Seventeen out of the past 20 New York Film Critics Circle recipients for Best Film have achieved a Best Picture nomination at the Oscars including winners No Country for Old Men, The Hurt Locker, and The Artist. Will Brady Corbet’s The Brutalist join that list? It’s almost a certainty. The epic historical drama won the NYFCC top prize in addition to Adrien Brody’s performance for Best Actor. These are the first major precursor honors for the pic I currently have ranked #1 in my BP derby (same goes Brody). It’s highly unlikely to be the last.
Corbet, however, did not take Director. That honor went to RaMell Ross for Nickel Boys and his film also took the Cinematography prize. I currently don’t have Ross in my director lineup though I do have it scoring a BP nod. 11 out of the previous 15 behind the camera winners did end up with an Oscar nomination.
In Best Actress, it was Marianne Jean-Baptiste for Mike Leigh’s Hard Truths. Half of the previous ten NYFCC leading women received Academy recognition. That seems appropriate as Jean-Baptiste’s odds are around 50/50 in my view.
That’s not the case in Supporting Actor where Kieran Culkin (A Real Pain) took that Big Apple competition. He’s widely expected to be one of the final five and perhaps even make a podium walk.
The NYFCC did manage to provide a shocker with Carol Kane taking Supporting Actress for the little-seen Between the Temples. The veteran performer is not expected to contend at the Oscars.
Finally, All We Imagine as Light (which India did not submit as their horse in International Feature Film) is the Best Foreign Language Film. No Other Land, which could be a player in the Academy’s Documentary Feature race, was NYFCC’s Best Non-Fiction Film. Both of those pics won their respective categories at the Gotham Awards yesterday as well. Latvian tale Flow is the Best Animated Feature and it should follow suit with Oscar.
Keep an eye on this blog for all Oscar precursor coverage!
France may have a tricky decision to make when it comes to selecting their Best International Feature Film contender. One such hopeful is The Count of Monte Cristo based on the mid-19th century adventure by Alexandre Dumas. It premiered at Cannes in May and is out in its native country already. Matthieu Delaporte and Alexandre de La Patellière co-direct with a cast including Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, and Laurent Lafitte.
Based on a small number of reviews, Count totals 100% on RT. They’re not all raves, but are encouraging enough that France should consider it for submission. Another Cannes premiere – the animated The Most Precious of Cargoes from the Oscar winning The Artist director Michel Hazanavicius – drew a more mixed reaction. Audrey Diwan’s thriller Emmanuelle is arriving this fall and it could also be a player in the awards game.
Eight pictures from France have made the cut in the 21st century with no victors (you have to go back to 1992’s Indochine for that). Cristo could get in, but I wouldn’t count on it becoming the first winner in over three decades. My Oscar Prediction posts will continue…
For his 2011 silent film The Artist, French filmmaker Michel Hazanavicius took the 84th Academy Awards by storm with a quintet of victories including Picture, Director, and Actor for Jean Dujardin. Follow-ups The Search, Redoubtable, and Final Cut have failed to generate awards buzz.
In his native country this year, the auteur has premiered The Most Precious of Cargoes at Cannes. The animated Holocaust drama is based on a novel from Jean-Claude Grumberg with voiceover work from Jean-Louis Trintignant, Grégory Gadebois, Denis Podalydés, and Dominique Blanc.
Reviews indicate this might face headwinds vying for the animated prize at next year’s Academy Awards. The RT score is 60% and that makes this artist’s latest an unlikely contender. My Oscar Prediction posts will continue…
The American Film Institute announces their top ten pictures of the year tomorrow and it’s usually a good indication of half or more of the eventual BP contenders at the Oscars.
Keep in mind that American product only is eligible for this particular group. Since this list began in 2000, the Academy’s BP recipient has only missed here five times. Four of those occasions were due to the whole country of origin thing – 2008’s Slumdog Millionaire, 2010’s The King Speech, The Artist in 2011, and Parasite from 2019. The Departed in 2006 also didn’t make the cut. This means you shouldn’t expect Aftersun, All Quiet on the Western Front, The Banshees of Inisherin, Decision to Leave, or RRR to surface here.
