For the second time this week, there’s been an Oscar bombshell that will undoubtedly change the projections of prognosticators like yours truly. On Tuesday, it was the announcement that Lily Gladstone (Killers of the Flower Moon) will compete in Actress instead of Supporting Actress (where she was widely expected to compete in and probably win).
Now there’s a french twist in the International Feature Film race. As you may know, countries can only submit one picture for consideration in that competition. France was widely expected to put forth Justine Triet’s acclaimed Anatomy of a Fall, the courtroom drama that received the Palme d’Or at the Cannes Film Festival. Fall, along with the U.K.’s The Zone of Interest from Jonathan Glazer, were seen as the two favorites to win the category. It was also seen as a major threat for nominations in Best Picture, Director, Actress (Sandra Hüller), and Original Screenplay.
Well, the French have a taste for the unexpected as it was announced today that they’re submitting Tran Anh Hung’s The Taste of Things instead. The historical romance starring Juliette Binoche also premiered at Cannes. While it nabbed a 100% Rotten Tomatoes rating, it was seen as lagging behind Fall in terms of submission possibilities. Now it has positioned itself as Zone‘s main competitor for the IFF statue. And one could argue it increases the chances for Binoche to get an Actress nom (even though that derby is looking awfully crowded).
So where does that leave Fall? It could still get into Best Picture, but the odds could be longer. Same for all the other races mentioned above. This isn’t the first time France has surprised us in recent times. In 2019, they chose Les Miserables over Portrait of a Lady on Fire. While Miserables made the eventual quintet, it was seen as a weaker pick. To be fair – nothing was going to beat Parasite that year.
Then there’s 2007. France went with Persepolis as the selection and it didn’t get nominated. If they’d gone with The Diving Bell and the Butterfly, they might’ve had a winner on their hands. After all, it managed four overall mentions in Director (Julian Schnabel), Adapted Screenplay, Cinematography, and Film Editing. Anatomy will hope to follow Bell‘s model and maybe even dive into BP. It might face a steep curve based on its home country’s strategy. You can check how it alters my predictions (and it will) when I update them this weekend!
The Toronto Film Festival has wrapped and our friends up north have bestowed their People Choice’s Award along with the first and second runner-ups. Just how important is this prize in correlating to a Best Picture spot at the Oscars? Let’s go to the numbers and they’re telling.
Of the last 15 People’s Choice winners from TIFF, 14 received a BP nomination and 5 of them ultimately took the big prize: 2008’s Slumdog Millionaire, 2010’s The King’s Speech, 2013’s 12 Years a Slave, 2018’s Green Book, and 2020’s Nomadland.
When it comes to the 1st and 2nd runners-up, 10 of them in the past 15 cycles have received BP attention. That includes three winners in 2012’s Argo, 2015’s Spotlight, and 2019’s Parasite.
So… it’s a key harbinger to Academy attention. And that’s why it’s a tad surprising that Cord Jefferson’s directorial debut American Fiction is the pick. That’s not because it didn’t get great reviews (it’s at 96% via 24 write-ups on RT). It just snuck up on prognosticators like myself with the TIFF love (there’s not even a trailer yet). The dramedy focused on race relations is now undeniably a factor in awards discussions as it moves towards its November 3rd debut. Jeffrey Wright’s lead performance and the Adapted Screenplay are also in the mix for attention.
The first runner-up, unsurprisingly, is Alexander Payne’s The Holdovers (which many were picking to receive People’s Choice). For Payne, it’s looked at as a return to form after his underwhelming predecessor Downsizing in 2017. This 1970s set Christmas tale appears poised for possible nods in BP (joining earlier Payne efforts Sideways, The Descendants, and Nebraska) and Paul Giamatti and Da’Vine Joy Randolph, and certainly Original Screenplay.
The Boy and the Heron is Hayao Miyazaki’s latest acclaimed animated feature which opened TIFF. It’s pretty much a given that this will contend in Best Animated Feature though it could be a tall order to overcome frontrunner Spider-Man: Across the Spider-Verse.
