All 206 minutes of Martin Scorsese’s Killers of the Flower Moon have been breathlessly awaited by pundits ahead of its Cannes premiere. That occurred today some five months before its domestic release. The crime western reunites the legendary filmmaker with his two most famous and frequent collaborators Leonardo DiCaprio and Robert De Niro in this adaptation of David Grann’s 2017 non-fiction novel. Lily Gladstone (in what’s long been pegged as a role with awards potential) costars alongside Jesse Plemons, Brendan Fraser, and John Lithgow.
On paper, Killers has looked like a surefire contender for Oscar glory ever since it was announced. Scorsese has seen five of his past eight films nominated for Best Picture: The Aviator, The Departed (which won), Hugo, The Wolf of Wall Street, and The Irishman. As mentioned, the 1920s set tale of murders among the Osage Nation comes with a runtime that just exceeds its reported $200 million budget. Apple TV footed the bill, but it will see a theatrical bow prior to any streaming release.
Some of the early critical reaction does gripe about the length (same went for Scorsese’s predecessor The Irishman). Yet most reviews indicate this will be the gold player that we assumed. That last Marty movie scored 10 nods. This could match it or even exceed it. Picture, Director, Adapted Screenplay (by the director and Eric Roth), Cinematography, Costume Design, Film Editing, Original Score, Production Design, and Sound are all feasible. The early Rotten Tomatoes meter sits at 100%.
As for the acting derbies, Leonardo DiCaprio is drawing raves and should be in line for his seventh acting nom (his sole win being 2015’s The Revenant). There was some question as to whether Gladstone would contend in lead or supporting. The buzz indicates the latter is more likely and it appears she’s a shoo-in for inclusion. I had her at #1 in my ranked predictions a few days ago and that may not change. A bigger question was Supporting Actor. It sounds like the role Jesse Plemons plays is relatively small (popping up in the third act). He could still sneak in (as he did in 2021 for The Power of the Dog). The studio’s campaigners could opt to throw their full attention to De Niro. The 79-year-old new dad looks to grab his eighth nod and first since 2012’s Silver Linings Playbook. You can pencil him in with DiCaprio and Gladstone.
Can you find the nominees in this picture? There could be plenty for Killers of the Flower Moon. My Oscar Prediction posts will continue…
Liam Neeson has a reprieve from interchangeable action flicks this weekend with Marlowe. The neo-noir crime pic reunites the lead (playing the title character detective created by Raymond Chandler) with his Michael Collins director Neil Jordan (Oscar winner for his screenplay for The Crying Game 30 years ago). William Monahan, himself an Academy recipient for his The Departed script, handles writing duties. The supporting cast includes Diane Kruger, Jessica Lange, Adewale Akinnuoye-Agbaje, Alan Cumming, Danny Huston, and Colm Meaney.
Despite the pedigree, Marlowe isn’t turning up many positive reviews. The Rotten Tomatoes score is an underwhelming 24% and early box office returns are meager. Set in 1939 L.A., it was feasible that categories such as Production Design or Costume Design would be in the mix. However, based on initial reactions, this should be long forgotten come nominations time. My Oscar Predictions 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 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.
As July comes to a close, Oscar prognosticators received several bits of fascinating news this past week. The first was the lineup of the Venice Film Festival as well as the bulk of titles that will play in Toronto. That wild season (which also includes Telluride) is a mere month away. We will see a huge number of awards hopefuls being screened with long awaited buzz finally becoming clear.
Yet the biggest news is the (as yet unconfirmed) rumor that Martin Scorsese’s Killers of the Flower Moon will not come out until 2023. Variety and Deadline essentially reported it as fact. I struggled all day with whether to include Killers in my updated predictions (I faced the same choices a couple of weeks ago with Rustin). My final decision was to drop it. If Killers ends up back on the 2022 calendar, Variety and Deadline have some explaining to do…
Another development is that Ron Howard’s Thirteen Lives was released. While reviews were certainly decent, I don’t think they’re strong enough that it will be a true BP contender. It’s at #25 on my list.
