2021 Oscars: FINAL Winner Predictions

And it’s come to this! After seven months of endless speculation, predictions, and posts – the 94th Academy Awards (with your hosts Wanda Sykes, Amy Schumer, and Regina Hall) airs this Sunday evening.

These are my final picks for the races covering feature films. Will the Best Picture be CODA?

Or The Power of the Dog?

We have ourselves some real intrigue as both are strong possibilities. Either way, a steamer (either Netflix or Apple TV) should pick up its inaugural Best Pic victory.

Will there be upsets in any of the acting derbies where there seems to be a consensus four based on precursors? And just what will occur in the screenplay races which look unpredictable?

For each race, I’ll give you a bit of commentary along with my projected victor and the runner-up.

Let’s get to it! On Sunday evening, you will see a recap with how I performed…

Best Picture

Nominees:

Belfast

CODA

Don’t Look Up

Drive My Car

Dune

King Richard

Licorice Pizza

Nightmare Alley

The Power of the Dog

West Side Story

Commentary:

Well, the big daddy of them all has certainly become fascinating. CODA, the little Sundance pic that could, has surged in the past few days. In addition to winning the SAG Ensemble prize, it captured the Producers Guild top honor and was a BAFTA selection for Adapted Screenplay. These designations (PGA especially) are significant precursors. A strong argument could be made that it has the momentum as voting closed yesterday. In fact, I’ve seen more prognosticators picking it this week than not…

However, The Power of the Dog is still quite viable. It took the Golden Globe Best Drama trophy as well as Critics Choice and BAFTA. Until CODA‘s rise, it was the heavy favorite.

We’ve got a real coin flip, folks! That definitely makes the end of Oscar night more suspenseful than last year when Nomadland seemed unbeatable and indeed was.

I don’t believe any of the other eight pictures have a chance. As for the two that do, I’ve gone back and forth constantly all week. There’s a time to stop speculating and make a final pick and I still believe there’s enough power for the Dog to edge out CODA. That said, I wouldn’t be the least bit surprised if it turns out the other way.

PREDICTED WINNER:

The Power of the Dog

Runner-Up:

CODA

Best Director

Nominees:

Paul Thomas Anderson, Licorice Pizza

Kenneth Branagh, Belfast

Jane Campion, The Power of the Dog

Ryusuke Hamaguchi, Drive My Car

Steven Spielberg, West Side Story

Commentary:

This is far easier than Picture. With CODA maker Sian Heder absent, Jane Campion is in line to become the third female (and second in a row) to make a podium trip. She’s won all the key precursors – DGA, Globes, Critics Choice. It’s even a challenge to name a runner-up (I guess I’ll say Spielberg because he’s Spielberg). Make no mistake – this is one of the simplest checkmarks on the ballot.

PREDICTED WINNER:

Jane Campion, The Power of the Dog

Runner-Up:

Steven Spielberg, West Side Story

Best Actress

Nominees:

Jessicas Chastain, The Eyes of Tammy Faye

Olivia Colman, The Lost Daughter

Penelope Cruz, Parallel Mothers

Nicole Kidman, Being the Ricardos

Kristen Stewart, Spencer

Commentary:

Kidman garnered the initial heat after a surprise Globe win, but that’s stalled as no other awards programs followed suit. Instead it’s been Chastain on the minor streak with SAG and Critics Choice. If there’s an upset in any acting derby, this is probably where it happens. Stewart’s road to Oscar looked shaky after some snubs. Academy voters could reward her and there’s some chatter about Cruz being viable. Yet I’m sticking with the safest best and that’s Chastain taking her first gold.

PREDICTED WINNER:

Jessica Chastain, The Eyes of Tammy Faye

Riunner-Up:

Kristen Stewart, Spencer

Best Actor

Nominees:

Javier Bardem, Being the Ricardos

Benedict Cumberbatch, The Power of the Dog

Andrew Garfield, tick, tick… Boom!

Will Smith, King Richard

Denzel Washington, The Tragedy of Macbeth

Commentary:

During the fall, I was thinking there could be a barnburner between Smith and Cumberbatch (with Garfield as potential spoiler). That’s not how it’s played out as the Fresh Prince has been crowned the king in all preceding shows. I expect the sweep to continue.

PREDICTED WINNER:

Will Smith, King Richard

Runner-Up:

Benedict Cumberbatch, The Power of the Dog

Best Supporting Actress

Nominees:

Jessie Buckley, The Lost Daughter

Ariana DeBose, West Side Story

Judi Dench, Belfast

Kirsten Dunst, The Power of the Dog

Aunjanue Ellis, King Richard

Commentary:

Buckley and Dench were surprising inclusions, but there won’t be any shocks with the winner. DeBose has run the table and she should represent Story‘s lone victory.

