Based on Colson Whitehead’s 2019 bestseller, the 1960s set racial drama Nickel Boys has been unveiled at Telluride before its October 25th limited theatrical bow. From RaMell Ross (best known for the Oscar nominated 2018 documentary Hale County This Morning, Evening), Boys will stream on Amazon Prime after the awards qualifying run. Ethan Herisse, Brandon Wilson, Aunjanue Ellis-Taylor, Fred Hechinger, Hamish Linklater, and Daveed Diggs star.
Some early reaction from Colorado indicates this is one of the year’s best. That’s not across the board. The pic is apparently told from first person perspective and the style is being lauded and criticized depending on the write-up. Surprisingly, initial reviews are not spending much time on the cast. I’ve had Ellis-Taylor (a 2021 Supporting Actress nominee for King Richard) listed at #1 in my Supporting Actress nominees for a few weeks. She could still get in depending on the competition, but she may drop out of my projected quintet altogether (update later today on this blog!). Newcomer Herisse faces long odds in Actor due to growing competition and no other performers seem primed to receive chatter.
Boys could still have enough vocal admirers that Best Picture is doable along with Adapted Screenplay and even the cinematography despite some gripes. My Oscar Prediction posts will continue…
The Supremes at Earl’s All-You-Can-Eat hopes to find love from home viewers in its Hulu debut this weekend. The fact that it’s not in theaters came as an unexpected announcement from Searchlight Pictures (under the Disney umbrella) a few weeks back. Based on a 2013 novel from Edward Kelsey Moore, the decades spanning drama features Aunjanue Ellis-Taylor, Sanaa Lathan, and Uzo Aduba as lifelong friends. Costars include Mekhi Phifer, Julian McMahon, Vondie Curtis-Hall, and Russell Hornsby. Tina Mabry directs.
On paper, The Supremes looks like the type of crowdpleaser that might have appealed to awards voters. However, Searchlight went the streaming route. The strategy makes more sense as of the past few days. Earl’s sports a so-so 68% Rotten Tomatoes score at press time. Critics are kind to the performances of Ellis-Taylor (a Supporting Actress nominee for King Richard in 2021), Lathan, and Aduba (Emmy winner for Orange is the New Black).
Yet the reviews likely would have prevented this from generating much Oscar chatter. Searchlight also has other contenders that they’ll focus on. This includes the Bob Dylan biopic A Complete Unknown with Timothée Chalamet, Nightbitch with a potential Academy bait turn from Amy Adams, and A Real Pain which has already received Supporting Actor talk for Kieran Culkin.
If anyone had a shot from Supremes, it would be Ellis-Taylor. She would appear to have another bite at the apple with the upcoming Nickel Boys (also based on a bestseller) in the supporting field. As I always say, my Oscar Prediction posts will continue. They will not continue with this picture, per Searchlight.
Lee Daniels is in horror mode for the first time with The Deliverance, out in limited theatrical release this weekend before an August 30th Netflix streaming bow. The supernatural tale is inspired by real events with a cast led by Andra Day and Glenn Close. Costars include Rob Morgan, Caleb McLaughlin, Aunjanue Ellis-Taylor, Tasha Smith, Omar Epps, and Mo’Nique.
Fifteen years ago, Daniels had an awards breakout when Precious landed six Oscar nods including a Supporting Actress victory for Mo’Nique. 2021’s The United States vs. Billie Holiday saw Day contending for lead Actress. Yet any chatter among this acting troupe in The Deliverance has not centered on them. Same goes for Ellis-Taylor, recently up in supporting for King Richard. Her role here is said to be smaller and she is far likelier to be in the mix with the upcoming Nickel Boys.
This brings us to Glenn Close. The eight-time Academy nominee has infamously come up short eight times. Some early write-ups have said her performance is impressive. However, the 47% Rotten Tomatoes score and its genre should rule out a ninth at bat. My Oscar Prediction posts will continue…
Nearly four and a half years ago, Will Smith and Martin Lawrence were riding high with Bad Boys for Life. The third entry in the buddy cop franchise that began nearly 30 years ago set series best marks with $73 million over the four-day MLK frame in January 2020. It ended up with just over $200 million domestically.
And then things got weird. Life was the last mega-grosser before the pandemic hit and stalled the industry for many months. Smith, meanwhile, became embroiled in the infamous Oscar slap controversy two years later with Chris Rock. The directors of part 3 – Adil El Arbi and Bilall Fallah – followed Life up with Batgirl which Warner Bros shockingly decided to shelve for eternity.
