Both of Bradley Cooper’s directorial efforts – 2018’s A Star Is Born and 2023’s Maestro – were Best Picture nominees. Can Is This Thing On? make it three for three? The comedic drama focused on a separated couple (Will Arnett and Laura Dern) has closed out the New York Film Festival prior to its slated December 19th debut. Mr. Cooper is in the supporting cast alongside Andra Day, Amy Sedaris, Arnett’s Smartless cohost Sean Hayes, Christine Ebersole and Ciarán Hinds.
The early 92% Rotten Tomatoes score indicates another critically appreciated pic from its maker. Yet some of the reaction calls this a more minor effort from Cooper and company. I anticipate Metacritic’s rating will be noticeably lower. Early word-of-mouth has me suspecting this thing isn’t an Academy player despite comparisons to Marriage Story (which happened to get Dern a Supporting Actress Oscar). If it gets in anywhere, Original Screenplay would be it though competition is considerable.
The Golden Globes are a different story if Fox Searchlight campaigns for it in Musical/Comedy. That would be the smart strategic move and could mean noms in Picture and the lead acting races for Arnett and Dern. My Oscar Prediction posts will continue…
Tonight’s Gotham Awards were not expected to provide any major clues as to how the awards season will play out. That might hold true, but I do think the winner of Best Feature could be a preview for one picture in particular.
Adam Schimberg’s A Different Man was the surprise winner in the big race over the heavily favored Anora from Sean Baker. For those that didn’t believe Anora would away with the top prize from the New York group that honors indie movies, the runner-up pick would’ve been RaMell Ross’s Nickel Boys. Both of them are anticipated to nab BP nods (especially Anora). And while that still is the case, it does make me question all the prognosticators who have Anora ranked #1 (a lot do). I haven’t yet and have always slotted it 2nd or 3rd behind (lately) The Brutalist or Conclave. By the way, Challengers and Babygirl were the other contenders.
So… should we be thinking about A Different Man in Best Picture? I wouldn’t make that leap. However, it’s worth noting that four of the past five Gotham Feature victors managed a BP slot: 2019’s Marriage Story, 2020’s Nomadland (which won), 2022’s Everything Everywhere All at Once (another winner), and last year’s Past Lives. The exception is The Lost Daughter from 2021. Don’t expect Different to all of a sudden pop into my top 10 in BP, but you might see it between 11-15 in other possibilities when I update.
The no-show in victories for Anora continued in Director as RaMell Ross was honored for Nickel Boys. Strangely enough, this was the first year where the Gothams bestowed an individual behind the camera prize so comparisons cannot be made. That said, Ross is certainly a possibility at the Oscars though I currently don’t have him in my quintet.
The Gothams do not separate gender in their lead and supporting races as of 2021. Voters clearly were taken with Sing Sing as Colman Domingo was Outstanding Lead Performer and Clarence Maclin was Outstanding Supporting Performer.
For Domingo, he beat out his anticipated competitor in Best Actor Adrien Brody (The Brutalist) as well as plenty of Actress possibilities like Mikey Madison (Anora), Saoirse Ronan (The Outrun), Demi Moore (The Substance), Marianne Jean-Baptiste (Hard Truths), Nicole Kidman (Babygirl), and Pamela Anderson (The Last Showgirl). Since 2021, only Olivia Colman (The Lost Daughter) received an Oscar nod after winning this category.
Maclin was selected over other potential Supporting Actor rivals including Kieran Culkin (A Real Pain), Guy Pearce (The Brutalist), Yura Borisov (Anora), and A Different Man‘s Adam Pearson. Supporting Actress hopefuls Danielle Deadwyler (The Piano Lesson) and Natasha Lyonne (His Three Daughters) were also in the mix. The winners of supporting here in 2021 (Troy Kotsur for CODA) and 2022 (Ke Huy Quan in Everything Everywhere) went onto take the Supporting Actor Oscar. Last year’s recipient Charles Melton (May December) didn’t make the Academy’s cut. Both Domingo and Maclin are expected to receive Oscar nominations.
