Noah Baumbach’s White Noise begins with a professorial dissertation on the American public’s fascination with car crashes in the movies. In the course of the next two hours plus, this adaptation of Don DeLillo’s 1985 novel careens wildly from genre to genre with divergent tones scraping against one another. That’s not an accident. I think Baumbach made the picture he set out to make.
I can’t speak to the source material though a common thread is that it’s unfilmable. Here we are though I suspect many will concur. Set in the time period when the book was penned, Jack Gladney (Adam Driver) teaches Hitler Studies at a liberal arts college. It’s the kind of higher ed institution where the faculty deem themselves brilliant and every utterance carries the weight of gospel. No matter that Professor Gladney is secretly learning German despite his self professed expertise on their history. The comedic highlight of his work comes in a “lecture off” with a colleague (Don Cheadle) who teaches Elvis Studies to his non-suspicious minded pupils.
Jack is married to Babette (Greta Gerwig). They are each on their fourth marriage with a blended brood of as many kids. Denise (Raffey Cassidy), spawned from a previous Babette nuptial, is worried about strange pills that Mom is taking called Dylar. Her stepdad is mostly oblivious and not just about that. When a train accident spills chemicals near their home, Jack seems more concerned with dinner than evacuation routes. A black cloud from the “Airborne Toxic Event” does set them off on the road where adventures in comedy, noir, relationship dramas, and Spielbergian sci-burbia await.
The real black cloud involves the fear of death. Jack and Babette are practically in a competition about who it frightens most. The screenplay has some dark and demented fun exploring the distractions to not think about The End. I must confess there were times, especially in the first act, where I wondered if the means to this movie’s eventual end was worth it. White Noise is a lot – lots of mood swings, lots of story crammed in. It falters sometimes like its college faculty in thinking it’s sharper than it is. Still those big swings are admirable and the cast is devoted to the many frames of mind. I’m not sure I always bought Driver as the aloof middle aged dad, but he’s terrific at times and so is Gerwig.
This is exhilarating and maddening and both words apply frequently. I rarely wanted to look away – sorta like a car crash though it’s tougher to categorize the sadistic allure.
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:
We have reached 2017 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? If you missed my write-ups centered on 2009-16, they are linked at the bottom of the post.
There were nine nominees for 2017’s competition. If there were 5, we know Guillermo del Toro’s The Shape of Water would have made the quintet. It won BP along with Director, Original Score, and Production Design and received 13 nods total (easily the most of all).
Of the 8 remaining movies, here’s my thoughts on which half is in and which half and is out.
Call Me by Your Name
Luca Guadagnino’s coming-of-age romance was a critical darling that won Adapted Screenplay. It was also up for Actor (Timothee Chalamet) and Original Song. The Academy likely almost nominated Armie Hammer for Supporting Actor and are probably glad they snubbed him.
Does It Make the Final Five?
No, but I struggled with this call. An argument could be made with the Adapted Screenplay victory. However, none of the other four nominees in this category were BP nominees (extraordinarily rare). Call could’ve heard its name up, but I have it sixth or seventh.
Darkest Hour
Gary Oldman as Winston Churchill was a recipe for a Best Actor win and it was up for Production Design, Cinematography, Makeup and Hairstyling (another victory), and Costume Design.
Does It Make the Final Five?
No. Despite its admirable turn in the tech derbies, this was all about Oldman. The lack of directing, screenplay, and editing noms leave this out. This is the rare occurrence where I’m saying the Best Actor winner’s movie doesn’t get in the BP race.
Dunkirk
Christopher Nolan’s epic WWII tale earned 8 mentions (2nd behind Shape) and won 3 – both Sound races and Film Editing. Nolan also scored his first and only directing nod.
Does It Make the Final Five?
Yes. I don’t think it’s 100% considering other contenders, but this probably had enough support and was generally considered Nolan’s strongest awards pic in his filmography.
Get Out
Jordan Peele’s heralded horror flick was a box office smash. Its other three nominations were Director, Actor (Daniel Kaluuya), and Original Screenplay where it beat out Shape of Water.
Does It Make the Final Five?
Yes. Like Dunkirk, not a guarantee but that screenplay statue (over the BP recipient and two other contenders) make me think so.
Lady Bird
Greta Gerwig’s coming-of-age dramedy nabbed 5 inclusions with Director, Actress (Saoirse Ronan), Supporting Actress (Laurie Metcalf), and Original Screenplay.
