The New York Critics Circle The Brutalist

Seventeen out of the past 20 New York Film Critics Circle recipients for Best Film have achieved a Best Picture nomination at the Oscars including winners No Country for Old Men, The Hurt Locker, and The Artist. Will Brady Corbet’s The Brutalist join that list? It’s almost a certainty. The epic historical drama won the NYFCC top prize in addition to Adrien Brody’s performance for Best Actor. These are the first major precursor honors for the pic I currently have ranked #1 in my BP derby (same goes Brody). It’s highly unlikely to be the last.

Corbet, however, did not take Director. That honor went to RaMell Ross for Nickel Boys and his film also took the Cinematography prize. I currently don’t have Ross in my director lineup though I do have it scoring a BP nod. 11 out of the previous 15 behind the camera winners did end up with an Oscar nomination.

In Best Actress, it was Marianne Jean-Baptiste for Mike Leigh’s Hard Truths. Half of the previous ten NYFCC leading women received Academy recognition. That seems appropriate as Jean-Baptiste’s odds are around 50/50 in my view.

That’s not the case in Supporting Actor where Kieran Culkin (A Real Pain) took that Big Apple competition. He’s widely expected to be one of the final five and perhaps even make a podium walk.

The NYFCC did manage to provide a shocker with Carol Kane taking Supporting Actress for the little-seen Between the Temples. The veteran performer is not expected to contend at the Oscars.

Finally, All We Imagine as Light (which India did not submit as their horse in International Feature Film) is the Best Foreign Language Film. No Other Land, which could be a player in the Academy’s Documentary Feature race, was NYFCC’s Best Non-Fiction Film. Both of those pics won their respective categories at the Gotham Awards yesterday as well. Latvian tale Flow is the Best Animated Feature and it should follow suit with Oscar.

Keep an eye on this blog for all Oscar precursor coverage!

Best Picture 2007: The Expanded Ten

Earlier this summer, I completed a blog series on a particular piece of speculative Oscar history. From 2009 to the present, there has been anywhere from 8-10 Best Pictures nominees at the Academy Awards. The number has been set at 10 for the past couple of years and fluctuated previously. Before 2009, it was a quintet of films competing for the prize. I penned 14 posts making predictions on which five pics would have made the cut if it had stayed at that smaller number. **Click on that Oscar History tab on the blog to access all of them!

Now my speculation turns to the reverse. What if the Academy had always honored 10 motion pictures? From 1944-2008, there were always five vying for attention. For a completist view, there were five for the first two Oscars (1929 and 1930). We had eight in 1931. From 1932 to 1943, it was ten.

This series will project the other five that I believe would’ve gotten in. It started with 2008 and that post can be accessed here:

We now move to 2007. And we, of course, know five movies that would make the cut. That would be the quintet of pics that got nominated. No Country for Old Men from the Coen Brothers was the night’s big winner with four victories: Picture, Director, Supporting Actor (Javier Bardem), and Adapted Screenplay. It also nabbed four additional nominations.

Tying Country for the most mentions is Paul Thomas Anderson’s There Will Be Blood with 8 nods and two wins for Actor (Daniel Day-Lewis) and Cinematography.

The other three contenders all took home one Oscar. Joe Wright’s Atonement received 7 noms and was victorious for the Original Score. Jason Reitman’s Juno tallied 4 mentions and a win in Original Screenplay. Tony Gilroy’s Michael Clayton achieved 7 nods with Tilda Swinton taking Supporting Actress.

Moving to the five pictures that I believe would’ve joined an expanded cut, Pixar strikes again. For 2008, I picked Wall-E as an addition. For 2007, the acclaimed Ratatouille had five nominations and a win for Animated Feature. I believe that’s enough that we would’ve seen it included.

The same goes for Julian Schnabel’s The Diving Bell and the Butterfly. Schnabel was in the mix for Best Director and it was also up in heavy hitter races Adapted Screenplay, Cinematography, and Film Editing. It could’ve been #6 on the board.

