner Predictions

In this busy awards weekend (Critics Choice is tomorrow and PGA on Saturday), the Directors Guild also weighs in with their best of on Saturday. The winner of the DGA Feature Film race correlates with the Oscar winner the vast majority of the time. That would be 21 of 24 occurrences in the 21st century. The guild also honors filmmakers in the documentary field and those making their first feature.

Let’s walk through all 3 competitions with a winner selection and a runner-up.

Feature Film

Jacques Audiard (Emilia Pérez), Sean Baker (Anora), Edward Berger (Conclave), Brady Corbet (The Brutalist), James Mangold (A Complete Unknown)

The only difference between the Academy’s quintet and here is Berger in this mix and Coralie Fargeat (The Substance) in contention for Oscar. This is a very easy pick. Even if The Brutalist doesn’t take BP at the big show (and that’s quite possible), Corbet is the overwhelming favorite.

PREDICTED WINNER: Brady Corbet, The Brutalist

Runner-Up: Is there one? I suppose Sean Baker in Anora

Documentaries

Brendan Bellomo and Slava Leontyev (Porcelain War), Julian Brave NoiseCat and Emily Kassie (Sugarcane), Johan Grimonprez (Soundtrack to a Coup d’Etat), Ibrahim Nash’at (Hollywoodland), Natalie Rae and Angela Patton (Daughters)

There is less of a match with DGA and Oscar in this competition. Porcelain, Sugarcane, and Soundtrack are all up at the Academy while Daughters was an unexpected snub. This is admittedly guesswork with Oscar frontrunner No Other Land contending but I’ll roll with Porcelain.

PREDICTED WINNER: Brendan Bellomo and Slava Leontyev, Porcelain War

Runner-Up: Natalie Rae and Angela Patton, Daughters

FIRST-TIME FEATURE FILM

Payal Kapadia (All We Imagine as Light), Megan Park (My Old Ass), RaMell Ross (Nickel Boys), Halfdan Ullmann Tøndel (Armand), Sean Wang (Dídi)

All five pics have their admirers, but this should come down to Kapadia vs. Ross. I’m giving the latter the slight edge.

PREDICTED WINNER: RaMell Ross, Nickel Boys

Runner-Up: Payal Kapadia, All We Imagine as Light

I’ll have recap up (along with PGA) this weekend!

Oscars: The Case of I’m Still Here

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 six of the BP contenders and if you missed them, they are linked at the bottom of the post. Next up is I’m Still Here from Walter Salles.

The Case for I’m Still Here:

The Brazilian drama has been a critics favorite ever since it debuted in Venice where it won the Best Screenplay prize. The love is evidenced by the 95% Rotten Tomatoes score coupled with its 99% Audience Score on that site. It is a threat to win its other two nominations for International Feature Film and Actress (Fernanda Torres) based on the growing momentum.

The Case Against I’m Still Here:

It was unquestionably the surprise nominee on nomination morning that few (including me) predicted. Here missed the BP cut with precursors including the Golden Globes, Critics Choice, and BAFTA. While it was up for Foreign Film at the Globes, it lost to Emilia Pérez. This could just as easily go for 0 for 3 on Oscar night and I’d say it’s the frontrunner in none of its competitions. The 3 nominations is the second lowest of the 10 hopefuls (ahead of 2 for Nickel Boys). Salles hasn’t been nominated anywhere for his direction and that rarely bodes well for BP viability.

The Verdict:

While I’m Still Here is generating increased visibility, I’d say International Feature Film and not Best Picture is where it could emerge over Pérez (which has faced unwanted headlines in recent days due to Karla Sofia Gascón’s past social media history).