So it kind of feels like there’s a lot riding on Bad Boys: Ride or Die when it opens June 7th. Smith and Lawrence are back alongside Joe Pantoliano, Vanessa Hudgens, Alexander Ludwig, Paola Núñez, Jacob Scipio, and DJ Khaled. The Batgirl makers return as well. Newcomers to part 4 include Tiffany Haddish, Eric Dane, Ioan Gruffudd, Rhea Seehorn, Melanie Liburd, and Tasha Smith (pulling an Aunt Viv and replacing Theresa Randle as Lawrence’s wife).
Bad Boys hopes to shake up a summer season where plenty of titles have fallen below expectations. This is also the first test of Smith’s star power post slap. I do not expect it to match the earnings of its predecessor. Part 3 took in $62 million for the three-day portion of its premiere. Sony would probably be satisfied with that and it would quell any “Smith’s career is dead” chatter.
I’m estimating a start that might not totally quell that conversation in the mid to late 40s.
Bad Boys: Ride or Die opening weekend prediction: $47.3 million
When Reinaldo Marcus Green’s Bob Marley: One Love, the biopic of the reggae icon was slated for early 2024 (it’s out February 14th), it called into question the viability of its awards prospects. After all, most real contenders aren’t seen in the first quarter unless it’s a Sundance screening. That speculation has been confirmed with the review embargo now lifted.
Kingsley Ben-Adir, who likely came close to a Supporting Actor nod in 2020 for One Night in Miami…, plays the title character with Lashana Lynch as wife Rita. The supporting cast includes James Norton, Tosin Cole, Umi Myers, and Anthony Welsh. Green’s previous pic King Richard gave Will Smith a much discussed Best Actor victory.
Don’t look for the Academy to look too much into Love and that could include Ben-Adir’s performance (though I wouldn’t totally discount the possibility). The Rotten Tomatoes score is a mere 36% and even the positive(ish) reviews use descriptions like serviceable and decent. Despite Marley’s beloved music, I wouldn’t look for Sound to be in play (though it would be the only race where it’s somewhat possible). My Oscar Prediction posts will continue…
Paramount hopes fans of the title character turn out for Bob Marley: One Love when it debuts on February 14th. Kingsley Ben-Adir is the legendary reggae singer with Lashana Lynch as wife Rita. Reinaldo Marcus Green, who last directed King Richard, is behind the camera. James Norton, Tosin Cole, and Anthony Welsh are among the supporting players.
Originally slated for January, the studio opted to push it back to the long holiday weekend encompassing Valentine’s and President’s Day. Reviews are mixed to negative with an RT score of 36% thus far.
Despite the critical reaction, Marley has a devoted fanbase and competition is light save for Madame Web. I believe a four-day take in the high teens to low 20s is doable with high 20s for the six-day tally.
Bob Marley: One Love opening weekend prediction: $19.2 million (Friday to Monday); $28.9 million (Wednesday to Monday)
Last year, a late breaking Oscar campaign for Andrea Riseborough’s performance in the micro-budgeted drama To Leslie resulted in success. With various celebrities holding events touting her work, Riseborough nabbed one of the five slots in Actress (over favored competitors like Danielle Deadwyler in Till and Viola Davis in The Woman King). This resulted in both controversy and kudos for a unique way to campaign for gold hardware.
Now for the 96th Academy Awards, we have another midnight hour title raising eyebrows in the form of Selma director Ana DuVernay’s Origin. Based on Isabel Wilkerson’s nonfiction novel, the race relations drama premiered on the festival circuit early in the fall at Venice and Toronto. Some reviews were raves, but not all. An 80% Rotten Tomatoes score resulted and Neon picked up distribution rights. Its wide release comes this Friday.
That timing could come in handy. However, Origin hasn’t been seen as a true threat for Picture, Adapted Screenplay, or Actress. Yet there’s been some noteworthy activity over the past week. Angelina Jolie hosted an FYC event with DuVernay and the film’s lead Aunjanue Ellis-Taylor (nominated for Supporting Actress in 2021 for King Richard). Today the USC Scripter nods for Adapted Screenplay had this in their top 5 along with expected heavy hitters American Fiction, Killers of the Flower Moon, Oppenheimer, and Poor Things.
Could Origin nab a screenplay mention from the Academy? That’s still a tough road. The other four titles should make the cut and Barbie is also an adapted work according to Oscar (despite that being heavily debatable). It wasn’t eligible for the USC prize due to their rules.
Where this could “come out of nowhere” as Riseborough did is in Actress. I would say Lily Gladstone in Flower Moon and Emma Stone in Poor Things are locked in. Sandra Hüller (Anatomy of a Fall) and Carey Mulligan (Maestro) aren’t shoo-ins, but their inclusion is expected. Then we have one slot up for grabs and hopefuls include Greta Lee (Past Lives), Margot Robbie (Barbie), and Annette Bening (Nyad). We shall see if this fresh round of campaigning puts Ellis-Taylor in the mix. I have my doubts. Then again I didn’t predict Riseborough a year ago and was proven wrong.