After that, it gets a little tricky. There are a few films that generated a couple of important nods, but didn’t manage to break out elsewhere. Away from Her saw Julie Christie in contention for Actress plus an Adapted Screenplay mention. The Savages saw Laura Linney in Best Actress along with Original Screenplay. The Assassination of Jesse James by the Coward Robert Ford made two lists for Supporting Actor (Casey Affleck and Cinematography). Yet its reputation has grown in time. Elizabeth: The Golden Age saw Cate Blanchett in Actress and it won Costume Design. 3:10 to Yuma was up for Original Score and Sound Mixing. Ultimately I decided none of these would make the dance.

The hardest film to leave off was The Bourne Ultimatum. The third chapter in Matt Damon’s action franchise went 3 for 3 by taking both Sound races (they’ve since been combined) and Film Editing. However, I just couldn’t pull the trigger on it finding a spot among the ten.

The second toughest to leave off is La Vie en Rose for which Marion Cotillard took home Best Actress (as well as a Makeup victory). It didn’t, on the other hand, score well in precursors.

So what other three pictures get in? Tim Burton’s Sweeney Todd: The Demon Barber of Fleet Street won Art Direction and was up for Actor (Johnny Depp) and Costume Design. It also nabbed a Critics Choice nod and won the Golden Globe for Musical/Comedy (over Juno).

The Globes and Critics Choice also found room for Ridley Scott’s American Gangster. It underperformed at Oscar with two inclusions for Supporting Actress and Art Direction. Yet I suspect it might’ve just made it.

Into the Wild from Sean Penn is my final pick. It was another underwhelming performer with two spots for Supporting Actor (Hal Holbrook) and Film Editing. The Critics Choice inclusion puts it barely over some of the aforementioned hopefuls.

There you have it! That means my expanded ten 2007 lineup consists of:

American Gangster

Atonement

The Diving Bell and the Butterfly

Into the Wild

Juno

Michael Clayton

No Country for Old Men

Ratatouille

Sweeney Todd: The Demon Barber of Fleet Street

There Will Be Blood

2006 will be up next!

Oscar Predictions: Lyle, Lyle, Crocodile

Before you call me crazy for penning this Oscar Predictions post, I’m not saying Lyle, Lyle, Crocodile will crawl into Best Picture consideration. And I’m not forecasting a Javier Bardem Supporting Actor nomination 15 years after he won for No Country for Old Men. I don’t need a coin to make those calls, friendo.

Yet the live-action/animated musical comedy for the kids could contend in one race. Shawn Mendes (the pop superstar who voices the title croc) has contributed some tunes to the soundtrack. One in particular called “Heartbeat” just debuted.

At present, unless your name is Lady Gaga with her ballad “Holy My Hand” from Top Gun: Maverick, the remaining four slots for Original Song are wide open. If the Academy wants another recognizable face crooning material… well, they might look to Taylor Swift with “Carolina” from Where the Crawdads Sing. Or who knows? Maybe this could pop up. My Oscar Prediction posts will continue…

Oscars 2021: The Case of Javier Bardem

Javier Bardem’s performance as Desi Arnaz in Aaron Sorkin’s Being the Ricardos is my first  Case Of post for the five Best Actor candidates.

The Case for Javier Bardem:

Nabbing his fourth nomination (and third in lead), the Supporting Actor winner for No Country for Old Men also picked up Golden Globe and SAG mentions.

The Case Against Javier Bardem:

The only nominations for Ricardos came in the acting races (alongside his costars Nicole Kidman and J.K. Simmons). It’s Kidman who easily stands the best chance after taking the Globe. Bardem’s slot in the competition was generally seen as the fifth one since Benedict Cumberbatch, Andrew Garfield, Will Smith, and Denzel Washington were seen as strong likelihoods.

Previous Nominations: 3

Before Night Falls (2000 – Actor); No Country for Old Men (2007 – Supporting Actor, WON)Biutiful (2010 – Actor)

The Verdict:

While he’s done well in precursors, Bardem stands little chance at picking up a second statue.