My Case Of posts will continue with Nickel Boys…

Oscars: The Case of Anora
Oscars: The Case of The Brutalist
Oscars: The Case of A Complete Unknown
Oscars: The Case of Conclave
Oscars – The Case of Dune: Part Two
Oscars: The Case of Emilia Pérez

Oscars: The Case of Emilia Pérez

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…

Oscars: The Case of Anora
Oscars: The Case of The Brutalist
Oscars: The Case of A Complete Unknown
Oscars: The Case of Conclave
Oscars – The Case of Dune: Part Two

Oscars – The Case of Dune: Part Two

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 four features for BP and if you missed them, they are linked at the bottom of the post. The fifth is Dune: Part Two.

The Case for Dune: Part Two:

If the Academy wants to honor one of the most widely seen pics, Dune is second only to Wicked in that particular race. The sci-fi sequel stands at $714 million worldwide compared to Wicked‘s $718 million (and growing). Denis Villeneuve’s epic continuation of Frank Herbert’s novels made the BP cut at PGA, Critics Choice, and Golden Globes.

The Case Against Dune: Part Two:

The misses are more glaring. Dune‘s additional Academy nods (Cinematography, Production Design, Sound, Visual Effects) bring its total to five compared to the original’s 10. For perspective, part one from 2021 won six golden guys. Villeneuve didn’t get in Best Director (like with its predecessor) and the screenplay isn’t honored. Beyond what the Academy did, Dune failed to get into the BAFTA derby and Villeneuve was snubbed at the Directors Guild (unlike what occurred three years ago).

The Verdict:

In my previous Case Of posts for Anora, The Brutalist, A Complete Unknown, and Conclave, I’ve given them all at least a shot at taking the top prize. Dune: Part Two is the first entry where I don’t believe winning is a possibility.

My Case Of posts will continue with Emilia Pérez…

Oscars: The Case of Anora
Oscars: The Case of The Brutalist
Oscars: The Case of A Complete Unknown
Oscars: The Case of Conclave

Oscars: The Case of Conclave

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 Anora, The Brutalist, and A Complete Unknown for BP and if you missed those, they are linked at the bottom of the post. Our fourth hopeful is Conclave.

The Case for Conclave:

Edward Berger’s pulpy papal drama has been considered a top awards player since it debuted at Telluride in September. With 93% on Rotten Tomatoes, reviews are solid enough and it performed decently at the box office (over $30 million) for its genre. It is up for 8 statues including Actor (Ralph Fiennes), Supporting Actress (Isabella Rossellini), Adapted Screenplay, Costume Design, Film Editing, Original Score, and Production Design. Conclave has scored BP nods everywhere it needs to. It leads the BAFTAs with 12 nominations, is up at Critics Choice and PGA and for Best Ensemble at SAG, and contended at the Golden Globes in Best Drama where it won Best Screenplay. Berger’s behind the camera work also landed a DGA mention.

The Case Against Conclave:

Berger surprisingly missed the cut with the Academy in Best Director. Only three films in the 21st century (Argo, Green Book, CODA) have won BP without its maker being nominated. Berger can’t catch a break with the Academy as his 2022 war epic All Quiet on the Western Front received nine mentions but excluded his direction. The 79 Metacritic score is less than some competitors. It is possible that the only race where its the frontrunner is Adapted Screenplay and possibly Editing. Don’t expect either of its acting nominees to make podium walks. The Brutalist emerged victorious at the Globes in Best Drama.

The Verdict:

The snub of Berger looms large. I’d likely be more optimistic if he hadn’t been left out. Conclave has a slight chance in BP, but I wouldn’t put much faith in it.

My Case Of posts will continue with Dune: Part Two…

Oscars: The Case of Anora
Oscars: The Case of The Brutalist
Oscars: The Case of A Complete Unknown

Oscars: The Case of A Complete Unknown

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 Anora and The Brutalist for BP and if you missed those, they are linked at the bottom of the post. Our third hopeful is A Complete Unknown.