Does It Make the Final Five?
Yes. Broken record… not a slam dunk considering it went 0 for 5. Yet it took the Golden Globe for Musical/Comedy (over Get Out) and was highly acclaimed.
Phantom Thread
Paul Thomas Anderson’s sartorial drama was an overachiever on nomination morning with six including Director, Actor (Daniel Day-Lewis), Supporting Actress (Lesley Manville), Score, and Costume Design (the sole win).
Does It Make the Final Five?
No, but I was tempted. It really did perform better than anticipated. I could also see it just missing considering the competition. It might have been sixth.
The Post
Steven Spielberg’s Watergate era drama received only one other nom for Meryl Streep in Actress.
Does It Make the Final Five?
No and this is by far the easiest projection. Spielberg’s magic probably got it in the mix, but I suspect it was ninth.
Three Billboards Outside Ebbing, Missouri
A player in 7 categories, Martin McDonagh’s pic took home Actress (Frances McDormand) and Supporting Actor (Sam Rockwell). Woody Harrelson was also up for Supporting Actor in addition to Original Screenplay, Score, and Film Editing.
Does It Make the Final Five?
Yes, even with McDonagh missing Director. If for no other reason, I can’t imagine the four acting winners having none of their movies up. That would be the case if you left this off considering Oldman’s Darkest Hour and I, Tonya (where Allison Janney took Supporting Actress) not being in the nine.
If you weren’t keeping score, here’s my projected 2017 five:
Can a satire about the apocalypse premiering on Netflix at year’s end contend for a Best Picture nomination? It happened in 2021 for Adam McKay’s Don’t Look Up. Will lightning strike again for the streamer with White Noise, Noah Baumbach’s latest which has opened the Venice Film Festival?
Based on a 1985 Don DeLillo novel that many tagged as unfilmable, Adam Driver headlines the filmmaker’s follow-up to 2019’s Marriage Story (which nabbed 6 Academy nods). Costars include Baumbach’s partner in real life Greta Gerwig, Raffey Cassidy, Andre Benjamin, Sam Nivola, Jodie Turner-Smith, and Don Cheadle. A November 25th limited theatrical rollout is planned prior to the December 30th streaming start.
Early reviews are a bit all over the place. The Tomatoes meter is 78% at the moment. There’s some “ex’s” in the mix like exciting and exhilarating, but also exhausting and exasperating. Some are indicating its ambition is admirable, but it falters in the execution.
Those are some of the same criticisms lobbed at the aforementioned Up, which still managed a slot in the ten BP hopefuls. That could happen with Noise. However, there is a caveat and it’s an important one. Don’t Look Up didn’t go through the film festival circuit and I believe that worked to its advantage. Despite its heavily mixed reaction, it hit Netflix at the end of the year just as awards voters were beginning to consider their ballots. At that time, it was easily the most talked about motion picture in the country. The bulk of Noise‘s chatter is occurring four months earlier.
As for its acting prospects, Driver, Gerwig, and Cheadle are getting solid ink, but I don’t really see them as viable players. If anything, a weak lead actor field (undetermined at the moment) could help Driver. This could land an Adapted Screenplay nod as a reward for it not being the disaster that some feared it might be (this is Baumbach’s first non-original script). Most critics are claiming it’s far from that. And we have a new LCD Soundsystem track titled “New Body Rhumba” that is being praised (we’ll see if Netflix mounts a major Original Song campaign for it). Same goes for Danny Elfman’s score. Tech nods (particularly Production Design) might be doable.
Bottom line: I wouldn’t completely discount that Noise could make just that in awards season though skepticism is warranted. My Oscar Prediction posts will continue…
My second round of Oscar predictions in the six biggest races are before you. When I update them next, we’ll be in the midst of the Cannes Film Festival where some of these hopefuls are screening.
As for category placement changes, I’ve moved Jesse Plemons in Killers of the Flower Moon to Supporting Actor from lead. It remains to be seen which contest he’s placed in. If it is supporting, we shall see if it’s him or Robert De Niro that gets the buzz. I’m betting on the latter at press time.
Let’s get into it!
