On the rare occasion that Daniel Day-Lewis makes a movie, it immediately becomes a potential awards player. The English legend is one of just seven people who’ve won more than two acting Oscars with his three victories represented by 1989’s My Left Foot, 2007’s There Will Be Blood and 2012’s Lincoln. He nabbed three additional lead Actor nods for 1993’s In the Name of the Father, 2002’s Gangs of New York and 2017’s Phantom Thread.
Anemone marks his first role since Thread eight years ago and it premiered at the New York Film Festival prior to its semi-wide release next Friday. The family drama is also a family affair as son Ronan Day-Lewis makes his behind the camera debut. The director and his dad share credit on the screenplay. Sean Bean, Samantha Morton and Samuel Bottomley round out the cast.
Early word-of-mouth from the Big Apple indicates its star gives a magnetic performance with a couple of key monologues, including one that’s reportedly too filthy for an Oscar clip. Buzz for the film itself is more mixed with 79% on Rotten Tomatoes. This is highly unlikely to contend for Best Picture, Director or Original Screenplay.
Yet in a Best Actor competition that is notably open at press time, Day-Lewis could certainly squeeze in. Considering the varied reaction to the pic itself, I don’t envision him making a fourth trip to the Academy’s podium. **If he did, he’d become just the second individual to do so and join Katherine Hepburn with that distinction.
Beyond the three-time winner, Anemone could be in the mix for its cinematography. If Day-Lewis receives his seventh nom, Bean and Morton could ride his coattails to supporting mentions. Both are being heralded for their contributions. For Bean, it would mark his first at-bat with Morton going for a third mention behind 1999’s Sweet and Lowdown and 2003’s In America. Their nominations seem less probable their co-star’s. My Oscar Prediction posts will continue…
Based on the first trailer five months ago, I didn’t know what to make of Paul Thomas Anderson’s One Battle After Another. I had it parked in 11th (just on the outside looking in) in Best Picture for weeks. A few days ago, early word-of-mouth emerged that it was something special and today’s lapsing of the review embargo accentuates the buzz. Out September 26th, Battle has established itself as a major awards player. Leonardo DiCaprio headlines a cast including Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor and Chase Infiniti in her first big screen role.
A mix of different genres including action, comedy and thriller fused with political commentary, Battle stands at a noteworthy 96% on Rotten Tomatoes with 97 on Metacritic. It is highly possible this will be the best reviewed picture of 2025. When I updated my predictions four days ago, I ranked this 1st in Best Picture, Director and Adapted Screenplay. Nothing I see today changes that dynamic. Instead it enhances it. This would mark Anderson’s fourth BP nominee with the others being 2007’s There Will Be Blood, 2017’s Phantom Thread and 2021’s Licorice Pizza (he was nominated for his direction with all three as well). Anderson would be up for his sixth screenwriting prize after Boogie Nights, Magnolia, Blood, Inherent Vice and Pizza. He has yet to take home gold and that may be about to change.
Nominations down the line in Casting, Cinematography, Editing, Original Score (by Jonny Greenwood) and perhaps Sound could be in the mix. Warner Bros is going to have their hands full campaigning for this and Sinners in multiple races against one another. The studio may end up racking up a host of victories between the two.
Moving to the ensemble, DiCaprio will be vying for his seventh at bat (his sole win came for 2015’s The Revenant). His placement in lead Actor is not guaranteed. Simply put, plenty of voters may take him for granted. He wasn’t nominated for his two titles that won BP (Titanic and The Departed). Nevertheless the film’s momentum may get him in the quintet.
For months, prognosticators have wondered whether Hall, Taylor or Infiniti will be the smart play in Supporting Actress. Reaction suggests Taylor is the most likely to make the cut, but that Infiniti could do so as well.
Mr. Penn (a two-time Best Actor recipient for 2003’s Mystic River and 2008’s Milk) looks to nab his inaugural Supporting Actor mention and sixth nom overall. It would be his first since Milk seventeen years ago.
Bottom line: it could be said that Sinners, Hamnet and Sentimental Value all have win narratives for the biggest prize of all. Now we certainly have Another. My Oscar Prediction posts will continue…
Western The Dead Don’t Hurt marks Viggo Mortensen’s second directorial feature after 2020’s Falling. In addition to his behind the camera work, he’s the star, writer, coproducer, and even composed the score. It premiered last fall at the Toronto Film Festival and is being readied for a semi-wide May 31st theatrical bow. Vicky Krieps, acclaimed alongside Daniel Day-Lewis for 2017’s Phantom Thread, co-headlines with a supporting cast including Garret Dillahunt, Solly McLeod, and Danny Huston.
