Get those pens (not pencils) ready for one nominee in the Animated Feature race at the 96th Academy Awards. Spider-Man: Across the Spider-Verse is out this weekend. The sequel to 2018’s Spider-Man: Into the Spider-Verse is drawing similar reactions to its predecessor. That means some serious raves as it currently stands at 95% on Rotten Tomatoes (on par with the 97% for part 1).
In December 2018, Into upended the animated category. Any hope that Incredibles 2 or Isle of Dogs held for taking the prize fell by the wayside upon its release. That happened late in the calendar for the first Spidey. We are not even at the midpoint of 2023 and Across has established itself as the strong frontrunner. Pixar’s Elemental, which drew so-so chatter from Cannes, may even struggle to make the final cut of five nominees.
Across is guaranteed a slot and is a huge threat to win no matter what follows in the next few months. It is only the first half of two sequels as Beyond the Spider-Verse follows in March of next year. You can safely assume it might be a hopeful for the 97th Academy Awards.
As for other competitions, I suppose Adapted Screenplay is feasible if Sony were to make a dedicated push. Critics are also pointing out the visual effects. Yet animated titles struggle to get noticed in that particular derby. It’s more likely this will stick to Animated Feature and it could very well stick the landing. My Oscar Prediction posts will continue…
Spider-Man: Across the Spider-Verse swings into multiplexes on June 2nd and hopes to start the month off on a high note. The animated sequel is the follow-up to 2018’s Into the Spider-Verse, which drew widespread critical acclaim resulting in a Best Animated Feature Oscar. It also grossed nearly $200 million domestically and $384 million worldwide.
There’s a trio of directors in Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. Shameik Moore is back behind the mic as Miles/Spidey. Other performers voicing additional versions of the hero and other characters include Hailee Steinfeld (back as Spider-Woman), Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni, Daniel Kaluuya, Oscar Isaac, Greta Lee, Shea Whigham, and Andy Samberg.
Parts 2 and 3 of the franchise were assembled at the same time. Spider-Man: Beyond the Spider-Verse is slated for March 2024. In December 2018, part 1 started out with $35 million before legging out impressively to a $190 million stateside haul. Achieving a rare A+ Cinemascore rating, it stands to reason that audiences should be pumped for the sequel.
In the summer (as opposed to December), tentpoles are expected to post a gigantic opening immediately. Some forecasts have their projection as rosy as $120 million. That’s certainly possible, but I’ll temper expectations a bit and say $90-100 million is probably where this Verse starts.
Spider-Man: Across the Spider-Verse opening weekend prediction: $96.4 million
Are You There God? It’s Me, Margaret arrives in theaters on April 28th over 50 years after the novel by Judy Blume inspired generations of readers. Judging from the reviews, it sounds like it’s worth the wait (and Blume herself has heaped praise on it). The coming-of-age dramedy is directed and adapted by Kelly Fremon Craig, whose 2016 The Edge of Seventeen (something that was certainly inspired by Margaret) was a critical darling. Abby Ryder Fortson is in the title role with Rachel McAdams and Benny Safdie as her parents and Kathy Bates as Grandma.
The Rotten Tomatoes score is a sterling 95%. Some of the strongest ink is going to McAdams. With an aggressive campaign, perhaps Lionsgate could put her on the radar for her second Supporting Actress nomination after 2015’s Spotlight. Or the spotlight could fall to Margaret herself. I doubt if the Academy will bite, but Golden Globe voters nominated Hailee Steinfeld in Best Actress in a Musical/Comedy for Seventeen. I could see that happening with Fortson. A best case scenario would be attention for Adapted Screenplay, but let’s see how competitive that race becomes. My Oscar Prediction posts will continue…
After the 2008 Oscars, the Academy decided to expand the number of Best Picture nominees from five to ten. This rule would hold for 2009 and 2010 and then it shifted from anywhere between 5 and 10 (where it was typically 8 or 9). As of 2021, we’re back to a set 10.
Yet what if that had never happened? What if only five nominees from the last decade plus made the cut? My initial writeup where I predicted which five from 2009 would have done so can be found here:
Now we move to 2010. It was a year in which Tom Hooper’s The King’s Speech led the evening with 11 nominations. It would win four – Director, Colin Firth for Best Actor, Original Screenplay, and the big prize Picture. So there’s 20% of our theoretical lineup.
As for the others, let’s take them one by one and I’ll give my thoughts on whether each would’ve made that other 80% of the quintet.
