You have to go back to 2008’s The Dark Knight to find the last Batfilm to receive an Oscar nomination. It landed the most of them. While famously missing Best Picture (it’s often called the flick that caused the Academy to expand beyond five nominees), it garnered eight nods and won Supporting Actor (Heath Ledger) and Sound Editing. The other nominations were for Sound Mixing, Art Direction, Cinematography, Makeup, Film Editing, and Visual Effects. 1989’s Batman was 1 for 1 in its nominations with Art Direction while follow-up Batman Returns was up for Makeup and Visual Effects and Batman Forever received a mention for Sound Effects Editing. Batman Begins from 2005 made the Cinematography final five. Batman and Robin, The Dark Knight Rises, Batman v Superman: Dawn of Justice, and Justice League all failed to show up at the big show.
That history lesson is, of course, given to you because reboot The Batman with Robert Pattinson opens Friday and the review embargo lifted today. Early critical reaction has resulted in an 87% Rotten Tomatoes score thus far. Some write-ups are calling it masterful. Others are more mixed in the praise with some complaints of over length in particular.
So what are its Oscar prospects? As I see it, pretty strong in many of the races mentioned above. That includes Sound (now just one competition), Visual Effects, Production Design (what was Art Direction), Makeup and Hairstyling, Cinematography, and even Original Score (from Michael Giacchino). Director Matt Reeves, taking over the franchise, has experience in the VE derby with Dawn of the Planet of the Apes and War for the Planet of the Apes.
Those down the line nods could be plentiful for The Batman. However, I don’t see it getting Best Picture, Director, Adapted Screenplay, or nominations for its actors. It won’t be for lack of social media chatter. We have seen numerous comic book adaptations receive fervent support online (from The Dark Knight to Deadpool to Avengers: Endgame to Spider-Man: No Way Home). Only Black Panther and Joker have made the BP cut. I don’t envision The Batman being the third, but tech nods should happen. My Oscar Prediction posts will continue…
Jane Campion’s The Power of the Dog is my ninth Case Of post covering the Best Picture nominees for the 2021 Academy Awards. If you missed the previous entries, you can access them here:
And it’s quite a case to be made. Last week, the Netflix period drama ruled Oscar nominations morning with an even better than expected 12 nods. It even garnered unexpected mentions in Sound and for Jesse Plemons in Supporting Actor (alongside his costars Benedict Cumberbatch, Kirsten Dunst, and Kodi Smit-McPhee). In doing so, Dog landed placements in all of the down the line races where a BP win is key: directing, performances, adapted screenplay, editing, and so forth. At the Golden Globes (where many were predicting a Belfast victory), it took Best Drama. It’s also been the beneficiary of numerous critics groups awards for Best Pic.
The Case Against The Power of the Dog:
Being the frontrunner doesn’t always pan out and we’ve seen it in three of the past five Oscars. Just ask La La Land (which lost to Moonlight in 2016), Roma (which fell to Green Book in 2018), and 1917 (which came up short to Parasite in 2019). Getting the most nominations also doesn’t mean you’re taking the big prize. Just ask Mank from last year. Or Joker two years ago. Or The Favourite or Roma from 2018.
The Verdict:
While the case against is somewhat persuasive, there’s no denying that Dog is unquestionably the favorite to win. Yet there’s compelling evidence that an upset is certainly feasible.
My Case Of posts will continue with West Side Story…
I’m closing out my deep dives of the major Oscar races with the granddaddy of them all – Best Picture. If you missed my posts covering Best Director and the four acting categories, you can find them here:
Unlike the previous several years where the Picture nominees could fluctuate between 5-10 (though 8 and 9 were the magic numbers), 2021 brings fluidity with a set 10 films being honored (I’d like to thank the Academy for that).
As I’ve done with the others, let’s take a look back at how I was performing in the early November time frame from 2019 and 2020. Two years ago, I had 8 of the eventual 9 movies pegged: winner Parasite, 1917, Ford v Ferrari, The Irishman, Jojo Rabbit, Little Women, Marriage Story, and Once Upon a Time in Hollywood. The other – Joker – was mentioned in Other Possibilities.