PREDICTED WINNER:

Ariana DeBose, West Side Story

Runner-Up:

Kirsten Dunst, The Power of the Dog

Best Supporting Actor

Nominees:

Ciaran Hinds, Belfast

Troy Kotsur, CODA

Jesse Plemons, The Power of the Dog

J.K. Simmons, Being the Ricardos

Kodi Smit-McPhee, The Power of the Dog

Commentary: 

Despite its quartet of performers getting nominations, Dog is likely to produce Oscars for none of them. Smit-McPhee received the Golden Globe but it’s been all Kotsur since. This is the race where I’m most confident of a CODA moment.

PREDICTED WINNER:

Troy Kotsur, CODA

Runner-Up:

Kodi Smit-McPhee, The Power of the Dog 

Best Original Screenplay

Nominees:

Belfast

Don’t Look Up

King Richard

Licorice Pizza

The Worst Person in the World

Commentary:

Good luck with this one! The Writer’s Guild threw everyone for a loop last weekend when Don’t Look Up won over Licorice Pizza (Belfast was not eligible). I just don’t envision the Academy honoring Up. With a Belfast or Pizza victory, they would bestowing first ever Oscars to Kenneth Branagh and Paul Thomas Anderson respectively. With the Globe and Critics Choice going to Belfast, it has my vote (though it’s close).

PREDICTED WINNER:

Belfast

Runner-Up:

Licorice Pizza

Best Adapted Screenplay

Nominees

CODA

Drive My Car

Dune

The Lost Daughter

The Power of the Dog 

Commentary:

CODA‘s BAFTA win kickstarted its momentum. Even if Dog is Best Picture, CODA could still take this. On the other hand, I think there’s a better chance Best Pic and Adapted Screenplay match so I’m rolling with the Dog with no degree of confidence whatsoever.

PREDICTED WINNER:

The Power of the Dog

Runner-Up:

CODA

Best Animated Feature

Nominees:

Encanto

Flee

Luca

The Mitchells vs. the Machines

Raya and the Last Dragon

Commentary:

I’m tempted to pick a Mitchells upset, but it’s dangerous to pick against Disney and Encanto is the frontrunner.

PREDICTED WINNER:

Encanto

Runner-Up:

The Mitchells vs. the Machines

Best International Feature Film

Nominees:

Drive My Car

Flee

The Hand of God

Lunana: A Yak in the Classroom

The Worst Person in the World

Commentary:

This is unquestionably one of the no brainer picks as Drive My Car has dominated the precursors and is the only nominee to also nab a Best Picture nod.

PREDICTED WINNER:

Drive My Car

Runner-Up:

The Worst Person in the World

Best Documentary Feature

Nominees:

Ascension

Attica

Flee

Summer of Soul

Writing with Fire

Commentary:

With nominations in Animated Feature, International Feature, and Doc – it sure seems like Flee should win one of them. It might stand the best chance in this competition, but Summer of Soul has been impressive in precursors and should continue the streak.

PREDICTED WINNER:

Summer of Soul

Runner-Up:

Flee

Best Cinematography

Nominees:

Dune

Nightmare Alley

The Power of the Dog

The Tragedy of Macbeth

West Side Story

Commentary: 

This might be the tech race where Dog is successful. I’m not predicting it though and (get used to hearing this) think Dune emerges.

PREDICTED WINNER:

Dune

Runner-Up:

The Power of the Dog

Best Costume Design

Nominees:

Cruella

Cyrano

Dune

Nightmare Alley

West Side Story

Commentary:

Cruella has killed it the preceding competitions. Dune, if it crushes all techs, could take it but I’m going with the former.

PREDICTED WINNER:

Cruella

Runner-Up:

Dune

Best Film Editing

Nominees:

Don’t Look Up

Dune

King Richard

The Power of the Dog

tick, tick… Boom!

Commentary:

Don’t sleep on King Richard which was bestowed the EDDIE award. I still think this is Dune‘s to lose.

PREDICTED WINNER:

Dune

Runner-Up:

King Richard

Best Makeup and Hairstyling

Nominees:

Coming 2 America

Cruella

Dune

The Eyes of Tammy Faye

House of Gucci

Commentary:

Gucci could fashion a 1 for 1 victory but Tammy Faye has taken some precursors.

PREDICTED WINNER:

The Eyes of Tammy Faye

Runner-Up:

House of Gucci

Best Original Score

Nominees:

Don’t Look Up

Dune

Encanto

Parallel Mothers

The Power of the Dog

Commentary:

Like Cinematography, this is between Dog and Dune. Like Cinematography, I’m choosing the latter.

PREDICTED WINNER:

Dune

Runner-Up:

The Power of the Dog

Best Original Song

Nominees:

“Be Alive” from King Richard

“Dos Oruguitas” from Encanto

“Down to Joy” from Belfast

“No Time to Die” from No Time to Die

“Somehow You Do” from Four Good Days

Commentary:

Diane Warren gets her 13th nomination with “Somehow” and somehow she’s never won. That will continue. The smart money is on the 007 theme song from Billie Eilish. Yet I’m going with a minor upset with the Disney tune.