The Killers announcement obviously means major changes in most of my lineups. Cannes fest winner Triangle of Sadness replaces it in my 10 BP picks while Sarah Polley (Women Talking) is in for Scorsese in Director. Adam Driver in the Venice opener White Noise replaces Leonardo DiCaprio in Actor. Hong Chau (The Whale) is now in Supporting Actress with Lily Gladstone out. And with Jesse Plemons dropping in Supporting Actor, that leaves room for Triangle‘s Woody Harrelson. Finally, She Said rises in Adapted Screenplay.
That’s not all, folks! There’s a new #1 in Best Picture! I’ve had Damien Chazelle’s Babylon ranked #1 from the beginning… until now. In order to find a BP winner that didn’t play at either Venice or Telluride or Toronto or Sundance or Cannes, you have to go all the way back to (ironically) Martin Scorsese’s The Departed. That was 16 years ago. Babylon could still sneak into Telluride. Yet I’m skeptical it will. This factoid alone is enough for me to vault Steven Spielberg’s The Fabelmans (premiering at Toronto) to the top spot.
I’m not finished yet with the #1 changes. The Son is now first in Adapted Screenplay since Killers has moved. And Ke Huy Quan rises to the pole position in Supporting Actor over Paul Dano from The Fabelmans.
Another alteration – Empire of Light falls out of Original Screenplay with The Banshees of Inisherin in as my likely lone screenplay nominee.
That’s a lot of movement in one week and you can peruse it all below!
If you prefer Mel Gibson playing Mark Wahlberg’s dad in a drama involving religion and inflammatory muscle diseases and not comedy sequels like Daddy’s Home 2, then Father Stu might be your jam. The biopic is out today and the faith-based experience (a rare one that’s rated R) hopes to cash in during Easter weekend.
A passion project for its star, the role for Wahlberg seems like the type of material meant to garner awards chatter. Yet an underwhelming 44% on Rotten Tomatoes tells a different tale. The artist formerly known as Marky has one Oscar nomination to his credit in Supporting Actor for 2006’s The Departed. Even though three of his cast members were up for The Fighter in 2010 (with Christian Bale and Melissa Leo winning), he failed to punch in.
Bottom line: Father Stu would need divine intervention to score a nod for Wahlberg or anything else. My Oscar Prediction posts will continue…
When it comes to the Producers Guild of America awards, there’s a 14/21 match between their best picture and the Academy’s in the 21st century. The two-thirds ratio is 3/5 in the past five years. In 2016, La La Land took PGA over the Oscar selection of Moonlight. For 2019, PGA went with 1917 while the big show went with Parasite. Other 21st century examples: The Big Short won PGA in 2015 (Oscar: Spotlight). For 2006, Little Miss Sunshine got the PGA prize while The Departed took Oscar.
The PGA’s for 2021 occurred last night and it’s another feather in the cap for CODA. Sian Heder’s coming-of-age drama built upon its recent SAG ensemble victory to triumph here. If there was any doubt before, CODA has unquestionably positioned itself as the alternate to The Power of the Dog winning Best Picture at the Oscars. Not Belfast. Not King Richard or Dune. This is a two-horse race between Dog and CODA and they both have important precursor hardware. No matter which one grabs the gold, it will be the first BP win for a streamer (Netflix for Dog and Apple TV for CODA).
Jane Campion’s direction of Dog won the Director Guild of America (DGA) prize this week and that’s a reliable Academy precursor. She’s almost certain to be the Oscar winner (CODA‘s Sian Heder isn’t nominated). In fact, CODA only has three nominations overall: Picture, Supporting Actor (Troy Kotsur), and Adapted Screenplay. It didn’t seem feasible until recently, but it could legitimately go 3 for 3.
Having said that, I wouldn’t dream of counting Dog out. It’s the Globe and BAFTA recipient. The precursor bonafides for it are just as impressive as CODA‘s. Even a week ago, however, I would’ve said Dog had about a 90% chance to be the Oscar BP. Now… well, it’s considerably less and we’ll see what I predict when I make my final picks on Wednesday.
In the Animated Feature and Documentary races at PGA, the respective winners were Encanto and Summer of Soul and they maintain their status as Academy favorites.
George Clooney’s The Tender Bar opens in limited release this December before its premiere on Amazon Prime in early January. The coming-of-age drama set in the 1970s and 80s screened at the London Film Festival over the weekend. Early reviews indicate a warm hearted tale that is unlikely to play in the highest profile races like Picture and Director.