2020 was trickier at this stage, but I identified 5 of the 8 hopefuls: winner Nomadland along with The Father, Mank, Minari, and The Trial of the Chicago 7. Judas and the Black Messiah was named as a possibility while I didn’t have Promising Young Woman or Sound of Metal yet in the 15 selections.
For 2021 – I feel confident that four already screened entries will make the dance. We begin with Kenneth Branagh’s Belfast, the 1960s set coming-of-age drama that could be looked at as the soft frontrunner. It’s been listed at #1 in my estimates for several weeks.
Belfast displaced The Power of the Dog from Jane Campion in that spot, but I still see the Netflix title having no trouble securing its placement among the contenders.
King Richard should find its way as the inspirational sports flick that will have audiences on its side. Furthermore, Will Smith appears in position to possibly win Best Actor. You have to go back to Jeff Bridges (Crazy Heart) twelve years ago where the Oscar winning actor didn’t see his movie recognized in Picture.
Then there’s Dune. The sci-fi epic from Denis Villeneuve got the box office and critical kudos it needed to storm the competition. The filmmaker could make a victory play for his direction while the picture itself seems destined for a nod here and tech wins elsewhere.
In past years, the bulk of nominees in Picture were screened at festivals. In 2021, that dynamic could shift as there’s a slew of unscreened material that seems like Oscar bait. That list includes Guillermo del Toro’s Nightmare Alley, Paul Thomas Anderson’s Licorice Pizza, Steven Spielberg’s West Side Story, Ridley Scott’s House of Gucci, Lin-Manuel Miranda’s Tick, Tick… Boom!, and Adam McKay’s Don’t Look Up.
The first four of the six are ones I’ve had in my ten for a bit and I’m not changing it today. That said, this could be altered quickly once their official reviews are up (and that will be soon). Some prognosticators are more confident with Don’t Look Up. I’ll believe it when I see it.
With the pics that have been seen, Pablo Larrain’s Spencer is sure looking like it will garner Kristen Stewart her first ever nod with a solid chance at a victory. I do believe the Princess Diana tale will manage to make the cut, but it could go either way.
This also holds true for Joel Coen’s The Tragedy of Macbeth, which should also manage some tech recognition and for its lead Denzel Washington and maybe Frances McDormand.
I will admit that it seems strange to leave off any titles that screened early at Sundance. After all, last year there were 3 pics from the fest (The Father, Minari, Promising Young Woman) that got in. There’s a trio that could do the same in 2021 and they’re all listed in Other Possibilities: CODA, Flee, and Mass. Of that group, Flee (which I do have predicted in Animated Feature, Documentary Feature, and International Feature Film) may have the strongest chance.
Foreign flicks could factor in and they include A Hero, The Hand of God, Parallel Mothers, and The Worst Person in the World. I wouldn’t completely discount Netflix hopefuls such as The Lost Daughter and Passing.
Then there’s high profile fare where the luster has been lost either to mixed reviews or poor box office. That list includes Wes Anderson’s The French Dispatch, Ridley Scott’s The Last Duel, and certainly Chloe Zhao’s Eternals.
The bottom line is this – in 2021, with two months left to go in the calendar, there’s a lot yet to be determined. Here’s my take for now:
Best Picture
Predicted Nominees:
1. Belfast (Previous Ranking: 1)
2. The Power of the Dog (PR: 2)
3. King Richard (PR: 3)
4. Dune (PR: 4)
5. Licorice Pizza (PR: 6)
6. Nightmare Alley (PR: 5)
7. West Side Story (PR: 7)
8. House of Gucci (PR: 8)
9. Spencer (PR: 9)
10. The Tragedy of Macbeth (PR: 10)
Other Possibilities:
11. Flee (PR: 13)
12. Don’t Look Up (PR: 11)
13. Mass (PR: 12)
14. Tick, Tick… Boom! (PR: 15)
15. CODA (PR: 14)
And that wraps the detailed looks, folks! Next weekend I’ll be back with updated estimates…
After four posts focusing on the acting races at the 2021 Oscars, it’s time to turn to Best Director. If you missed those entries on the lead and supporting performer derbies, you can find them here:
With the directing category, I do believe there’s three filmmakers that have likely punched their ticket to a nomination. Before we get there, let’s take a look at how my projections panned out at the same early November time frame in 2019 and 2020.
