Air is the fifth feature directed by Ben Affleck and it closed out the South by Southwest festival this weekend prior to its April 5th theatrical release. The 1984 set sports drama focuses on Nike’s decision to make a shoe deal with an NBA rookie by the name of Michael Jordan. In addition to being behind the camera, Affleck costars as the company’s co-founder Phil Knight. The director’s buddy Matt Damon headlines as marketing exec Sonny Vaccaro with a supporting cast including Jason Bateman, Marlon Wayans, Chris Tucker, Chris Messina, Matthew Maher, and real life married couple Viola Davis and Julius Tennon as MJ’s parents and chief negotiators. #23 himself is not played by an actor and appears only in archival footage.
Early reactions from Austin indicate that Air might be the first legit awards hopeful to be released on the ’23 calendar. Several of the reviews are outright raves with comparisons to Jerry Maguire and Moneyball (both nominated for Best Picture). If this hits with audiences (and indications are it’s a crowdpleaser), that only increases its chances to make the big dance.
Affleck, of course, was famously snubbed by the Academy in 2012 even though his second directorial effort Argo won Best Picture. He’s yet to be nominated for his filmmaking. However, three of his previous four pics (Gone Baby Gone, The Town, Argo) achieved one or more mentions from Oscar voters. The one that didn’t was his last – 2016’s flop Live by Night.
It’s early, but the chances of Air garnering nominations is high. I don’t know if Affleck will get his first directing nod, but this already looks like it’s shooting for one of the ten slots in BP. The original screenplay by Alex Convery, cinematography from three-time winner Robert Richardson, and editing from William Goldenberg are all possibilities.
As for the cast, I’m curious to see category placement. Damon could be put in lead and vie for his fourth overall acting nom behind Good Will Hunting, Invictus, and The Martian. Amazon could also choose to campaign everyone in supporting. The other male performer drawing lots of attention is Chris Messina as MJ’s agent David Falk. Fresh off her EGOT, Viola Davis might have the best chance and it would be her fifth nom after Doubt, The Help, Fences (where she won), and Ma Rainey’s Black Bottom. It might help that many felt she was just snubbed for The Woman King.
Bottom line: Air is a real contender in the game of Oscar and my prediction posts will continue…
The Supporting Actress derby is up next for my deep dives in the six major categories (Picture, Director, the 4 acting competitions). If you missed my current take on Supporting Actor, it’s here:
With two months left to go in the calendar year, it’s a good time to take stock in where we stand in 2022 with the various hopefuls. In 2019 and 2020 in late October, I correctly identified 3 of the 5 eventual nominees in Supporting Actress. Three years ago, that included eventual winner Laura Dern (Marriage Story) as well as Florence Pugh (Little Women) and Margot Robbie (Bombshell). I had Scarlett Johansson listed in Other Possibilities for Jojo Rabbit while not having Kathy Bates (Richard Jewell) yet on the radar. A year later, the trio of Glenn Close (Hillbilly Elegy), Olivia Colman (The Father), and Amanda Seyfried (Mank) were already in my top five. Youn Yuh-jung (Minari) took the gold. Both she and Maria Bakalova (Borat Subsequent Moviefilm) were tagged in Other Possibilities.
The ratio dropped in 2021. I named 2 of the 5 women with Ariana DeBose in West Side Story (who won) and Kirsten Dunst for The Power of the Dog. 2 nominees – Judi Dench (Belfast) and Aunjanue Ellis (King Richard) – were in Other Possibilities while Jessie Buckley (The Lost Daughter) wasn’t in my listed ten.
We arrive at 2022 where Ms. Buckley is in the mix again. She appears in Women Talking alongside a large ensemble of additional actresses. This film gives us the highest probability of seeing double nominees from the same picture. It’s happened three times since 2010. Melissa Leo and Amy Adams were up for The Fighter that year with Leo emerging victorious. In 2011, Octavia Spencer took the statue for The Help with Jessica Chastain also making the cut. Emma Stone and Rachel Weisz were both in the mix for 2018’s The Favourite.
With Women Talking, the Academy could dive a tad deeper with Judith Ivery and Sheila McCarthy (who are standouts). I suspect they’ll go with Buckley and Claire Foy (who was notably snubbed three years ago for First Man). I’ve had the latter listed in first place as she’s got a slightly meatier role.