Here are the facts: TIFF has boosted Fiction in a serious way. Keep an eye on the blog for further Oscar Predictions updates!
Um Tae-hwa’s disaster pic Concrete Utopia has been doing brisk business in its home country of South Korea as it also played the Toronto Film Festival this week. Lee Byung-hun, Park Seo-joon, and Park Bo-young are among the cast.
The Rotten Tomatoes score is 100% while many reviews aren’t overly effusive in their praise. South Korea has had an interesting recent history in the International Feature Film category at the Academy Awards. In 2019, the nation nabbed its first ever nomination with Bong Joon-ho’s Parasite. Not only did it win that race, but it became the first foreign entry to be crowned Best Picture.
Last year, Park Chan-wook’s Decision to Leave was widely expected to grab one of the five spots in IFF and be the only feasible competitor to All Quiet on the Western Front. While it made the shortlist, it was shockingly omitted from the quintet.
Utopia could make the cut and certainly the shortlist. Yet if voters decided to leave off Decision to Leave, this faces longer odds. My Oscar Prediction posts will continue…
The 95th Academy Awards air tomorrow and, just in the nick of time, I have seen all ten Best Picture nominees courtesy of my Netflix viewing of All Quiet on the Western Front today.
If you missed my predictions for who and what I believe will win at the ceremony, you can access that here:
Now that I’ve seen the group of pics vying for BP, I will rank them according to personal preference. Just as in 2019 with Parasite, my #1 happens to match the movie that I’m projecting to take the biggest prize.
In 2022, I was ecstatic to attend the Toronto Film Festival for the first time. It is there that I saw future nominees The Banshees of Inisherin, The Fabelmans, and Women Talking. At the theater in my home state of Ohio, I took in Avatar: The Way of Water, Tár, and Top Gun: Maverick. Home sweet home is where I viewed All Quiet on the Western Front, Elvis, Everything Everywhere All at Once, and Triangle of Sadness.
Ahead of Sunday evening’s Screen Actors Guild (SAG) Awards, it’s the producers turn on Saturday night. The 34th PGA Awards winner for their best in show has matched the Oscar Picture victor 70% of the time in the previous decade. The times they diverged were 2015 with PGA naming The Big Short instead of Spotlight, 2016 with La La Land over Moonlight, and 2019 when 1917 took the producer prize as opposed to Parasite. PGA also has animated and documentary competitions. I’m walking through them one by one with a winner and runner-up projection.
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures
Nominees:
Avatar: The Way of Water
The Banshees of Inisherin
Black Panther: Wakanda Forever
Elvis
Everything Everywhere All at Once
The Fabelmans
Glass Onion: A Knives Out Mystery
Tár
Top Gun: Maverick
The Whale
There’s a 7 for 10 correlation with the PGA contenders and the BP hopefuls from the Academy. The former has Black Panther, Glass Onion, and The Whale up while the Oscars went with All Quiet on the Western Front, Triangle of Sadness, and Women Talking. The PGA is known for favoring blockbusters over some smaller pics from time to time. Previous examples that didn’t make the Academy’s cut include Bridesmaids, Skyfall, Gone Girl, Straight Outta Compton, Deadpool, Wonder Woman, and Crazy Rich Asians.
This helps explain why some prognosticators are favoring Maverick to take PGA’s highest award. Another explanation is that pundits are attempting to make the race more exciting than it actually is. I do believe Everything Everywhere All at Once is still most likely to emerge. Maverick does warrant runner-up status.
Predicted Winner: Everything Everywhere All at Once
Runner-Up: Top Gun: Maverick
Outstanding Producer of Animated Theatrical Motion Pictures
Nominees:
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Minions: The Rise of Gru
Puss in Boots: The Last Wish
Turning Red
Guillermo del Toro’s Netflix rendering of the classic tale has cleaned up with precursors and there’s no reason to believe it won’t with PGA.