Best Picture
Predicted Nominees:
1. Babylon (Previous Ranking: 1) (E)
2. The Fabelmans (PR: 3) (+1)
3. Killers of the Flower Moon (PR: 2) (-1)
4. Women Talking (PR: 5) (+1)
5. The Son (PR: 4) (-1)
6. Everything Everywhere All at Once (PR: 8) (+2)
7. She Said (PR: 6) (-1)
8. Bardo (PR: 7) (-1)
9. The Whale (PR: 9) (E)
10. Rustin (PR: 10) (E)
Other Possibilities:
11. Amsterdam (PR: 11) (E)
12. Decision to Leave (PR: Not Ranked)
13. White Noise (PR: 12) (-1)
14. Poor Things (PR: 13) (-1)
15. Avatar: The Way of Water (PR: 17) (+2)
16. Empire of Light (PR: 16) (E)
17. Tar (PR: 14) (-3)
18. Till (PR: 15) (-3)
19. Armageddon Time (PR: 25) (+6)
20. Elvis (PR: 22) (+2)
21. Thirteen Lives (PR: 20) (-1)
22. The Woman King (PR: 23) (+1)
23. Three Thousand Years of Longing (PR: 24) (+1)
24. Don’t Worry Darling (PR: 18) (-6)
25. Next Goal Wins (PR: 19) (-6)
Dropped Out:
The Banshees of Inisherin
Best Director
Predicted Nominees:
1. Damien Chazelle, Babylon (PR: 1) (E)
2. Steven Spielberg, The Fabelmans (PR: 3) (+1)
3. Martin Scorsese, Killers of the Flower Moon (PR: 2) (-1)
4. Sarah Polley, Women Talking (PR: 4) (E)
5. Alejandro Gonzalez Inarritu, Bardo (PR: 5) (E)
Other Possibilities:
6. Dan Kwan and Daniel Scheinert, Everything Everywhere All at Once (PR: 6) (E)
7. Florian Zeller, The Son (PR: 7) (E)
8. Maria Schrader, She Said (PR: 9) (+1)
9. Park Chan-wook, Decision to Leave (PR: Not Ranked)
10. Darren Aronofsky, The Whale (PR: 8) (-2)
11. George C. Wolfe, Rustin (PR: 10) (-1)
12. James Cameron, Avatar: The Way of Water (PR: 12) (E)
13. David O. Russell, Amsterdam (PR: 14) (+1)
14. Yorgos Lanthimos, Poor Things (PR: 11) (-3)
15. Sam Mendes, Empire of Light (PR: 15) (E)
Dropped Out:
Noah Baumbach, White Noise
Best Actress
Predicted Nominees:
1. Margot Robbie, Babylon (PR: 1) (E)
2. Regina King, Shirley (PR: 2) (E)
3. Carey Mulligan, She Said (PR: 4) (+1)
4. Michelle Yeoh, Everything Everywhere All at Once (PR: 3) (-1)
5. Danielle Deadwyler, Till (PR: 5) (E)
Other Possibilities:
6. Cate Blanchett, Tar (PR: 6) (E)
7. Emma Stone, Poor Things (PR: 9) (+2)
8. Naomi Ackie, I Wanna Dance with Somebody (PR: 8) (E)
Welcome to the first ranked Oscar predictions of the 2022 season for the 95th Academy Awards! I’ll be doing these every few days (once a week or every two weeks) for the high-profile races of Picture, Director, and the four acting derbies. In the fall (maybe earlier), this will expand to all categories covering feature lengths films.
For BP, I will list 25 possibilities with 15 hopefuls in the others. Some quick caveats that always apply – titles of the pictures will change. Just this week, David O. Russell’s Canterbury Glass became Amsterdam and Avatar 2 is now Avatar: The Way of Water.
Actors listed in lead will become supporting players and vice versa. Some movies will be pushed to 2023. And, of course, titles listed on the first day of May will become commercial and critical disappointments and drop off the list. Some pics and performances I’m not even considering at the moment will rise during festivals like Cannes, Toronto, Telluride, and Venice.
So let’s get to it, shall we?
