Zach Braff returns to the director’s seat as A Good Person opens in limited release on Friday before a wider output on March 31st. It casts Florence Pugh (a 2019 Supporting Actress contender for Little Women) and Morgan Freeman (five-time nominee who took Supporting Actor for 2004’s Million Dollar Baby) as individuals brought together by a tragedy involving the latter’s daughter. Molly Shannon, Chinaza Uche, Celeste O’Connor, and Zoe Lister-Jones costar.
Back in 2004, Braff’s debut behind the camera drew critical acclaim with Garden State (taking the Grand Jury prize at Sundance). Follow-ups Wish I Was Here (2014) and Going in Style (2017) drew more mixed reaction and so too has this. The drama stands at 50% on Rotten Tomatoes. Based on that reaction, A Good Person is a bad bet for any awards attention. My Oscar Prediction posts will continue…
Eileen is director William Oldroyd’s sophomore feature after his well-reviewed 2016 rendering of Lady Macbeth with Florence Pugh. This psychological thriller/romance set in the 1960s is based on Ottessa Moshfegh’s 2015 novel and has premiered at Sundance. Thomasin McKenzie and Anne Hathaway headline with a supporting cast including Shea Whigham, Owen Teague, and Marin Ireland.
It is already clear this project will generate lots of attention. A number of early takes are raves with some claiming career best work from McKenzie and Hathaway. Ireland is also being singled out as a scene stealer. There’s said to be a twist in the proceedings that has divided critics and may do the same with audiences.
At Sundance, plenty of pics are looking for distribution and Eileen (with comparisons to Carol and Hitchcock) should easily be snatched up. If an awards campaign is in the cards, we’ll see if the trio of actresses can materialize in the convo or if Adapted Screenplay is feasible. My Oscar Prediction posts will continue…
Edward Berger’s All Quiet on the Western Front made an unexpected amount of noise when the British Academy of Film and Television Art (BAFTA) announced their shortlists prior to the final nominations on January 19th. The long lists can vary in size and so can the numbers of eventual nominees coming in two weeks.
It’s a little confusing and hard to keep track of, but one thing is certain. World War I epic Quiet is eligible for the most races with 15 followed by The Banshees of Inisherin at 14. The superb performance from the former only helps its recent surge in the Oscar race (where I elevated it to my 10 for BP contenders on Monday).
Not all pictures had good showings from our British colleagues. This is especially true for The Fabelmans (with a shockingly subpar showing) and Women Talking.
Let’s go through each feature length shortlist with some general comments. Predictions for the nominees will come shortly before the 19th when I’ll delve a bit deeper.
Best Film
Aftersun
All Quiet on the Western Front
The Banshees of Inisherin
Elvis
Everything Everywhere All at Once
The Fabelmans
Living
Tár
Top Gun: Maverick
Triangle of Sadness
Half of these features will make the cut and it’s hard to imagine All Quiet not doing so considering its haul. Same for Banshees would could be a soft frontrunner. It’s also worth noting Everything did just fine. Key pics you won’t find here: Avatar: The Way of Water, Babylon, Glass Onion: A Knives Out Mystery, and Women Talking.
Outstanding British Film
Aftersun
The Banshees of Inisherin
Blue Jean
Brian and Charles
Emily
Good Luck to You, Leo Grande
Lady Chatterley’s Lover
Living
The Lost King
Mrs. Harris Goes to Paris
Roald Dahl’s Matilda the Musical
See How They Run
The Swimmers
The Wonder
Plenty of British titles here that aren’t expected to make a dent with the Academy’s voters. Only three of these hopefuls made Best Film and Banshees should have a leg up on Aftersun (which performed splendidly with BAFTA) and Living.
Outstanding Debut by a British Writer, Director or Producer
Aftersun
Blue Jean
Donna
Electric Malady
Emily
Good Luck to You, Leo Grande
Nothing Compares
Rebellion
See How They Run
Wayfinder
This one should be Aftersun all the way considering it’s the only entry vying for the top prize.
Film Not in the English Language
All Quiet on the Western Front
Argentina, 1985
Bardo
Close
Corsage
Decision to Leave
EO
Holy Spider
The Quiet Girl
RRR
While Saint Omer made the director cut, its miss is notable here. Bardo got in, but popped up nowhere else. Even more surprisingly – same goes for RRR. This should be an All Quiet win.