Predicted Winner: Guillermo del Toro’s Pinocchio
Runner-Up: Puss in Boots: The Last Wish
Outstanding Producer of Documentary Theatrical Motion Pictures
Nominees:
All That Breathes
Descendant
Fire of Love
Navalny
Nothing Compares
Retrograde
The Territory
I wrongly picked Fire of Love to win the BAFTA instead of Navalny. Have I learned my lesson? Nope! I’m doubling down and saying a Fire PGA victory will make the Oscar quintet more competitive.
Predicted Winner: Fire of Love
Runner-Up: Navalny
I’ll have a recap up Saturday evening or Sunday ahead of the SAG show. If you missed my SAG predictions, they can be accessed here:
How reliable is the Director Guild of America (DGA) recipient as it pertains to the eventual Oscar winner for Best Director? In the 21st century, the match has been 19 of 22 times. In 2000, Ang Lee (Crouching Tiger, Hidden Dragon) took DGA and the Academy Award went to Steven Soderbergh for Traffic. Ben Affleck was the DGA recipient in 2012 for Argo though he didn’t get an Oscar nod. Ang Lee, for Life of Pi, took the gold instead. Sam Mendes (1917) was DGA in 2019, but Bong Joon-ho (Parasite) was the Academy’s choice. All others years corresponded in the century corresponded.
The DGA Award is revealed tomorrow night and here’s your nominees:
Daniels, Everything Everywhere All at Once
Todd Field, Tár
Joseph Kosinski, Top Gun: Maverick
Martin McDonagh, The Banshees of Inisherin
Steven Spielberg, The Fabelmans
There’s a 4/5 correlation with the Oscar nominees (par for the course). Kosinski is not in the Academy’s quintet while Ruben Ostlund (Triangle of Sadness) is. Therefore it’s safe to rule the Maverick maker out.
Neither Field nor McDonagh have taken any major precursors. The Daniels and Spielberg have. For the Daniels, they were the Critics Choice victors. At the Golden Globes, it was Spielberg. To call this is a two-person (or three technically) race seems accurate. Anyone else winning would be a considerable upset.
A little less than a month before the Oscar ceremony, I do believe Everything stands as your soft Oscar frontrunner. Spielberg saw a surprising omission at the BAFTAs where he didn’t even make their shortlist. Due to his legendary status, it would be foolish to discount him. However, I believe the momentum lies with Dan Kwan and Daniel Scheinert so…
Predicted DGA Winner(s):
The Daniels, Everything Everywhere All at Once
I’ll make my DGA commentary part of my recap post for the BAFTAs on Sunday evening. Stay tuned!
Ruben Östlund’s Triangle of Sadness is the penultimate Case Of post for the ten Best Picture nominees at this year’s Academy Awards.
The Case for Triangle of Sadness:
The Swedish filmmaker’s satire targeting the mega-rich began gathering buzz when it played at Cannes and received the Palme d’Or. That made it just the second feature in the 21st century to receive the top Cannes prize and nab a BP nod. The other is Parasite and it won BP three years ago. Östlund was a surprise nominee in Director which could indicate this is stronger than anticipated.
The Case Against Triangle of Sadness:
It hasn’t exactly cleaned up in the precursors. At Critics Choice, it had a sole mention for Best Comedy. There were two Globe noms for Motion Picture – Musical or Comedy and Dolly de Leon in Supporting Actress (the Academy left her off). The three BAFTA inclusions (de Leon, Original Screenplay, Casting) don’t include Picture. Furthermore, Triangle has yet to win any of these.
Other Nominations:
Director (Östlund), Original Screenplay
The Verdict:
Despite its maker unexpectedly making the directorial quintet, Triangle appears on course for an 0 for 3 performance on Oscar night.
My Case Of posts will continue with Women Talking!
Previous write-ups for the BP hopefuls can be accessed here:
Another significant piece of the Oscar prognosticating puzzle is put together on Wednesday when nominations for the 29th Screen Actors Guild (SAG) Awards are dropped. The ceremony’s main prize, it’s important to note, is not Best Picture but Best Ensemble. That means a correlation from the Oscar BP and the top race here is not apples to apples. It is worth noting that half of the last 10 SAG Ensemble victors (Argo, Birdman, Spotlight, Parasite, CODA) did go on to win BP from the Academy. On the other hand, three recent BPs (The Shape of Water, Green Book, Nomadland) didn’t make the SAG quintet at all.