So what will? The AFI ten and the Oscar ten had a solid match last year at 8. Tick, Tick… Boom! and The Tragedy of Macbeth were the AFI inclusions that didn’t make it with the Academy. They went with two features from outside the U.S. in Belfast and Drive My Car. In recent years, the match number is usually 6 or 7.
It’s not uncommon for AFI to pick blockbusters or animated fare that the Academy does not. Recent examples include Soul, Knives Out, Mary Poppins Returns, A Quiet Place, Wonder Woman, Zootopia, Inside Out,Star Wars: The Force Awakens, and Straight Outta Compton.
Let’s talk of the pics I have just missing the cut. It was hard to leave off Tár. If it fails to be named tomorrow, that would be two disappointing days in a row after it surprisingly missed the National Board of Review (NBR) list today. Same goes for She Said and The Whale while Till did make NBR. More popcorn flavored flicks like The Batman, Nope, and Black Panther: Wakanda Forever are all viable contenders.
We shall see if any of them get in. Avatar, Babylon, Elvis, Glass Onion, Pinocchio, and The Woman King all feel like pics that should make it here if they have any hope of making the Academy’s cut. It is rare for the Oscars to nominate a more mainstream title that AFI doesn’t.
I’ll have a recap up tomorrow with commentary and how I did!
The New York Film Critics Circle have made their selections for the year’s best and that kicks off a flurry of regional awards coming our way in the days and weeks ahead. This particular critics group (as is the case with most) isn’t much of a barometer on who and what will win. It is, however, a decent glimpse of who and what could contend.
Todd Field’s Tár and Martin McDonagh’s The Banshees of Inisherin each earned two honors. The former was named Best Film with Cate Blanchett taking the Actress award. Eight of the last 10 NYFCC victors in Film went on to receive a BP Oscar nomination. Yet none of those movies won the big prize from the Academy. The last one that did was 2011’s The Artist. And that make sense here. Tár appears highly likely to make the BP cut though it isn’t much of a threat to take the gold. Five of the past 10 Actress recipients were nominated with only one winner. Who was that winner? Cate Blanchett for 2013’s Blue Jasmine. She could certainly do so again. This won’t be the only critics branch to name her.
Colin Farrell was Best Actor for Banshees and After Yang. Like Actress, half of the previous ten New York honorees made the Oscar quintet with two winners – Daniel Day-Lewis (Lincoln) and Casey Affleck (Manchester by the Sea). Farrell appears to be locked in a tight three-way race with Brendan Fraser (The Whale) and Austin Butler (Elvis). Every precursor like this helps a little. Banshees also won Best Screenplay. That’s another Academy three-way battle in Original Screenplay with Everything Everywhere All at Once and The Fabelmans.
The supporting fields are a bit more predictive as far as Academy matches. Eight of 10 Supporting Actor NYFCC takers were at the Oscars. That includes four winners in Jared Leto (Dallas Buyers Club), J.K. Simmons (Whiplash), Mark Rylance (Bridge of Spies), and Mahershala Ali (Moonlight). We could see another match with Ke Huy Quan (Everything Everywhere All at Once). Expect to hear his name a lot.
Supporting Actress, on the contrary, was more of a surprise. Keke Palmer’s work in Nope topped all rivals in a wide open field that’s hard to peg for Oscar prognosticating. 7 of 10 winners here made the big dance including the victorious Patricia Arquette (Boyhood), Regina King (If Beale Street Could Talk), and Laura Dern (Marriage Story). I’ve yet to have Palmer in my top ten. I’m starting to wonder if she could get in the mix for her memorable performance in the sci-fi horror tale. I should note that NYFCC named Lupita Nyong’o Best Actress for Peele’s Us from 2019 and she came up short with Oscar voters.