My Case Of posts will continue with the Supporting Actress hopefuls and that begins with Jessie Buckley in The Lost Daughter

NBR Delivers for Pizza

The National Board of Review bestowed their honors today for their finest of 2021 and they delivered it to Paul Thomas Anderson’s Licorice Pizza. The coming-of-age dramedy took Best Film and Director. The awards certainly solidify its status as a major contender in the Picture race at the Oscars. In the 21st century, only 3 of the 21 winners (2000’s Quills, 2014’s A Most Violent Year, last year’s Da 5 Bloods) did not manage to make the Academy’s cut. On the flipside, the victorious picture here usually doesn’t win. In this century it’s happened thrice (2007’s No Country for Old Men, 2008’s Slumdog Millionaire, 2018’s Green Book). So if we’re going by recent history, Pizza should get nominated but probably won’t take the gold.

This voting branch also names nine other movies in their Best Of rundown. Over the past five years, the number of NBR selections compared to Oscar BP contestants ranges between 4-7. In 2016, it hit the high mark at 7. There were six in 2017 and 2019, five in 2020, and just four in 2018. The other nine films in 2021 are Belfast, Don’t Look Up, Dune, King Richard, The Last Duel, Nightmare Alley, Red Rocket, The Tragedy of Macbeth, and West Side Story. From that list, I would say only Duel and Rocket seem like major longshots to get attention from the Academy. All others are feasible.

The biggest omission from NBR’s list is absolutely Jane Campion’s The Power of the Dog, which I’ve had ranked at #2 in my BP standings for awhile. The solace for Dog is that two recent BPs (2017’s The Shape of Water, 2019’s Parasite) didn’t make the NBR ten. Other pics that missed NBR: Being the Ricardos, C’Mon C’Mon, CODA, House of Gucci, Mass, Spencer, and Tick Tick… Boom!

As for the actors – Will Smith (the Academy frontrunner) took Best Actor for his King Richard while costar Aunjanue Ellis won Supporting Actress. Both are widely expected to play in the Oscar race and either or both could win.

NBR did not choose Academy favorite Kristen Stewart for Spencer and opted for Rachel Zegler in West Side Story (her debut role). I had Zegler placed sixth yesterday in the crowded Actress derby, but she could be on her way to making the final five cut.

The wide open Supporting Actor derby favored Ciaran Hinds for Belfast. I am completely unsure what the Academy does in this race. This could forward a narrative that Hinds is more likely to receive Oscar attention than his costar Jamie Dornan (though they could both get in).

Screenplay races provided a couple of surprises. Pizza would have been the logical choice for Original, but NBR instead chose Asghar Farhadi’s A Hero. In Adapted, Joel Coen was selected for The Tragedy of Macbeth (which also took Cinematography). Most pundits (including myself) have Power of the Dog as the winner, but the category opened up on this platform since it missed the ten.

Lastly, the Animated, Documentary, and Foreign Language races all featured movies that could prevent Flee from taking any of the three prizes at the Oscars: Encanto, Summer of Soul, and A Hero. 

My blog posts on the state of the 2021 Oscar race will continue…

Oscar Predictions: Being the Ricardos

Nicole Kidman and Aaron Sorkin could be in line for their respective fifth acting and writing nods at the Oscars with Being the Ricardos. The biopic, out December 10 in limited fashion before its Amazon Prime premiere December 21, centers on Kidman’s Lucille Ball and Javier Bardem’s Desi.

After generating some casting controversy ink for its leads, an early screening this weekend has been met with positive social media reaction. It indicates Kidman has a better chance at making the top five in Best Actress than I originally anticipated. If so, this would mark her fifth nod overall after winning 19 years ago for The Hours (the others were in lead with Moulin Rouge! and Rabbit Hole and supporting for Lion).