Best Picture
Predicted Nominees:
1. Babylon
2. Killers of the Flower Moon
3. The Fabelmans
4. The Son
5. Women Talking
6. She Said
7. Bardo
8. Everything Everywhere All at Once
9. The Whale
10. Rustin
Other Possibilities:
11. Amsterdam
12. White Noise
13. Poor Things
14. Tar
15. Till
16. Empire of Light
17. Avatar: The Way of Water
18. Don’t Worry Darling
19. Next Goal Wins
20. Thirteen Lives
21. The Banshees of Inisherin
22. Elvis
23. The Woman King
24. Three Thousand Years of Longing
25. Armageddon Time
Best Director
Predicted Nominees:
1. Damien Chazelle, Babylon
2. Martin Scorsese, Killers of the Flower Moon
3. Steven Spielberg, The Fabelmans
4. Sarah Polley, Women Talking
5. Alejandro Gonzalez Inarritu, Bardo
Other Possibilities:
6. Dan Kwan and Daniel Scheinert, Everything Everywhere All at Once
7. Florian Zeller, The Son
8. Darren Aronofsky, The Whale
9. Maria Schrader, She Said
10. George C. Wolfe, Rustin
11. Yorgos Lanthimos, Poor Things
12. James Cameron, Avatar: The Way of Water
13. Noah Baumbach, White Noise
14. David O. Russell, Amsterdam
15. Sam Mendes, Empire of Light
Best Actress
Predicted Nominees:
1. Margot Robbie, Babylon
2. Regina King, Shirley
3. Michelle Yeoh, Everything Everywhere All at Once
4. Carey Mulligan, She Said
5. Danielle Deadwyler, Till
Other Possibilities:
6. Cate Blanchett, Tar
7. Olivia Colman, Empire of Light
8. Naomi Ackie, I Wanna Dance with Somebody
9. Emma Stone, Poor Things
10. Laura Dern, The Son
11. Viola Davis, The Woman King
12. Greta Gerwig, White Noise
13. Saoirse Ronan, See How They Run
14. Florence Pugh, Don’t Worry Darling
15. Tilda Swinton, Three Thousand Years of Longing
For my first Oscar picks for the 95th Academy Awards, I’ve arrived at Best Actress. If you missed the posts covering the other three acting categories, you can access them here:
Obviously release dates and category placements can (and will) change, but I honestly had a tough time whittling this list down to 15 names. Leaving out Jennifer Lawrence (Red, White and Water) and Tilda Swinton (Three Thousand Years of Living) or Florence Pugh (Don’t Worry Darling) seems a bit risky. It’s a sign of how competitive Actress could be for 2022 – just as it was the past two years.
Like with the other derbies, here’s how I see the race playing out nearly a year ahead of time.
It’s been an entire week since The Slap… check that, the 94th Academy Awards where CODA parlayed its Sundance buzz from January 2021 all the way to a Best Picture victory.
That also means I’ve managed to wait a whole week without speculation for the next Academy Awards which will hopefully be a slap free zone. So what are some titles that could be vying for attention?
On May 27th and after numerous delays, Top Gun: Maverick will find Tom Cruise returning to his iconic role some 36 years after the original. There’s a decent chance it could be up for similar prizes that its predecessor landed like Sound, Film Editing, and Song (courtesy of Lady Gaga apparently). Visual Effects is a possibility as well.
My weekly Oscar prediction posts won’t begin until mid to late August. In the meantime, you’ll get individualized write-ups for pics that open or screen at festivals.
Yet for today – I feel the need. The need to identify 21 other 2022 titles that might end up on the Academy’s radar. Enjoy!