PREDICTED WINNER:

“Dos Oruguitas” from Encanto

Runner-Up:

“No Time to Die” from No Time to Die

Best Production Design

Nominees:

Dune

Nightmare Alley

The Power of the Dog

The Tragedy of Macbeth

West Side Story

Commentary:

For the last three categories, I could just say Dune and be done with it. In fact, I think I will…

PREDICTED WINNER:

Dune

Runner-Up:

West Side Story

Best Sound

Nominees:

Belfast

Dune

No Time to Die

The Power of the Dog

West Side Story

Commentary:

See Production Design

PREDICTED WINNER:

Dune

Runner-Up:

West Side Story

Best Visual Effects

Nominees:

Dune

Free Guy

No Time to Die

Shang-Chi and the Legend of the Ten Rings

Spider-Man: No Way Home

Commentary:

See Production Design

PREDICTED WINNER:

Dune

Runner-Up:

There isn’t one… that’s how I’m confident I am that Dune takes it.

And so, ladies and gents, that means I’m predicting that these movies win these numbers of Oscars:

6 Wins

Dune

3 Wins

The Power of the Dog

2 Wins

Encanto, The Eyes of Tammy Faye

1 Win

Belfast, CODA, Cruella, Drive My Car, King Richard, Summer of Soul, West Side Story

Make sure to check out the blog post ceremony!

Oscars 2021: The Case of Jane Campion

The third entry in my Case Of posts for the Best Director nominees belongs to Jane Campion for The Power of the Dog. If you missed the first two, you can find them here:

Oscars 2021: The Case of Paul Thomas Anderson

Oscars 2021: The Case of Kenneth Branagh

The Case for Jane Campion:

After a 12 year absence from filmmaking, New Zealand’s Campion made an acclaimed return with the Netflix drama. It led all movies in terms of nods with an even better than anticipated 13. Already the winner of the Golden Globe, Campion has been the frontrunner ever since Dog‘s release. She would become just the third female to take this race after Kathryn Bigelow with 2009’s The Hurt Locker and Chloe Zhao for last year’s Nomadland. 

The Case Against Jane Campion:

If Dog is simply all nominations and very few wins (similar to The Irishman from two years ago), we could see plenty of upsets and that would include Campion losing here.

Previous Nominations: 1 (for directing only)

The Piano (1993)

The Verdict:

In 1993, Campion was probably runner-up in this category to Steven Spielberg for Schindler’s List. Even though Spielberg is up against her again with West Side Story, Campion comes into this ceremony as the sturdy favorite. Even if Power doesn’t take Best Picture, I’d still likely be forecasting Campion in this competition and in Adapted Screenplay. That would add Oscars two and three to her mantle after an Original Screenplay victory for The Piano. 

My Case Of posts will continue with the third Best Actress hopeful – Penelope Cruz in Parallel Mothers

Oscars 2021: The Case of Olivia Colman

Olivia Colman’s turn in Netflix’s The Lost Daughter is the second Case Of post for the five women competing for Best Actress. If you missed the first on Jessica Chastain in The Eyes of Tammy Faye, you can find it here:

Oscars 2021: The Case of Jessica Chastain

The Case for Olivia Colman:

It’s another hailed performance from the Oscar winner who surprisingly took to the podium three years back for The Favourite (upsetting frontrunner Glenn Close in The Wife). Colman gets her third nod in four years. In addition to the victory from 2018, she was nominated last year in supporting for The Father. She nabbed precursor attention at the Globes, SAG, and Critics Choice. Daughter performed decently with the Academy with Jessie Buckley receiving an unexpected spot in Supporting Actress and director Maggie Gyllenhaal’s being recognized for her adapted screenplay. Furthermore, Best Actress looks wide open and anything could happen.

The Case Against Olivia Colman:

Had Daughter managed a Best Picture slot, I might feel more confident in calling for a potential second trophy for Colman. That said, none of the five Actress’s films are in the big dance. Critics liked this better than general audiences judging from Rotten Tomatoes. In an unexpected twist, BAFTA did not include Colman. What gives me the most pause is that Colman is the most recent recipient – Jessica Chastain and Kristen Stewart (Spencer) have never won, Penelope Cruz (Parallel Mothers) is a supporting winner from 13 years ago, and Nicole Kidman (Being the Ricardos) took Actress 19 years ago.

Previous Nominations: 2

The Favourite (2018 – Actress, WON); The Father (2020 – Supporting Actress)

The Verdict:

This is a tricky one and good luck figuring out Best Actress in 2021. The counterargument to the recency bias is that it didn’t hurt Frances McDormand (Nomadland) last year. However, that was a frontrunner for BP and that narrative doesn’t exist this time around. If Colman can get a win at SAG this weekend or Critics Choice later on, it increases her viability with the Academy. If not, I doubt she gets her second Oscar.