Speaking of His Three Daughters, it won Screenplay. Yet you can’t read much into that because none of the other nominees (Between the Temples, Evil Does Not Exist, Femme, Janet Planet) are expected to contend at the Academy Awards.
The precursors for Oscars are begin to roll out and keep an eye on this blog for all the coverage!
The Toronto Film Festival has concluded its 2024 business with the reveal of its People’s Choice Award and the 1st and 2nd runners-up for the prize. This announcement is eagerly awaited by Oscar prognosticators and for good reason. Since the Academy expanded beyond 5 nominees for Best Picture (it now stands at a firm ten but has been 8 or 9 in other years), the People’s Choice recipient has received a BP nod in 14 of those 15 years. The exception was 2011 when Where Do We Go Now? was the victor. Therefore the past 12 winners were Oscar BP contenders.
In 2023, we saw Cord Jefferson’s American Fiction vaulted into contention and ended up with five total nominations, taking the statue for Adapted Screenplay. In 2010, there was only one runner-up. Since 2009, that means 44 features have been People’s Choice selections or runner-ups. Of those 44, 25 went onto Academy nominations for BP. This includes Best Picture winners The King’s Speech, Argo, 12 Years a Slave, Spotlight, Green Book, Parasite, and Nomadland. In recent years, it’s become the norm for 2 of the 3 movies that Toronto names to make the Oscar ten. In addition to Fiction last year, The Holdovers was 1st runner-up.
All that context is pretext to an obvious point… this is a key precursor to the Oscars. Much speculation centered on Sean Baker’s Anora taking TIFF’s highest honor. The acclaimed film already picked up the Palme d’Or at Cannes and is seen as a threat to not only be nominated for Best Picture, but win. Mikey Madison is among the frontrunners for Best Actress. Instead it was 2nd runner-up. That third place showing, by the way, has been shared by Spotlight, Call Me by Your Name, Roma, Parasite, and The Power of the Dog.
First runner-up went to another Cannes premiere: Jacques Audiard’s musical crime flick Emilia Pérez. It’s also widely assumed to be a BP hopeful a few months down the line with potential acting nominations for Karla Sofia Gascón, Zoe Saldaña, and Selena Gomez. Recent 1st runners-up include Argo, Marriage Story, and the aforementioned The Holdovers.
Had Anora or Pérez gotten first place, no one would have been surprised. Same logic applies to Jason Reitman’s Saturday Night which was picked by some to win, place, or show. The actual recipient was unexpected and it’s The Life of Chuck from Mike Flanagan. It joins fellow People’s Choice honorees Precious, The King’s Speech, Silver Linings Playbook, The Imitation Game, Room, La La Land, Three Billboards Outside Ebbing, Missouri, Green Book, Jojo Rabbit, Nomadland, Belfast, and The Fabelmans.
Mr. Flanagan is best known for his contributions to the horror genre. That includes adaptations of Stephen King novels Gerald’s Game and Doctor Sleep. His largest claim to fame is his show running work on Netflix series The Haunting of Hill House, Midnight Mass, and The Fall of the House of Usher.
Chuck is a departure… sort of. It’s adapted from a Stephen King novella, but is more of a sci-fi effort. Reviews were solid (87% on Rotten Tomatoes and 66 on Metacritic). However, this was not really seen as a BP contender. Distribution and the release date are still influx. There’s no trailer.
Its awards narrative has certainly changed as of today. You can expect the People’s Choice champ starring Tom Hiddleston, Mark Hamill, Chiwetel Ejiofor, Karen Gillan, and Jacob Tremblay to pick up a distributor in a hurry. An awards campaign will surely follow. I’ve yet to even consider Chuck in my top 25 possibilities for BP. That won’t be the case when I pen my next update. Even if it’s not ultimately up for BP, Adapted Screenplay seems like a strong possibility now. Make no mistake. Toronto has given unanticipated life to Chuck.