Two years back, I correctly identified four of the five contenders: winner Bong Joon-ho (Parasite) as well as Sam Mendes (1917), Martin Scorsese (The Irishman), and Quentin Tarantino (Once Upon a Time in Hollywood). Todd Phillips (Joker) was mentioned in Other Possibilities. 2020 was more unpredictable with two months left to go and that resulted in only two directors being accurately named: Chloe Zhao (Nomadland), who took the gold, and David Fincher (Mank). Lee Isaac Chung (Minari) was in Other Possibilities while neither Emerald Fennell (Promising Young Woman) or surprise nominee Thomas Vinterberg (Another Round) were yet listed in my top ten.
Back to 2021 and the three individuals who I believe stand probable shots at making the cut. They are Jane Campion (The Power of the Dog), Kenneth Branagh (Belfast), and Denis Villeneuve (Dune).
It was 28 years ago that Campion was nominated for The Piano. If it hadn’t been for Oscar juggernaut Schindler’s List, she likely would’ve been making a speech. Upon its premiere in Venice, Campion took the Silver Lion (equivalent to this competition) for Dog. I don’t see her being left off the ballot.
Belfast is the current frontrunner for Best Picture and it’s hard to envision writer/director Branagh not making it in. If so, it would be his first nod in directing since Henry V some 32 years back.
Dune is being heralded for its technical wizardry and it should pick up numerous down the line wins and nominations. Five years after his behind the camera work was recognized for Arrival, Villeneuve should be a factor again.
Interestingly, I don’t feel there’s a clear favorite to win. There are plausible scenarios for any member of this trio to emerge victorious. Campion, Branagh, and Villeneuve constitute my top 3 (in that order), but it’s more of a 1a, 1b, and 1c at press time.
As for the other two slots, there’s a few contenders stemming from unseen product. There’s big names in that bunch: Guillermo del Toro (Nightmare Alley, who won four years ago for The Shape of Water), Paul Thomas Anderson (Licorice Pizza, a two-time nominee for There Will Be Blood and Phantom Thread), Ridley Scott (for House of Gucci and not The Last Duel), Adam McKay (Don’t Look Up, previously nominated for The Big Short), Lin-Manuel Miranda (Tick, Tick… Boom!), and Steven Spielberg (West Side Story, a two-time winner for Schindler’s List and Saving Private Ryan).
Any of these gentlemen could bubble up to the surface once their pictures are screened. I’m sticking with the two I’ve had in my five recently: del Toro and Anderson.
King Richard has a chance to win Best Picture, but I’m skeptical its maker Reinaldo Marcus Green makes it here. The sports drama seems destined to be recognized more for its performances, but if the Academy really falls for it, Green could be theoretically be swept in. That holds true for Joel Coen (The Tragedy of Macbeth) and Pablo Larrain (Spencer) as well.
Lastly, Thomas Vinterberg’s nod in 2020 for Another Round came out of nowhere. While it was pegged to take International Feature Film (which it did), Round was not nominated in Best Picture. There’s a slew of directors who could fill the “surprise” slot this time around (many from foreign features): Pedro Almodovar (ParallelMothers), Julia Ducournau (Titane), Asghar Farhari (A Hero), Paolo Sorrentino (The Hand of God), Joachim Trier (The Worst Person in the World). I wouldn’t completely count out Rebecca Hall for Passing. Yet none of these upset selections are in my top ten.
The one that is: Jonas Poher Rasmussen for festival darling Flee. While I don’t have it nabbing a Best Pic nom at the moment, I do foresee the Danish doc contending in Animated Feature, Documentary Feature, and International Feature Film. That kind of attention could cause the voters to include him.
Here’s how those rankings look at the start of November:
Best Director
Predicted Nominees:
1. Jane Campion, The Power of the Dog (Previous Ranking: 1)
We come to Best Actor in my deep dive of the major Oscar races covering the four acting showdowns in addition to Picture and Director. If you missed the first two covering Supporting Actor and Actress, they’re here:
Looking at the past two years in my early November estimates in this competition, there’s a better track record than with the supporting categories. In 2019, with two months to go, I rightly had four of the five nominees pegged: winner Joaquin Phoenix (Joker), Leonardo DiCaprio (Once Upon a Time in Hollywood), Adam Driver (Marriage Story), and Jonathan Pryce (The Two Popes). Antonio Banderas (Pain and Glory) was mentioned in Other Possibilities. For the 2020 experience, that number was three – winner Anthony Hopkins in The Father, Chadwick Boseman (Ma Rainey’s Black Bottom), and Gary Oldman (Mank). The other two were named as possibilities – Riz Ahmed for Sound of Metal and Minari‘s Steven Yeun.
