With Daniel Craig anchoring for the third time as eccentric sleuth Benoit Blanc, Wake Up Dead Man: A Knives Out Mystery continues the mystery franchise. It premiered at the Toronto Film Festival with a limited theatrical engagement slated for November 26th and Netflix release on December 12th. Rian Johnson returns as writer/director with the considerable supporting cast including Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, and Thomas Haden Church.
2019’s Knives Out was up for Original Screenplay and 2022 follow-up Glass Onion vied for Adapted Screenplay. They respectively lost to Parasite and Women Talking. Several critics in Canada are making the case that Wake is the strongest overall of the three pictures. Rotten Tomatoes is at 92% with Metacritic at 82. It’s probably a safe bet that it’ll make the cut in Adapted Screenplay at the 98th ceremony. As for the cast, O’Connor and Close are being labeled as best in show. I’d say the latter, due to her infamous history of being nominated and not winning, stands a better chance with the Academy. Don’t be surprised if the sole nom for this is in its writing race.
The Golden Globes should should offer different opportunities. Both predecessors were nominated for Best Motion Picture – Musical/Comedy – with the original falling short to Once Upon a Time in Hollywood and The Banshees of Inisherin taking the prize over Glass. Craig was nominated for Best Actor in a Musical/Comedy for both. It was Taron Egerton (Rocketman) and Inisherin‘s Colin Farrell hearing their names called instead. I would suspect Craig will get in again (as will the film) and hope the third time is the charm. My Oscar Prediction posts will continue…
George Clooney and Brad Pitt bring their considerable star power to Wolfs which premiered out of competition in Venice. The action comedy receives a limited theatrical release on September 20th before it streams on Apple TV the following weekend. Jon Watts, after helming the last three Spider-Man titles for the MCU, directs with Amy Ryan, Austin Abrams, and Poorna Jagannathan among the supporting players.
Several critics are essentially giving this a pass for coasting well enough on the charisma of its leads. Other reviews are less charitable and it currently sports a 73% Rotten Tomatoes score. Clooney is a four-time acting nominee with a Supporting Actor victory for 2005’s Syriana. As for Pitt? Well, he’s a four-time acting nominee with a Supporting Actor victory for 2019’s Once Upon a Time in Hollywood. They have other nominations for their directing (Clooney) and producing work (both).
It would seem Wolfs was not made for the Academy’s consideration. Apple should get plenty of viewers to bite. My Oscar Predictions will continue…
We all know Tom Cruise does his own stunts. He reminds us of that frequently and is the biggest artist handling the bulk of those duties himself. David Leitch’s The Fall Guy takes time to honor those performers doubling for the non-Cruisers and that’s a noble cause though it often plays like a long shaggy dog story.
Sort of based on the 1980s TV show with Lee Majors, Ryan Gosling is Colt Seavers. He’s Cliff Booth to Aaron Taylor-Johnson’s Rick Dalton… or rather Tom Ryder, who’s a mega action superstar with a penchant for hard partying. Seavers does the trickier work while Ryder takes all the credit. A prologue details a setup gone wrong that derails Colt’s career and his budding relationship with camerawoman Jody Moreno (Emily Blunt).
A year and a half later, Colt is parking cars instead of crashing them. He is summoned by producer Gail (Hannah Waddingham, kind of looking like 70s era Robert Evans in a wig) to set in Sydney. The selling point is the opportunity to make up with Jody, who is now directing the sci-fi saga Metalstorm with Ryder headlining. Upon his arrival down under, it turns out Jody has no idea what’s up or that he was joining the production.
The picture’s lead has mysteriously disappeared and Colt is tasked with tracking him down while also stunting by day. And, of course, there’s some serious and humorous tension with his ex.
I was reminded at times of 80s action comedies like Beverly Hills Cop or Fletch where the plot is inconsequential and where coasting on the above the title players’ charisma is enough. Obviously Gosling and Blunt have that level of appeal.
Somehow I didn’t fall for it despite their efforts. They have chemistry, but this fails to coast on their charms. The action scenes are well-choreographed. They should be given the subject matter and Leitch (John Wick, Atomic Blonde, Bullet Train) in charge. Yet there’s not one sequence that rivals, say, the antics of you know who in fill in the recent Mission: Impossible entry.
There are more references to Miami Vice or other 80s artifacts than the TV show it takes its name from. This includes Jody belting out “Against All Odds” by Phil Collins at a karaoke bar while Colt is engaged in an elaborate car chase. Blunt being more involved in the fights might have helped. Her one scene where she gets to do so is memorable.
The Fall Guy, given the personnel, is a minor disappointment especially with how convoluted it gets in the denouement. The occasionally on point self-referential jokes and the Barbenheimer cast mates provide the highlights. When they’re apart, it can feel like just an empty space.
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:
My six-part series of performers who had a lot shaking at multiplexes continues with Austin Butler. Like previous subject Jenna Ortega, he first gained recognition in small screen CW fare such as The Carrie Diaries. By 2019, he was turning up in a smallish role for Quentin Tarantino’s Once Upon a Time in Hollywood.