Its famous director wooed Oscar voters 16 years ago with his second effort Good Night, and Good Luck. Scoring six nods (including Picture and Director) and winning none, it’s been slim pickings for Clooney’s behind the camera efforts ever since. 2011’s The Ides of March nabbed a sole Adapted Screenplay mention while last year’s The Midnight Sky made the cut in Visual Effects.
As I see it, The Tender Bar could play in two categories. The first is the screenplay adapted by William Monahan. He’s no stranger to Academy attention as he won in 2006 for his penmanship of Martin Scorsese’s The Departed. Inclusion there is less likely than for one of its performers.
That would be Ben Affleck. Another leading man turned writer/director, Affleck has a deep history with Oscar voters that has nothing to do with his acting. In 1997, his Good Will Hunting script with Matt Damon won. Fifteen years later, he directed and produced (hence a second trophy) Best Picture winner Argo. Surprisingly, he didn’t get a spot for his direction.
With a cast featuring Tye Sheridan, Lily Rabe, and Christopher Lloyd, the initial critical praise is being heaped upon Affleck. That’s in addition to some kudos for his supporting work in The Last Duel (out this weekend). Mr. Affleck has been on the radar screen before for his performances – think Hollywoodland, Argo, and last year’s The Way Back. Yet he’s never made the dance. As of now, the Supporting Actor derby for 2021 looks wide open. I’d go as far to say there’s no guaranteed nominees (though Jamie Dornan in Belfast and Richard Jenkins in The Humans look probable). I’ve had Bradley Cooper (Licorice Pizza) listed at #1 for two months, but we still don’t know if his role is meaty enough to truly contend.
This could all contribute to Affleck finally getting some Academy TLC. That said, he’s been in the mix before and come up shy. My Oscar Prediction posts for the films of 2021 will continue…
Thanks to the Toronto Film Festival, we have a new #1 atop the charts in Best Picture and it’s Kenneth Branagh’s Belfast.
The coming-of-age drama won the festival’s People’s Choice Award and that is no minor development. 12 of the past 13 victors have received a BP nod. Five of them have won. And that’s enough to allow Belfast the designation of soft frontrunner (with lots of time to go and lots yet to be seen). However, the fact of the matter is, you have to go back to 2006’s The Departed to find a BP winner that didn’t screen at one of the higher profile festivals.
The Power of the Dog was a runner-up for the People’s Choice prize and it slides just one spot. Director Jane Campion maintains top billing in her category.
There are further developments to point out:
King Richard is back in my top 10 BP projections edging out The Humans. The Will Smith sports drama also enters Original Screenplay over C’Mon C’Mon.
Paul Thomas Anderson (Licorice Pizza) is in for Best Director over Ridley Scott for House of Gucci.
The praise for Jessica Chastain in The Eyes of Tammy Faye is enough to put her at #2 in Actress. It’s not enough to dislodge Kristen Stewart (Spencer) from her ruling perch. I will admit that the subpar box office grosses for Faye this weekend doesn’t help, but I’m relatively confident at this juncture that she’s in.
The revolving door that is slot #5 in Best Actor lands on Joaquin Phoenix (C’Mon C’Mon) over Bradley Cooper (Nightmare Alley).
Big changes in Supporting Actor as Jamie Dornan (Belfast) and Jared Leto (House of Gucci) are in. Dropping are Dornan’s costar Ciaran Hinds and Kodi Smit-McPhee (The Power of the Dog).
While the Supporting Actress five stays intact, I’ve vaulted Ann Dowd (Mass) back to the top spot.
By this time next Sunday, we will know the buzz for Joel Coen’s The Tragedy of Macbeth as it opens the New York Film Festival this Friday. Stay tuned for my Oscar Predictions post on that next weekend.
You can peruse all the action below and the forecasts will be updated next Sunday!