In 2021, it appears that three hopefuls have probably punched their tickets. The conversation begins with Will Smith. He’s a two-time nominee – once 20 years ago as Ali and 15 years past in The Pursuit of Happyness. As King Richard, it may well be the Fresh Prince’s time to be crowned for the true life sports drama that is said to be a massive crowdpleaser.
When Smith lost for Ali, it was to Denzel Washington in Training Day. The two-time winner looks to be back in the mix with The Tragedy of Macbeth. While I’m feeling confident in his nomination, I don’t see Mr. Washington emerging victorious here.
The other probable player is Benedict Cumberbatch in The Power of the Dog, gunning for his second nod seven years after The Imitation Game. Several festival reviews are calling it career best work and I don’t see him sliding.
After that, there’s quite a few of performers vying for the remaining two spots. There’s a few in the “not yet seen” silo. That includes Bradley Cooper in Nightmare Alley. We are all waiting to see how big his supporting role is in Licorice Pizza. I’ve had Cooper listed #1 there for months. If he ends up falling shot in that one, he could rise with this.
Andrew Garfield’s performance in Tick, Tick… Boom! is a trendy selection. He’s also a possibility in supporting with The Eyes of Tammy Faye (though I’m skeptical he makes it through there).
We also have Leonardo DiCaprio for Don’t Look Up. I’m not as high on the film as some other prognosticators, but laudatory screenings could change that dynamic. There’s also Adam Driver for House of Gucci and Cooper Hoffman for the aforementioned Pizza. With all these gentlemen, time will tell and we won’t have to wait long.
Back to the performances we do know about. Nicolas Cage garnered some of the best notices of his career for Pig. He’ll have internet chatter on his side but I wouldn’t bet the farm on him making it. Speaking of web love, expect the same for Timothee Chalamet (Dune). I believe he’s less likely than Cage. Same goes for former MTV veejay Simon Rex in Red Rocket.
Belfast is the frontrunner for Best Picture and its quartet of supporting thespians (Caitriona Balfe, Judi Dench, Jamie Dornan, Ciaran Hinds) could all show up in their races. The film’s young lead Jude Hill is more of a long shot. Clifton Collins Jr. drew raves beginning at Sundance with Jockey. I would say Sony Pictures Classics needs to up their game with his campaign for him to enter this derby. There’s also a slight chance that Amir Jadidi could be a factor in A Hero (which could take International Feature Film).
For now, I’m sticking with two actors that I’ve had in my five for awhile. Peter Dinklage has gotten plenty of Emmy love for his Game of Thrones stretch and his musical and dramatic stylings in Cyrano could cause the Academy to take note.
Even though he won just two years back for Joker, Joaquin Phoenix could be up again for C’Mon C’Mon if none of the unseen candidates rise in the polls.
Bottom line: Smith (especially), Cumberbatch, and Washington are all relatively safe at press time. About a dozen others will vie for slots four and five. Here’s where I have it at this beginning of November time frame:
Best Actor
Predicted Nominees:
1. Will Smith, King Richard (Previous Ranking: 1)
2. Benedict Cumberbatch, The Power of the Dog (PR: 2)
3. Denzel Washington, The Tragedy of Macbeth (PR: 3)
Arriving one year after its COVID delay, Tom Hardy returns as the Marvel Comics title character in Venom: Let There Be Carnage. The sequel includes returnees Michelle Williams and Reid Scott along with newcomers Naomie Harris, Stephen Graham, and Woody Harrelson (who did briefly cameo in the original’s post credits scene). Andy Serkis, certainly no stranger to CG effects, takes over directorial duties from Ruben Fleischer.
Three years ago, Venom surpassed expectations with a then October best opening weekend of just over $80 million. That record was beaten a year later by Joker. The overall domestic gross of $213 million guaranteed a follow-up.