Reviews out of Canada were more respectful than gushing with an 85% RT rating. Mortensen, a two-time nominee for Eastern Promises and Captain Fantastic, is unlikely to see any of his many jobs on the project rewarded during awards season. That goes for everything in the picture. If there’s a slight chance for recognition, it would be with Krieps (whose performance is being singled out). The better odds are that The Dead is forgotten by voters a few months from now. My Oscar Prediction posts will continue…
This year’s crop of Supporting Actress hopefuls is a vast one and easily the toughest to predict of the four acting races. Earlier in the week, the Golden Globes and the Critics Choice Awards named their nominees. For Supporting Actress, only three performers managed nods in both: Angela Bassett for Black Panther: Wakanda Forever, Kerry Condon in The Banshees of Inisherin, and Jamie Lee Curtis for Everything Everywhere All at Once. Additional contenders for the Globe are Dolly de Leon (Triangle of Sadness) and Carey Mulligan (She Said). For Critics Choice – it is Jessie Buckley (Women Talking), Stephanie Hsu (Everything Everywhere All at Once), and Janelle Monae (Glass Onion: A Knives Out Mystery).
Of the 8 actresses vying for victory, there are two surprising women not being talked about. Hong Chau (The Whale) and Claire Foy (Women Talking) were snubbed by the Globes and Critics Choice. I have had Foy listed at #1 in my Oscar picks for many weeks and I’ve had Chau in and out of my high five. Their double omissions put them at a disadvantage. There are only six Supporting Actress Oscar nominees in the past decade who missed both the Globes and Critics Choice: Jacki Weaver (Silver Linings Playbook), Laura Dern (Wild), Lesley Manville (Phantom Thread), and Marina de Tavira (Roma). It is worthy of note the other two were from just last year – Jessie Buckley (The Lost Daughter) and Judi Dench (Belfast). None of them won the Oscar so you can bet Foy will at least drop from #1 when I update my predictions this weekend.
On the flip side, there are also 6 women who did land Globe and Critics mentions and were ignored by the Academy. They are Jessica Chastain in A Most Violent Year, Helen Mirren from Trumbo, Jennifer Lopez in Hustlers, and Caitriona Balfe for Belfast.
The two I’m holding back on are quite interesting…
Hong Chau in 2017’s Downsizing and Claire Foy in 2018’s First Man. They were both expected to pick up nods from the Oscar voters and didn’t. In 2022, they find themselves in the opposite situation. After being left off the ballots for two major precursors, they could miss a nomination and no one would be taken aback. Yet as the Academy showed with Foy’s Women Talking costar Jessie Buckley last year and Dame Judi, this branch could go their own way and include either (especially after noticeably ignoring them a few years back).
I’d rather be Bassett, Condon, and Curtis right now when it comes to viability. For Chau and Foy – the odds aren’t in their favor like they were five and four years back. Those odds didn’t help them then. Perhaps their longer ones will prove to their benefit this time around.
We have reached 2017 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? If you missed my write-ups centered on 2009-16, they are linked at the bottom of the post.
There were nine nominees for 2017’s competition. If there were 5, we know Guillermo del Toro’s The Shape of Water would have made the quintet. It won BP along with Director, Original Score, and Production Design and received 13 nods total (easily the most of all).
Of the 8 remaining movies, here’s my thoughts on which half is in and which half and is out.
Call Me by Your Name
Luca Guadagnino’s coming-of-age romance was a critical darling that won Adapted Screenplay. It was also up for Actor (Timothee Chalamet) and Original Song. The Academy likely almost nominated Armie Hammer for Supporting Actor and are probably glad they snubbed him.
Does It Make the Final Five?
No, but I struggled with this call. An argument could be made with the Adapted Screenplay victory. However, none of the other four nominees in this category were BP nominees (extraordinarily rare). Call could’ve heard its name up, but I have it sixth or seventh.
Darkest Hour
Gary Oldman as Winston Churchill was a recipe for a Best Actor win and it was up for Production Design, Cinematography, Makeup and Hairstyling (another victory), and Costume Design.
Does It Make the Final Five?
No. Despite its admirable turn in the tech derbies, this was all about Oldman. The lack of directing, screenplay, and editing noms leave this out. This is the rare occurrence where I’m saying the Best Actor winner’s movie doesn’t get in the BP race.
Dunkirk
Christopher Nolan’s epic WWII tale earned 8 mentions (2nd behind Shape) and won 3 – both Sound races and Film Editing. Nolan also scored his first and only directing nod.
Does It Make the Final Five?
Yes. I don’t think it’s 100% considering other contenders, but this probably had enough support and was generally considered Nolan’s strongest awards pic in his filmography.