Bardem’s inclusion could be a less likely scenario though not impossible if voters fall hard for the pic. A Supporting Actor victor for 2007’s No Country for Old Men, he’s a two-time Actor contestant with Before Nights Falls and Biutiful. 

In a Supporting Actor race that’s seemingly wide open, J.K. Simmons (playing William Frawley) could be back seven years after his gold statue for Whiplash. Same goes for Nina Arianda’s Vivian Vance though it is worth noting there’s several viable possibilities in Supporting Actress.

As for the writer/director, I’d say Sorkin’s original screenplay has a far better shot at making it than his behind the camera work. That’s similar to his trajectory last year when his penmanship of The Trial of the Chicago 7 received a nomination. He’s thrice been up before with his screenplays for The Social Network (where he won), Moneyball, and Molly’s Game. 

Last and certainly not least, the Academy often falls for fare about its own industry and a Best Picture nod is not out of the question. I’ve yet to list Ricardos in my top 15. Look for that to change on Thursday when I update and you can certainly anticipate its quartet of actors to rise. My Oscar Predictions for the films of 2021 will continue…

The NBR Likes Spike

The National Board of Review bestowed their end of year honors today and the unpredictable group showed some love for Netflix… just not in the expected way. The NBR named Spike Lee’s Da 5 Bloods as Best Film along with Lee taking their top filmmaking prize. Bloods, which premiered on Netflix this summer, has been seen as a prospect whose Best Picture chances are questionable. In my rankings, it has risen over recent weeks all the way up to #5.

As for its chances to win, one could legitimately argue the NBR win means it probably won’t (and it probably won’t). In the 21st century, only 4 of the 20 NBR victors took Best Picture at the big show and only one in the past decade (2003’s Mystic River, 2007’s No Country for Old Men, 2008’s Slumdog Millionaire, 2018’s Green Book).

The NBR also names 10 of their other favorite pics and they are: First Cow, The Forty-Year-Old Version, Judas and the Black Messiah, The Midnight Sky, Minari, News of the World, Nomadland, Promising Young Woman, Soul, and Sound of Metal. The major surprise here is easily Netflix’s The Midnight Sky from George Clooney. It received very mixed reviews and is not anticipated to play with the Academy except for tech races. The other story here is the omission of three legit Netflix contenders at the Oscars: Ma Rainey’s Black Bottom, Mank, and The Trial of the Chicago 7. In particular, Chicago is seen as the main competitor to Nomadland for BP winner. That said, only 6 of the 11 NBR pics last year nabbed Oscar attention. Two other notable exclusions from the Board are The Father and One Night in Miami. 

In the acting races, Riz Ahmed took Best Actor for Sound of Metal. He’s looked at as a likely Academy contender. Similar to the Picture discussion, only 1 NBR recipient here (Casey Affleck in Manchester by the Sea) achieved Oscar glory. Carey Mulligan named Best Actress for Promising Young Woman. The Oscar/NBR connection is slightly better as three of the past 10 trophy takers had good fortune with the Academy. The Sound of Metal love continued in Supporting Actor with Paul Raci winning. Like Actress, it’s a 3 out of 10 match in the 2010s. Youn Yuh-jung is NBR’s Supporting Actress choice for Minari. Only 1 of the last 10 victors for the Board won the Oscar (Regina King in 2018’s If Beale Street Could Talk). Minari also took Original Screenplay with News of the World winning Adapted. Soul, the front runner for the Oscar, was named Best Animated Feature.

Bottom line: the NBR can certainly increase exposure for hopefuls, but it’s certainly not a barometer for who wins at the Oscars. Nevertheless it’s a nice day for a Netflix feature that I currently have behind three others from the streamer that weren’t named here.

James Bond: An Oscar History

Of the six actors to have played the most famous spy in cinematic history, only one of them has ever been nominated for an Oscar. That would be, of course, Sean Connery and he was victorious in 1987 for his supporting work in The Untouchables. It is worth noting that the last two Bonds (Pierce Brosnan, Daniel Craig) have Golden Globes nods in the Musical/Comedy category for The Matador and Knives Out, respectively.