My Case Of posts will continue with Benedict Cumberbatch in The Power of the Dog

Eternals Review

When the core group of Avengers assembled in their climactic battle for that classic shot from the 2012 film, it held power because we’d come to know them in previous MCU entries. By the time we got to 2019 as seemingly half of Hollywood was ready to take on Thanos in Avengers: Endgame, the same emotions were present. The mere fact that we were witnessing many members of Marvel’s extensive roster ready for action via high quality predecessors was impressive.

That’s a testament to what Kevin Feige and team had pulled off. For all the nitpicking about the franchise, it’s easy to forget the monumental achievement in bringing these heroes to life in 20 plus pictures and getting us back to care about them. That’s not an easy assignment and they pulled it off.

This brings us to Eternals, the 26th entry in the series. And it often feels like we are meant to feel the same sentiments that I’ve described above. There’s a problem with that. Chloe Zhao’s immersion into the MCU is tasked with introducing us to a brand new team of heroes in its 156 minutes. Most of them, quite frankly, aren’t very compelling. Comic book lovers may be familiar, but the masses aren’t. When Iron Man got the gang together nearly a decade ago, we knew the gang. Eternals, which loves it landscapes and sunsets silhouetting its protagonists, strains to properly introduce them. For a movie that feels long, it’s still short on character development and getting us to care about this team in ways we previously did. I admired plenty about this latest adventure, but it still stands as one of the MCU’s overall weakest experiences.

A prologue set in 5000 B.C. establishes the players. The Eternals are a group of immortals tasked with saving planets from Deviants, a lot of monstrous CGI creations. Their leader is Ajak (Salma Hayek), who takes her orders from the almighty Arishem. Each Eternal has their own set of powers. Sersi (Gemma Chan) can transform matter. Her love interest Ikaris (Richard Madden) can shoot freakin lasers from his eyeballs (think Cyclops). Phastos (Brian Tyree Henry) is the science nerd capable of advancing technology centuries ahead of time. And… we’re gonna be here all day if I keep this up, but a couple more. Sprite (Lia McHugh) can create illusions, but can’t hide the fact that she’ll look like a 12-year-old girl for eternity. Thena (Angelina Jolie) is capable of creating weapons from thin air. Yet she’s a weapon herself because she has a condition that causes her to turn against her counterparts and try to kill them.

The Eternals spend centuries on Earth taking on the Deviants and appear to achieve their mission in 1521. The band breaks up and they’re free to roam free on our Earthly soil, which Nomadland director Zhao frames in loving travelogue mode. Importantly, Ajak orders them not to interfere with the many conflicts that will transpire over the coming centuries. That means the Eternals are not involved when Thanos wipes out half the population in Avengers: Infinity War. They’re not showing up for house calls with Doctor Strange or assisting Hulk smash anything.

In present day, the Deviants resurface and they must assemble (!) again. Some have taken on unexpected careers. Kingo (Kumail Nanjiani) is a Bollywood leading man with a trusty assistant (Harish Patel). He’s been a superstar for decades with the public believing his dad, granddad, and so on were different people. The real function for Nanjiani is to provide some comic relief in a story that needs it.. The actor and the superb Patel are up to the assignment. They might be the two characters I’d be excited to see return in future MCU tales.

On the flip side, the failed romance between Sersi and Ikaris is a yawner. And familiar faces like Hayek and Jolie aren’t given enough screen time to register. Barry Keoghan, always a compelling actor to watch, is Druig. He can manipulate minds and his superpower runs counter to his orders. Druig has the potential for a fascinating character arc yet, once again, the packed nature of the screenplay prevents it.

The look of Eternals is undoubtedly different than the MCU sheen we’re accustomed to. It has more of a real location feel as opposed to video game extravaganza. Some of the action sequences are well constructed. Others fall into the confused CGI jumble that’s hampered even some of the finest franchise flicks.

Here’s the bottom line – Eternals is by no means bad (even the middling stories in this series are quite watchable). It feels unnecessary because it never fully succeeds at making us understand why we need to be invested. Ajak’s hideaway in the present day is in South Dakota. Nothing that happens here made me think any Eternal will be carved into the Mt. Rushmore of Marvel’s cinematic universe.

**1/2 (out of four)

The Lost Daughter Finds Gotham Love

The Gotham Awards, which honors independent pictures, held its annual ceremony tonight with category shifts, surprises, and ties. The NYC based event is not exactly seen as a reliable barometer of what will happen at the Oscars. However, it’s worth noting that since the Best Feature category was established in 2004, there’s only been three years (2007, 2008, 2018) in which none of the nominees made the Academy’s Best Picture cut. Four recent Gotham winners (Birdman, Spotlight, Moonlight, and last year’s Nomadland) ended up being the Oscar selection.

In 2021, none of the five nominees for the big race were listed in my latest Oscar estimates. In fact, none of the quintet were in my top 15 possibilities. That would be going against the grain for what Gotham typically produces and the big winner tonight is undoubtedly Maggie Gyllenhaal’s directorial debut The Lost Daughter (which hits theaters on December 17 and Netflix on New Years Eve). The psychological drama took the top prize over The Green Knight, Passing, Pig, and Test Pattern. I only foresee Daughter and Passing as having viable paths to a Best Pic nod and the former’s victory here gives it more exposure.