The Case for A Complete Unknown:

If you want to bet on the picture with some late breaking momentum, the Bob Dylan biopic from James Mangold might be your horse. Released in December, Unknown is doing healthy business at the box office and scored 8 total noms that include Director, Actor (Timothée Chalamet), Supporting Actress (Monica Barbaro), Supporting Actor (Edward Norton), Adapted Screenplay, Costume Design, and Sound. The journey to the better than expected nomination count began with over performances at the precursors. It really hasn’t missed anywhere with a Best Ensemble mention at SAG and BP noms at the Golden Globes, PGA, Critics Choice, BAFTA, and a DGA slot for Mangold.

The Case Against A Complete Unknown:

It didn’t win the Golden Globe in Drama (that went to The Brutalist). The 80% RT score and 71 Metacritic are below most of its competitors. There’s even a chance that it goes 0 for 8 on Oscar night. I wouldn’t say it is the favorite in any category.

The Verdict:

I don’t think it’s impossible for this to take the top prize, but I would need to see some victories at upcoming precursors such as Critics Choice or SAG.

My Case Of posts will continue with Conclave…

Oscars: The Case of Anora
Oscars: The Case of The Brutalist

Oscars: The Case of The Brutalist

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 Anora and if you missed that, it is linked at the bottom of the post. Our second contestant is Brady Corbet’s The Brutalist.

The Case for The Brutalist:

With the exception of SAG (where it wasn’t really expected to be a strong contender for Best Ensemble), the 215 minute epic immigration period piece has landed everywhere else. This includes BAFTA, PGA, Critics Choice, and DGA. The Golden Globe performance was particularly notable as it flexed its muscle with a Best Drama victory over competitors including A Complete Unknown and Conclave. Corbet took Director and Adrien Brody won Actor. The ten nominations are tied for 2nd best with Wicked. In addition to Pic, Corbet, and Brody, there are noms in Supporting Actress and Actor (Felicity Jones and Guy Pearce), Original Screenplay, Cinematography, Film Editing, Original Score, and Production Design. The timely subject matter doesn’t hurt. Critical appreciation is present with 93% on RT and a 90 Metacritic.

The Case Against The Brutalist:

Due to its runtime and subject matter, The Brutalist will not be as widely seen as some other options. Voters may want to go for something more popular and known. There’s been some subpar showings like at SAG where Pearce and Jones missed.

The Verdict:

I’ve had The Brutalist ranked in my top spot for months. It could take Director + Actor + some down the line competitions. That’s a solid mix for BP victory. However, this is a soft top ranking as half the field has BP winning potential.

My Case Of posts will continue with A Complete Unknown…

Oscars: The Case of Anora

Oscars: The Case of Anora

As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.

I will begin with the ten BP contenders and then alternate alphabetically between the hopefuls in the other five big races. Sean Baker’s Anora kicks it off!

The Case for Anora:

The dramedy from auteur Sean Baker has turned out to be his awards breakout. Nominations wise it has landed everywhere it needed to in the precursors. This includes the Golden Globes with 5 nods as well as DGA, SAG, PGA, Critics Choice, and BAFTA. With a 93% Rotten Tomatoes meter and 91 on Metacritic, it sports five other Academy mentions and Mikey Madison is a threat to win Best Actress. It is likely the frontrunner for Original Screenplay. The other three noms are for Baker’s direction, Yura Borisov in Supporting Actor, and Film Editing.

The Case Against Anora:

Anora surprisingly went 0 for 5 at the Oscars. In Best Musical or Comedy, it fell short to Emilia Pérez with Demi Moore (The Substance) emerging over Madison in Actress while Conclave took Screenplay. From a genre and content standpoint, it’s not your “typical” BP recipient.

The Verdict:

There is no doubt that a narrative exists where Anora could take the top prize. That especially holds true if it gets the combo of Actress + Original Screenplay. Yet I’ve never had Anora ranked 1st in my BP forecast while others have and I’m skeptical that’ll change.

My Case Of posts will continue with The Brutalist…