The Film Critics Catch the Parasite

The National Society of Film Critics (consisting of film reviewers in New York and Los Angeles) bestowed their honors on the day before the Golden Globes. They clearly loved Bong Joon-Ho’s Parasite as it won Best Film, Director, and Screenplay. This comes one year after the NSFC surprised everyone by picking Chloe Zhao’s The Rider for their top prize. It was never considered a real contender at the Oscars. That is decidedly not the case with Parasite. Worth noting is that only two winners here over the decade (Spotlight, Moonlight) ended up taking Best Picture from the Academy.

In the acting races, there was only one surprise with Mary Kay Place winning Best Actress for Diane. I currently have her ranked #10 on my Academy chart. However, the last 7 winners here went on to nab Oscar nods. She may creep up a bit when I do my Oscar estimates on Monday, but it’s highly doubtful she’ll place in the top 5.

As for the ultra competitive Best Actor derby, Antonio Banderas took it for Pain and Glory. Along with anyone not named Adam Driver or Joaquin Phoenix, he’s among the eight thespians vying for Academy spots 3-5.

The supporting races went to two front runners. Brad Pitt got Supporting Actor for Once Upon a Time in Hollywood while Laura Dern won in Supporting Actress for both Marriage Story and Little Women. She’s widely considered a threat to win the Oscar in the former.

Bottom line: it was a very good day for Parasite while Mary Kay Place’s victory could boost her visibility a bit.

L.A. Digs Parasite

You might think the Los Angeles Film Critics Association would bestow some love to Quentin Tarantino’s Once Upon a Time in Hollywood in a neighborly gesture. However, you would be incorrect as this West Coast branch went with a decidedly foreign flavor for several of today’s selections.

The Association clearly were huge fans of Bong Joon-Ho’s Parasite, which took home Best Picture, Director, and Supporting Actor (Song Kang-Ho). The L.A. Critics also name runners up. In each of these races, it was The Irishman, its maker Martin Scorsese, and Joe Pesci placing second.

In Best Actor, Antonio Banderas picked up another precursor for Best Actor with Adam Driver (Marriage Story) coming in behind.

There was an outside the box pick for Actress with Mary Kay Place winning for Diane and Lupita Nyong’o in Us as runner-up. This branch isn’t shy about naming unexpected recipients for lead female performers. Two recent examples are Kim Hye-Ja for 2010’s Mother and Yoon Jeong-hee for 2011’s Poetry.

Jennifer Lopez scored a victory here in Supporting Actress for Hustlers, followed by Zhao Shuzhen in The Farewell. 

Finally, in Screenplay (they don’t differentiate between adapted and original), it was Noah Baumbach’s script for Marriage Story taking honors over Parasite. 

This was clearly a big day for Parasite in Southern California and my precursor posts will continue tomorrow with the Golden Globe announcements and updated Oscar predictions!

Marriage Is The Gotham Story

The first significant awards show of 2019 happened this evening with the Gotham Independent Film Awards. And while it’s not as much of a reliable precursor as SAG or the Globes, there’s always something to extrapolate… eh?

I say unreliable because last year’s Best Feature Winner – The Rider – didn’t measure a blip on the radar screen of Oscar voters. On the other hand, the category’s winners from 2014-2016 (Birdman, Spotlight, Moonlight) won the big prize with the Academy.

Tonight was a very good night for Noah Baumbach’s Marriage Story, which premieres on Netflix this Friday. The divorce drama took the top prize in addition to Baumbach’s screenplay, the audience award, and Driver’s work for Best Actor. He appears to be a near lock for a nomination in an extremely competitive and crowded Best Actor race.

Curiously, Driver’s costar Scarlett Johansson did not get an Actress nod here for her work. And it was Awkwafina who took that award for The Farewell. This could assist in getting her Oscar attention. I’ve got her as an on the bubble contender. Her victory here over Alfre Woodard in Clemency and Elisabeth Moss for Her Smell could be a sign that she has an edge.

Unlike The Rider last year, no one will be surprised if Marriage Story gets a Best Picture nomination and it could even contend to win along with Once Upon a Time in Hollywood, The Irishman, Parasite, 1917, and Jojo Rabbit. One thing is for sure – this first ceremony in early December is a solid notch in its belt.

Will The Indie Spirits Nominees Showcase Oscar Gems?