The rest of the categories all showcased viable contenders in their respective competitions. Marcel the Shell with Shoes On picked up Animated Feature and I expect it to get love from the critics. Same with Non-Fiction Film and All the Beauty and the Bloodshed (I have it ranked first in Oscar’s Documentary Feature). Poland’s EO was a slightly unexpected choice in Foreign Film over Decision to Leave (which I have pegged as the soft frontrunner for the Academy). Finally, Top Gun: Maverick aced Cinematography and it should get an Oscar nod there for the thrilling aerial camerawork.
Keep coming to the blog for all your awards news and I’ll have updated Oscar predictions up this Sunday!
My third write-up in my Best Picture: Final Five series brings us to 2011. As a reminder, the concept is fairly simple. After 2008, the Academy wanted to broaden the amount of nominees in the big race beyond a set five. For 2009 and 2010, that number was a firm 10.
However, in 2011, the rules changed so that there could be anywhere from 5-10 BP contenders. Until the Academy reverted back to 10 definite hopefuls last year, that number fluctuated between 8-9. For the inaugural year with the changeup, it was 9.
This post series engages in revisionist and speculative history. What if the rule of five BP nominees had never been altered? What would’ve made the cut? What would wind up on the cutting room floor? In 2011, we know it would’ve included the winner – Michel Havanavicius’s French black and white silent dramedy The Artist.
What else? Let’s consider the other eight one by one…
The Descendants
Alexander Payne’s works had received Academy attention before with 2002’s About Schmidt and 2004’s Sideways. This George Clooney led dramedy nabbed four additional mentions for its star, director, editing, and adapted screenplay – where it won.
Does It Make the Final Five?
Yes. The screenplay victory and inclusion in key races such as directing and editing seal the deal.
Extremely Loud & Incredibly Close
The rare BP nominee that received only one other nod – Max Von Sydow in Supporting Actor. This was, to be kind, a unique and unexpected nod as Stephen Daldry’s 9/11 themed drama with Tom Hanks and Sandra Bullock managed just a 45% Rotten Tomatoes rating as well as subpar box office.
Does It Make the Final Five?
No. The fact that it made the final 9 is still pretty shocking and is widely considered an underserving inclusion.
The Help
Based on a huge bestseller, Tate Taylor’s The Help was beloved by audiences to the tune of $169 million at the box office. Beyond Picture, it received three other nods: Actress (Viola Davis), Supporting Actress (Jessica Chastain), and another Supporting Actress nod and win for Octavia Spencer.
Does It Make the Final Five?
It’s awfully tempting to say yes given its popularity, but no. I’d feel more comfortable putting it in the final five had it nabbed a screenplay or editing or directing nod (even just one of them).
Hugo
Martin Scorsese’s family adventure garnered the most nominations on Oscar night (11), one more than The Artist. That includes Director, Adapted Screenplay, Score, Costume Design, Editing, and wins for its Sound Editing and Mixing, Art Direction, Cinematography, and Costume Design.
Does It Make the Final Five?
Yes and quite easily with that impressive haul.
Midnight in Paris
This was a critical and commercial comeback for Woody Allen and it won Original Screenplay with additional nods for Allen’s direction and the art direction.
Does It Make the Final Five?
Yes. While he’s basically blackballed from Hollywood in 2022, it was a different story 11 years ago for Allen and the Academy would’ve rewarded him for this return to form.
Moneyball
Bennett Miller followed up Capote with this acclaimed baseball drama that received five additional nominations – Actor (Brad Pitt), Supporting Actor (Jonah Hill), Adapted Screenplay, Sound Mixing, and Editing. It ended up going 0 for 6.
Does It Make the Final Five?
Yes. As I’ve explained before, Picture and Director rarely matched 5/5 before 2009. This is my pick for the BP nominee where the filmmaker didn’t make the cut.
The Tree of Life
Terrence Malick’s arty and ambitious saga served as a comeback for the legendary auteur. In addition to BP, Malick was in the quintet for his direction as was the cinematography.
Does It Make the Final Five?
No. It’s not out of the question that it might’ve, but its minimal two other nods cause doubt.
War Horse
Steven Spielberg’s equine related battle flick is one of his least discussed BP contenders, but it did gallop into contention with five other mentions for Score, Sound Editing, Sound Mixing, Art Direction, and Cinematography.