I do think Best Picture is a reach. At best, this might be 12th or 13th as far as possibilities. Or perhaps the power of Jolie isn’t to be underestimated. My final Oscar predictions are arriving on the blog imminently…
Nearly a decade after Selma was nominated for Best Picture and seven years after 13th was up for Documentary Feature, Ana DuVernay could be back in the awards conversation with Origin. Adapted from Caste: The Origins of Our Discontents, the 2020 nonfiction novel covering various racial issues, Aunjanue Ellis-Taylor (2021’s Supporting Actress nominee for King Richard) plays the book’s author Isabel Wilkerson. Costars include Jon Bernthal, Vera Farmiga, Audra McDonald, Niecy Nash-Betts, Nick Offerman, Jasmine Cephas Jones, Connie Nielsen, and Finn Wittrock.
At the Venice Film Festival, Origin received an appreciable reception. The Rotten Tomatoes score is at 85%. The Neon release (scheduled for sometime late this year) could still struggle to break into the Oscar consciousness. Some of the reviews (while generally positive) have enough reservations that this may not be much of a player at all. My Oscar Prediction posts will continue…
We have reached 2021 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?
Beyond the headlines made during the 94th Academy Awards by Will Smith and Chris Rock, the other story was a little movie called CODA. The family drama from Apple TV built momentum beginning at the Sundance Film Festival early in the year. It culminated in a 3/3 performance on Oscar night – winning Picture, Original Screenplay, and Supporting Actor (Troy Kotsur). We can assume it would’ve made the final cut.
As for the other nine, let’s take a deeper dive:
Belfast
Kenneth Branagh’s semi-autobiographical coming-of-age drama picked up other key nods in Director, Supporting Actress (Judi Dench), Supporting Actor (Ciaran Hinds), Original Song, and Sound. It didn’t emerge victorious in any, but its sole win came in Original Screenplay in a tight contest with Licorice Pizza.
Does It Make the Final Five?
Yes. The seven nominations were tied for third most and the screenplay trophy pushes it over.
Don’t Look Up
Adam McKay’s political satire was a streaming hit for Netflix with a megawatt all-star cast including Leonardo DiCaprio, Jennifer Lawrence, and Meryl Streep. Even with the Power of the Meryl, it received just three other mentions besides Picture in Original Screenplay, Original Score, and Film Editing (going 0 for 4).
Does It Make the Final Five?
No. Critics were divided and Netflix likely would’ve thrown all their campaign muscle behind The Power of the Dog if the count was only five.
Drive My Car
Ryusuke Hamaguchi’s three-hour Japanese drama easily won the International Feature Film race, but it also picked up other nods in Director and Adapted Screenplay.
Does It Make the Final Five?
No, but you could argue otherwise. I left it off due to the power of the others and the fact that foreign directors often get nominated without their films making the BP cut.
Dune
Denis Villeneuve was shockingly omitted from the Best Director derby. However, the sci-fi epic got the second most nominations at 10. It won a ceremony high 6 with Cinematography, Film Editing, Original Score, Production Design, Sound, and Visual Effects. The other nods were Adapted Screenplay, Costume Design, and Makeup and Hairstyling.
Does It Make the Final Five?
Yes. The Villeneuve snub causes some doubt, but the sheer amount of victories makes the inclusion likely.
King Richard
Will Smith infamously had the true-life sports drama’s sole win in Actor and it was also nominated in Supporting Actress (Aunjanue Ellis), Original Screenplay, Original Song, and Film Editing.
Does It Make the Final Five?
No. Yet this is another one that was a very close call. Once again, I just couldn’t take out some upcoming entries.
Licorice Pizza
Paul Thomas Anderson’s coming-of-age dramedy also saw its maker nominated in Director and Original Screenplay. It went 0 for 3.
Does It Make the Final Five?
No. That performance is a low showing for PTA’s pic and this was fairly easy to leave out of the ultimate quintet.
Nightmare Alley
Guillermo del Toro’s noirish thriller received three additional tech nods (losing all) in Cinematography, Costume Design, and Production Design.
Does It Make the Final Five?
No. This was (by a considerable margin) the easiest to leave off since it was blanked in all other major races like directing and screenplay and any acting mentions.
The Power of the Dog
Jane Campion’s direction is responsible for the Netflix Western’s one win. The nom count was an even better than expected 12 that included Actor (Benedict Cumberbatch), Supporting Actress (Kirsten Dunst), Supporting Actor (Kodi Smit-McPhee and Jesse Plemons), Adapted Screenplay, Cinematography, Film Editing, Original Score, Production Design, and Sound.