Scarlett Johansson and Channing Tatum look to provide Fly Me to the Moon with some financial liftoff this weekend. The rom com is set during the 1960s space race with Greg Berlanti directing. Costars include Jim Rash, Anna Garcia, Ray Romano, and Woody Harrelson. Its box office prospects are shaky (I have it debuting to around $12 million) and reviews aren’t gushing.
Fly has a fair if not over the moon 70% Rotten Tomatoes score. Several critics are praising the star power of the headliners, particularly Johansson. The actress received her first and second Academy noms in 2019 for Marriage Story (lead Actress) and Jojo Rabbit (Supporting Actress). This will not be #3 and I don’t see Moon factoring in anywhere else. However, Johansson could contend in Actress in a Musical/Comedy at the Golden Globes depending on competition strength. My Oscar Prediction posts will continue…
The highly unpredictable Gotham Awards released nominations today for their 2023 best. And, as expected, it was… unpredictable. There was added intrigue because the organization (dedicated to independent film) dropped their “low” budget requirements (traditionally $35 million or under) to qualify for inclusion. However, likely Oscar heavy hitters such as Killers of the Flower Moon, Oppenheimer, and The Color Purple took themselves out of contention.
That was not the case with Barbie, but it managed just one nomination in Outstanding Supporting Performance for Ryan Gosling. His costar from The Notebook Rachel McAdams will compete against him for her work in Are You There God? It’s Me, Margaret. Last year, the Gothams dropped their gender divisions with ten nominees in the lead and supporting derbies. We’ll cover those momentarily.
We start with Best Feature which showcases five pictures. From 2014-16, the Gotham recipient matched the Academy’s BP with Birdman, Spotlight, and Moonlight. The same occurred in 2020 with Nomadland and last year with Everything Everywhere All at Once. In other recent years, there’s been at least one nominee that got into BP at the big dance, including The Favourite, Marriage Story, and Tár. The only recent exception in the last decade was in 2021.
This year’s contenders are Passages, Past Lives, Reality, Showing Up, and A Thousand and One. Only Past Lives seems poised to make BP at the Oscars and even that isn’t a foregone conclusion.
Andrew Haigh’s romantic ghost tale All of Us Strangers actually led all nominees with four: Screenplay, International Feature, Outstanding Lead Performance (Andrew Scott), and Outstanding Supporting Performance (Claire Foy).
Last year, four of the ten leading performance nominees managed Oscar nominations. That includes the two winners (Brendan Fraser for The Whale and Michelle Yeoh in Everything Everywhere All at Once) as well as Paul Mescal (Aftersun) and Cate Blanchett (Tár). Danielle Deadwyler (Till), who was snubbed by the Academy, won.
In addition to the aforementioned Scott for Strangers, the other nine up for lead in 2023 are Aunjanue Ellis-Taylor (Origin), Lily Gladstone (The Unknown Country), Greta Lee (Past Lives), Franz Rogowski (Passages), Babetida Sadjo (Our Father, the Devil), Cailee Spaeny (Priscilla), Teyana Taylor (A Thousand and One), Michelle Williams (Showing Up), and Jeffrey Wright (American Fiction). I would argue that unlike Fraser, Yeoh, and Blanchett from the previous ceremony, none of the nominees here are guaranteed Oscar spots. Those with the best chance? Probably Lee, Wright, Spaeny, and Scott. Gladstone should get in, but it will be for Killers of the Flower Moon and not Country.
The supporting derby in 2022 yielded three eventual nominees including Supporting Actor victor Ke Huy Quan (Everything Everywhere) as well as Hong Chau (The Whale) and Brian Tyree Henry (Causeway). Quan also took the Gotham.
Our ten supporting players for this year’s ceremony are the aforementioned Foy (All of Us Strangers) and McAdams (Margaret) and Gosling (Barbie). Then there’s Juliette Binoche (The Taste of Things), Penelope Cruz (Ferrari), Jamie Foxx (They Cloned Tyrone), Glenn Howerton (BlackBerry), Sandra Hüller (The Zone of Interest), Charles Melton (May December), and Da’Vine Joy Randolph (The Holdovers). With the exception of Foxx, I would say all nine have solid to at least feasible shots at making the Oscar cut (especially Gosling and Randolph).