Does It Make the Final Five?
No. Even with the pedigree, missing Editing and Screenplay is a typically dependable telltale sign.
So that means my final five from 2011 consists of:
The Cannes Film Festival is underway and you can expect to see a few Oscar Predictions write-ups coming your way! It begins with Final Cut which opened the French shindig yesterday.
Known as Coupez! in its native country, this is the latest feature from Oscar winning director Michel Hazanavicius. Back in 2011, he was the big winner when his silent pic The Artist took Best Picture and Director (as well as three other gold trophies).
Since that time, his follow-up efforts have attracted zero Oscar buzz. This zombie comedy is a remake of the 2017 Japanese pic One Cut of the Dead. Don’t expect this Cut to get Mr. H back on the Academy’s radar. The Rotten Tomatoes score stands at a so-so 63% and it simply doesn’t sound like an awards player. My Oscar Prediction posts will continue…
The New York Film Critics Circle bestowed their best of 2020 honors today and the group provided a significant boost to Kelly Reichardt’s First Cow. The 19th century set drama took Best Film. Cow‘s chances at Oscar attention has seemed iffy so far this year. In fact, I have yet to have it listed in my predicted nominees for the Academy’s highest prize.
That might not change, but it does have recent history on its side. Only one of the Best Film honorees from the previous decade (2015’s Carol) failed to nab a Picture nod at the Oscars. On the other hand, only one of the New York Circle winners from the past ten years went on to win (2011’s The Artist).
It was also a good day for Never Rarely Sometimes Always as Eliza Hittman’s feature won Best Screenplay and Sidney Flanagan took Best Actress. Flanagan’s inclusion in Best Actress with the Academy looks questionable in that crowded field, but this first critics win certainly gives her exposure.
Best Director went to Chloe Zhao for Nomadland. She seems to be a shoo-in at the Oscars and will likely compete for the victory with David Fincher (Mank).
In other acting derbies, it was Delroy Lindo taking Best Actor for Da 5 Bloods and Chadwick Boseman in Supporting Actor for his role in Spike Lee’s picture. As for the what the Academy will do, it’s more feasible that Boseman could win against Lindo for his performance in Ma Rainey’s Black Bottom.
Supporting Actress went the funny route with Maria Bakalova’s breakout role in Borat Subsequent Moviefilm. The NYFCC has shown a willingness to honor comedic performers in this race as recent as three years ago with Tiffany Haddish in Girls Trip. It’s worthy of mention that Haddish did not end up on Oscar’s radar and Bakalova’s inclusion is up in the air as well.
The group’s Documentary award went to Time (a strong contender for the Academy) while Brazil’s Bacarau took the Foreign Language Prize. The latter is not its country’s submitted movie for Oscar consideration.
Bottom line: it’s a good day for First Cow, though it remains to be seen whether it can milk its buzz through nomination morning next year.
For two months now, I have had David Fincher’s Mank ranked at the top of the Best Picture contenders and that was with zero buzz about its quality. Why? The biographical drama, which tells the saga of Citizen Kane screenwriter Herman J. Mankiewicz (Gary Oldman) and his battles with the bottle and the making of the film, sounded like Oscar bait from its announcement. Fincher is, of course, a heralded filmmaker who’s seen two of his pictures (The Curious Case of Benjamin Button, The Social Network) nab Best Picture nods. Neither won, but many (including this blogger) feel that Network should have done so over The King’s Speech a decade ago.
Ahead of its November 13th limited theatrical bow and December 4th Netflix streaming debut, Mank screened for critics yesterday. While the official embargo has yet to lapse, reaction is out. And it confirms that Fincher’s first pic in six years (since Gone Girl) should score plenty of nominations. As I’ve estimated for several weeks, you would be smart to bet that this will receive the most mentions on nomination morning.