In addition to Best Feature, Daughter was honored for Breakthrough Director and Screenplay. I am confident an Adapted Screenplay nod from the Academy is coming its way.

As for those category shifts, the Gothams chose to eliminate gender distinction in the lead acting derbies. Yet, ironically, there was a tie bestowing the award for a male and female. That provided another statue for Daughter and its lead Olivia Colman (as her Best Actress chances are looking stronger each day). The male was a surprise with character actor Frankie Faison for The Killing of Kenneth Chamberlain. You may know him best as orderly Barney in The Silence of the Lambs, but his lead role here got him attention over Joaquin Phoenix (C’Mon C’Mon). I wouldn’t count on Academy members taking notice.

This is the first year in which Gotham had a supporting race (also gender neutral) and it went to Troy Kotsur in CODA. This will feels a bit more significant as the scene stealer won over stellar competition like his costar Marlee Matlin and Ruth Negga in Passing. In an Oscar year where Supporting Actor is wide open, awards like this could propel Kotsur to make the final cut.

Elsewhere Flee took Documentary (it’s a likely shoo-in with the Academy) while Drive My Car helped its case in the foreign race over Titane and The Worst Person in the World. 

Bottom line: Daughter found a precursor in Gotham that should raise the profile as the Oscar folks are starting to pay attention.

2021 Oscar Predictions: The State of the Best Picture Race

I’m closing out my deep dives of the major Oscar races with the granddaddy of them all – Best Picture. If you missed my posts covering Best Director and the four acting categories, you can find them here:

2021 Oscar Predictions: The State of the Best Director Race

2021 Oscar Predictions: The State of the Best Actress Race

2021 Oscar Predictions: The State of the Best Actor Race

2021 Oscar Predictions: The State of the Supporting Actress Race

2021 Oscar Predictions: The State of the Supporting Actor Race

Unlike the previous several years where the Picture nominees could fluctuate between 5-10 (though 8 and 9 were the magic numbers), 2021 brings fluidity with a set 10 films being honored (I’d like to thank the Academy for that).

As I’ve done with the others, let’s take a look back at how I was performing in the early November time frame from 2019 and 2020. Two years ago, I had 8 of the eventual 9 movies pegged: winner Parasite, 1917, Ford v Ferrari, The Irishman, Jojo Rabbit, Little Women, Marriage Story, and Once Upon a Time in Hollywood. The other – Joker – was mentioned in Other Possibilities.

2020 was trickier at this stage, but I identified 5 of the 8 hopefuls: winner Nomadland along with The Father, Mank, Minari, and The Trial of the Chicago 7. Judas and the Black Messiah was named as a possibility while I didn’t have Promising Young Woman or Sound of Metal yet in the 15 selections.

For 2021 – I feel confident that four already screened entries will make the dance. We begin with Kenneth Branagh’s Belfast, the 1960s set coming-of-age drama that could be looked at as the soft frontrunner. It’s been listed at #1 in my estimates for several weeks.

Belfast displaced The Power of the Dog from Jane Campion in that spot, but I still see the Netflix title having no trouble securing its placement among the contenders.

King Richard should find its way as the inspirational sports flick that will have audiences on its side. Furthermore, Will Smith appears in position to possibly win Best Actor. You have to go back to Jeff Bridges (Crazy Heart) twelve years ago where the Oscar winning actor didn’t see his movie recognized in Picture.

Then there’s Dune. The sci-fi epic from Denis Villeneuve got the box office and critical kudos it needed to storm the competition. The filmmaker could make a victory play for his direction while the picture itself seems destined for a nod here and tech wins elsewhere.

In past years, the bulk of nominees in Picture were screened at festivals. In 2021, that dynamic could shift as there’s a slew of unscreened material that seems like Oscar bait. That list includes Guillermo del Toro’s Nightmare Alley, Paul Thomas Anderson’s Licorice Pizza, Steven Spielberg’s West Side Story, Ridley Scott’s House of Gucci, Lin-Manuel Miranda’s Tick, Tick… Boom!, and Adam McKay’s Don’t Look Up. 

The first four of the six are ones I’ve had in my ten for a bit and I’m not changing it today. That said, this could be altered quickly once their official reviews are up (and that will be soon). Some prognosticators are more confident with Don’t Look Up. I’ll believe it when I see it.

With the pics that have been seen, Pablo Larrain’s Spencer is sure looking like it will garner Kristen Stewart her first ever nod with a solid chance at a victory. I do believe the Princess Diana tale will manage to make the cut, but it could go either way.

This also holds true for Joel Coen’s The Tragedy of Macbeth, which should also manage some tech recognition and for its lead Denzel Washington and maybe Frances McDormand.