Documentary
All That Breathes
All the Beauty and the Bloodshed
A Bunch of Amateurs
Fire of Love
The Ghost of Richard Harris
Hallelujah: Leonard Cohen, A Journey, A Song
Louis Armstrong’s Black & Blues
McEnroe
Moonage Daydream
Navalny
Like the Academy, Good Night Oppy couldn’t make the shortlist while Descendant is another high profile snub.
Animated Film
The Amazing Maurice
The Bad Guys
Guillermo del Toro’s Pinocchio
Lightyear
Marcel the Shell with Shoes On
Minions: The Rise of Gru
Puss in Boots: The Last Wish
Turning Red
4 of 8 go through. While Pinocchio is out front – don’t sleep on Marcel.
Director
Colm Bairéad, The Quiet Girl
Edward Berger, All Quiet on the Western Front
Park Chan-wook, Decision to Leave
Chinonye Chukwu, Till
Daniels, Everything Everywhere All at Once
Alice Diop, Saint Omer
Sara Dosa, Fire of Love
Todd Field, Tár
Joseph Kosinski, Top Gun: Maverick
Marie Kreutzer, Corsage
Baz Luhrmann, Elvis
Martin McDonagh, The Banshees of Inisherin
Sarah Polley, Women Talking
Gina Prince-Bythewood, The Woman King
Maria Schrader, She Said
Charlotte Wells, Aftersun
BAFTA puts up 8 male and 8 female filmmakers on the shortlist before it shrinks to 6 (three of each gender). I’ll have more on who I think gets in later, but how about who didn’t!?!? There’s James Cameron for Avatar (which had a mediocre performance overall). The giant shocker was not seeing Steven Spielberg for The Fabelmans. And this one feels like it could have Oscar implications. I’ve had him listed #1 in Director for months. That placement is in serious jeopardy. I think he still gets makes the Academy’s quintet, but I suspect his #1 status will take a hit when I update in a couple of days.
Leading Actress
Naomi Ackie, Whitney Houston: I Wanna Dance with Somebody
Ana de Armas, Blonde
Cate Blanchett, Tár
Jessica Chastain, The Good Nurse
Viola Davis, The Woman King
Danielle Deadwyler, Till
Lesley Manville, Mrs. Harris Goes to Paris
Emma Thompson, Good Luck to You, Leo Grande
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once
It’s a bit unexpected seeing Ackie and Chastain over some picks BAFTA might’ve gone for like Vicky Krieps in Corsage and Florence Pugh in The Wonder. Same goes (sort of) for Olivia Colman in Empire of Light. However, it’s worth pointing out that BAFTA also ignored her for The Father and The Lost Daughter (the Academy didn’t). And you won’t see Babylon‘s Margot Robbie in the mix either.
Leading Actor
Austin Butler, Elvis
Tom Cruise, Top Gun: Maverick
Harris Dickinson, Triangle of Sadness
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Daniel Kaluuya, Nope
Felix Kammerer, All Quiet on the Western Front
Daryl McCormack, Good Luck to You, Leo Grande
Paul Mescal, Aftersun
Bill Nighy, Living
I have a feeling the six eventual nominees may not include Dickinson, Kaluuya, Kammerer, and McCormack but that’s not a final call. Notable names out include Diego Calva (Babylon), Ralph Fiennes (The Menu), Hugh Jackman (The Son, which was blanked) and Jeremy Pope (The Inspection).
Supporting Actress
Angela Bassett, Black Panther: Wakanda Forever
Hong Chau, The Whale
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Dolly De Leon, Triangle of Sadness
Lashana Lynch, The Woman King
Janelle Monae, Glass Onion: A Knives Out Mystery
Carey Mulligan, She Said
Emma Thompson, Roald Dahl’s Matilda the Musical
Aimee Lou Wood, Living
Ms. Thompson scored an unanticipated double nod thanks to this one as this 2022 hard to figure out Supporting Actress derby stayed that way. Like the Globes, no Jessie Buckley or Claire Foy from Women Talking.