Get Out
Jordan Peele’s heralded horror flick was a box office smash. Its other three nominations were Director, Actor (Daniel Kaluuya), and Original Screenplay where it beat out Shape of Water.
Does It Make the Final Five?
Yes. Like Dunkirk, not a guarantee but that screenplay statue (over the BP recipient and two other contenders) make me think so.
Lady Bird
Greta Gerwig’s coming-of-age dramedy nabbed 5 inclusions with Director, Actress (Saoirse Ronan), Supporting Actress (Laurie Metcalf), and Original Screenplay.
Does It Make the Final Five?
Yes. Broken record… not a slam dunk considering it went 0 for 5. Yet it took the Golden Globe for Musical/Comedy (over Get Out) and was highly acclaimed.
Phantom Thread
Paul Thomas Anderson’s sartorial drama was an overachiever on nomination morning with six including Director, Actor (Daniel Day-Lewis), Supporting Actress (Lesley Manville), Score, and Costume Design (the sole win).
Does It Make the Final Five?
No, but I was tempted. It really did perform better than anticipated. I could also see it just missing considering the competition. It might have been sixth.
The Post
Steven Spielberg’s Watergate era drama received only one other nom for Meryl Streep in Actress.
Does It Make the Final Five?
No and this is by far the easiest projection. Spielberg’s magic probably got it in the mix, but I suspect it was ninth.
Three Billboards Outside Ebbing, Missouri
A player in 7 categories, Martin McDonagh’s pic took home Actress (Frances McDormand) and Supporting Actor (Sam Rockwell). Woody Harrelson was also up for Supporting Actor in addition to Original Screenplay, Score, and Film Editing.
Does It Make the Final Five?
Yes, even with McDonagh missing Director. If for no other reason, I can’t imagine the four acting winners having none of their movies up. That would be the case if you left this off considering Oldman’s Darkest Hour and I, Tonya (where Allison Janney took Supporting Actress) not being in the nine.
If you weren’t keeping score, here’s my projected 2017 five:
Sporting a 92% Rotten Tomatoes rating, Mrs. Harris Goes to Paris lands in theaters this Friday and Focus Features is hoping for a midsize hit. Based on a 1958 novel by Paul Gallico, Lesley Manville stars a widowed housekeeper who treks to the title city to obtain a Dior dress.
The talented Ms. Manville is no stranger to pictures covering the fashion world. In 2017, she secured an Oscar nod alongside Daniel Day-Lewis in Paul Thomas Anderson’s Phantom Thread. While the reviews are complimentary, Paris is highly unlikely to compete for major above the line categories… with the possible exception of Actress. While I wouldn’t count on it, if the Best Actress derby doesn’t produce many surefire contenders in the coming months, Manville could be a factor. I would, however, say it’s far more feasible that she gets a nod at the Golden Globes in the Musical/Comedy competition. BAFTA recognition is also doable.
Where the picture stands the strongest chance is in Costume Design since that’s a significant focus of the storyline. That category should have its share of upcoming hopefuls – Babylon and Black Panther: Wakanda Forever immediately come to mind. Don’t be surprised if Paris is in that mix. My Oscar Prediction posts will continue…
In 2017, Vicky Krieps drew critical praise for her work opposite Daniel Day-Lewis in Phantom Thread, but she did not gather any Oscar attention. Recently seen in M. Night Shyamalan’s Old, the actress headlines the historical revisionist biopic Corsage. Krieps plays Empress Elisabeth of Austria circa the late 1870s. From director Marie Kreutzer, the pic is receiving pleasing notices from its Cannes screening. The result is a 100% current Rotten Tomatoes score.
IFC Films has already picked distribution rights and I assume they’ll mount a campaign. The reviews are strong enough that Krieps could be at least on the radar screen for Best Actress. Production Design and Costume Design are possibilities as well.
The real question is whether this generates enough buzz to be in the mix a few months from now. My Oscar Prediction posts will continue…
I’ve been grooving to the beat of Paul Thomas Anderson’s cinematic vibes for a quarter century. There was the magnificent Boogie Nights in 1997 and the iconic Daniel Day-Lewis milkshake monologue in There Will Be Blood ten years later. A decade after that, my PTA appetite was satiated by Phantom Thread.
His latest is Licorice Pizza and it’s his most laid back experience. This coming-of-age slice of life takes place in the Valley circa 1973. It feels lived in and authentic and personal. There’s individual scenes where the filmmaker’s brilliance is on full display. Like all of his efforts, there’s memorable performances. And unlike most of his catalogue, this Almost Famous feeling flick has flaws I couldn’t overlook. It’s almost joyous and almost worth the viewing and ultimately more problematic than rewarding.