I will admit that it seems strange to leave off any titles that screened early at Sundance. After all, last year there were 3 pics from the fest (The Father, Minari, Promising Young Woman) that got in. There’s a trio that could do the same in 2021 and they’re all listed in Other Possibilities: CODA, Flee, and Mass. Of that group, Flee (which I do have predicted in Animated Feature, Documentary Feature, and International Feature Film) may have the strongest chance.

Foreign flicks could factor in and they include A Hero, The Hand of God, Parallel Mothers, and The Worst Person in the World. I wouldn’t completely discount Netflix hopefuls such as The Lost Daughter and Passing. 

Then there’s high profile fare where the luster has been lost either to mixed reviews or poor box office. That list includes Wes Anderson’s The French Dispatch, Ridley Scott’s The Last Duel, and certainly Chloe Zhao’s Eternals. 

The bottom line is this – in 2021, with two months left to go in the calendar, there’s a lot yet to be determined. Here’s my take for now:

Best Picture

Predicted Nominees:

1. Belfast (Previous Ranking: 1)

2. The Power of the Dog (PR: 2)

3. King Richard (PR: 3)

4. Dune (PR: 4)

5. Licorice Pizza (PR: 6)

6. Nightmare Alley (PR: 5)

7. West Side Story (PR: 7)

8. House of Gucci (PR: 8)

9. Spencer (PR: 9)

10. The Tragedy of Macbeth (PR: 10)

Other Possibilities:

11. Flee (PR: 13)

12. Don’t Look Up (PR: 11)

13. Mass (PR: 12)

14. Tick, Tick… Boom! (PR: 15)

15. CODA (PR: 14)

And that wraps the detailed looks, folks! Next weekend I’ll be back with updated estimates…

2021 Oscar Predictions: The State of the Best Director Race

After four posts focusing on the acting races at the 2021 Oscars, it’s time to turn to Best Director. If you missed those entries on the lead and supporting performer derbies, you can find them here:

2021 Oscar Predictions: The State of the Best Actress Race

2021 Oscar Predictions: The State of the Best Actor Race

2021 Oscar Predictions: The State of the Supporting Actress Race

2021 Oscar Predictions: The State of the Supporting Actor Race

With the directing category, I do believe there’s three filmmakers that have likely punched their ticket to a nomination. Before we get there, let’s take a look at how my projections panned out at the same early November time frame in 2019 and 2020.

Two years back, I correctly identified four of the five contenders: winner Bong Joon-ho (Parasite) as well as Sam Mendes (1917), Martin Scorsese (The Irishman), and Quentin Tarantino (Once Upon a Time in Hollywood). Todd Phillips (Joker) was mentioned in Other Possibilities. 2020 was more unpredictable with two months left to go and that resulted in only two directors being accurately named: Chloe Zhao (Nomadland), who took the gold, and David Fincher (Mank). Lee Isaac Chung (Minari) was in Other Possibilities while neither Emerald Fennell (Promising Young Woman) or surprise nominee Thomas Vinterberg (Another Round) were yet listed in my top ten.

Back to 2021 and the three individuals who I believe stand probable shots at making the cut. They are Jane Campion (The Power of the Dog), Kenneth Branagh (Belfast), and Denis Villeneuve (Dune).

It was 28 years ago that Campion was nominated for The Piano. If it hadn’t been for Oscar juggernaut Schindler’s List, she likely would’ve been making a speech. Upon its premiere in Venice, Campion took the Silver Lion (equivalent to this competition) for Dog. I don’t see her being left off the ballot.

Belfast is the current frontrunner for Best Picture and it’s hard to envision  writer/director Branagh not making it in. If so, it would be his first nod in directing since Henry V some 32 years back.

Dune is being heralded for its technical wizardry and it should pick up numerous down the line wins and nominations. Five years after his behind the camera work was recognized for Arrival, Villeneuve should be a factor again.

Interestingly, I don’t feel there’s a clear favorite to win. There are plausible scenarios for any member of this trio to emerge victorious. Campion, Branagh, and Villeneuve constitute my top 3 (in that order), but it’s more of a 1a, 1b, and 1c at press time.

As for the other two slots, there’s a few contenders stemming from unseen product. There’s big names in that bunch: Guillermo del Toro (Nightmare Alley, who won four years ago for The Shape of Water), Paul Thomas Anderson (Licorice Pizza, a two-time nominee for There Will Be Blood and Phantom Thread), Ridley Scott (for House of Gucci and not The Last Duel), Adam McKay (Don’t Look Up, previously nominated for The Big Short), Lin-Manuel Miranda (Tick, Tick… Boom!), and Steven Spielberg (West Side Story,  a two-time winner for Schindler’s List and Saving Private Ryan).

Any of these gentlemen could bubble up to the surface once their pictures are screened. I’m sticking with the two I’ve had in my five recently: del Toro and Anderson.

King Richard has a chance to win Best Picture, but I’m skeptical its maker Reinaldo Marcus Green makes it here. The sports drama seems destined to be recognized more for its performances, but if the Academy really falls for it, Green could be theoretically be swept in. That holds true for Joel Coen (The Tragedy of Macbeth) and Pablo Larrain (Spencer) as well.