With the recent death of Sir Connery, this got me thinking… how many actors from the nearly 60 year old franchise have been recognized by the Academy? And how much Oscar attention has the series itself received? For the first question, it was rather limited until Craig took over the role. For the second question, 9 out of the 24 official 007 entries have managed to get on awards voters radar screens. So let’s break it down, shall we?

Goldfinger (1964) was the third feature in the franchise and it marked the first nomination and win for the Bond catalogue. The pic took the Best Sound Effects trophy. One year later, Thunderball won for its Visual Effects. Connery’s final official appearance in 1971’s Diamonds Are Forever resulted in a nod for its sound.

When Roger Moore took over the part, his debut saw the first theme song nominated courtesy of Paul McCartney’s title track to 1973’s Live and Let Die. There would also be song nods for both The Spy Who Loved Me (1977) and For Your Eyes Only in 1981. Spy would mark the first Bond flick to score multiple mentions with its score and art direction. And Moore’s 1979 space opus Moonraker was nominated for its visual effects.

George Lazenby’s one-off appearance in On Her Majesty’s Secret Service, Timothy Dalton’s two 1980s pictures, and the 1990s-early 2000s four film Pierce Brosnan run yielded zero Oscar mentions. Same goes for Craig’s first two outings Casino Royale and Quantum of Solace. 

So it had been over 30 years since a Bond adventure had been recognized on Oscar night when 2012’s Skyfall landed a franchise record 5 nominations. It won two with Adele’s theme song and its sound editing. The other nods were Score, Sound Mixing, and Cinematography. The song love would continue with 2015’s Spectre when Sam Smith won for his tune.

Add that up and we have 15 total nominations for the series and 5 wins.

We move to the thespians and their fortune at the big show. As mentioned, before the recent run of Craig titles, it was a bit limited. In fact, the number of actors who are Oscar nominees from the Craig run nearly equals everything that came before it. Giancarlo Giannini appeared in Casino and Quantum and he was a Best Actor nominee in 1975 for Seven Beauties. Ralph Fiennes (otherwise known as M) is a double nominee for Schindler’s List and The English Patient. Naomie Harris (or Moneypenny) achieved a Supporting Actress mention for 2016’s Moonlight. Albert Finney showed up in Skyfall and he was nominated five times in his long career. Craig’s original “M” was Judi Dench and she dates back to the Brosnan era. She’s a one-time winner with 6 other nominations.

That’s just the good guys. In the Craig era, the villains come with serious awards cred. Javier Bardem from Skyfall had taken Supporting Actor five years earlier in No Country for Old Men and is a two-time Best Actor nominee for Before Nights Falls and Biutiful. Christoph Waltz (Spectre) is a double Supporting Actor winner with Inglourious Basterds and Django Unchained. And the next pic – the oft delayed No Time to Die – has Rami Malek as its main baddie. In 2018, he gave his acceptance speech for Bohemian Rhapsody. 

Going back to the beginning, From Russia with Love featured Lotte Lenye (a 1961 nominee for The Roman Spring of Mrs. Stone) and Robert Shaw (nominated three years after Russia for A Man for All Seasons). And that’s actually the extent of performers from the Connery era nominated for Oscars… sort of. The legend did return to the role in 1983’s Never Say Never Again, though it is not considered part of the “official” catalogue. It does boast three Academy players with Klaus Maria Brandauer (Out of Africa), Max Von Sydow (Pelle the Conquerer and Extremely Loud and Incredibly Close), and Kim Basinger (Supporting Actress recipient for 1997’s L.A. Confidential).