Supporting Actor
Brendan Gleeson, The Banshees of Inisherin
Tom Hanks, Elvis
Woody Harrelson, Triangle of Sadness
Barry Keoghan, The Banshees of Inisherin
Brad Pitt, Babylon
Ke Huy Quan, Everything Everywhere All at Once
Eddie Redmayne, The Good Nurse
Albrecht Schuch, All Quiet on the Western Front
Micheal Ward, Empire of Light
Ben Whishaw, Women Talking
Whishaw being the only acting nominee for Women Talking kinda came out of nowhere. So did familiar faces like Hanks and Harrelson over either of the Fabelmans contenders – Paul Dano and Judd Hirsch. Pitt at last lands Babylon an above the line nom.
Original Screenplay
Aftersun
The Banshees of Inisherin
Decision to Leave
Elvis
Everything Everywhere All at Once
The Fabelmans
Good Luck to You, Leo Grande
The Menu
Tár
Triangle of Sadness
Dare I say there’s no real surprises in this race.
Adapted Screenplay
All Quiet on the Western Front
Glass Onion: A Knives Out Mystery
Guillermo del Toro’s Pinocchio
Living
The Quiet Girl
She Said
Top Gun: Maverick
The Whale
Women Talking
The Wonder
This could’ve been where White Noise got a lone nod, but nope. Considering the so-so performance of Women Talking, I wouldn’t automatically think it wins. But… what does?
***For the rest of these races, I’m listing just the shortlisted pics. Forecasted nominees are coming soon enough! I will say The Fabelmans is MIA in places where it was expected to be (especially Cinematography and Score).
Casting
Aftersun
All Quiet on the Western Front
The Banshees of Inisherin
Elvis
Everything Everywhere All at Once
The Fabelmans
Living
Roald Dahl’s Matilda the Musical
Tár
Triangle of Sadness
Cinematography
All Quiet on the Western Front
Amsterdam
Athena
Babylon
The Banshees of Inisherin
The Batman
Elvis
Empire of Light
Tár
Top Gun: Maverick
Costume Design
All Quiet on the Western Front
Amsterdam
Babylon
The Banshees of Inisherin
Black Panther: Wakanda Forever
Corsage
Elvis
Glass Onion: A Knives Out Mystery
Mrs. Harris Goes to Paris
Roald Dahl’s Matilda the Musical
Editing
Aftersun
All Quiet on the Western Front
Babylon
The Banshees of Inisherin
Decision to Leave
Elvis
Everything Everywhere All at Once
Moonage Daydream
Top Gun: Maverick
Triangle of Sadness
Make Up & Hair
All Quiet on the Western Front
Amsterdam
Babylon
The Batman
Black Panther: Wakanda Forever
Blonde
Elvis
Emancipation
Roald Dahl’s Matilda the Musical
The Whale
Original Score
All Quiet on the Western Front
Babylon
The Banshees of Inisherin
The Batman
Empire of Light
Everything Everywhere All at Once
Glass Onion: A Knives Out Mystery
Guillermo del Toro’s Pinocchio
Tár
Women Talking
The Wonder
Production Design
All Quiet on the Western Front
Avatar: The Way of Water
Babylon
The Banshees of Inisherin
The Batman
Elvis
Empire of Light
Everything Everywhere All at Once
The Fabelmans
Guillermo del Toro’s Pinocchio
Special Visual Effects
All Quiet on the Western Front
Avatar: The Way of Water
The Batman
Black Panther: Wakanda Forever
Doctor Strange in the Multiverse of Madness
Everything Everywhere All at Once
Fantastic Beasts: The Secrets of Dumbledore
Guillermo del Toro’s Pinocchio
Jurassic World: Dominion
Top Gun: Maverick
Sound
All Quiet on the Western Front
Avatar: The Way of Water
Babylon
The Batman
Elvis
Everything Everywhere All at Once
Guillermo del Toro’s Pinocchio
Tár
Thirteen Lives
Top Gun: Maverick
Keep an eye out for BAFTA final predictions from these shortlists and the same for the Golden Globes and Critics Choice!
We have reached 2019 in my posts speculating on a specific piece of Oscar history. As awards followers are aware, 2009 saw the Academy expand the Best Picture category from five movies to ten. That lasted for two years and in 2011, it switched to anywhere from 5-10 with 8 or 9 as the magic numbers for several years. In 2021, the number reverted back to a set ten.