Lastly, Thomas Vinterberg’s nod in 2020 for Another Round came out of nowhere. While it was pegged to take International Feature Film (which it did), Round was not nominated in Best Picture. There’s a slew of directors who could fill the “surprise” slot this time around (many from foreign features): Pedro Almodovar (Parallel Mothers), Julia Ducournau (Titane), Asghar Farhari (A Hero), Paolo Sorrentino (The Hand of God), Joachim Trier (The Worst Person in the World). I wouldn’t completely count out Rebecca Hall for Passing. Yet none of these upset selections are in my top ten.

The one that is: Jonas Poher Rasmussen for festival darling Flee. While I don’t have it nabbing a Best Pic nom at the moment, I do foresee the Danish doc contending in Animated Feature, Documentary Feature, and International Feature Film. That kind of attention could cause the voters to include him.

Here’s how those rankings look at the start of November:

Best Director

Predicted Nominees:

1. Jane Campion, The Power of the Dog (Previous Ranking: 1)

2. Kenneth Branagh, Belfast (PR: 2)

3. Denis Villeneuve, Dune (PR: 3)

4. Guillermo del Toro, Nightmare Alley (PR: 4)

5. Paul Thomas Anderson, Licorice Pizza (PR: 5)

Other Possibilities:

6. Pablo Larrain, Spencer (PR: 6)

7. Steven Spielberg, West Side Story (PR: 7)

8. Jonas Poher Rasmussen, Flee (PR: Not Ranked)

9. Reinaldo Marcus Green, King Richard (PR: 9)

10. Ridley Scott, House of Gucci (PR: Not Ranked)

Dropped Out:

Joel Coen, The Tragedy of Macbeth

Julia Ducournau, Titane

Best Picture is next!

2021 Oscar Predictions: The State of the Best Actress Race

The Oscar race for Best Actress takes center stage in my latest rundown of where the major competitions stand in early November. If you missed my posts covering lead actor and the supporting categories, they can accessed right here:

2021 Oscar Predictions: The State of the Best Actor Race

2021 Oscar Predictions: The State of the Supporting Actress Race

2021 Oscar Predictions: The State of the Supporting Actor Race

As I have with the others, let’s start with my track record during the same time period from 2019 and 2020. Two years ago, I somehow had all five nominated actresses forecasted correctly with two months to go: winner Renee Zellweger as Judy in addition to Cynthia Erivo (Harriet), Scarlett Johansson (Marriage Story), Saoirse Ronan (Little Women), and Charlize Theron (Bombshell). For 2020, it was three: gold recipient Frances McDormand for Nomadland and Viola Davis (Ma Rainey’s Black Bottom) and Vanessa Kirby (Pieces of a Woman). Both Andra Day (The United States vs. Billie Holiday) and Carey Mulligan (Promising Young Woman) were listed in Other Possibilities.

In 2021, we already have a strong frontrunner and that’s Kristin Stewart in Spencer. Playing the high profile role of Princess Diana, Ms. Stewart is practically guaranteed to nab her first nod after plenty of critically appreciated post Twilight turns. She’s a serious threat to win and Stewart has been atop my chart ever since the picture screened back in September at the Venice Film Festival.

Her biggest competition could come from an as yet unseen performance – Lady Gaga in House of Gucci. Judging from the trailers alone, her part seems like the kind of bait that would cause Academy voters to bite. If so, the pop superstar would receive her second nomination three years after her breakout cinematic role with A Star Is Born. 

After that, there’s a lengthy list of hopefuls for the three remaining slots. When The Eyes of Tammy Faye premiered on the festival circuit, it was a given that Jessica Chastain would make the cut. I still think she will, but the pic’s barely existent box office numbers are reason for some uncertainty.

Screenings were also kind to Olivia Colman in The Lost Daughter and that momentum could result in her third inclusion in the last four years after a 2018 Actress victory for The Favourite and a supporting nod for last year’s The Father. 

Colman isn’t the only actress from a Netflix offering eyeing the prize. There’s Tessa Thompson in Passing, Jennifer Lawrence in Don’t Look Up, Sandra Bullock for The Unforgivable, and Halle Berry with Bruised. All could factor in. Other than Thompson (her costar Ruth Negga stands a greater chance in supporting), the three others have yet to be unveiled. The streamer may have to pick and choose whose campaigns they go all in with.

There’s other possibilities in the unseen column where the buzz will shortly materialize: Cate Blanchett for Nightmare Alley, Alana Haim in Licorice Pizza, Nicole Kidman as Lucille Ball with Being the Ricardos, and Rachel Zegler (West Side Story). At press time, I only have Kidman in the top ten but that could change as soon as reviews start posting.