That brings us to a key caveat in this race. A few weeks back, there was the unexpected announcement that Michelle Williams in Steven Spielberg’s The Fabelmans would be campaigned for in lead actress. She could’ve easily been placed here. If the studio had done that, I would continue to have Williams at #1 and feel confident that she’d win her first Oscar. However, in the Best Actress competition, I only have her in fourth position as of my last forecast.
Back to performers who are eligible in this. As long as The Banshees of Inisherin performs well with voters (and it should), Kerry Condon should make the quintet and could be a threat to win. Truth be told, this seems like a wide open competition without Williams. I could see either Women Talking actress at the podium or Condon. Same goes for Hong Chau as Brendan Fraser’s caretaker in The Whale or Stephanie Hsu as the world altering daughter in Everything Everywhere All at Once. That film offers the possibility of an additional double nomination with Jamie Lee Curtis’s nearly unrecognizable role. As for The Whale, I think Chau is far more likely than costar Sadie Sink.
I’m not as sold on Anne Hathaway in Armageddon Time, which may not make a dent at the ceremony. The many negative reviews for The Son have me questioning the viability of Vanessa Kirby or Laura Dern. Cha Cha Real Smooth might be too small for Dakota Johnson to nab her first Academy mention. Thuso Mbedu in The Woman King seems like a stretch. There’s unseen performances that could rise up like Kate Winslet (Avatar: The Way of Water) or Jean Smart (Babylon). Of all those choices, only Smart is in the top ten.
Critics groups may be integral in weeding out the nominees. This is where we could see Nina Hoss (Tár) or Dolly de Leon (Triangle of Sadness) rise up. Or we could get a nominee from a forthcoming hit such as Angela Bassett (Black Panther: Wakanda Forever) or Janelle Monae (Glass Onion: A Knives Out Mystery).
Over the past couple of months, all of my five nominees have come from films that I have in my 1o Best Picture hopefuls. That also holds true for Supporting Actor. And, frankly, that usually doesn’t happen. This is partly why I’m putting Carey Mulligan (She Said) in my projections after the studio announced she’ll vie for supporting instead of lead. I’ve got She Said barely missing a BP nod.
Bottom line: nothing is close to being settled in Supporting Actress and the talking about these women could change as we get closer to nomination time.
Best Supporting Actress
Predicted Nominees:
1. Claire Foy, Women Talking (Previous Ranking: 1) (E)
2. Kerry Condon, The Banshees of Inisherin (PR: 3) (+1)
3. Jessie Buckley, Women Talking (PR: 2) (-1)
4. Hong Chau, The Whale (PR: 4) (E)
5. Carey Mulligan, She Said (PR: 7) (+2)
Other Possibilities:
6. Stephanie Hsu, Everything Everywhere All at Once (PR: 5) (-1)
7. Dolly De Leon, Triangle of Sadness (PR: 6) (-1)
8. Nina Hoss, Tár (PR: 8) (E)
9. Jamie Lee Curtis, Everything Everywhere All at Once (PR: 10) (+1)
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 first hopeful in a very interesting Best Actress competition is up next in my Case Of posts for the 94th Academy Awards and that’s Jessica Chastain for The Eyes of Tammy Faye.
The Case for Jessica Chastain:
Of the five nominees in Actress, only Kristen Stewart (Spencer) and Chastain have yet to win an Oscar. Somewhat surprisingly, she’s only been nominated twice and the last time was nine years ago. There could already be a feeling that she’s overdue and Olivia Colman, Penelope Cruz, and Nicole Kidman have already won. Her embodiment of evangelist Tammy Faye Bakker (with its nominated makeup team) drew raves from critics and she received nods at the Golden Globes, SAG Awards, and Critics Choice Awards.
The Case Against Jessica Chastain:
The film itself did not draw raves with a middling 69% Rotten Tomatoes score. Furthermore, it was a bust at the box office with just over $2 million domestically.
Previous Nominations: 2
The Help (2011 – Supporting Actress); Zero Dark Thirty (2012 – Actress)
The Verdict:
Best Actress is wide open at this juncture. So-so reviews for the picture itself didn’t hurt Renee Zellweger in 2019 with Judy and it may not hurt Chastain. She’s a possibility to win, but then again, so are the others.
My Case of posts will continue with our first Best Actor nominee – Javier Bardem in Being the Ricardos…
When I wrote my Oscar Predictions post for The Eyes of Tammy Faye back in September and talked about Jessica Chastain’s viability in Best Actress, I penned the following passage:
Bottom line: a couple of weeks back, I boldly declared that you could write Kristen Stewart’s Best Actress inclusion in pen. Here we go again for the second pronouncement… I think you can do the same with Chastain.