What if that hadn’t happened? What if the BP derby had stayed at a quintet? What pictures would have made the cut?
In 2019, there were nine films vying for the prize. We know one thing for sure. Bong Joon-ho’s Parasite is in since it made history and became the first non-English language title to take Best Picture. It had a big night as it also won Director, Original Screenplay, and International Feature Film.
There’s 8 others to consider. Only half make cut. Let’s get into it!
Ford v Ferrari
James Mangold’s 1960s set sports drama starring Matt Damon and Christian Bale had four total nominations and won 2 of them (Sound Editing and Film Editing). It wasn’t as fortunate in Picture or Sound Mixing.
Does It Make the Final Five?
No. I say this knowing the Film Editing victor usually lands a BP nod (though not the case with 2007’s The Bourne Ultimatum and 2011’s The Girl with Dragon Tattoo). However, Ford achieved the least number of overall mentions among the 9 contenders and missed key races including Director, any acting derbies, and screenplay.
The Irishman
Martin Scorsese’s return to the Mob genre was Netflix’s highest profile Oscar player yet. It earned ten overall nods including for Scorsese, two Supporting Actor bids for Al Pacino and Joe Pesci, and Adapted Screenplay. Going 0 for 10, Robert De Niro was a somewhat surprising omission for his lead work.
Does It Make the Final Five?
Yes. Despite the lack of wins, the sheer number of inclusions indicate the legendary filmmaker and cast would vie for the top award.
Jojo Rabbit
Taika Waititi’s unique take on WWII was up for 6 races including Scarlett Johansson for Supporting Actress and Film Editing. The sole victory (a major one) was Adapted Screenplay where it beat out three other BP nominees.
Does It Make the Final Five?
No, but this was easily the hardest to leave off. The Screenplay win suggests it certainly could have. A miss in Director was a deciding factor and the fact that I couldn’t omit any of the final five I ended up going with.
Joker
Warner Bros. had unexpected bragging rights as this Scorsese inspired take on the DC Comics villain had the best haul with 11 nods. This includes Todd Phillips in Director and key precursors like Editing and Adapted Screenplay. The two wins came courtesy of Joaquin Phoenix in the title role and in Original Score.
Does It Make the Final Five?
Yes. Usually the leader of the pack does and this popped up in categories it originally wasn’t anticipated to.
Little Women
Greta Gerwig’s acclaimed version of the classic Louisa May Alcott novel was also up for Actress (Saoirse Ronan), Supporting Actress (Florence Pugh), Adapted Screenplay, Score, and Costume Design (which was its only victory).
Does It Make the Final Five?
No. Simple math here. If I didn’t put Jojo in (which won Adapted Screenplay), I can’t justify vaulting this over it.
Marriage Story
Just like Little Women, Noah Baumbach’s drama was up for six and managed one. The win was Laura Dern (who was also in Women) in Supporting Actress while it also vied for Actor (Adam Driver), Actress (double nominee Scarlett Johansson), Original Screenplay, and Original Score.
Does It Make the Final Five?
Just like Little Women – no. Like Women, not making the Director race and not winning screenplay make this a fairly easy forecast.
1917
The World War I epic from Sam Mendes boasted 10 nominations with 3 statues for Sound Mixing, Cinematography, and Visual Effects. The Editing miss was obvious since the picture famously used few cuts.
Does It Make the Final Five?
Yes. In fact, this was likely the runner-up to Parasite. It went into the evening as the favorite for BP and Director until Joon-ho’s film made its history.
Once Upon a Time in Hollywood
Quentin Tarantino’s ninth feature was slotted for 10 categories including QT for director, Leonardo DiCaprio in Actor, and Original Screenplay where its two-time winning scribe lost to Joon-ho. The two victories were Brad Pitt in Supporting Actor and Production Design.
Does It the Final Five?
Yes though I admit the Editing snub had me questioning it. An argument can be made for Jojo, but I ultimately think Quentin and company get in.
So that means your 2019 Final Five is:
The Irishman
Joker
1917
Once Upon a Time in Hollywood
Parasite
I will note that this quintet mirrors the individuals who were up for Best Director. That is typically not a 5/5 match. It happened occasionally when there were 5 BP nominees and I feel this is a time where it would’ve.
