Rom com remake The Wedding Banquet opens in theaters on Easter weekend from director Andrew Ahn. Arriving 22 years after Ang Lee’s acclaimed pic (which was nominated in the international race at the Oscars), the new version stars Bowen Yang, Lily Gladstone, Kelly Marie Tran, Han Gi-chan, Joan Chen, and Minari Supporting Actress winner Youn Yuh-jung.
After its premiere at the Sundance Film Festival in January, critical reaction was encouraging. The Rotten Tomatoes meter is at 97% with 72 on Metacritic. I don’t see this as an Academy contender for Bleecker Street (a distributor with a rough record at awards campaigning). Maybe they’ll give it a shot in the Musical/Comedy race at the Golden Globes, but they better up their game. My Oscar Prediction posts will continue…
James Sweeney directs, writes, and costars in Twinless which made serious waves at the Sundance Film Festival in recent days. Costarring Dylan O’Brien, Aisling Franciosi, Lauren Graham, and Chris Perfetti, the heartfelt comedy took the Audience Award in Park City. That’s a prize shared in recent years by Oscar players like Whiplash, Minari, and CODA.
With 100% on Rotten Tomatoes and 82 on Metacritic, this is one Sundance title that could still be talked about next awards season. Much like A Real Pain, the bulk of the buzz may go to Supporting Actor where O’Brien is drawing raves. Also like Pain, the original screenplay could generate some attention. My Oscar Prediction posts will continue…
The Grand Jury Prize at the Sundance Film Festival has been bestowed to eventual Best Picture nominees and one winner six times in the 21st century. That list includes 2009’s Precious, Winter’s Bone from 2010, 2012’s Beasts of the Southern Wild and 2014’s Whiplash, 2020’s Minari, and the victorious CODA of 2021. There’s plenty that never came close to Oscar’s radar such as Like Crazy or The Miseducation of Cameron Post and Nanny.
Atropia seems destined to fall into the latter grouping. The satire from Hailey Gailes unexpectedly took Park City’s top award. Alia Shawkat (known by many from Arrested Development), Callum Turner, Chloë Sevigny, and Tim Heidecker headline. The surprise nature of the Jury designation is due to subpar reviews. Rotten Tomatoes stands at 42% with a 46 Metacritic. That reaction is unlikely to allow this into the Academy’s consciousness. My Oscar Prediction posts will continue…
At last year’s Academy Awards, Mstyslav Chernov’s 20 Days in Mariupol received the Documentary Feature prize. Ukrainian filmmaker will look to achieve the same at next year’s ceremony with 2000 Meters to Andriivka.
Focused on the Russia/Ukraine war like Mariupol, Andriivka has premiered at the Sundance Film Festival (also like Chernov’s predecessor). Before we delve into this project, let’s talk Sundance for a moment. The Park City (for now) event kicked off today so you can expect several Oscar Prediction posts covering its screenings.
While Sundance can give us BP nominees like CODA, Judas and the Black Messiah, and Minari to name some recents, that didn’t happen today though A Real Pain probably came close. Where the fest does provide lots of contenders is with their docs. Four of today’s Documentary Feature nominees for the 97th Academy Awards screened at Sundance: Black Box Diaries, Porcelain War, Soundtrack to a Coup d’Etat, and Sugarcane.
With that context is out of the way, back to Andriivka. Early reviews and WOM indicates that this could be another contender for Chernov. There is the matter of whether voters might feel they just honored the director. Let’s see how its distribution plays out too, but I wouldn’t discount this being in the mix. My Oscar Prediction posts will continue…
Blowing into theaters on July 19th some 28 years after its predecessor is Twisters. Lee Isaac Chung (maker of the Best Picture nominee Minari) goes into blockbuster mode with the disaster flick starring Daisy Edgar-Jones from Where the Crawdads Sing and Glen Powell of Top Gun: Maverick and Hit Man fame. Costars include Anthony Ramos, Brandon Perea, Maura Tierney, Harry Hadden-Paton, Sasha Lane, David Sorenswet (soon to be Superman), and Daryl McCormack.
In the summer of 1996, Jan de Bont’s Twister with Helen Hunt, Bill Paxton, and state of the art CGI stormed multiplexes with a $41 million debut and $237 million overall domestic haul. Reviews for part 2 are decent with an 81% RT score.
Recent tracking has this anywhere from a $40-55 million premiere. I suspect that is low. Decent buzz + 90s nostalgia and familiarity with the original could push this higher and I’m estimating it will. Adjusted for inflation, Twister would gross close to $80 million today out of the gate. I don’t believe the sequel gets there, but it could approach that figure.
Twisters opening weekend prediction: $72.3 million
Twisters storms into multiplexes on July 19th with Universal hoping it whips up giant business worldwide. Arriving nearly 30 years after his blockbuster predecessor from Jan de Bont, Daisy Edgar-Jones and Glen Powell star alongside Anthony Ramos, Brandon Perea, Maura Tierney, Harry Hadden-Paton, Sasha Lane, Daryl McCormack, Kiernan Shpika, and David Corenswet. Lee Isaac Chung, who last made the BP nominee Minari, directs.