How will it all shake out? Don’t look for the Gothams to provide too much guidance. Yet today’s announcement at least gives us a peek at movies and performers who could keep or gain momentum. Movies like The Holdovers, Poor Things, Anatomy of a Fall, and more that came up short today? They shouldn’t worry too much.
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:
The New York Film Critics Circle have made their selections for the year’s best and that kicks off a flurry of regional awards coming our way in the days and weeks ahead. This particular critics group (as is the case with most) isn’t much of a barometer on who and what will win. It is, however, a decent glimpse of who and what could contend.
Todd Field’s Tár and Martin McDonagh’s The Banshees of Inisherin each earned two honors. The former was named Best Film with Cate Blanchett taking the Actress award. Eight of the last 10 NYFCC victors in Film went on to receive a BP Oscar nomination. Yet none of those movies won the big prize from the Academy. The last one that did was 2011’s The Artist. And that make sense here. Tár appears highly likely to make the BP cut though it isn’t much of a threat to take the gold. Five of the past 10 Actress recipients were nominated with only one winner. Who was that winner? Cate Blanchett for 2013’s Blue Jasmine. She could certainly do so again. This won’t be the only critics branch to name her.
Colin Farrell was Best Actor for Banshees and After Yang. Like Actress, half of the previous ten New York honorees made the Oscar quintet with two winners – Daniel Day-Lewis (Lincoln) and Casey Affleck (Manchester by the Sea). Farrell appears to be locked in a tight three-way race with Brendan Fraser (The Whale) and Austin Butler (Elvis). Every precursor like this helps a little. Banshees also won Best Screenplay. That’s another Academy three-way battle in Original Screenplay with Everything Everywhere All at Once and The Fabelmans.
The supporting fields are a bit more predictive as far as Academy matches. Eight of 10 Supporting Actor NYFCC takers were at the Oscars. That includes four winners in Jared Leto (Dallas Buyers Club), J.K. Simmons (Whiplash), Mark Rylance (Bridge of Spies), and Mahershala Ali (Moonlight). We could see another match with Ke Huy Quan (Everything Everywhere All at Once). Expect to hear his name a lot.
Supporting Actress, on the contrary, was more of a surprise. Keke Palmer’s work in Nope topped all rivals in a wide open field that’s hard to peg for Oscar prognosticating. 7 of 10 winners here made the big dance including the victorious Patricia Arquette (Boyhood), Regina King (If Beale Street Could Talk), and Laura Dern (Marriage Story). I’ve yet to have Palmer in my top ten. I’m starting to wonder if she could get in the mix for her memorable performance in the sci-fi horror tale. I should note that NYFCC named Lupita Nyong’o Best Actress for Peele’s Us from 2019 and she came up short with Oscar voters.
The rest of the categories all showcased viable contenders in their respective competitions. Marcel the Shell with Shoes On picked up Animated Feature and I expect it to get love from the critics. Same with Non-Fiction Film and All the Beauty and the Bloodshed (I have it ranked first in Oscar’s Documentary Feature). Poland’s EO was a slightly unexpected choice in Foreign Film over Decision to Leave (which I have pegged as the soft frontrunner for the Academy). Finally, Top Gun: Maverick aced Cinematography and it should get an Oscar nod there for the thrilling aerial camerawork.
Keep coming to the blog for all your awards news and I’ll have updated Oscar predictions up this Sunday!