After witnessing the recent robust performance of Marvel’s Shang-Chi and the Legend of the Ten Rings, Sony actually pushed up the release date by two weeks.
Carnage kicks off a month where studios are hopeful for pleasing returns with heavy hitters like No Time to Die, Halloween Kills, and Dune. I don’t envision this getting to $80 million like its predecessor. A more realistic expectation would be part II nabbing about 75% of what part I achieved out of the gate.
That would be $60 million and I’ll say it goes just under that.
Venom: Let There Be Carnage opening weekend prediction: $58.7 million
For my The Addams Family 2 prediction, click here:
For about a decade starting in the early 80s, the films of Barry Levinson were a magnet for awards nominations. 1988’s Rain Man won Best Picture and Levinson took directing honors. 1991’s Bugsy scored numerous nods including the aforementioned big races. The Natural and Good Morning, Vietnam earned acting mentions. Levinson received screenplay nominations for Diner and Avalon.
Over the past decade or so, the filmmaker’s most acclaimed titles have come on the small screen with several HBO movies. His previous big screen offering was the panned 2015 Bill Murray vehicle Rock the Kasbah.
Those fortunes could change with The Survivor, which has screened in Toronto. The black and white Holocaust drama tells the true life story of Harry Haft (Ben Foster). During his captivity at Auschwitz, he was forced to box fellow prisoners in order to survive. Costars include Billy Magnussen, Danny DeVito, Vicky Krieps, Peter Sarsgaard, and John Leguizamo.
Reviews from our neighbor up north have resulted in an 88% Rotten Tomatoes score. Not all the generally positive reaction are raves, but there’s one consistency. Foster is being heralded for his role. Despite praised performances in Hell or High Water and Leave No Trace, Foster has yet to capture the attention of Oscar voters. The actor reportedly lost a tremendous amount of weight for the part. That has been a recipe for making the ballot for plenty of winners and contenders including Matthew McConaughey (Dallas Buyers Club) and Joaquin Phoenix (Joker) to name just two. The Best Actor race probably has two slots filled already with Will Smith (King Richard) and Benedict Cumberbatch (The Power of the Dog). Hopefuls are waiting in the wings like Denzel Washington (The Tragedy of Macbeth), Bradley Cooper (Nightmare Alley), and Leonardo DiCaprio (Don’t Look Up). There’s other performances from the fest circuit such as Phoenix (C’Mon C’Mon), Peter Dinklage (Cyrano), and Clifton Collins Jr. (Jockey) in the mix.
First things first. The Survivor needs to find a distributor and a 2021 release date to qualify. It will likely do so. The next question is how hard its eventual studio/streamer pushes for Foster. The Survivor is also a possibility in Cinematography, Makeup and Hairstyling, and maybe even Picture and Director if its gets the right push.
Bottom line: I’ve yet to even mention The Survivor in my weekly Oscar predictions. I doubt I’ll be projecting it yet for inclusion in the aforementioned categories, but I do suspect it will bubble up for the first time in other possibilities. My Oscar Prediction posts for the films of 2021 will continue…
What’s happening in Venice? Well, Happening is. As in the 1960s set French drama from director Audrey Diwan (not to be confused with M. Night Shyamalan’s dreaded The Happening… and it won’t be). The pic surprisingly took the Venice Film Festival’s top award this afternoon – the Golden Lion.
In the past four years, the recipient of that honor has moved onto Oscar glory. Both 2017’s The Shape of Water and last year’s Nomadland took that Italian momentum to a Best Picture win. 2018’s Roma and 2020’s Joker both achieved nominations in BP and won other major categories.
My feeling is that Happening will break that streak. While France may select it for International Feature Film consideration and it could make that five, I don’t see this nabbing one of the ten slots for BP.
Diwan did not emerge victorious in Director. Instead, that went to Jane Campion for The Power of the Dog where she’s widely anticipated to follow suit with the Academy.
The Silver Lion (essentially runner-up) went to Paolo Sorrentino’s The Hand of God. While it got same raves, some critics were a little cooler. In my estimation, it has a stronger shot at BP and especially International Feature Film inclusion than Happening.