Two months later, I still feel the same about Kristen Stewart in Spencer. She remains the frontrunner for a nomination and a potential victory. And a solid argument can still be made that Chastain’s performance as Tammy Faye Bakker sits in the runner-up position for inclusion for the five actresses who will be up for consideration. That said, I’m not as declarative as I once was. Given a redo, I might say a sharpened pencil over a pen.
Why? The Best Actress race is stacked in 2021 and more realistic competitors continue to pop up. Just this week, there were three pictures screened that increased or helped solidify the chances for their leading ladies: Lady Gaga (House of Gucci), Nicole Kidman (Being the Ricardos), and Alana Haim (Licorice Pizza). That’s in addition to Olivia Colman (The Lost Daughter), Penelope Cruz (Parallel Mothers), and Frances McDormand (The Tragedy of Macbeth). They’ve been in the mix since festival season early this autumn.
That’s eight performances thus far. We can add others to the already released fold: Jodie Comer (The Last Duel), Jennifer Hudson (Respect), Renate Reinsve (The Worst Person in the World), and Tessa Thompson (Passing). 12. I can think of four more from the unscreened column: Sandra Bullock (The Unforgivable), Jennifer Lawrence (Don’t Look Up), Rooney Mara (Nightmare Alley) and Rachel Zegler (West Side Story). 16. I’m not really feeling a Bullock nod, but any of the others could bubble up.
Add to that the off chance that a surprise nominee could materialize of those I’ve basically written off: Halle Berry (Bruised), Marion Cotillard (Annette), Emilia Jones (CODA), or Charlotte Rampling (Benedetta).
20 possibilities (though some admittedly are far fetched). Still – there’s several realistic hopefuls and that’s reason enough to doubt anyone but Stewart making the eventual quintet.
Chastain faces other challenges for her third nomination (the previous two were supporting for 2011’s The Help and lead the following year in Zero Dark Thirty). Despite widespread acclaim for her acting, audiences completely tuned out to Tammy. It earned a tiny $2.4 million at the box office. Reviews for the pic itself were just so-so (66% on Rotten Tomatoes). I’ve heard comparisons made to Renee Zellweger’s victory in 2019 for Judy as far as poor box office and critical reaction. It’s not a totally unfair comp but Zellweger’s winning work garnered 82% on RT and made $24 million domestically.
When Tammy screened up north, the idea of Chastain and her costar Andrew Garfield (in Supporting Actor) both being up seemed feasible. I don’t feel Garfield has much of a shot now (though he definitely does in lead for Tick, Tick… Boom!).
Bottom line: I still have Chastain in my five, but with considerably less assuredness than before.
The 2021 derby for Best Supporting Actress at the Oscars might have a bit more clarity than the currently wide open Supporting Actor race, but not much. I’m doing a deep dive on the four acting races as well as Picture and Director. If you missed the first post covering Supporting Actor, you can peruse it right here:
At this point when I was projecting the race in 2019 and 2020, I correctly identified three out of the five eventual nominees. Two years ago, that included the winner Laura Dern in Marriage Story as well as Florence Pugh (Little Women) and Margot Robbie for Bombshell. Scarlett Johansson was mentioned in Other Possibilities while I didn’t have Kathy Bates (Richard Jewell) listed. Last year, the trio of Glenn Close (Hillbilly Elegy), Olivia Colman (The Father), and Amanda Seyfried (Mank) were in my five. Eventual victor Yuh-jung Youn (Minari) and Maria Bakalova (Borat Subsequent Moviefilm) were in Other Possibilities.
Since 2010, there have been three instances where two actresses for the same picture made the cut here. In 2010, it was Melissa Leo (who won) and Amy Adams in The Fighter. A year later, Octavia Spencer took gold for The Help while costar Jessica Chastain also got in. In 2018, both Emma Stone and Rachel Weisz were nominated for The Favourite.
The best chance of that happening in 2021 lies with Caitriona Balfe and Judi Dench for Belfast. The former could be considered the frontrunner at press time. I’m confident that Balfe will be in the quintet of hopefuls. My Supporting Actor forecast has both Jamie Dornan and Ciaran Hinds in for Kenneth Branagh’s period drama. It might be foolish to bet against Dench and she could absolutely get her 8th nod. I do, however, feel the competition is steeper than Supporting Actor at the moment and she could miss out.
Other double nominee possibilities lie with Jessie Buckley and Dakota Johnson in The Lost Daughter, but I could just as easily see lead Olivia Colman garnering all the attention. The as yet unscreened Nightmare Alley could see either Toni Collette or Rooney Mara competing.