2020 will be up soon and if you missed the posts covering 2009-18, they can be accessed here:
Blogger’s Update (12/20): I am revising my estimates down from $23.3 million to $18.3 million for the three-day and $37.4 million to $28.5 million for the five-day
Avatar: The Way of Water isn’t the only sequel that some critics say improves on the original during this holiday season. Puss in Boots: The Last Wish steps into theaters on December 21st eleven years after its predecessor. The DreamWorks Animation adventure finds Antonio Banderas reprising his voice work as the feline fugitive alongside Salma Hayek’s Kitty Softpaws. Other performers behind the mic include Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, and Da’Vine Joy Randolph. Joel Crawford, who last helmed The Croods: A New Age, directs.
You may recall the first Boots arrived in 2011 as a spin-off for the massive Shrek franchise. The title character was introduced in 2004 with Shrek 2. Opening in October, Puss grossed with $34 million during its opening weekend with a $149 million eventual domestic haul.
If a decade plus seems like a long time between sequels, you’d be correct. That could be a demerit for its earnings potential. There was a Netflix animated series from 2015-2018 starring the character (without Banderas purring the lines). What will help its case is the word-of-mouth. Boots currently sports a 96% Rotten Tomatoes score and that tops part 1’s 86%. It has already nabbed a Best Animated Feature nomination at the Golden Globes. This is also the only feature not named Avatar catering to a family audience. Obviously this should also bring in very young viewers not looking to wade into Mr. Cameron’s pool.
A second place start behind Water is a given. I believe this could manage a five-day premiere in the mid to possibly high 30s. While that’s not hitting what the original accomplished in 3 days, Wish appears poised to hold up well in future weekends.
Puss in Boots: The Last Wish opening weekend prediction: $18.3 million (Friday to Sunday); $28.5 million (Wednesday to Sunday)
If you’d told me in the spring that Puss in Boots: The Last Wish was better suited for an Animated Feature Oscar nomination than Disney’s Lightyear or Strange World, I might’ve questioned your awards prognosticating abilities. With its embargo lifted prior to the December 21st theatrical bow, this appears to be the case.
The DreamWorks Animation sequel is being praised as equal to or better than the 2011 predecessor. You may remember that it’s originally a spin-off from the massive Shrek franchise. Joel Crawford (who last made The Croods: A New Age) directs as Antonio Banderas and Salma Hayek return to voice the title kitty and his love interest. Other performers behind the mic include Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, John Mulaney, and Da’Vine Joy Randolph.
Early reviews have this at 100% on Rotten Tomatoes and that’s beyond the 86% that the first Boots earned (we are still at under 10 write-ups so it could come down). The aforementioned Shrek from 2001 is actually the first movie to win the Academy’s animated prize. In 2004, Shrek 2 was nominated but lost to Disney’s The Incredibles. The third and fourth tales of the jolly green monster didn’t make the cut. However, Puss in Boots was among 2011’s quintet. Rango took the gold.
This is a strange year in the Animated Feature race. Of Disney’s trio of hopefuls, only Turning Red appears safe for inclusion. The frontrunner is Guillermo del Toro’s Pinocchio from Netflix. The steamer’s Wendell and Wild and My Father’s Dragon could also get in. We have A24’s Marcel the Shell with Shoes On and The Bad Guys (also from DreamWorks). I haven’t had Puss in Boots: The Last Wish in the top 10 of possibilities. After seeing the initial reaction, it definitely will make that jump. When I update my projections on Thursday, it could even enter the high five. My Oscar Prediction posts will continue…
We have reached Best Actress in my deep dives of the major Oscar races. If you didn’t catch my takes on the supporting derbies and lead actor, you can access them here:
Before we get to this very competitive Actress competition, let’s see how I did at this point in the calendar from 2019-21. Three years ago, I managed to identify all 5 eventual nominees – winner Renee Zellweger (Judy), Cynthia Erivo (Harriet), Scarlett Johansson (Marriage Story), Saoirse Ronan (Little Women), and Charlize Theron (Bombshell). For the late October/early November frame in 2020 and 2021, I correctly called 3 of the 5. In 2020, that was Frances McDormand (Nomadland), who won her third Oscar along with Viola Davis (Ma Rainey’s Black Bottom) and Vanessa Kirby (Pieces of a Woman). Andra Day (The United States vs. Billie Holiday) and Carey Mulligan (Promising Young Woman) were mentioned in Other Possibilities. The victor was also named last year with Jessica Chastain for The Eyes of Tammy Faye as well as Olivia Colman (The Lost Daughter) and Kristen Stewart (Spencer). Penelope Cruz (Parallel Mothers) and Nicole Kidman (Being the Ricardos) were in Other Possibilities.