Best Actress was a category to keep an eye on as it included Oscar hopefuls like Kristin Stewart in Spencer, Olivia Colman for The Lost Daughter, and Penelope Cruz in Parallel Mothers. It was Cruz grabbing the prize (to the shock of many a Stewart fan) and it puts the three-time nominee and one-time victor in a sturdier position to make the cut come Oscar time. As for Stewart (and Colman to a lesser degree), they’ve still done what they need to do to be in the conversation.
There wasn’t many Academy players in the male actor competition and it was John Arcilla winning for On the Job: The Missing 8, an export from the Philippines. Don’t expect his name in the mix for Oscar.
The Screenplay race honored Maggie Gyllenhaal for The Lost Daughter, which was received very well overseas. This increases her chances to at least get an Adapted Screenplay recognition for her work. She also directed and a nod there could be a taller order.
Overall, I wouldn’t expect 2021’s Golden Lion selection to gain much traction at the big show. Other winners solidified their statuses in various categories.
Two years ago, the film festival circuit paved the road for Joaquin Phoenix’s Oscar-winning triumph in Joker. In 2021, the actor headlines his first post Joker role and it showcases the softer side of Phoenix.
C’Mon C’Mon is a black and white drama from writer/director Mike Mills. He’s no stranger to awards attention. In 2011, he guided Christopher Plummer to a Best Supporting Actor victory. 2016’s 20th Century Women nabbed him a Best Original Screenplay nod.
I’ve yet to see a negative review for C’Mon from Telluride or Venice, but I’m also skeptical it has the goods for Picture consideration. Casting Phoenix as a radio DJ put in charge of caring for his young nephew (Woody Norman, garnering solid notices), its best chances are with him and the script.
Best Actor probably has two tickets punched already: Will Smith in King Richard and Benedict Cumberbatch for The Power of the Dog. Peter Dinklage (Cyrano) also put himself in contention over the weekend. There’s a whole lot of performances left to be screened that could play: Denzel Washington (The Tragedy of Macbeth), Adam Driver (House of Gucci), Bradley Cooper (Nightmare Alley), and Leonardo DiCaprio (Don’t Look Up) among them. I currently should have Phoenix on the outside looking in when I update my estimates tomorrow, but he could absolutely rise. Same goes for the screenplay. My Oscar Prediction posts for the films of 2021 will continue…
For those who don’t follow the Oscar game and film festivals like I do (which is understandably most of you), this post looks to be a helpful primer on why such festivals are so important when doing predictions.
The 2021 Venice Film Festival kicks off tomorrow and you can anticipate plenty of Oscar speculation chatter on the blog in the next several days. You may ask – why is this Italian extravaganza so key in determining how this year’s awards landscape may look?
Let’s look at just the past five years as prologue. Of the 43 features nominated for Best Picture from 2016-2020, 31 were originally screened at the various high-profile festivals. There were six from Sundance and four each premiered at Telluride, Toronto and Cannes (with one emanating from the New York Film Festival). Eleven had their start in Venice. That’s right. Essentially one in four. That means that, lately, the average year has seen two to three BP nominees coming from this one event.
Of the last five Best Picture winners, all of them kicked off at a festival. 1 from Telluride (Moonlight). 1 from Toronto (Green Book). 1 from Cannes (Parasite). Two from Venice: The Shape of Water and last year’s Nomadland.
How about the acting derbies? Of the 20 winners in Actor, Actress, and the supporting fields from 2016-2020, only two were performances that did not come from a festival screened film. There’s 1 from Cannes. Three each from Telluride and Toronto. Four from Sundance. And seven from Venice.
This is why the titles hitting Venice in 2021 currently hold lofty positions with prediction makers like myself. It’s why Jane Campion’s The Power of the Dog took over House of Gucci (not currently slated for a fest) at the #1 slot in my BP rankings. This explains why I’m keeping a close eye on pics like Dune, The Hand of God, Parallel Mothers, Spencer, and Last Night in Soho. Maybe Spencer won’t win Best Picture, but it could nab Kristen Stewart her first nomination and victory.
Of course, only the screenings themselves will demonstrate the viable contenders. Yet there’s a recent history proving that Venice has become the most important festival of all. Ask the makers of Nomadland and The Shape of Water. Or Emma Stone (La La Land), Olivia Colman (The Favourite), or Joaquin Phoenix (Joker) to name just some.
My coverage of the Venice Film Festival begins tomorrow!
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