Then there’s Mass. Ann Dowd looks to be a better bet than Martha Plimpton. If the acclaimed drama catches on with the Academy, there could be room for both. For now, I’m far more confident in Dowd receiving her first nod after her somewhat surprise omission for 2012’s Compliance.
With Balfe and Dowd penciled in, Kirsten Dunst also appears headed for her inaugural inclusion at the dance for The Power of the Dog. She could even be a threat to win.
After that, it gets murky. There’s plenty of hopefuls. 50 years ago, Rita Moreno took gold as Anita for West Side Story. The forthcoming remake could see Ariana DeBose nominated for the same role in Steven Spielberg’s remake. Marlee Matlin (35 years after taking Best Actress for Children of a Lesser God) got fine reviews for CODA. If the film registers with voters, she could be swept in. King Richard is anticipated to give Will Smith a solid chance at his first Oscar crowning and Aunjanue Ellis (as the mother of Venus and Serena Williams) could share in the wealth. Salma Hayek is part of the House of Gucci ensemble. She hasn’t been visible in the trailers and that gives me pause. Online chatter will be heavy for Rebecca Ferguson in Dune, though I question whether any of its cast makes its way in. Also worthy of mention: Olga Merediz (In the Heights), Gaby Hoffman (C’Mon C’Mon), Kathryn Hunter (The Tragedy of Macbeth), Sally Hawkins (Spencer), and Jayne Houdyshell (The Humans). All are feasible but will need lot some critics prizes to elevate their chances.
Meryl Streep is gunning for her 22nd (!) nomination for Don’t Look Up. Playing the President of the United States in the political satire, it feels strange to leave her out of the top 5 for such a high profile role. Let’s see what the critics think before I more carefully consider her.
One performer who seems to catching on is Ruth Negga for Passing. Nominated for Actress five years back for Loving, I was basically down to a coin flip between her and Aunjanue Ellis for a current slot. I’m leaning toward Negga in what would probably be the film’s sole nod.
Bottom line: right now I have Balfe, Dunst, and Dowd as (fairly) safe bets with the other two spots up for grabs. Here’s where it shakes out as October closes:
The Best Actress race just got more interesting and we can thank Jessica Chastain for that. Michael Showalter’s The Eyes of Tammy Faye has emerged from the Toronto Film Festival. While the reviews for the film are mixed, Chastain’s performance as Tammy Faye Bakker is drawing raves.
Based on a 2000 documentary, this dramatized bio of the extreme makeup wearing televangelist and her husband Jim (Andrew Garfield) has never been pegged as much of a Best Picture contender. The critical reaction confirms that. Mr. Garfield is getting some solid notices. I question whether he gains traction in the acting derby. He’ll have another shot in 2021 with the as yet unseen Tick, Tick… Boom! If that one doesn’t materialize, Searchlight could push him in supporting.
Chastain is another story with her viability. She appears firmly in line for her third nomination. The first was in 2011 in supporting for The Help. Her second came the next year in lead for Zero Dark Thirty. Not only does she seem headed for Oscar recognition, she could be a threat to win. In other words, we may not want to crown Kristen Stewart (Spencer) the victor yet.
Makeup and Hairstyling is another obvious race where this could get in. Perhaps the gaudy 80s fashion will be noticed for Costume Design.
Bottom line: a couple of weeks back, I boldly declared that you could write Kristen Stewart’s Best Actress inclusion in pen. Here we go again for the second pronouncement… I think you can do the same with Chastain. My Oscar Prediction posts for the films of 2021 will continue…
We have arrived at part III of my recaps of the summer seasons that came 30, 20, and 10 years ago. That means 2011 is upon us. If you missed my sizzling throwbacks to 1991 and 2001, you can find them here:
As is tradition, I will recount the top 10 hits as well as other notable features and some flops in a season where moviegoers bid a fond farewell to their iconic wizard:
Let’s get to it, yes?
10. Bridesmaids
Domestic Gross: $169 million
Kristin Wiig made one of the most successful jumps from SNL to movie stardom in this critically hailed pic that also earned Melissa McCarthy her silver screen breakout and even an Oscar nomination. It might not be the highest grossing comedy on here, but it’s definitely still the most talked about.
9. The Help
Domestic Gross: $169 million
Based on Kathryn Stockett’s bestseller, the 1960s set period piece from Tate Taylor brought the book’s readers and many others to the multiplex. Four Oscar nods followed including Best Picture and a Supporting Actress victory for Octavia Spencer.