Early reviews put this at 76% on RT with many write-ups calling it solid summer popcorn fare. Others say it doesn’t quite measure up to the 1996 pic. At the 69th Academy Awards, Twister received nominations for Best Sound and Visual Effects. It lost respectively to The English Patient and Independence Day.
At the 97th ceremony, Twisters could score nods in those same two competitions. Don’t expect it to win either as Dune: Part Two, for one, would stand a better shot. My Oscar Prediction posts will continue…
We have reached 2020 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?
2020 is a tricky year to consider. As we all know, it was a year dominated by the COVID-19 pandemic. Many of us were working from home and theaters were essentially shuttered for the majority of the year.
Beyond the challenging, tragic, and unprecedented news events of 2020, it was just a strange year for motion pictures. Eight pictures contended for the big prize. I have the leading nominee (with 10) missing the BP cut. The next most nominated film had 6 mentions… and there’s 6 of them. The other BP contender had 5.
My point? Whittling these 8 down to 5 is not easy. Considering it took BP, Director (Chloe Zhao, the second female ever to win), and Actress (Frances McDormand), we can safely reserve a spot for Nomadland. As for the rest? Let’s get into it!
The Father
Florian Zeller’s devastasting drama about Alzheimer’s missed a nod in Director, but Anthony Hopkins landed his second Actor statue over the late Chadwick Boseman in Ma Rainey’s Black Bottom, who was the frontrunner. Zeller did win Adapted Screenplay and this was also up for Supporting Actress (Olivia Colman), Film Editing, and Production Design.
Does It Make the Final Five?
Yes. Its two wins not only give me confidence of its inclusion in a quintet, but it could be argued this was runner-up to Nomadland.
Judas and the Black Messiah
Daniel Kaluuya won Supporting Actor for his performance as Fred Hampton in Shaka King’s historical drama. Costar Lakeith Stanfield was up in the same race andit was nominated for Original Screenplay and Cinematography. A second statue was given to H.E.R. for her original song “Fight for You”.
Does It Make the Final Five?
No but I certainly struggled with this one. The lack of directing and editing noms have it on the outside looking in.
Mank
This is where it gets complicated. David Fincher’s jaded Netflix aired look at Old Hollywood easily led the program with 10 mentions and it won Cinematography and Production Design. Fincher was also in contention for his behind the camera work. Other nods went to Gary Oldman for Actor, Amanda Seyfried in Supporting Actress, Costume Design, Makeup and Hairstyling, Original Score, and Sound.
Does It Make the Final Five?
Surprisingly enough… I’m saying no. Despite the haul, it is the only one of the 8 nominees not up for screenplay. Furthermore the Film Editing omission feels significant. It certainly isn’t normal to project the leader not making the final five. However, rules are meant to be broken.
Minari
Lee Isaac Chung also garnered a directing spot in that quintet while Youn yuh-Jung was the Supporting Actress recipient in this family drama. Other nods: Actor (Steven Yeun), Original Screenplay, and Original Score.
Does It Make the Final Five?
Yes though I went back and forth. This seemed to gather strength as the season wore on and not just with yuh-Jung. I think it squeaks in.
Promising Young Woman
Emerald Fennell was up for director and won Adapted Screenplay for this revenge dramedy. Carey Mulligan made the Actress cut (and may have been second to McDormand) and it was in for Film Editing.
Does It Make the Final Five?
Yes. The victory in Adapted Screenplay over four other BP hopefuls helps solidify that decision.
Sound of Metal
The impressive haul for the indie drama is Riz Ahmed in Actor, Paul Raci in Supporting Actor, Original Screenplay, and wins in Film Editing and Sound.
Does It Make the Final Five?
Yes though I again went back and forth. While director Darius Marder was left out, it’s the Editing and Sound combo that give it an edge over the three that got left out.
The Trial of the Chicago 7
7‘s six nods came (in addition to BP) in Supporting Actor (Sacha Baron Cohen), Original Screenplay, Cinematography, Film Editing, and Original Song. The Aaron Sorkin political drama is the only BP vier not to take home a single trophy.
Does It Make the Final Five?
No though I struggled again. This Netflix pic undoubtedly didn’t match awards expectations after it was once seen as the on paper favorite. The 0 for 6 performance make it easier to elevate some of the others.
And there you have it. That means my 2020 vision of the Final Five is:
The Father
Minari
Nomadland
Promising Young Woman
Sound of Metal
2021 will be be up soon! If you missed my entries covering 2009-19, you can find them here:
Past Lives is the debut feature film from Celine Song and it premiered at Sundance over the weekend to a rapturous reception. The romantic drama stars Greta Lee and Teo Yoo with critics praising their work in the A24 effort.
Some reviews are already claiming it will end up as one of 2023’s finest and the Rotten Tomatoes score is 100%. Its studio may choose to kick off a Minari or Everything Everywhere All at Once style campaign (both were and/or are nominated for Best Picture).
Sundance brought to light the possibility of Past Lives being a legit awards player even this early in the process. My Oscar Prediction posts will continue…
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.
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!
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