127 Hours
In 2010, Danny Boyle was coming off 2008’s Slumdog Millionaire. That little film that could cleaned up on Oscar night with 8 trophies including Picture. This survival drama with James Franco landed six nods. It won zero, but earned recognition in the Best Pic prerequisites that count like screenplay and editing.
Does It Make the Final Five?
Yes. This is a tough one. As you’ll see below, there are more than five pics that check important boxes. My hunch is that it would’ve nabbed the fifth slot (though you may feel differently when you read on and I tell you what doesn’t make my cut).
Black Swan
Darren Aronofsky’s intense balletic drama earned Natalie Portman an Actress statue and four other nods: Director, Cinematography, and Film Editing. Certainly the director and editing mentions are notable as is Portman’s victory.
Does It Make the Final Five?
No. When Picture and Director were both set at five, they rarely matched. 4 out of 5 directors matching the BP nominations was most common. Here’s an example where I don’t think a match would’ve occurred. The biggest reason? Of the 10 BP nominees, Swan is the only one that didn’t land a screenplay nod. That’s significant.
The Fighter
Mark Wahlberg’s passion project didn’t land him a nod, but it did for three of his costars. Christian Bale took home Supporting Actor while onscreen mother Melissa Leo won Supporting Actress (with Amy Adams also nominated). The direction, screenplay, and editing also were up for a total of 7 nominations.
Does It Make the Final Five?
Yes. The wins in the two acting races and the fact that it hit in all the key precursors give the relevant tale of the tape.
Inception
There’s speculation that the reason the Academy switched to 10 nominees is because Christopher Nolan’s The Dark Knight was omitted from the five in 2008. His follow-up two years later did not miss the expanded cut. It won Oscars for half of its 8 nominations – Sound Editing, Sound Mixing, Cinematography, and Visual Effects. The other three nods besides Picture were Original Screenplay, Score, and Art Direction.
Does It Make the Final Five?
No. And here’s where some readers may disagree. I’m giving 127 Hours an ever so slight edge over this. Why? The 8 nods don’t mean much to me because the bulk of them are in tech races. By the way, The Dark Knight also received 8 nominations. Its misses are what make me skeptical as Nolan didn’t get in for his direction and it also wasn’t up for editing.
The Kids Are All Right
The family drama received acting mentions for Annette Bening and Mark Ruffalo and for its original screenplay.
Does It Make the Final Five?
No. Too many heavy hitters this year and it was probably toward the bottom of the ten that got in.
The Social Network
David Fincher’s saga about the founding of Facebook won three of its 8 nods in Adapted Screenplay, Film Editing, and Score.
Does It Make the Final Five?
Yes… easily. It was probably #2 behind King’s Speech in terms of winning Picture and Director.
Toy Story 3
The Pixar threequel holds the distinction of being the second animated title to make the BP list after Beauty and the Beast. On Oscar night, it won Animated Feature as well as Original Song and received an Adapted Screenplay nod.
Does It Make the Final Five?
No. The Academy probably would’ve been OK with it being a slam dunk Animated Feature winner if only five pics were in contention.
True Grit
The Coen Brothers Western remake was behind only King’s Speech in terms of nominations with 10. Beside Picture – you had Director(s), Actor (Jeff Bridges), Supporting Actress (Hailee Steinfeld), Adapted Screenplay, Sound Editing, Sound Mixing, Art Direction, Cinematography, and Costume Design. It went 0 for 10.
Does It Make the Final Five?
Yes. Despite the batting average, the sheer volume of nods indicates it would have still been included.
Winter’s Bone
This indie drama introduced the Academy and many moviegoers to Jennifer Lawrence. She received a nomination as did her costar John Hawkes in Supporting Actor. Adapted Screenplay was in the mix too.
Does It Make the Final Five?
No but here is a prime example of a smaller film that received attention due to the broadening of the BP base.
So that means if there had been just five Best Picture nominees in 2010, I believe they would have been:
The King’s Speech
127 Hours
The Fighter
The Social Network
True Grit
I will be back soon with my final five take on 2011!
Steven Spielberg has executive produced all five Transformers movies prior to Bumblebee and he holds that title here. Yet it’s in this prequel/spin-off that his influence feels the most pronounced. In the case of this franchise, that’s a welcome development. Michael Bay’s quintet of loud metal on metal action orgies that began in 2007 are generally nonsensical explosion excuses with occasional jaw dropping moments. Travis Knight, taking over directorial duties, gives Bumblebee a heart and the loudest audio belongs to the terrific 80s soundtrack.