Armageddon Time
Despite acclaimed movies like The Lost City of Z and Ad Astra, James Gray has yet to connect with awards voters. This drama, rumored to be centered on his Queens upbringing, is the next hopeful and features a stellar cast including Anne Hathaway, Anthony Hopkins, and Jeremy Strong. Release Date: TBD
Avatar 2
The 2009 original amassed nine nominations and won took home three. The first sequel (there’s three more on the way) arrives in December from James Cameron. Will it capture the critical and box office magic of part one? That’s impossible to know at this juncture, but one can safely assume it’ll be up for some tech categories like Sound and Visual Effects. Release Date: December 16th
Babylon
Damien Chazelle is no stranger to the big dance. Whiplash was a BP nominee and J.K. Simmons won Supporting Actor. Chazelle took Director for his follow-up La La Land along with Emma Stone’s Actress victory and it almost famously took BP. First Man nabbed four nominations, but missed the top of the line races. Babylon is a period drama focused on Hollywood’s Golden Age and should be right up the Academy’s alley. The cast includes Brad Pitt, Margot Robbie, and Tobey Maguire. Release Date: December 25th
Canterbury Glass
Robbie also turns up in David O. Russell’s latest ensemble piece. Anytime he’s behind the camera, Oscar nods typically follow (think The Fighter, Silver Linings Playbook, American Hustle). Slated for November, the dramedy also features Christian Bale, John David Washington, Rami Malek, Zoe Saldana, Robert De Niro, Mike Myers, and… Chris Rock. Release Date: November 4th
Elvis
Arriving in June but with a Cannes unveiling in May, Baz Luhrmann’s musical bio of The King stars Austin Butler in the title role and Tom Hanks as The Colonel. If this doesn’t contend for the major awards, I would still anticipate potential tech recognition (Production Design, Sound, etc…). Release Date: June 24th
Empire of Light
Sam Mendes was likely in the runner-up position in 2019 for Picture and Director (behind Parasite) with 1917. His follow-up is an English set romance starring Olivia Colman (who would be going for her fourth nomination in five years), Michael Ward, and Colin Firth. Release Date: TBD
Everything Everywhere All at Once
From two filmmakers known collectively as Daniels, Once is already out in limited release with spectacular reviews (97% on RT). The sci-fi action comedy might be too bizarre for the Academy, but I wouldn’t count it out as its admirers are vocal. Picture, Director, Actress (Michelle Yeoh), and Original Screenplay are all on the table. Release Date: out in limited release, opens wide April 8th
The Fabelmans
Steven Spielberg directs a semi-autobiographical tale and cowrites with his Lincoln and West Side Story scribe Tony Kushner. The cast includes Michelle Williams, Seth Rogen, and Paul Dano. Needless to say, this is a major contender on paper. Release Date: November 23rd
Killers of the Flower Moon
Alongside The Fabelmans, this might be the most obvious nominee from a personnel standpoint. Martin Scorsese helms this western crime drama featuring Jesse Plemons, Lily Gladstone, and his two frequent collaborators Leonardo DiCaprio and Robert De Niro. Apple TV just became the first streamer to get a BP victory with CODA. This could be the second in a row. Release Date: November
Poor Things
In 2018, The Favourite scored a whopping ten nominations. Based on an acclaimed 1992 novel, Poor Things is Yorgos Lanthimos’s follow-up and it reunites him with Emma Stone along with Willem Dafoe, Ramy Youssef, and Mark Ruffalo. The plot sounds bizarre but it could also be an Oscar bait role for Stone and others. Release Date: TBD
Rustin
One of Netflix’s contenders is George C. Wolfe’s profile of gay civil rights activist Bayard Rustin (played by Colman Domingo). In 2020, Wolfe directed Viola Davis and Chadwick Boseman to nods for Ma Rainey’s Black Bottom. Look for Domingo to be a competitor and the supporting cast includes Chris Rock (maybe he will be back at the show), Glynn Turman, and Audra McDonald. Release Date: TBD
See How They Run
The 1950s set murder mystery could provide 27-year-old Saoirse Ronan with an opportunity to land her fifth nomination. Sam Rockwell, David Oyelowo, Adrien Brody, and Ruth Wilson are among the supporting players. Tom George directs. Release Date: TBD
She Said
Five years after the scandal rocked Hollywood, She Said from Maria Schrader recounts the New York Times sexual misconduct investigation into Harvey Weinstein. Zoe Kazan, Carey Mulligan, and Patricia Clarkson lead the cast. Release Date: November 18th
The Son
Florian Zeller won Best Adapted Screenplay in 2020 for The Father along with Anthony Hopkins taking Best Actor. This follow-up (based on the director’s play) finds Hopkins reprising his Oscar-winning part in supporting fashion. Other cast members seeking awards attention include Hugh Jackman, Laura Dern, and Vanessa Kirby. Release Date: TBD
TAR