My deep dives into 6 high profile Oscar races reaches the top one with Best Picture. If you missed my posts on Director and the four acting competitions, you can find them here:
At this early November period from 2019-21, here’s how accurate I was with my BP forecast. Three years ago, I correctly called 8 of the 9 eventual nominees. That includes the winner Parasite, 1917, Ford v Ferrari, The Irishman, Jojo Rabbit, Little Women, Marriage Story, and Once Upon a Time in Hollywood. The ninth hopeful was Joker and it was listed in Other Possibilities. In the wildly unpredictable 2020, I was right about 5 of 8 with two months left in the calendar – Nomadland (which won), The Father, Mank, Minari, and The Trial of the Chicago 7. Judas and the Black Messiah was named in Other Possibilities while Promising Young Woman and Sound of Metal were not yet in my top 15. In 2021, the Academy went back to a set number of 10 BP nominees. I rightly identified 7 of the 10 with Belfast, Dune, King Richard, Licorice Pizza, Nightmare Alley, The Power of the Dog, and West Side Story. The film that emerged victorious – CODA was not yet predicted but in Other Possibilities. So was Don’t Look Up while Drive My Car wasn’t among the 15.
Moving to 2022 – I can’t recall a year where four sequels were viable for inclusion. That’s where we stand at the moment. The top grosser of the year is Top Gun: Maverick and I do believe the Academy will reward it for bringing older audiences back to multiplexes (and of course for its quality). In a few weeks, we’ll have a better idea about Avatar: The Way of Water. I’m not ready to vault into my ten, but that could change soon. Knives Out missed out on BP in 2019 so I’m skeptical for Glass Onion: A Knives Out Mystery. And while Black Panther made the lineup in 2018, Wakanda Forever seems like a stretch despite the solid buzz. Nevertheless it’s not crazy to think that 40% of the BP players could be sequels.
On the non-sequel front, we begin with The Fabelmans. Steven Spielberg’s autobiographical coming-of-age tale has been listed at #1 for weeks on the blog. Only one of the filmmaker’s works – 1993’s Schindler’s List – has won BP. Shakespeare in Love was a surprise recipient in 1998 over the favored Saving Private Ryan. Nearly 30 years later, Fabelmans could have the credentials to be the second.
However, the frontrunner at this stage often doesn’t cross the finish line and Spielberg’s latest feels like a soft frontrunner. I could easily envision a scenario where the voters go outside the box with Everything Everywhere All at Once. A24’s multi-genre pic achieved wide acclaim and did great business at the box office. While spring releases rarely make the journey all the way through the awards calendar, Everything could buck that trend.
Other spoilers include The Banshees of Inisherin and Women Talking, which both garnered kudos at film festivals and will have their ardent admirers. I believe that logic also applies to Tár and The Whale though I don’t see either having a shot to win. And we are still waiting to see if Damien Chazelle’s Babylon is as viable as its pedigree suggests (we’ll know in a few days when it screens).
It’s become more common for an international feature film to get in and the two most likely to do so are All Quiet on the Western Front (which might just be Netflix’s most serious hopeful) and Decision to Leave. The reviews for Alejandro Gonzalez Inarritu’s Bardo should leave it out (it might not even make the separate international race).
While Guillermo del Toro’s Pinocchio is the favorite to be Best Animated Feature, I don’t see it breaking into the big dance. It’s probably the only animated title with any sort of chance.
The festival circuit always lessens the viability of some pics. In 2022, I would put the following on that list: Empire of Light, The Son, and Armageddon Time.
The Academy could choose to honor some moneymakers like Elvis and The Woman King (though putting Maverick in could check that box). Till may only show up in Best Actress for Danielle Deadwyler. And it’s tough to know what to make of the upcoming Emancipation considering it’s led by Will Smith (who has some, um, recent history with the ceremony).
Bottom line: there is a lot of uncertainty about BP. I feel fairly confident about The Fabelmans, Everything Everywhere, Women Talking, The Banshees of Inisherin, Top Gun: Maverick,Tár, and The Whale (more than others with that one). We’ll know about Babylon shortly so that leaves two spots. I could definitely see a sequel or a foreign flick jumping up. For now, the 9th and 10th entries go to Triangle of Sadness and She Said. Expect movement as the weeks roll along.