As for pictures that have been available for awhile, I feel Marlee Matlin and Troy Kotsur’s supporting parts in CODA are more likely to be recognized than lead Emilia Jones. Renate Reinsve will have her share of supporters for The Worst Person in the World, but its best chance lies with an International Feature Film nomination. Bad financial returns could negatively impact Jodie Comer for The Last Duel, though I will note that a number of prognosticators have her in.

For the fifth spot, I currently see three performances with roughly equal chances. Frances McDormand took the prize last year and that might make the Academy think twice about putting her up again for The Tragedy of Macbeth. Penelope Cruz is just on the outside looking in for Parallel Mothers. That leaves me with Jennifer Hudson as Aretha Franklin in Respect. Even though the film received mixed reviews and so-so box office, praise for the Supporting Actress winner in 2006’s Dreamgirls was universal. Voters may have to think all the way back to summer to include her but I do believe it’s feasible.

And with that, here’s my standings:

Best Actress

Predicted Nominees:

1. Kristen Stewart, Spencer (Previous Ranking: 1)

2. Lady Gaga, House of Gucci (PR: 3)

3. Jessica Chastain, The Eyes of Tammy Faye (PR: 2)

4. Olivia Colman, The Lost Daughter (PR: 4)

5. Jennifer Hudson, Respect (PR: 5)

Other Possibilities:

6. Penelope Cruz, Parallel Mothers (PR: 7)

7. Frances McDormand, The Tragedy of Macbeth (PR: 6)

8. Jodie Comer, The Last Duel (PR: 8)

9. Nicole Kidman, Being the Ricardos (PR: 10)

10. Tessa Thompson, Passing (PR: Not Ranked)

Dropped Out:

Rachel Zegler, West Side Story

Now that the acting derbies are wrapped, I’ll have Best Director up next!

Eternals Box Office Prediction

The Marvel Cinematic Universe has been unleashing product at a furious pace following COVID delays and that continues November 5th with Eternals. Arriving four months after Black Widow, two months following Shang-Chi and the Legend of the Ten Rings and a month a half before Spider-Man: No Way Home, this is the 26th MCU superhero tale in the massive series. Chloe Zhao, fresh off a Best Picture and Director win for Nomadland, directs with a cast featuring Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Don Lee, Kit Harington, Salma Hayek, and Angelina Jolie.

Originally scheduled for November 2020 before the pandemic altered Disney’s plans, this is the long anticipated adaptation of Jack Kirby’s comics that debuted over half a century ago. Surprisingly, initial buzz is mixed in a way Marvel rarely sees. The Rotten Tomatoes meter currently sits at 63%. That’s the lowest score of any MCU offering to date (just below Thor: The Dark World‘s 66%).

If there’s any franchise that’s teflon, it would be this one. Reviews shouldn’t matter too much, but the word-of-mouth could keep Eternals from reaching COVID era records. Venom: Let There Be Carnage has the best three day start of the period with $90 million. In July, Black Widow took in $80 million out of the gate. Over Labor Day weekend, Shang-Chi surpassed projections with $75 million from Friday to Sunday and $94 million when adding the Monday haul.

Had Eternals achieved the glowing chatter of Shang-Chi, I might be discussing an opening weekend of over $100 million. Now I’m skeptical. I believe it’s more likely that Eternals could debut on pace with what its MCU predecessor did during the first three days. That’s just fine, but it’s an adjustment down from what I would’ve figured even a week or so ago.

Eternals opening weekend prediction: $77.8 million

For my Spencer prediction, click here:

Spencer Box Office Prediction

Oscar Predictions: Eternals

Chloe Zhao was the big winner at the previous Academy Awards when Nomadland took Best Picture and she became the second female filmmaker to take the trophy for her direction. Her follow-up is a high profile one in Marvel’s Eternals, which opens November 5th and had its review embargo lifted today.

With an eclectic cast including Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Kit Harington, Salma Hayek, and Angelina Jolie, MCU entry #26 is undoubtedly one of 2021’s most anticipated blockbusters. However, critical reaction is certainly mixed. The 74% Rotten Tomatoes score is on the lower side for this series. Just this year, Black Widow stands at 79% while Shang-Chi and the Legend of the Ten Rings got to 92%.

Any thought of Zhao’s having two Best Picture winners or nominees in a row (or being mentioned again in Director) has fallen by the wayside. The one race where I did feel hope for Eternals sprung was in Visual Effects. That could still happen, but I’m not near as confident. Competition will be fairly strong. Dune is easily the frontrunner and will likely win. Other notable contenders include The Matrix Resurrections, Don’t Look Up, Godzilla vs. Kong, Nightmare Alley, Jungle Cruise, Finch, and Free Guy. And then there’s the other MCU rivals like Shang-Chi and the upcoming Spider-Man: No Way Home. 

There could still be room for Eternals in VE, but I’m thinking it may on the outside looking in. Even some of the reviews aren’t gushing about the visuals. Bottom line: Eternals took itself out of the running for the big races and could be iffy in the one tech competition where I thought it stood an excellent shot. My Oscar Prediction posts for the films of 2021 will continue…