Telly Savalas costarred with Lazenby in Secret Service and he was nominated seven years earlier for his work in Birdman of Alcatraz. In the Moore era, there’s just Topol. He’s best known his nominated work in Fiddler on the Roof and he costarred in For Your Eyes Only. In the Dalton double feature, we have Benicio del Toro as he was a henchman in Licence to Kill. Over a decade later, he would win Supporting Actor for Traffic and get another nod for 21 Grams. Things picked up a bit with Brosnan. In addition to Dench, a trio of actresses were on their way or had already achieved nominations. Halle Berry co-headlined Die Another Day one year after winning Actress for Monster’s Ball. Minnie Driver had a small role in Goldeneye and would have her breakout part (along with Supporting Actress inclusion) two years later with Good Will Hunting. And Rosamund Pike was also in Die Another Day a decade plus before her Actress nod for Gone Girl. 

A final word. Not one of the 24 released 007 features has achieved any acting, directing, writing, or picture nominations of its own. Skyfall probably came the closest as some prognosticators wondered whether it could be the first to nab a Picture nod. It didn’t materialize, but its five nominations indicate it might have come the closest. Indeed, Daniel Craig’s time as Bond has seen him costar with the most Academy friendly costars. Let’s see if the next performer to play the iconic spy gets to act alongside that same kind of pedigree.

The Irishman Takes New York

The awards precursors keep coming as the New York Film Critics Circle named their best of 2019 today. Yesterday’s discussion focused on the National Board of Review winners. I explained how a victory with them often doesn’t equate to Oscar glory. And the same holds true for the film reviewers in the Big Apple.

That said, it’s the second day in a row where The Irishman has been named Best Film. Yet the last NYFCC recipient to take Best Picture was back in 2011 with The Artist. It’s the only one of this decade and in the 2000s, there were only three matches: Lord of the Rings: The Return of the King, No Country for Old Men, and The Hurt Locker. 

One might think that these critics in particular might name Martin Scorsese as Best Director. You would be wrong. It is Ben and Josh Safdie for Uncut Gems. This Adam Sandler crime pic is picking up steam at the right moment, but it could be a reach for them to be included in Director with the Academy.

While Mr. Sandler picked up Best Actor with the NBR trophy yesterday, the New York bunch went with Antonio Banderas in Pain and Glory. He’s an on the bubble candidate in an ultra crowded Oscar derby. If Banderas continues to rack up critical kudos, it could certainly help him make the final five.

For the second year in a row, the NYFCC had a surprise victor in Actress. Last year, they went quite outside the box with Regina Hall in Support the Girls. Today it’s Lupita Nyong’o in Us. While this isn’t as much of a shocker, she’s generally been seen as an unlikely candidate for Oscar attention. However, this category isn’t as packed as Actor and she could factor into the mix.

More Irishman love came in Supporting Actor and not for Al Pacino. No, it was Joe Pesci taking the prize and I’m becoming more and more convinced he gets the Academy nod along with his co-star Pacino. Interestingly, this leads me to think voice splitting could occur and that may help Brad Pitt’s chances even more for Once Upon a Time in Hollywood.

Supporting Actress is perhaps the only category where New York seems to match the Oscar front-runner with Laura Dern. NYFCC threw in a caveat, though, by naming her for both Marriage Story and Little Women. Oscar voters are nearly certain to only notice her in the former.

This critics do not divide original and adapted written works and it was Quentin Tarantino taking Screenplay for Hollywood. When it comes to the big show in Original Screenplay, he appears to have an edge over competitors like Marriage Story and Parasite. 

Bottom line: New York spread the love around with their news today, but it’s another solid showing for The Irishman. 

Best Picture: A Look Back

A few weeks ago, I posted look backs at major categories at the Oscars from 1990 to the present. I’ve covered all four acting races and if you missed it, you can peruse them here:

https://toddmthatcher.com/2018/11/04/best-actor-a-look-back/

https://toddmthatcher.com/2018/10/31/best-actress-a-look-back/

https://toddmthatcher.com/2018/10/25/best-supporting-actor-a-look-back/

https://toddmthatcher.com/2018/10/20/best-supporting-actress-a-look-back/

In each post, I review what I’d classify as the three least surprising winners, as well as the three biggest upsets. And I select what I believe are the strongest and weakest overall fields.