This year, he broke out in a massive way as the title character in Baz Luhrmann’s Elvis biopic. Critics and audiences immediately lavished praised for his embodiment of the legend. In addition to its $151 million domestic haul, Butler can already claim Golden Globe and Critics Choice Best Actor nods. The Academy will surely follow suit and he’s a threat to take gold (along with Brendan Fraser in The Whale and Colin Farrell for The Banshees of Inisherin).
Butler closed out the year hosting SNL with a heartfelt monologue honoring his late mother. He’ll be seen in the Dune sequel in 2023 as well as The Bikeriders with Tom Hardy and Jodie Comer.
Going from a relative unknown to a headliner in 2022… Butler did it. My Year Of posts will culminate with a character actor with a lot on her ’22 menu…
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!
Best Director is on deck for my closeup looks at six major categories at the Oscars. If you missed my posts covering the four acting derbies, you can find them here:
As I have with the other competitions, let’s see how accurate my estimates were from 2019-21 at the same early November time period. In 2019, I correctly had 4 of the 5 eventual directors: winner Bong Joon-ho (Parasite), Sam Mendes (1917), Martin Scorsese (The Irishman), and Quentin Tarantino (Once Upon a Time in Hollywood). Todd Phillips (Joker) was identified in Other Possibilities. 2020 was a trickier year due to COVID complications and I had 2 of the contenders rightly pegged: Chloe Zhao for Nomadland (who won) and David Fincher for Mank. Lee Isaac Chung (Minari) was in Other Possibilities while Emerald Fennell (Promising Young Woman) and Thomas Vinterberg (Another Round) were not yet in my top ten. Last year, I had 3 of 5 with the victorious Jane Campion (The Power of the Dog), Kenneth Branagh (Belfast), and Paul Thomas Anderson (Licorice Pizza). Steven Spielberg (West Side Story) was in Other Possibilities and I didn’t have Ryusuke Hamaguchi (Drive My Car) yet in the mix.
I don’t have Spielberg down as an Other Possibility in 2022. This time around, he could be in line for his third Best Director statue behind 1993’s Schindler’s List and 1998’s Saving Private Ryan. It would mark his ninth overall nom. If he wins, he would become only the fourth filmmaker with three or more victories. John Ford has 4 while Frank Capra and William Wyler have 3.
The last four years have given us a nominee with an International Feature Film contender. In addition to Joon-ho in 2019 and Vinterberg and Hamaguchi the following years, Alfonso Cuaron took the prize in 2018 for Roma. There are two in 2022 that stand the best shot: Edward Berger (All Quiet on the Western Front) and Park Chan-wook (Decision to Leave). If you want to be brave and predict an out of nowhere selection (like Vinterberg kinda was in 2020), look to Lukas Dhont (Close) or Jerzy Skolimowski (EO). Maybe even Alejandro Gonzalez Inarritu for Bardo though he faces a tough road due to mixed critical reception.
However, I’m not quite ready to elevate any of them to the forecasted quintet. Damien Chazelle’s Babylon will soon screen prior to its December bow. It has the looks of a contender and he’s in unless the buzz tells me differently in a few days.
I’m also feeling good about the Daniels (Dan Kwan and Daniel Scheinert) for Everything Everywhere All at Once. Same goes for Sarah Polley (Women Talking). Both appear to be surefire BP selections and would mark the Academy’s first mentions for them in this race.
As for the fifth spot, there’s plenty of names beyond the aforementioned international auteurs. Todd Field for Tár tops that list with Martin McDonagh (The Banshees of Inisherin) not far behind. If Avatar: The Way of Water approaches the reception that the original received, James Cameron could enter the conversation.
If She Said or The Whale pick up even more steam in BP, I wouldn’t discount Maria Schrader or Darren Aronofsky respectively. That same logic applies to Ruben Ostlund for Triangle of Sadness. I’ve had him in my five previously.
Perhaps the voters will honor the maker of the year’s biggest blockbuster with Joseph Kosinski for Top Gun: Maverick. The more likely path is a BP nom and a few tech inclusions.
This race can and will evolve over the next couple of months. Here’s the state of the race right now:
Best Director
Predicted Nominees:
1 . Steven Spielberg, The Fabelmans (Previous Ranking: 1) (Even)
2. Damien Chazelle, Babylon (PR: 2) (E)
3. Daniels, Everything Everywhere All at Once (PR: 3) (E)
4. Sarah Polley, Women Talking (PR: 4) (E)
5. Todd Field, Tár (PR: 5) (E)
Other Possibilities:
6. Edward Berger, All Quiet on the Western Front (PR: 7) (+1)
7. Park Chan-wook, Decision to Leave (PR: 6) (-1)
8. Martin McDonagh, The Banshees of Inisherin (PR: 8) (E)
9. James Cameron, Avatar: The Way of Water (PR: 10) (+1)
10. Ruben Ostlund, Triangle of Sadness (PR: 9) (-1)
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)
With two months to go for 2022 releases to make their mark with awards voters, it’s a opportune time to assess the six major Oscar races. That would be Picture, Director, and the four acting derbies.