Best Picture
Predicted Nominees:
1 . The Fabelmans (Previous Ranking: 1) (Even)
2. Everything Everywhere All at Once (PR: 2) (E)
3. Babylon (PR: 3) (E)
4. Women Talking (PR: 4) (E)
5. The Banshees of Inisherin (PR: 5) (E)
6. Top Gun: Maverick (PR: 6) (E)
7. Tár (PR: 7) (E)
8. The Whale (PR: 8) (E)
9. Triangle of Sadness (PR: 9) (E)
10. She Said (PR: 12) (+2)
Other Possibilities:
11. All Quiet on the Western Front (PR: 11) (E)
12. Decision to Leave (PR: 10) (-2)
13. Avatar: The Way of Water (PR: 14) (+1)
14. Elvis (PR: 13) (-1)
15. Glass Onion: A Knives Out Mystery (PR: 15) (E)
Stay tuned for estimates on all the races coming up soon!
We have reached Best Actress in my deep dives of the major Oscar races. If you didn’t catch my takes on the supporting derbies and lead actor, you can access them here:
Before we get to this very competitive Actress competition, let’s see how I did at this point in the calendar from 2019-21. Three years ago, I managed to identify all 5 eventual nominees – winner Renee Zellweger (Judy), Cynthia Erivo (Harriet), Scarlett Johansson (Marriage Story), Saoirse Ronan (Little Women), and Charlize Theron (Bombshell). For the late October/early November frame in 2020 and 2021, I correctly called 3 of the 5. In 2020, that was Frances McDormand (Nomadland), who won her third Oscar along with Viola Davis (Ma Rainey’s Black Bottom) and Vanessa Kirby (Pieces of a Woman). Andra Day (The United States vs. Billie Holiday) and Carey Mulligan (Promising Young Woman) were mentioned in Other Possibilities. The victor was also named last year with Jessica Chastain for The Eyes of Tammy Faye as well as Olivia Colman (The Lost Daughter) and Kristen Stewart (Spencer). Penelope Cruz (Parallel Mothers) and Nicole Kidman (Being the Ricardos) were in Other Possibilities.
So if the last three years are any precursor, you should find the eventual quintet in my ten picks! Frances McDormand could have company with performers sporting a trio of gold statues. A Supporting Actress winner in 2004 for The Aviator and lead actress recipient for 2013’s Blue Jasmine, Cate Blanchett is drawing some career best kudos for Tár. She’s been in my #1 spot for weeks and if she wins, she’d join McDormand, Katherine Hepburn, and Ingrid Bergman as the only actresses to win more than two Oscars.
Her main competition could come from several performers. Michelle Yeoh is receiving a massive push for Everything Everywhere All at Once, which is a threat to win numerous big races including Best Picture. There’s another Michelle and it’s a surprise… Michelle Williams. As I discussed in my Supporting Actress write-up, her performance in The Fabelmans would likely be a guaranteed winner in that category. With the more competitive vibe of lead actress, it’s not even a guarantee that she makes it in.
While Till may struggle to get recognition elsewhere despite strong reviews and an A+ Cinemascore, Danielle Deadwyler looks pretty strong to make the cut. On the other hand, so-so critical reaction could prevent Olivia Colman (Empire of Light) from getting her fourth nod in five years.
There are two performances yet to be seen that could both make a splash: Margot Robbie for Babylon and Naomi Ackie as Whitney Houston in I Wanna Dance with Somebody. It’s easy to envision either rising up if the reactions are positive enough.
Despite solid box office, Viola Davis could face an uphill battle for The Woman King. That narrative could change if both Robbie and Ackie falter. Some intensely negative audience and critical buzz for Blonde may leave Ana de Armas out. And there’s always potential dark horses. Emma Thompson will probably get a Golden Globes nom for Good Luck to You, Leo Grande, but Academy inclusion could be a reach. Women Talking‘s Rooney Mara might be ignored in favor of her supporting costars like Claire Foy and Jessie Buckley. Causeway may not draw enough attention for Jennifer Lawrence to make it and the same holds true for The Wonder‘s Florence Pugh. Decision to Leave (despite having a chance to take International Feature Film) may not see its cast be a factor. That would leave out Tang Wei.