Today on the blog, we arrive at the Big Daddy – Best Picture. It’s important to remember that hindsight doesn’t come into play here. For instance, Forrest Gump won the top prize in 1994. Since then, many believe fellow nominees Pulp Fiction or The Shawshank Redemption should have won. Yet the Gump victory was not an upset at the time. Same goes for 1990 when Dances with Wolves bested GoodFellas.

Let’s begin with a reminder of each winner since 1990:

1990 – Dances with Wolves

1991 – The Silence of the Lambs

1992 – Unforgiven

1993 – Schindler’s List

1994 – Forrest Gump

1995 – Braveheart

1996 – The English Patient

1997 – Titanic

1998 – Shakespeare in Love

1999 – American Beauty

2000 – Gladiator

2001 – A Beautiful Mind

2002 – Chicago

2003 – Lord of the Rings: Return of the King

2004 – Million Dollar Baby

2005 – Crash

2006 – The Departed

2007 – No Country for Old Men

2008 – Slumdog Millionaire

2009 – The Hurt Locker

2010 – The King’s Speech

2011 – The Artist

2012 – Argo

2013 – 12 Years a Slave

2014 – Birdman

2015 – Spotlight

2016 – Moonlight

2017 – The Shape of Water

We start with my three least surprising winners:

3. Lord of the Rings: Return of the King (2003)

Peter Jackson’s final entry in the acclaimed trilogy seemed due for a win after the first two installments were nominated, but lost to A Beautiful Mind and Chicago. This was as much a recognition for the entire franchise and by 2003, it was obvious the Academy would move in that direction.

2. Titanic (1997)

James Cameron’s epic was plagued with rumors of a troubled shoot and the possibility seemed real that it could be a costly flop. The opposite occurred as Titanic became the highest grossing motion picture of all time upon its release. It seemed clear that Oscar love would follow.

1. Schindler’s List (1993)

Capping an amazing year which saw Steven Spielberg direct Jurassic Park over the summer, his Holocaust feature Schindler’s List became the undeniable front-runner at its end of year release. Winning all significant precursors, this was a shoo-in selection.

Now to the upsets. In my view, there were four very real ones and I had to leave one out. That would be 1995 when Braveheart emerged victorious over the favored Apollo 13 and Sense and Sensibility. Yet there’s 3 others that I feel top it.

3. Moonlight (2016)

La La Land appeared ready to pick up the gold after its filmmaker Damien Chazelle and lead actress Emma Stone had already won. And it looked like the script was being followed when Warren Beatty and Faye Dunaway actually announced the musical as Best Picture. Perhaps Oscar’s largest controversy followed as the wrong envelope was given and the Barry Jenkins effort Moonlight had actually won. Correct envelopes or not, the Moonlight victory was still unexpected given the La La momentum.

2. Shakespeare in Love (1998)

All eyes were on Spielberg’s World War II epic Saving Private Ryan to win as Spielberg had already picked up his second statue for directing. Shakespeare rewrote that script and few saw it coming.

1. Crash (2005)

Here is perhaps the most surprising BP winner in history. Ang Lee’s Brokeback Mountain was the strong favorite when the Paul Haggis race relations drama took it. Even presenter Jack Nicholson looked shocked when he read the envelope.

And now the fields. That’s a bit tough because just under a decade ago, the Academy switched from five finite nominees to anywhere between five and ten (nine being the most common). For weakest, I’m going with 2011 when there were 9. While there’s some quality picks like The Artist, The Descendants, Hugo, Midnight in Paris, Moneyball, and The Tree of Life – I feel even some of them might have missed the cut in stronger years. And I think that certainly applies to Extremely Loud & Incredibly Close, The Help, and War Horse.

For strongest, I will go with the aforementioned 1994. Pulp Fiction and Shawshank are indeed two of the most impressive cinematic contributions in recent times. Winner Gump and other nominees Quiz Show and Four Weddings and a Funeral filled out the slate.

And that does it, folks! Hope you enjoyed my look back at Best Picture in modern times.