So if the last three years are any precursor, you should find the eventual quintet in my ten picks! Frances McDormand could have company with performers sporting a trio of gold statues. A Supporting Actress winner in 2004 for The Aviator and lead actress recipient for 2013’s Blue Jasmine, Cate Blanchett is drawing some career best kudos for Tár. She’s been in my #1 spot for weeks and if she wins, she’d join McDormand, Katherine Hepburn, and Ingrid Bergman as the only actresses to win more than two Oscars.
Her main competition could come from several performers. Michelle Yeoh is receiving a massive push for Everything Everywhere All at Once, which is a threat to win numerous big races including Best Picture. There’s another Michelle and it’s a surprise… Michelle Williams. As I discussed in my Supporting Actress write-up, her performance in The Fabelmans would likely be a guaranteed winner in that category. With the more competitive vibe of lead actress, it’s not even a guarantee that she makes it in.
While Till may struggle to get recognition elsewhere despite strong reviews and an A+ Cinemascore, Danielle Deadwyler looks pretty strong to make the cut. On the other hand, so-so critical reaction could prevent Olivia Colman (Empire of Light) from getting her fourth nod in five years.
There are two performances yet to be seen that could both make a splash: Margot Robbie for Babylon and Naomi Ackie as Whitney Houston in I Wanna Dance with Somebody. It’s easy to envision either rising up if the reactions are positive enough.
Despite solid box office, Viola Davis could face an uphill battle for The Woman King. That narrative could change if both Robbie and Ackie falter. Some intensely negative audience and critical buzz for Blonde may leave Ana de Armas out. And there’s always potential dark horses. Emma Thompson will probably get a Golden Globes nom for Good Luck to You, Leo Grande, but Academy inclusion could be a reach. Women Talking‘s Rooney Mara might be ignored in favor of her supporting costars like Claire Foy and Jessie Buckley. Causeway may not draw enough attention for Jennifer Lawrence to make it and the same holds true for The Wonder‘s Florence Pugh. Decision to Leave (despite having a chance to take International Feature Film) may not see its cast be a factor. That would leave out Tang Wei.
The Supporting Actress derby is up next for my deep dives in the six major categories (Picture, Director, the 4 acting competitions). If you missed my current take on Supporting Actor, it’s here:
With two months left to go in the calendar year, it’s a good time to take stock in where we stand in 2022 with the various hopefuls. In 2019 and 2020 in late October, I correctly identified 3 of the 5 eventual nominees in Supporting Actress. Three years ago, that included eventual winner Laura Dern (Marriage Story) as well as Florence Pugh (Little Women) and Margot Robbie (Bombshell). I had Scarlett Johansson listed in Other Possibilities for Jojo Rabbit while not having Kathy Bates (Richard Jewell) yet on the radar. A year later, the trio of Glenn Close (Hillbilly Elegy), Olivia Colman (The Father), and Amanda Seyfried (Mank) were already in my top five. Youn Yuh-jung (Minari) took the gold. Both she and Maria Bakalova (Borat Subsequent Moviefilm) were tagged in Other Possibilities.
The ratio dropped in 2021. I named 2 of the 5 women with Ariana DeBose in West Side Story (who won) and Kirsten Dunst for The Power of the Dog. 2 nominees – Judi Dench (Belfast) and Aunjanue Ellis (King Richard) – were in Other Possibilities while Jessie Buckley (The Lost Daughter) wasn’t in my listed ten.
We arrive at 2022 where Ms. Buckley is in the mix again. She appears in Women Talking alongside a large ensemble of additional actresses. This film gives us the highest probability of seeing double nominees from the same picture. It’s happened three times since 2010. Melissa Leo and Amy Adams were up for The Fighter that year with Leo emerging victorious. In 2011, Octavia Spencer took the statue for The Help with Jessica Chastain also making the cut. Emma Stone and Rachel Weisz were both in the mix for 2018’s The Favourite.