1. Belfast (Previous Ranking: 4) (+3)
2. The Power of the Dog (PR: 1) (-1)
3. Nightmare Alley (PR: 2) (-1)
4. Dune (PR: 5) (+1)
5. House of Gucci (PR: 3) (-2)
6. Licorice Pizza (PR: 7) (+1)
7. The Tragedy of Macbeth (PR: 6) (-1)
8. West Side Story (PR: 8) (E)
9. Don’t Look Up (PR: 9) (E)
10. King Richard (PR: 12) (+2)
11. The Humans (PR: 10) (-1)
12. Spencer (PR: 15) (+3)
13. CODA (PR: 11) (-2)
14. Mass (PR: 14) (E)
15. The Hand of God (PR: 13) (-2)
16. Flee (PR: 17) (+1)
17. The French Dispatch (PR: 16) (-1)
18. Tick, Tick… Boom! (PR: 19) (+1)
19. A Hero (PR: 18) (-1)
20. The Lost Daughter (PR: 20) (E)
21. C’Mon C’Mon (PR: 24) (+3)
22. Being the Ricardos (PR: 22) (E)
23. Cyrano (PR: 23) (E)
24. Passing (PR: 21) (-3)
25. Parallel Mothers (PR: 25) (E)
1. Jane Campion, The Power of the Dog (PR: 1) (E)
2. Guillermo del Toro, Nightmare Alley (PR: 2) (E)
3. Kenneth Branagh, Belfast (PR: 4) (+1)
4. Denis Villeneuve, Dune (PR: 3) (-1)
5. Paul Thomas Anderson, Licorice Pizza (PR: 6) (+1)
6. Ridley Scott, House of Gucci (PR: 5) (-1)
7. Joel Coen, The Tragedy of Macbeth (PR: 7) (E)
8. Steven Spielberg, West Side Story (PR: 8) (E)
9. Adam McKay, Don’t Look Up (PR: 9) (E)
10. Pablo Larrain, Spencer (PR: 11) (+1)
11. Paolo Sorrentino, The Hand of God (PR: 10) (-1)
12. Jonas Poher Rasmussen, Flee (PR: 13) (+1)
13. Reinaldo Marcus Green, King Richard (PR: Not Ranked)
14. Asghar Farhadi, A Hero (PR: 14) (E)
15. Stephen Karam, The Humans (PR: 12) (-3)
Wes Anderson, The French Dispatch
1. Kristen Stewart, Spencer (PR: 1) (E)
2. Jessica Chastain, The Eyes of Tammy Faye (PR: 3) (+1)
3. Lady Gaga, House of Gucci (PR: 2) (-1)
4. Penelope Cruz, Parallel Mothers (PR: 4) (E)
5. Olivia Colman, The Lost Daughter (PR: 5) (E)
6. Jennifer Hudson, Respect (PR: 6) (E)
7. Cate Blanchett, Nightmare Alley (PR: 7) (E)
8. Rachel Zegler, West Side Story (PR: 9) (+1)
9. Nicole Kidman, Being the Ricardos (PR: 8) (-1)
10. Renate Reinsve, The Worst Person in the World (PR: 13) (+3)
11. Jennifer Lawrence, Don’t Look Up (PR: 12) (+1)
12. Emilia Jones, CODA (PR: 10) (-2)
13. Jodie Comer, The Last Duel (PR: 11) (-2)
14. Halle Berry, Bruised (PR: 15) (+1)
15. Tessa Thompson, Passing (PR: 14) (-1)
1. Will Smith, King Richard (PR: 1) (E)
2. Benedict Cumberbatch, The Power of the Dog (PR: 2) (E)
3. Denzel Washington, The Tragedy of Macbeth (PR: 3) (E)
4. Peter Dinklage, Cyrano (PR: 4) (E)
5. Joaquin Phoenix, C’Mon C’Mon (PR: 6) (+1)
6. Bradley Cooper, Nightmare Alley (PR: 5) (-1)
7. Adam Driver, House of Gucci (PR: 7) (E)
8. Leonardo DiCaprio, Don’t Look Up (PR: 8) (E)
9. Andrew Garfield, Tick, Tick… Boom! (PR: 10) (+1)
10. Clifton Collins, Jr., Jockey (PR: 9) (-1)
11. Nicolas Cage, Pig (PR: 11) (E)
12. Ben Foster, The Survivor (PR: Not Ranked)
13. Jude Hill, Belfast (PR: Not Ranked)
14. Cooper Hoffman, Licorice Pizza (PR: Not Ranked)
15. Amir Jadidi, A Hero (PR: 12) (-3)
Adam Driver, Annette
Filippo Scott, The Hand of God
Simon Rex, Red Rocket
Best Supporting Actress
1. Ann Dowd, Mass (PR: 2) (+1)
2. Caitriona Balfe, Belfast (PR: 3) (+1)
3. Kirsten Dunst, The Power of the Dog (PR: 1) (-2)
4. Ariana DeBose, West Side Story (PR: 5) (+1)
5. Jayne Houdyshell, The Humans (PR: 4) (-1)