Let’s go through all six categories one by one with my picks and a runner-up call, shall we?
Outstanding Performance by a Cast in a Motion Picture
There are plenty of possibilities including box office hits like Black Panther: Wakanda Forever, Elvis, and Top Gun: Maverick. For Panther, the original won Ensemble in 2018 so the sequel materializing is feasible. I wouldn’t discount the sprawling cast of Babylon though middling reviews could hurt it. It’s tempting to pick Glass Onion but I’m hesitant since Knives Out was snubbed in 2019.
Everything Everywhere All at Once and The Fabelmans seem safe. Despite the small call sheet for The Banshees of Inisherin (with just four significant roles), I could see the SAG branch honoring it. I’m also liking The Woman King‘s chances. Women Talking is perhaps the biggest question mark. It has underperformed with precursors. A couple of months ago, I’d have considered it a potential frontrunner to win. Now I wonder if it makes it at all. Nevertheless – here’s my take:
Predicted Nominees:
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
The Woman King
Women Talking
Runner-Up: Glass Onion: A Knives Out Mystery
Outstanding Performance by a Female Actor in a Leading Role
In the previous decade, SAG in Actress has matched the Academy 4/5 on six occasions and 3/5 on four. There are no perfect correlations. SAG has shown they will throw in a shocker – Jennifer Aniston in Cake, Sarah Silverman for I Smile Back or Emily Blunt in The Girl on the Train are recent examples. If there’s one here, look out for Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody).
Margot Robbie (Babylon) is currently the one I’ve got in the Academy five (for the moment) that I don’t have here. Ana de Armas (Blonde) is a real threat. If she makes this quintet, look for her Oscar stock to soar. With those possibilities mentioned, my choices are…
Predicted Nominees:
Cate Blanchett, Tár
Viola Davis, The Woman King
Danielle Deadwyler, Till
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once
Runner-Up: Ana de Armas, Blonde
Outstanding Performance by a Male Actor in a Leading Role
Austin Butler (Elvis), Colin Farrell (The Banshees of Inisherin), and Brendan Fraser (The Whale) should all be safe. Bill Nighy (Living) is fourth though I suspect there’s a better chance at SAG leaving him off than the Academy. Then there’s that five spot. It could be Tom Cruise (Top Gun: Maverick), Tom Hanks (A Man Called Otto), Hugh Jackman (The Son), or Paul Mescal (Aftersun). Take your pick. I’m leaning toward the star of the year’s biggest hit. On a side note, there’s been a SAG/Oscar match of 5/5 for the previous two cycles.
Predicted Nominees:
Austin Butler, Elvis
Tom Cruise, Top Gun: Maverick
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Bill Nighy, Living
Runner-Up: Paul Mescal, Aftersun
Outstanding Performance by a Female Actor in a Supporting Role
Last year was an anomaly when just 2 of the SAG nominees (Ariana DeBose for West Side Story and The Power of the Dog‘s Kirsten Dunst) scored Oscar nods. The magic number is usually 3 or 4. The wide open nature of this race has been discussed a lot on the blog. Beyond my picks and runner-up, don’t discount Dolly De Leon (Triangle of Sadness), Claire Foy (Women Talking), Stephanie Hsu (Everything Everywhere All at Once), Janelle Monae (Glass Onion: A Knives Out Mystery), and Carey Mulligan (She Said).
Predicted Nominees:
Angela Bassett, Black Panther: Wakanda Forever
Jessie Buckley, Women Talking
Hong Chau, The Whale
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Runner-Up: Stephanie Hsu, Everything Everywhere All at Once
Outstanding Performance by a Male Actor in a Supporting Role
Like Supporting Actress last year, there was only a 2 for 5 match with Troy Kotsur in CODA and Kodi Smit-McPhee in The Power of the Dog. Usually it’s 4. For 2022, I believe only Ke Huy Quan and Brendan Gleeson are safe assumptions. The remaining three slots should be some combo of Paul Dano (The Fabelmans), Tom Hanks (Elvis), Brian Tyree Henry (Causeway), Judd Hirsch (The Fabelmans), Brian Tyree Henry (Causeway), Brad Pitt (Babylon), and Eddie Redmayne (The Good Nurse) sorting it out.