With Women Talking, the Academy could dive a tad deeper with Judith Ivery and Sheila McCarthy (who are standouts). I suspect they’ll go with Buckley and Claire Foy (who was notably snubbed three years ago for First Man). I’ve had the latter listed in first place as she’s got a slightly meatier role.
That brings us to a key caveat in this race. A few weeks back, there was the unexpected announcement that Michelle Williams in Steven Spielberg’s The Fabelmans would be campaigned for in lead actress. She could’ve easily been placed here. If the studio had done that, I would continue to have Williams at #1 and feel confident that she’d win her first Oscar. However, in the Best Actress competition, I only have her in fourth position as of my last forecast.
Back to performers who are eligible in this. As long as The Banshees of Inisherin performs well with voters (and it should), Kerry Condon should make the quintet and could be a threat to win. Truth be told, this seems like a wide open competition without Williams. I could see either Women Talking actress at the podium or Condon. Same goes for Hong Chau as Brendan Fraser’s caretaker in The Whale or Stephanie Hsu as the world altering daughter in Everything Everywhere All at Once. That film offers the possibility of an additional double nomination with Jamie Lee Curtis’s nearly unrecognizable role. As for The Whale, I think Chau is far more likely than costar Sadie Sink.
I’m not as sold on Anne Hathaway in Armageddon Time, which may not make a dent at the ceremony. The many negative reviews for The Son have me questioning the viability of Vanessa Kirby or Laura Dern. Cha Cha Real Smooth might be too small for Dakota Johnson to nab her first Academy mention. Thuso Mbedu in The Woman King seems like a stretch. There’s unseen performances that could rise up like Kate Winslet (Avatar: The Way of Water) or Jean Smart (Babylon). Of all those choices, only Smart is in the top ten.
Critics groups may be integral in weeding out the nominees. This is where we could see Nina Hoss (Tár) or Dolly de Leon (Triangle of Sadness) rise up. Or we could get a nominee from a forthcoming hit such as Angela Bassett (Black Panther: Wakanda Forever) or Janelle Monae (Glass Onion: A Knives Out Mystery).
Over the past couple of months, all of my five nominees have come from films that I have in my 1o Best Picture hopefuls. That also holds true for Supporting Actor. And, frankly, that usually doesn’t happen. This is partly why I’m putting Carey Mulligan (She Said) in my projections after the studio announced she’ll vie for supporting instead of lead. I’ve got She Said barely missing a BP nod.
Bottom line: nothing is close to being settled in Supporting Actress and the talking about these women could change as we get closer to nomination time.
Best Supporting Actress
Predicted Nominees:
1. Claire Foy, Women Talking (Previous Ranking: 1) (E)
2. Kerry Condon, The Banshees of Inisherin (PR: 3) (+1)
3. Jessie Buckley, Women Talking (PR: 2) (-1)
4. Hong Chau, The Whale (PR: 4) (E)
5. Carey Mulligan, She Said (PR: 7) (+2)
Other Possibilities:
6. Stephanie Hsu, Everything Everywhere All at Once (PR: 5) (-1)
7. Dolly De Leon, Triangle of Sadness (PR: 6) (-1)
8. Nina Hoss, Tár (PR: 8) (E)
9. Jamie Lee Curtis, Everything Everywhere All at Once (PR: 10) (+1)
The halcyon neighborhood in Olivia Wilde’s Don’t Worry Darling looks like something a production designer would mount for a 1950s suburban setting (think Pleasantville or Edward Scissorhands). In the director’s sophomore feature after the winning Booksmart, that begins to make more sense as time passes. The male characters are all about appearance and maintaining a certain Mad Men vibe. Their wives are expected to maintain the home (though there are more frequent opportunities for cocktails given the pined for time period). You don’t need to be a cinephile to suspect this idealized community could be a facade and that dark secrets lurk. You might be reminded of several films with similar themes that were more successful. Meanwhile… that production design and other tech aspects? They’re exquisite. So is the lead performance. They’re also contained in a story that’s often baffling in its narrative design.