This afternoon, the nominations for the 35th Independent Spirit Awards were released as we prepare for the onslaught of Oscar precursors to follow. And make no mistake – the Indie Spirits are indeed a precursor. In this decade from 2010-2018, five of the nine Best Feature winners emerged victorious with the Academy for Best Picture: 2011’s The Artist, 2013’s 12 Years a Slave, 2014’s Birdman, 2015’s Spotlight, and 2016’s Moonlight. Some of these years have three or four of the five nominees get Oscar nods in the big race.

However, 2018 marked the first year of this decade when none of the five nominated pictures at the Indies garnered any Academy love. I don’t expect that to occur for a second year in a row.

In this post, I’ll break down Feature, Director, and the four acting races and what it might mean for Oscar:

Best Feature

Nominees: A Hidden Life, Clemency, The Farewell, Marriage Story, Uncut Gems

First things first: Marriage Story is going to get a Best Picture nomination and probably wins here. And it might be the only one here that does. The Farewell has a decent shot and Uncut Gems is a potential sleeper (though I wouldn’t bet on it).

That said, Gems did tie The Lighthouse for most Indie mentions (5). And that brings us back to Marriage Story. The voters here chose to give it a special Robert Altman award honoring the team behind it. That includes cast members Adam Driver, Scarlett Johansson, Laura Dern, and Alan Alda. They all probably would’ve heard their names here had that not occurred and same goes for director Noah Baumbach. If that seems like a bit of a cheat (taking out probable winners like Driver and Baumbach), I wouldn’t argue. The silver lining is that it does make some of these categories more interesting.

Best Director

Nominees: Robert Eggers (The Lighthouse), Alma Hor’el (Honey Boy), Julius Onah (Luce), Ben and Josh Safdie (Uncut Gems), Lorene Scafaria (Hustlers)

Like Best Feature, 2018 saw no directors recognized get Academy attention. With Baumbach getting his Altman award and out of the running, that could certainly happen again as I don’t even have any of these directors in my top ten Oscar possibilities. Perhaps this could help spur chatter for the Safdies or Scafaria. Again… I wouldn’t bet on it.

Best Female Lead

Nominees: Karen Allen (Colewell), Hong Chau (Driveways), Elisabeth Moss (Her Smell), Mary Kay Place (Diane), Alfre Woodard (Clemency), Renee Zellweger (Judy)

Six out of nine winners here from 2010-2018 went onto win the Best Actress statue: Natalie Portman (Black Swan), Jennifer Lawrence (Silver Linings Playbook), Cate Blanchett (Blue Jasmine), Julianne Moore (Still Alice), Brie Larson (Room), and Frances McDormand (Three Billboards Outside Ebbing, Missouri).

Even with Johansson not included, it could be 7/10 as Zellweger is my current Oscar front runner. Woodard and Moss stand shots at nods. The other three need not shop for red carpet dresses.

One noticeable omission is Awkwafina in The Farewell, who many are predicting for Oscar attention. I currently had her on the outside looking in at sixth. That could slide when I update my estimates on Monday.

Best Male Lead

Nominees: Chris Galust (Give Me Liberty), Kelvin Harrison, Jr. (Luce), Robert Pattinson (The Lighthouse), Adam Sandler (Uncut Gems), Matthias Schoenarts (The Mustang)

Jean Dujardin (The Artist), Matthew McConaughey (Dallas Buyers Club), and Casey Affleck (Manchester by the Sea) are the three Indie/Oscar recipients. Only in 2015 and (yes) 2018 did no nominees get Oscar nods…

I expect that to occur again. I believe only Sandler stands a chance, but it’s a reach based on severe competition.

Best Supporting Female

Nominees: Jennifer Lopez (Hustlers), Taylor Russell (Waves), Lauren Spencer (Give Me Liberty), Octavia Spencer (Luce), Shuzhen Zhou (The Farewell)

Four winners here have picked up Academy trophies – Lupita Nyong’o (12 Years a Slave), Patricia Arquette (Boyhood), and the past two winners Allison Janney (I, Tonya) and Regina King (If Beale Street Could Talk).

With soft front runner Laura Dern in the Marriage Story special category thing, we could still see a third year in a row match with Lopez. Zhou and Spencer (to a lesser degree) may also find themselves in the Oscar mix.

And with Taylor Russell’s nod here, it’s a good time to mention that Waves really came up short with the Indies today. That doesn’t help its Oscar viability.