My detailed look at six of the top Oscar categories – Picture, Director, and the four acting derbies – arrives at Best Actor. If you missed the posts covering the supporting races, you can find them here:
At this late October/early November stage of forecasting in the previous three years, my picks in the lead acting competitions have been more accurate than the supporting ones.
In 2019 at this juncture, I managed to correctly identify four of the five eventual nominees: winner Joaquin Phoenix (Joker), Leonardo DiCaprio (Once Upon a Time in Hollywood), Adam Driver (Marriage Story), and Jonathan Pryce (The Two Popes). The fifth was Antonio Banderas in Pain and Glory and he was listed in Other Possibilities.
Three of five was the story in 2020 and 2021. Two years ago, I had The Father‘s Anthony Hopkins (who won), Chadwick Boseman in Ma Rainey’s Black Bottom, and Gary Oldman (Mank) pegged with Riz Ahmed (Sound of Metal) and Steven Yeun (Minari) as possibles.
You may remember that Will Smith took gold last year for King Richard. I had him correctly called with two months remaining on the calendar. Same with Benedict Cumberbatch in The Power of the Dog and Denzel Washington for The Tragedy of Macbeth. Andrew Garfield (Tick, Tick… Boom!) was mentioned in Other Possibilities. Javier Bardem (Being the Ricardos) had yet to enter my top ten.
Had a certain slap heard around the world not occurred, it’s totally possible that Will Smith (Emancipation) might be listed in my top 5. However, with his current ban from attending the ceremony, I question whether he could make a return to the ballot so quickly after the controversy. Therefore he’s not in my top 10. We’ll see if the reviews (coming soon) change the dynamic.
We do have a frontrunner and that’s Brendan Fraser in The Whale. Since its Venice and Toronto fest bows, he’s drawn raves. This is also a comeback narrative that the Academy should fall for. I’ve had Fraser listed in 1st for several weeks and I see no reason to change that.
There are two viable runners-up in Colin Farrell (The Banshees of Inisherin) and Austin Butler (Elvis). I’ve been switching them in 2nd and 3rd place over the past few posts. Farrell is 2nd because I think Banshees stands a better shot at a BP nod. You have to go back to 2009 and Jeff Bridges (Crazy Heart) where the Best Actor recipient’s movie didn’t achieve BP inclusion. If Elvis makes the big dance – an argument could be made that Butler is Fraser’s most serious competition to shake the race up.
After those three names, it could be a free for all for the final two slots. The only other performer I had listed in 1st place other than Fraser was Hugh Jackman for The Son. This was before it premiered at the festivals and garnered middling reviews. Now the question is whether Jackman gets in at all.
Someone who has fared well on the fest circuit is Bill Nighy for Living. Sony Pictures will need to mount a spirited campaign, but they’re good at that kinda thing. I’m starting to feel better about Nighy than Jackman.
Diego Calva is the biggest remaining question mark for Babylon. Screenings coming up in two weeks should help answer his viability. There’s a pair of indie performances that could bubble up if critics groups assist – Paul Mescal for Aftersun and Jeremy Pope in The Inspection. One possible hindrance for both of them is their movies are both A24 and that studio could be distracted with crowning Fraser. We could see foreign film leads Song Kang-ho (Broker) and Park Hae-il (Decision to Leave) make a play.
Netflix is apparently going in on a spirited campaign for Adam Sandler in Hustle. I have a hard time seeing that pan out (especially since he couldn’t get in for Uncut Gems). The streamer could also focus on Christian Bale (The Pale Blue Eye) or Adam Driver (White Noise). Bale also has Amsterdam, but it failed with critics and audiences.
Finally… there’s Tom Cruise. A three-time nominee, it’s been 23 years since he was in the mix. And a little pic called Top Gun: Maverick was easily the largest blockbuster of his career and the runaway hit of 2022. I’m not ready to put him in my five. I wouldn’t be shocked if he ends up there.
Here’s my current state of this race:
1 . Brendan Fraser, The Whale (Previous Ranking: 1) (Even)
2. Colin Farrell, The Banshees of Inisherin (PR: 2) (E)
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