This is a prequel and the happenings occur in 1987, which explains The Smiths, Duran Duran, and Tears for Fears providing the tunes. A prologue on the planet Cybertron shows our title character (voiced by Dylan O’Brien) being sent to Earth by Optimus Prime in order to escape death by The Decepticons. He crash lands, of all places, right in the middle of a military training exercise in California where no nonsense Colonel Jack Burns (John Cena) assumes him to be a hostile creature. Bumblebee manages to transform into that iconic 1967 Volkswagen Beetle, but not after being rendered mute when his voice box is disabled. By the way, this all happens in like ten minutes. Pacing is not an issue in this picture, unlike other bloated Transformers flicks.
That Beetle ends up in a junkyard frequented by Charlie (Hailee Steinfeld), a gear head who’s just turned 18. It’s her storyline that brings the Spielberg vibes front and center. She’s experienced parental loss as her beloved father has passed. She’s an outcast in the suburbs. Charlie has an awkward pending romance with her neighbor (Jorge Lendeborg Jr.). There’s also a resistance to diving (even though she’s a terrific diver) that we correctly assume will figure into the plot. She also works at a low rent amusement park that looks straight outta Adventureland. When she commandeers the Volkswagen, she discovers the giant yellow extraterrestrial and befriends him. Their relationship is quite E.T. like, if that alien had tires strapped to his back and communicated through radio waves playing Steve Winwood.
Knight, maker of the acclaimed KuboandtheTwoStrings, is making a Transformers experience that could have been made in the 80s. And it mostly works. There’s only so much he can do with the fight scenes after the Decepticons (voiced by Angela Bassett and Justin Theroux) track Bumblebee to this planet. The tech team here manages to make them easier to follow than Bay’s mashups. So when Colonel Burns and other dumber than they should be government types get involved in the plot, I found myself actually caring a bit. That’s due to screenwriter Christina Hodson’s establishment of Charlie as a full fledged character and Steinfeld’s work elevating her. Her charming interaction with Bee is enough to warrant something the Transformers epics don’t get and that’s a recommendation.
In the 21st century cinematic universe, the famed web slinger has been reinvented on a number of occasions – from Tobey Maguire to Andrew Garfield to Tom Holland. Spider–Man: IntotheSpider–Verse is the first one that feels truly inventive. Anyone thinking this animated experience would be a sub par spin-off or money grab will find themselves sorely mistaken. This iteration of the iconic hero has a lot of heart, plenty of action, and a warped sense of humor that elicits genuine laughs. Directors Bob Perischetti, Peter Ramsey, and Rodney Rothman (who co-wrote the screenplay along with Phil Lord) have drawn up what is probably the most satisfying Spidey pic on its own terms.
The picture posits the theory that our title character does his Spidey thing in multiple dimensions and in different forms than just Peter Parker. These characters are familiar to fans of the Marvel Comics and even includes Spider-Ham, representing the hero in pig form. He’s here and he’s fabulous. Our primary Spidey here is Miles (voiced by Shameik Moore), a Brooklyn teen with a police officer father and a potentially shady uncle that he admires. Miles attends a prep school and feels lost in his adolescence just like Peter Parker did. He’s a fan of Spider-Man, who is currently fighting Big Apple crime in the manner we’re accustomed to. That’s until bad guy Kingpin (Liev Schrieber) knocks him off, but not before Miles get a radioactive bite that gives him the well-known powers.
What follows is a visually splendid adventure where it’s clear that the makers really adore the character. At the same time, they take him in unforeseen directions that perhaps only the animated format could allow. Miles’s Spidey teams with an aging and out of shape Peter Parker (Jake Johnson) from a different “verse”, along with Spider-Woman (Hailee Steinfeld) and the aforementioned Ham version. There’s others, but part of the fun is watching them appear without me spoiling it.
Plenty of superhero movies take themselves quite seriously and many have succeeded with that tone. GuardiansoftheGalaxy and Deadpool introduced a different dynamic that is evident here. Yet Spider–Verse is not derivative. It manages to take one of the most repeated story arcs in the genre and cleverly turn it on its head. I enjoyed it immensely. The possibilities are many for this particular universe to continue and I’m up for it.
Times have changed in significant ways for the Transformers franchise that started eleven years ago. They manifest themselves with the release next weekend of Bumblebee, a prequel to the multi-billion series. For starters, Michael Bay is not in the director’s chair for the first time after making the first five. Travis Knight, most known for the acclaimed animated KuboandtheTwoStrings, takes over those duties. Hailee Steinfeld headlines the 1980s set tale alongside John Cena, Jorge Lendeborg Jr., John Ortiz, and the voice of Dylan O’Brien as the title Autobot.