It begins with Supporting Actor. Over the past couple of years, this has been the category that’s confounded me the most during this juncture in the calendar.
That was a different story three years ago. In late October of 2019, I correctly identified 4 out of the eventual 5 nominees. This included winner Brad Pitt for Once Upon a Time in Hollywood as well as Tom Hanks (A Beautiful Day in the Neighborhood), Anthony Hopkins (The Two Popes), and Al Pacino (The Irishman). The other nominee – Joe Pesci for The Irishman – was in my #6 spot.
For the unpredictable year that was 2020 (due to constantly shifting release dates because of COVID), I only named 2 of the 5 hopefuls two months out – Sacha Baron Cohen for The Trial of the Chicago 7 and Leslie Odom Jr. for One Night in Miami. I still had eventual victor Daniel Kaluuya (Judas and the Black Messiah) projected for lead actor until the studio announced him for supporting.
In 2021, I made a point to say that the Supporting Actor derby was wide open in late October. And that was evidenced in my only identifying 1 of the eventual Supporting Actor quintet in the Halloween time frame – Ciaran Hinds in Belfast. I had Troy Kotsur (CODA), who would take the gold statue, in 10th place. Bradley Cooper (Licorice Pizza) was in first place and he missed out. Kodi Smit-McPhee (The Power of the Dog), who made the cut, was in 8th place. His costar Jesse Plemons and J.K. Simmons (Being the Ricardos) weren’t listed at all.
Which brings us to 2022 and at this spooky time of year, I would say this competition is up in the air with no obvious frontrunner. 12 months ago, however, I couldn’t have imagined I’d kick off the speculation with this sentence…
The Supporting Actor discussion starts with Ke Huy Quan.
The 51-year-old actor belongs in the mid 80s cinematic Hall of Fame with his turns as Short Round in Indiana Jones and the Temple of Doom and Data in The Goonies. His return to acting in Everything Everywhere All at Once has been met with raves. It’s also undeniable that his win would be a heckuva Academy narrative nearly 40 years after his iconic child performances. I’ve had him listed in first place for weeks and that remains.
In four of the last five years, we’ve witnessed double nominees in Supporting Actor. Last year it was the aforementioned Smit-McPhee and Plemons for The Power of the Dog. In 2020, we had the winner Daniel Kaluuya in Judas and the Black Messiah and his costar Lakeith Stanfield. 2019’s Irishman double duo was Pacino and Pesci. Five years ago, it was Sam Rockwell (who won) and Woody Harrelson for Three Billboards Outside Ebbing, Missouri.
Martin McDonagh directed Billboards and his follow-up is The Banshees of Inisherin. Brendan Gleeson has sat in the #2 position for several prediction posts in a row. He’s a threat to take the prize. I believe his costar Barry Keoghan may also get in.
Banshees is not the only viable option for double nominees. Ke Huy Quan’s Doom maker Steven Spielberg has The Fabelmans. Before it screened at the Toronto Film Festival, we wondered whether Paul Dano or Seth Rogen (or both) would be the likely nominee(s). Post screening, scene (just one scene) stealer Judd Hirsch bubbled up while Rogen’s viability dwindled. Dano’s work is understated and certainly not as flashy as Hirsch’s brief turn. That leads me to put Hirsch in with Dano on the outside looking in. I’ll admit it’s a coin flip.
Damien Chazelle’s Babylon screens for critics in two weeks. There’s a trio of possibilities with Brad Pitt, Jovan Adepo, and Tobey Maguire. I’ve had Pitt in my 5 previously. It’s fair to speculate whether his recent tabloid headlines could hinder him. We’ll know more once reviews roll in.
Ben Whishaw in Women Talking is a trendy selection and for good reason. I’m not completely sold as voters could opt to focus only on his female cast members Claire Foy and Jessie Buckley (and maybe others) in Supporting Actress. Yet it feels wrong to keep him out right now.
You have to go back to 2013 to find the last time the five contenders all came from Best Picture nominees. I’m not wild about the fact that my projections currently do. There’s a few names that could get in from movies I’m not putting in BP list. We have Eddie Redmayne in The Good Nurse, Brian Tyree Henry for Causeway, Jeremy Strong or Anthony Hopkins in Armageddon Time, Mark Rylance in Bones and All, Micheal Ward in Empire of Light, Don Cheadle in White Noise, and Tom Hanks in Elvis. Of that group, I’m starting to flirt with the idea of Rylance being the guy. He scored an upset win here with Bridge of Spies in 2015 over Sylvester Stallone in Creed and Bones has its ardent admirers. I wouldn’t discount the Redmayne pick as he’s a Best Actor winner in 2014 for The Theory of Everything who was nominated again the following year with The Danish Girl. If Elvis manages a BP nod (not out of the question), this would increase the inclusion of Hanks. I do have Triangle of Sadness in my BP ten and that could mean a third nomination for Woody Harrelson.
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