Let’s break them down. Picture and Director appear to be foregone conclusions at this juncture. Gary Oldman is highly likely to get his third Best Actor nomination. That said, after winning just three years ago for Darkest Hour, I don’t foresee a victory. On a side note, the Best Actress winner from 2017 (Frances McDormand for Three Billboards Outside Ebbing, Missouri) also looks like a locked in nominee in 2020 for Nomadland. Amanda Seyfried appears poised for her first nomination in Supporting Actress in her role as Marion Davies. Supporting Actor is more murky. While Charles Dance as William Randolph Hearst could sneak in, the race is quite crowded. I wouldn’t count on Dance or costars Tom Pelphrey or Arliss Howard getting in over the considerable competition. Many come from the same streaming service like the cast of The Trial of the Chicago 7 (most notably Mark Rylance and Sacha Baron Cohen) and the late Chadwick Boseman in Da 5 Bloods.
The screenplay is solely credited to the director’s deceased father Jack. An Original Screenplay nod is inevitable with the biggest competition so far being Aaron Sorkin for Trial. The tech race possibilities are plentiful: Cinematography, Costume Design, Film Editing, Production Design, Original Score (from Trent Reznor and Atticus Ross), Sound, Makeup and Hairstyling. All in all, Mank could conceivably hit about a dozen nominations.
Now let’s get serious. Could it win Best Picture? Some early buzz suggests it might be too geared toward cinephiles and not a mass audience to achieve that. I’m not so sure. I would say the same could be said for recent winners like The Artist and Birdman. Hollywood loves features about its own industry and this might be the granddaddy of them all considering the subject matter. I wouldn’t be surprised if Mank is still listed in first place when I update my guesstimates next Thursday. I am confident it will never fall below the upper echelon. As for Fincher, he may well be in line for a Director victory and that’s even if Mank doesn’t win the biggest prize. My Oscar Watch posts will continue…
The awards precursors keep coming as the New York Film Critics Circle named their best of 2019 today. Yesterday’s discussion focused on the National Board of Review winners. I explained how a victory with them often doesn’t equate to Oscar glory. And the same holds true for the film reviewers in the Big Apple.
That said, it’s the second day in a row where The Irishman has been named Best Film. Yet the last NYFCC recipient to take Best Picture was back in 2011 with The Artist. It’s the only one of this decade and in the 2000s, there were only three matches: Lord of the Rings: The Return of the King, No Country for Old Men, and The Hurt Locker.
One might think that these critics in particular might name Martin Scorsese as Best Director. You would be wrong. It is Ben and Josh Safdie for Uncut Gems. This Adam Sandler crime pic is picking up steam at the right moment, but it could be a reach for them to be included in Director with the Academy.
While Mr. Sandler picked up Best Actor with the NBR trophy yesterday, the New York bunch went with Antonio Banderas in Pain and Glory. He’s an on the bubble candidate in an ultra crowded Oscar derby. If Banderas continues to rack up critical kudos, it could certainly help him make the final five.
For the second year in a row, the NYFCC had a surprise victor in Actress. Last year, they went quite outside the box with Regina Hall in Support the Girls. Today it’s Lupita Nyong’o in Us. While this isn’t as much of a shocker, she’s generally been seen as an unlikely candidate for Oscar attention. However, this category isn’t as packed as Actor and she could factor into the mix.
More Irishman love came in Supporting Actor and not for Al Pacino. No, it was Joe Pesci taking the prize and I’m becoming more and more convinced he gets the Academy nod along with his co-star Pacino. Interestingly, this leads me to think voice splitting could occur and that may help Brad Pitt’s chances even more for Once Upon a Time in Hollywood.
Supporting Actress is perhaps the only category where New York seems to match the Oscar front-runner with Laura Dern. NYFCC threw in a caveat, though, by naming her for both Marriage Story and Little Women. Oscar voters are nearly certain to only notice her in the former.
This critics do not divide original and adapted written works and it was Quentin Tarantino taking Screenplay for Hollywood. When it comes to the big show in Original Screenplay, he appears to have an edge over competitors like Marriage Story and Parasite.
Bottom line: New York spread the love around with their news today, but it’s another solid showing for The Irishman.
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