Loosely based on the teen years of former child actor Gary Goetzman (now a highly successful producing partner of Tom Hanks), Cooper Hoffman is 15-year-old Gary Valentine. He’s costarred in movies and commercials and is far more confident than anyone his age has a right to be. That self-assured nature is evident when he asks 25-year-old photographer’s assistant Alana Kane (Alana Haim) out on a date. She rebuffs his advances at first but ends up meeting him out. The two strike up a friendship and the benefit for us is watching Hoffman and Haim shine in their acting debuts. The son of Anderson’s late frequent collaborator Philip Seymour Hoffman and one third of a well-known rock band, Hoffman and Haim are naturals. The drawback is an age difference I couldn’t overlook… so let’s go there.
This is where the sunny tone of Pizza conflicted with their borderline (perhaps over borderline) inappropriate coupling. It’s not overtly sexual and Alana is well aware that hanging with the decade younger Gary is far from normal. Yet there’s enough of a leftover distasteful feeling that it hindered the entertainment value for me. One could argue Gary is more mature than Alana and perhaps that justifies some of what happens. That’s a tough needle to thread and I just couldn’t get there.
Pizza has a lazy hangout atmosphere that recalls Tarantino’s Once Upon a Time in Hollywood. Like that picture, it’s steeped in exploring a different showbiz era and the technical aspects we expect from PTA (production design, cinematography, costumes, and more) are top notch.
The episodic nature is hit or miss. Pizza‘s best course involves Bradley Cooper as hairdresser turned producer Jon Peters. His segment moves at a thrilling clip as Gary’s failing waterbed business and the 70s era gasoline shortage play important roles. I can’t say the same for Sean Penn’s bit as an aging movie star (based on William Holden) and his motorcycle exploits. By the time we arrive at Alana trying a new career as a campaign worker for conflicted mayoral candidate Joel Wachs (Benny Safdie), the pic was starting to run on fumes.
When a director of immense capabilities makes an almost misfire, there’s no denying it’s more of a letdown. That’s where I stand with Licorice Pizza and it brings me no joy to deliver that news.
Now that I’ve completed by Case Of posts for the 10 Best Picture contenders, I’m moving on to the 25 hopefuls for Best Director, Actress, Actor, Supporting Actress, and Supporting Actor. I’ll alternate alphabetically among the categories between them and that means Paul Thomas Anderson’s behind the camera work for Licorice Pizza is first up!
The Case for Paul Thomas Anderson:
Prior to Pizza being delivered in 2021, PTA as he’s called had already received 8 nominations from the Academy between his producing, directing, and writing. He’s 0 for 8. He has three more at bats with his 70s set coming-of-age tale in Picture, Director, and Original Screenplay. In other words, there could be an overdue factor at play.
The Case Against Paul Thomas Anderson:
Licorice Pizza tied CODA with the fewest amount of nods for the BP nominees. Unlike his previous BP contenders There Will Be Blood and Phantom Thread, there were no acting nominations for his ensemble. And there’s simply the fact that Jane Campion (The Power of the Dog) is the major frontrunner.
Previous Nominations: 2 (for directing only)
There Will Be Blood (2007); Phantom Thread (2017)
The Verdict:
There’s a decent chance that PTA’s zero wins streak will be broken at the ceremony, but it would come in Original Screenplay (where it appears to be down to Pizza or Belfast). It will not be broken here.
My Case Of posts will continue with Jessica Chastain in The Eyes of Tammy Faye…
We’ve reached our seventh movie for my Case Of posts focused on the ten Best Picture hopefuls and it brings us to Paul Thomas Anderson’s Licorice Pizza. If you missed my earlier ones, you can find them here:
Between his producing credits, direction, and screenplays – Anderson had already received 8 Oscar nominations without a victory (2007’s There Will Be Blood and 2017’s Phantom Thread were up for BP). He adds three more with Pizza for Picture, Director, and Original Screenplay. The Academy might feel that it’s time to honor one of the most acclaimed filmmakers of the past quarter century.
The Case Against Licorice Pizza:
Note that I only mentioned three overall nods and that ties the lowest of the 10 contenders along with CODA. This failed to nab mentions in other key categories – many thought Alana Haim could sneak in for Actress and lots of prognosticators (including myself) had Bradley Cooper getting a Supporting Actor nomination. Furthermore, its exclusion in Editing is notable (historically no BP winners get the big prize without competing in that race).
The Verdict:
The best hope for Pizza to get a piece of the Oscar pie is in Original Screenplay where it appears to be in a fierce competition with Belfast. Don’t expect a BP delivery.
My Case Of posts will continue with Nightmare Alley…
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