Alice Chambers (Florence Pugh) is a resident of Victory, California where everyone seems to have a winning attitude. Her husband Jack (Harry Styles), along with the rest of the townsmen, work at Headquarters where their uniform job description is developing “progressive materials”. Alice and the rest of the spouses have no clue what that means and seem more concerned with the sheets being properly folded and the roast being cooked at the proper temperature. The unofficial ruler of Victory is Frank (Chris Pine). In addition to being the boss at Headquarters (where the ladies are strictly forbidden from visiting), he has daily indoctrination monologues disguised as a radio show. The call letters could be CULT.
The tranquil facade is threatened when Alice’s friend Margaret (KiKi Layne) begins making accusations about the hierarchy. Shortly thereafter, Alice’s experiences have her questioning this reality. That doesn’t sit well with Frank or Jack, who’s climbing up the corporate ladder. She also finds little support from next door neighbor and bestie Bunny (Wilde), who seems perfectly content with the setup. Same with Frank’s doting wife Shelley (Gemme Chan).
Don’t Worry Darling, with a screenplay from Booksmart scribe Katie Silberman, finds influences from many sources. Notable ones include The Matrix, The Truman Show, and obviously The Stepford Wives. For a while (easily the first half), it’s a decently intriguing and gorgeously rendered paranoia thriller. Yet I couldn’t shake where I thought it was headed and once it got there, it felt as empty as Alice’s daytime activities. This is no fault of the actress playing her. Pugh is a firecracker and that’s not matched by her costars. The charisma of Styles, so evident in his role as Biggest Male Pop Star on the Planet, isn’t evident here.
Silberman’s script leaves plenty of questions burning in the Victory sun. When the credits rolled, I was only mildly interested in the light being shed on them. The style is present with Darling. The substance slows down the progression of this material.
Horror pic Smile and Bros, the first gay rom com from a major studio, look to lead the end of September/early October box office. Both are getting solid notices with respective Rotten Tomatoes scores of 79% and 95%. You can peruse my detailed prediction posts on the newbies here:
Smile has had a shrewd marketing campaign with a creepy teaser trailer that played in front Top Gun: Maverick all summer (so a lot of moviegoers saw it). My mid to high teens projection should put it in first place.
That’s unless Bros with Billy Eichner exceeds forecasts. However, my low teens estimate would give it runner-up status. I would not be surprised if it legs out well in subsequent weekends (I suspect word-of-mouth will be strong). **Speaking of forecasts, as of this writing, it remains to be seen if Hurricane Ian could negatively impact the weekend ahead.
With a B- Cinemascore, current champ Don’t Worry Darling could be headed towards a hefty sophomore drop after its solid premiere (more on that below). A mid to high 50s fall is possible. It should hold the 3 spot though The Woman King could give it a run for its money.
King and the Avatar re-release should fill out the rest of the top five and here’s how I envision it panning out:
1. Smile
Predicted Gross: $18.7 million
2. Bros
Predicted Gross: $12.1 million
3. Don’t Worry Darling
Predicted Gross: $8 million
4. The Woman King
Predicted Gross: $7.4 million
5. Avatar
Predicted Gross: $6.6 million
Box Office Results (September 23-25)
Don’t Worry Darling, the much publicized thriller from Olivia Wilde and starring Florence Pugh and Harry Styles, started out strong and diminished throughout the weekend. Taking in $19.3 million, it just outdid my $18.9 million projection. It looked like $20 million plus was likely with a $3 million Thursday night start until it dwindled. With a reported $35 million budget, it’s a pleasing debut regardless.
The Woman King fell to second with $11 million, under my $13.2 million take. The acclaimed historical epic with Viola Davis has made $36 million in its first ten days.
Three months ahead of its long in development sequel, James Cameron’s Avatar was re-released and earned $10.5 million for third (surging beyond my $8.5 million projection). The fourth highest grossing domestic earner of all time is now at $771 million with that extra coin.
Barbarian continued its meager declines with a fourth place showing of $4.8 million. I was right on target with $4.9 million as the critically appreciated horror flick has made $28 million.
See How They Run was fifth in its sophomore outing and I incorrectly had it outside of the quintet. With $1.9 million, the weak two-week tally is $6 million.
Pearl was sixth as it also made $1.9 million. My guess? $1.9 million! Like Run, $6 million is its the total.
All My Life... I Wanted To Be A Blogster 