Predicted Nominees:
Paul Dano, The Fabelmans
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Ke Huy Quan, Everything Everywhere All at Once
Eddie Redmayne, The Good Nurse
Runner-Up: Brian Tyree Henry, Causeway
Outstanding Performance by a Stunt Ensemble
Don’t discount The Batman or Doctor Strange in the Multiverse of Madness, but my quintet is as follows…
Predicted Nominees:
The Batman
Black Panther: Wakanda Forever
Everything Everywhere All at Once
Top Gun: Maverick
The Woman King
Runner-Up: RRR
That equates to these movies generating these numbers:
5 Nominations
The Banshees of Inisherin, Everything Everywhere All at Once
3 Nominations
The Fabelmans, The Woman King
2 Nominations
Black Panther: Wakanda Forever, Top Gun: Maverick, The Whale, Women Talking
1 Nomination
The Batman, Elvis, The Good Nurse, Living, Tár, Till
On Wednesday evening you can expect a recap of what happens after noms are revealed!
The National Society of Film Critics, composed of approximately 60 reviewers, is considered one of the higher profile groups to bestow yearly best of honors. They did so today and it was a good day for Todd Field’s Tár.
NSFC was enthralled by the psychological profile as it won Best Film in addition to Fields for his screenplay and Cate Blanchett in the title role. In its previous 56 years, the Film recipient here has only matched the Oscar BP nine times. It is worth noting that it’s occurred 4 out of the last 7 years with 2015’s Spotlight, 2016’s Moonlight, 2019’s Parasite, and 2020’s Nomadland. 7 of the past 10 NSFC victors were at least nominated for BP from the Academy. That bodes well for Tár. At this point, it would be pretty shocking if it was left off the list of 10 on Oscar nom morning.
This group also names runners-up. For Best Film, it was Aftersun. Director Charlotte Wells came in first in her race with Park Chan-wook (Decision to Leave) in second. I’ve yet to seriously consider Aftersun as a top 10 finisher at the big dance. It’s possible, but perhaps a stretch. Only two of the NSFC winners in the previous decade took Oscar with Alfonso Cuaròn (Roma) and Chloe Zhao (Nomadland).
Blanchett’s trophy is no surprise. The other strong hopeful for Best Actress is Michelle Yeoh in Everything Everywhere All at Once. She came in second. It’s worth mentioning that Blanchett won NSFC nine years ago for Blue Jasmine before translating that to her second Oscar. A third could be in the cards.
The lead Actor award went to Colin Farrell for both After Yang and The Banshees of Inisherin. Paul Mescal (Aftersun) was runner-up. Farrell looks assured a spot in the Academy quintet (for Banshees) while Mescal is gunning for a wide open fifth spot. You have to go back to 2016 (Casey Affleck in Manchester by the Sea) to find the previous NSFC/Oscar match.
Our Supporting Actress derby (also pretty wide open) went to the soft frontrunner with Kerry Condon in Banshees. Nina Hoss (Tár) nabbed the second most votes. If there’s an unexpected performer to pop up on nomination morning, it could be Hoss (especially given the uncertainty of her category).
It was smooth sailing for Ke Huy Quan in Supporting Actor as he continued his expected coronation as the season rolls along. The Everything Everywhere All at Once standout beat Brian Tyree Henry (Causeway), who’s a bubble possibility for Oscar.
Polish pic EO is your Best Film Not in the English Language with No Bears (out of Iran) second. The latter was not submitted for the Academy’s consideration. EO also took home an unanticipated win for its Cinematography with Nope as the runner-up.
Finally, Best Nonfiction Film was All the Beauty and the Bloodshed with Descendant second. Both are expected to contend for the Documentary cut at the Oscars.
We are in the heart of awards season, folks! My final prediction for the Golden Globes are coming your way next…
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:
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