It’s been a while since we’ve seen Todd Field behind the camera. Previous efforts In the Bedroom and Little Children received 8 nominations between them. A decade and a half following Children comes this Berlin set drama with Cate Blanchett, Noemie Merlant, and Mark Strong. Release Date: October 7th
Three Thousand Years of Longing
Scheduled for a Cannes bow in May, Longing is a fantasy romance from the legendary mind of George Miller (who last made Mad Max: Fury Road which won six tech Oscars). Idris Elba and Tilda Swinton star. Release Date: TBD
The Whale
Darren Aronofsky directed Mickey Rourke to a comeback narrative nod for 2008’s The Wrestler. Two years later, his follow-up Black Swan earned Natalie Portman a statue. Brendan Fraser is hoping for the same treatment with The Whale as he plays a 600 pound man attempting to reconnect with his daughter. Costars include Sadie Sink, Hong Chau, and Samantha Morton. I’d expect Makeup and Hairstyling could also be in play with this. Release Date: TBD
White Noise
Not a remake of the Michael Keaton supernatural thriller from 2005, this is Noah Baumbach’s follow-up to Marriage Story. Based on a 1985 novel, it’s the filmmaker’s first picture based on other source material. Marriage landed three acting nods (with Laura Dern winning Supporting Actress). The cast here includes frequent Baumbach collaborator Adam Driver, real-life partner Greta Gerwig, Raffey Cassidy, Andre Benjamin, Alessandro Nivola, and Don Cheadle. This could be Netflix’s strongest contender. Release Date: TBD
The Woman King
Expect this West Afrian set historical epic from Gina Prince-Bythewood to be heavily touted by Sony with awards bait roles for leads Viola Davis and Thuso Mbedu. The supporting cast includes John Boyega and Lashana Lynch. Release Date: September 16th
Women Talking
Based on a 2018 novel, Sarah Polley writes and directs this drama focused on eight Mennonite women and their story of abuse. The sterling cast includes Frances McDormand, Jessie Buckley, Ben Whishaw, Claire Foy, and Rooney Mara. Release Date: TBD
And that’s just a small preview of the features that could materialize for the 95th Academy Awards! As always, the speculation on this site will continue throughout the year and into the next. Stay tuned…
Florence Pugh’s Supporting Actress nod in Greta Gerwig’s Little Women is next up in my Case of posts!
The Case for Florence Pugh
The actress broke out in a major way in 2019 with well-reviewed roles in the wrestling dramedy Fighting with My Family, Ari Aster’s horror pic Midsommar, and in this latest iteration of Louisa May Alcott’s classic novel. Even though Saoirse Ronan is nominated for Best Actress, it was Pugh who got a lions share of critical attention. Pugh’s ascendance into the mainstream will blossom even more in 2020 with a prominent role alongside fellow Supporting Actress nominee Scarlett Johansson in the MCU’s Black Widow. If the Academy wants to pick a young upstart, this is the way to go.
The Case Against Florence Pugh
She missed out on both Golden Globe and SAG nods and that’s never a solid sign. Laura Dern, her Little Women costar, is the massive front runner for Marriage Story.
The Verdict
A solid 2019 for Pugh culminated in this nomination. It won’t end in a win.
My Case of posts will continue with the direction of Todd Phillips for Joker!
The Writers Guild of America held their awards ceremony this evening and it serves as a significant indicator for the direction Oscar voters might go for the Adapted and Original Screenplay categories.
In Original Screenplay, this race was looked at as a showdown between Marriage Story and Parasite. The other nominees (1917, Booksmart, Knives Out) weren’t much in contention. For awards followers, you might notice I didn’t say Quentin Tarantino’s script for Once Upon a Time in Hollywood. There’s a reason as the filmmaker is not a member of the guild and therefore not eligible for recognition. In the 2010s, we’ve already seen that factor come into play once when his Django Unchained screenplay wasn’t listed (Zero Dark Thirty won instead). Quentin went on to Oscar victory.
This evening, it is Bong Joon-Ho and Han Jin-won taking the prize for Parasite. My feeling is that the recipient between that and Noah Baumbach’s Marriage Story now has the upper hand to compete with Hollywood at the Academy ceremony next weekend. So it’s a good night for the Parasite team.
Adapted Screenplay was definitely one to watch. Two nominees – A Beautiful Day in the Neighborhood and Joker – were looked at as long shots at best. This one came down to The Irishman (Steve Zaillian), Jojo Rabbit (Taika Waititi), and Little Women (Greta Gerwig). That holds true for Oscar (the five nominees here match the Academy’s). Waititi is the victor for Rabbit. The film most negatively affected is The Irishman, as Adapted Screenplay looks to be its most viable chance for a major category pickup. The narrative lately is that Gerwig could win the Oscar, especially since she was snubbed for Director. Yet Waititi’s trophy tonight puts him in the soft front runner position.
Look for lots more Oscar coverage on the blog as we are eight days away from the event itself!
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