6. Frances McDormand, The Tragedy of Macbeth (PR: 6) (E)
7. Aunjanue Ellis, King Richard (PR: 8) (+1)
8. Rooney Mara, Nightmare Alley (PR: 10) (+2)
9. Toni Collette, Nightmare Alley (PR: 9) (E)
10. Judi Dench, Belfast (PR: 11) (+1)
11. Marlee Matlin, CODA (PR: 7) (-4)
12. Meryl Streep, Don’t Look Up (PR: 12) (E)
13. Martha Plimpton, Mass (PR: 14) (+1)
14. Ruth Negga, Passing (PR: 13) (-1)
15. Dakota Johnson, The Lost Daughter (PR: 15) (E)
Best Supporting Actor
1. Bradley Cooper, Licorice Pizza (PR: 1) (E)
2. Richard Jenkins, The Humans (PR: 2) (E)
3. Jamie Dornan, Belfast (PR: 7) (+4)
4. Jason Isaacs, Mass (PR: 5) (+1)
5. Jared Leto, House of Gucci (PR: 6) (+1)
6. Kodi Smit-McPhee, The Power of the Dog (PR: 4) (-2)
7. Corey Hawkins, The Tragedy of Macbeth (PR: 8) (+1)
8. Ciaran Hinds, Belfast (PR: 3) (-5)
9. Mark Rylance, Don’t Look Up (PR: 10) (+1)
10. Jesse Plemons, The Power of the Dog (PR: 9) (-1)
11. Willem Dafoe, Nightmare Alley (PR: 12) (+1)
12. David Alvarez, West Side Story (PR: 13) (+1)
13. Troy Kotsur, CODA (PR: 11) (-2)
14. Andrew Garfield, The Eyes of Tammy Faye (PR: Not Ranked)
Sacha Baron Cohen’s most famous and profitable alter ego returns this Friday via Amazon Prime with the release of Borat Subsequent Moviefilm. Or more specifically… Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (you can see why I abbreviated). The sequel to the surprise 2006 blockbuster was a surprise in itself as it was shot secretly this year.
If you’re asking whether the pic warrants an Oscar Watch post, I’ll remind you what happened 14 years ago. The original Borat scored a nod at the Academy Awards for Best Adapted Screenplay (losing to The Departed). At the Golden Globes, the film itself made final cut in Best Musical/Comedy (losing to Dreamgirls) and Baron Cohen was victorious in Best Actor in that Musical/Comedy race.
The review embargo ended today and the results are mostly, well, very nice. With a current ranking of 85% on Rotten Tomatoes, the general consensus is that it doesn’t quite the match the original but that it’s quite funny and often shocking and unexpectedly sweet. The latter description probably won’t be shared by Rudy Giuliani as headlines are suggesting he won’t like what ends up onscreen.
So could the sequel generate awards buzz? I have a hard time seeing part 2 contending in Adapted Screenplay. Yet the Globes could be a different story. Depending on how competitive the Musical/Comedy field is for Actor, Baron Cohen could find himself among the possibilities. It’s also worth mentioning that his costar Maria Bakalova (as the title character’s daughter) is getting some raves. Unfortunately for her, the Globes do not separate Drama and Musical/Comedy in the supporting races. I do think there’s an outside chance she gets some Oscar attention, but I wouldn’t count on it.
While the second Borat pic… or movie… or Moviefilm… may not garner Oscar love, its star still could. He is expected to be in the mix for Supporting Actor in The Trial of the Chicago 7 alongside his costars Mark Rylance and Yahya Abdul-Mateen II (how many get in remains to be seen). My Oscar Watch posts will continue…