A second major difference: Bumblebee is unexpectedly getting very good reviews with a current Rotten Tomatoes rating of 97%. Nearly every sequel since the 2007 original has been critically lambasted while still bringing in the bucks. Positive word-of-mouth should only help, but competition is fierce as the holidays approach. Two days before this debuts, MaryPoppinsReturns is out and will take away family audiences. Opening directly against it is Aquaman, which will siphon away action fans.
Which brings us to point #3 – expectations have fallen for the franchise and Paramount hopes its best revenge is better than anticipated returns. This will almost surely have the smallest premiere of the series. That’s even with the caveat that four of the five Transformers pics got early jumps and opened during the middle of the week. The series showed rust in the summer of 2017 when TheLastKnight had a $44 million traditional Friday to Sunday rollout and a $130 million domestic haul (by far the lowest of the quintet).
Add all that up and I’m not convinced the pleasing critical (ahem) buzz gets this beyond mid 20s considering its venerable competitors.
Bumblebee opening weekend prediction: $26.2 million
Alright, stay with me here. You might be thinking it’s silly to see a post with Bumblebee and Oscar Watch in the same title. However, let us not forget that the Transformers franchise (despite mostly negative reviews) has garnered seven nominations from the Academy over the last decade plus.
In 2007, the original film received three nods (Best Visual Effects, Sound Editing, Sound Mixing). Two years later, sequel RevengeoftheFallen got a Sound Mixing mention. In 2011, DarkoftheMoon nabbed the same three category nods as part one. Follow-ups AgeofExtinction and TheLastKnight went empty-handed in the Academy’s tech categories.
This brings us to Bumblebee, the 1980s set prequel that opens on December 21. Critical reaction has been surprisingly strong and it stands at 100% at the moment on Rotten Tomatoes. Many reviews suggest it’s the best of the series.
Last week, the pic made the shortlist of 20 entries eligible for Best Visual Effects. Therefore, it’s got a chance and the sound races could come into play as well. My feeling is that some other high-profile blockbusters will get in before this. Yet I wouldn’t totally count it out based on the positive notices.
Bottom line: this franchise has shown its ability in three categories to get attention. Bumblebee has an outside chance at recognition. My Oscar Watch posts will continue…
An iconic superhero swings into theaters in yet another iteration next Friday when Spider–Man: IntotheSpider–Verse debuts. This time around, the friendly neighborhood character is animated in a world where multiple individuals can don the spandex. Phil Lord (part of the team behind TheLegoMovie) shares writing credit along with co-director Peter Ramsey. Shameik Moore and Jake Johnson both provide voice work for Spidey. Other actors behind the mic include Hailee Steinfeld, Mahershala Ali, Liev Schreiber, Brian Tyree Henry, and Lily Tomlin.
Sony Pictures certainly has reviews on their side as this stands at 100% on Rotten Tomatoes. Some critics even claim it’s the overall best of the series (this is now the seventh stand-alone entry focused on the Marvel web slinger). It appears destined for an Oscar nod in Best Animated Feature.
I believe the raves and familiarity with its title character should propel this to pleasing returns. With projections in the $30-$40 million range, I’m estimating Spider–Verse will premiere on the high-end of that spectrum and likely top it.
Spider–Man: IntotheSpider–Verse opening weekend prediction: $43.4 million
Over the past 16 years, we’ve witnessed numerous iterations of the famed web slinging superhero Spider-Man. From Tobey Maguire to Andrew Garfield to Tom Holland and two franchise reboots, the character has been omnipresent in our multiplexes. So the idea of an animated version might have seemed like overkill when Sony announced Spider–Man: IntotheSpider–Verse, which creates a world in which multiple people can be the iconic character.
Critical reaction out today suggests otherwise. Spider–Verse stands at 100% on Rotten Tomatoes with over 30 reviews in. Some write-ups claim it’s the best Spidey feature since 2004’s Spider–Man2. Select others claim it’s the best of the whole bunch (this will be seventh stand-alone entry).
Will Oscar notice? It seems highly likely. That would mean a nod in Best Animated Feature. It marks a fourth near “sure thing “ in that race, including current box office champ RalphBreakstheInternet and IsleofDogs. The raves bestowed upon this suggests it could even stand a better chance at winning than those pictures. Yet it could be a tall order to overcome the Pixar juggernaut involving other superheroes – Incredibles2.
Bottom line: Spider–Verse is into the Animated Feature mix in a major way. It’s out stateside on December 14. My Oscar Watch posts will continue…
All My Life... I Wanted To Be A Blogster 