Best Supporting Male

Nominees: Willem Dafoe (The Lighthouse), Noah Jupe (Honey Boy), Shia LaBeouf (Honey Boy), Jonathan Majors (The Last Black Man in San Francisco), Wendell Pierce (Burning Cane)

This category is another ultra crowded one for Oscar attention, but Dafoe and LaBeouf are legit contenders for nods. Not so with the other three. The omission of Sterling K. Brown in Waves is a surprise.

There have been four Indie/Oscar victors this decade: Christopher Plummer (Beginners), Jared Leto (Dallas Buyers Club), J.K. Simmons (Whiplash), and Sam Rockwell (Three Billboards Outside Ebbing, Missouri). With Brad Pitt (Once Upon a Time in Hollywood) and Al Pacino (The Irishman) as likely favorites for the Academy, I wouldn’t expect a fifth match.

And there you have it, folks! My take on the Indies and which Oscar gems they could produce…

Oscar Watch: Dark Waters

Director Todd Haynes has guided Julianne Moore and Cate Blanchett to previous acting nominations in Far From Heaven, I’m Not There, and Carol. His latest effort is the corporate legal thriller Dark Waters, based on a true story. Mark Ruffalo stars and produces, playing a lawyer taking on the DuPont conglomerate.

Somewhat surprisingly, Waters skipped the late summer and autumn festival circuit ahead of its November 22nd release and reviews are just trickling out. They’re decent and the Rotten Tomatoes score is currently 75%.

Critics have praised Ruffalo’s work. He is thrice nominated in the Supporting Actor race for 2010’s The Kids Are All Right, 2014’s Foxcatcher, and 2015’s Spotlight. He would stand the best chance at recognition for the first time in lead – over the film itself and costars including Anne Hathaway, Tim Robbins, and Bill Pullman. Yet, as has been discussed before on the blog, Best Actor is packed. I believe there’s eight thespians at the moment with legit shots at nods. Ruffalo isn’t in that mix.

Bottom line: chances for Dark Waters in the awards conversation are murky at best.

The PGA Goes Green

The eyes of Oscar prognosticators were on the Producers Guild of America (PGA) Awards and for good reason. In this decade, the Best Picture Award has matched the Academy’s 6 out of 8 times (there’s a little fudging here because in 2013 there was a tie between Oscar recipient 12 Years a Slave and Gravity). The non matches occurred in 2015 when the PGA selected The Big Short over Spotlight and the following year with La La Land winning and not Moonlight.

Two scenarios could have changed the Oscar landscape in a significant way. A victory for Roma (coming off its Critics Choice honor) could have solidified standing as a front-runner. If A Star Is Born took the top prize, it would have marked a much-needed win after some high-profile precursor snubs.

Neither scenario happened as Peter Farrelly’s Green Book was named. This is a surprise and it opens up an already uncertain race for Best Picture at the big dance. It certainly lessens Green Book winning the Oscar being seen as an upset. It’s a real contender along with Roma and Star.

Tonight’s ceremony also gave yet another animation award for SpiderMan: Into the SpiderVerse. Coupled with its Globes and Critics wins, it now appears Spidey is the Academy favorite over Incredibles 2.

Bottom line: the PGA made the Oscars a bit murkier. We got ourselves a race.

Best Picture: A Look Back

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

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

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

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

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

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

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

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

1990 – Dances with Wolves

1991 – The Silence of the Lambs

1992 – Unforgiven

1993 – Schindler’s List

1994 – Forrest Gump

1995 – Braveheart

1996 – The English Patient

1997 – Titanic

1998 – Shakespeare in Love

1999 – American Beauty

2000 – Gladiator

2001 – A Beautiful Mind

2002 – Chicago

2003 – Lord of the Rings: Return of the King

2004 – Million Dollar Baby

2005 – Crash

2006 – The Departed

2007 – No Country for Old Men

2008 – Slumdog Millionaire

2009 – The Hurt Locker

2010 – The King’s Speech

2011 – The Artist

2012 – Argo

2013 – 12 Years a Slave

2014 – Birdman

2015 – Spotlight

2016 – Moonlight

2017 – The Shape of Water

We start with my three least surprising winners:

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

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

2. Titanic (1997)

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

1. Schindler’s List (1993)

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

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

3. Moonlight (2016)

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

2. Shakespeare in Love (1998)

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

1. Crash (2005)

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

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

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

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