Does It Make the Final Five?
Yes, even though that 1/12 count is underwhelming to be kind. That’s still the most nods and Campion winning director seals it.
West Side Story
Steven Spielberg’s musical remake had its only win for Ariana DeBose (doing her thing in Supporting Actress). Five additional noms came for Mr. Spielberg, Cinematography, Costume Design, Production Design, and Sound.
Does It Make the Final Five?
Yes. I’ll admit this is a tough one and you could put Drive My Car or King Richard in its place. My gut says The Power of the Spielberg gives it a minor advantage.
That means my final 2021 five is:
Belfast
CODA
Dune
The Power of the Dog
West Side Story
2022 is next! And then, I’m switching it up. From 2008 and working backwards, I’ll do the inverse of these posts. For those years, I’ll speculate on what an expanded lineup of 10 might look like.
If you missed my entries for 2009-20, have no fear! They’re here:
The National Board of Review, a group of cinephiles out of New York City, bestows its best of every year in early December. Their selections certainly don’t forecast who and what the Academy will eventually name. They do, like many critics organizations, give us potential hints as to who and what’s hot and not as Oscar voters ready their ballots.
For 2022, the NBR went with the year’s most popular picture in Top Gun: Maverick. Named Best Film, Maverick is expected to land a spot in the Academy’s BP ten. Picking it to win is risky business. Of the last 10 NBR victors, only one went on to win BP at the big dance – 2018’s Green Book (and that was a surprise). The last three recipients were The Irishman, Da 5 Bloods, and Licorice Pizza. On the other hand, one three NBR winning films in the 21st century didn’t score an Oscar BP nomination: 2000’s Quills, 2014’s A Most Violent Year, and the aforementioned Bloods from 2020.
The directing prize went to Steven Spielberg for The Fabelmans. He’s ranked #1 in my Oscar picks and has been for quite some time. If he takes Oscar, he’d be the first NBR victor to do so since 2006 when Martin Scorsese won for The Departed.
The matches don’t improve much in the acting derbies. Michelle Yeoh (Everything Everywhere All at Once) was crowned Best Actress. Three of the past 10 winners achieved Oscar glory: Julianne Moore for Still Alice, Brie Larson in Room, and Renee Zellweger as Judy. On a side note, a Cate Blanchett Tàr prize here would’ve been the easy bet. That picture was ignored by NBR even in their selections for the 10 greatest films not named Top Gun: Maverick (more on that below).
Colin Farrell nabbed another lead Actor honor for The Banshees of Inisherin. Two of the previous 10 NBR gentleman made a podium trip at the Oscars: Casey Affleck in Manchester by the Sea and Will Smith last year for King Richard (remember that?). Farrell is emerging as a major threat as is Austin Butler for Elvis (which received no love from this board). Along with Brendan Fraser in The Whale (who needs some critic groups love awfully soon), they make up a three-way tussle for Best Actor.
Janelle Monae is your Best Supporting Actress as her stock is rising. Yet only two of the past 10 winners match Oscar with Regina King for If Beale Street Could Talk and Youn Yuh-Jung for Minari. Brad Pitt is the only Supporting Actor NBR/Academy match of the last decade for Once Upon a Time in Hollywood. Brendan Gleeson in The Bansees of Inisherin will try and join that small club as he emerged over frontrunner Ke Huy Quan in Everything Everywhere.
Original Screenplay went to Banshees while All Quiet on the Western Front was a surprise recipient in Adapted Screenplay over Women Talking (which is widely favored to catch the Academy’s attention).
Other pics making their mark today were Marcel the Shell with Shoes On for Animated Feature, Close in International Feature Film, and Sr. for Documentary Feature. All are expected to vie for consideration at the Oscars.
Finally, the NBR chooses 10 additional features on their best of list. This year they were Aftersun, Avatar: The Way of Water, The Banshees of Inisherin, Everything Everywhere All at Once, The Fabelmans, Glass Onion: A Knives Out Mystery, RRR, Till, The Woman King, and Women Talking. In addition to Tár and Elvis – you also won’t find The Whale or Babylon or Triangle of Sadness among the picks. Same with She Said and Guillermo del Toro’s Pinocchio.
From 2019-2021, the winning pictures and ten other NBR picks equated to between 5-7 of the Academy’s BP contenders. Right now, I have six of these 2022 films in my Oscar 10: Maverick, Avatar, Banshees, Everything Everywhere, Fabelmans, and Women Talking. That corresponds to what usually occurs between NBR and Oscar.
All in all, a good day for Maverick and company. That said – if you think it is now cruising to Best Picture, history suggests otherwise.
All My Life... I Wanted To Be A Blogster 