8. Captain America: The First Avenger
Domestic Gross: $176 million
The Marvel Cinematic Universe’s first big branch out occurred during this summer where we would get our first glimpse at this OG avenger in the form of Chris Evans and another one who sits at the throne of spot #6. The sequels actually improved on what we see here, but the Captain gets rolling with this.
7. Rise of the Planet of the Apes
Domestic Gross: $176 million
Rupert Wyatt’s reboot of the franchise is deservedly better regarded than Tim Burton’s re-imagining that transpired in 2001. Debuting the fantastic motion capture work of Andy Serkis, this would spawn two follow-ups that also pleased audiences and critics and did considerable monkey business.
6. Thor
Domestic Gross: $181 million
Chris Hemsworth’s Asgardian heartthrob hammered into the public consciousness alongside Natalie Portman and Anthony Hopkins and managed $5 million more box office bucks than the Captain. The third sequel is currently in production.
5. Cars 2
Domestic Gross: $191 million
Despite grossing nearly $200 million, this Pixar sequel is not one of the studio’s most fondly remembered vehicles with just a 40% Rotten Tomatoes rating. A third Cars did zoom into theaters six years later.
4. Pirates of the Caribbean: On Stranger Tides
Domestic Gross: $241 million
With a reported budget of $379 million, Johnny Depp’s fourth headlining of the franchise still sports the largest price tag of all time. The actor’s final participation in the series would come in 2017 with Disney still looking to reboot it without their signature player.
3. The Hangover Part II
Domestic Gross: $254 million
Crowds were still clamoring for the drunken exploits of Bradley Copper, Ed Helms, and Zach Galifianakis. Critics weren’t near as kind to part II, but audiences didn’t begin to tire of the hijinks until part III two years later.
2. Transformers: Dark of the Moon
Domestic Gross: $352 million
Michael Bay’s third saga of the Autobots and Decepticons marks Shia LaBeouf’s last appearance in the franchise and includes drop-ins from acting heavyweights John Malkovich and Frances McDormand. Mark Wahlberg would take over starring duties three years later.
1. Harry Potter and the Deathly Hallows – Part 2
Domestic Gross: $381 million
After nearly a decade of enchanting kids and their parents alike, the franchise stemming from J.K. Rowling’s beloved novels received a fittingly massive send-off with this billion dollar plus worldwide earner.
Now for other noteworthy titles from the summer:
X-Men: First Class
Domestic Gross: $146 million
Bryan Singer’s handed over directorial reigns to Matthew Vaughn for this reinvigorating reboot of the series that introduced the younger versions of Charles Xavier, Magneto, and Mystique in the bodies of James McAvoy, Michael Fassbender, and Jennifer Lawrence. Numerous sequels of varying quality followed.
The Smurfs
Domestic Gross: $142 million
Sony Pictures wasn’t blue about the financial returns for this half live-action/half animated adaptation of the popular comics and animated series. A sequel came in 2013.
Super 8
Domestic Gross: $127 million
In between Star Trek pics and before rebooting Star Wars, J.J. Abrams helmed this sci-fi original which paid tribute to the Spielberg efforts of the 1980s. Critics gave it their stamp of approval and it’s notable for one heckuva train crash sequence.
Horrible Bosses
Domestic Gross: $117 million
This raunchy comedy about workers exacting revenge on their wretched superiors showed us a whole different side to Jennifer Aniston and spawned a 2014 sequel.
Crazy, Stupid, Love
Domestic Gross: $84 million
Before their collaboration on La La Land earned lots of Oscar nods five years later, Emma Stone and Ryan Gosling teamed up for this rom com with Steve Carell and Julianne Moore that exceeded expectations with audiences and many critics.
Midnight in Paris
Domestic Gross: $56 million
It was a different time 10 years ago for Woody Allen, who scored his last big hit with this fantastical comedy starring Owen Wilson. Woody would win the Oscar for Original Screenplay and it landed three additional nominations including Picture and Director.
The Tree of Life
Domestic Gross: $13 million
Terrence Malick’s epic philosophical drama won the Palme d’Or at the Cannes Film Festival and was nominated for Best Picture, Director, and Cinematography at the Academy Awards. Not your typical summer fare, but it certainly had reviews on its side.
And now for some titles that didn’t meet expectations commercially, critically, or both:
Green Lantern
Domestic Gross: $116 million
Five years before he entered the comic book flick pantheon with Deadpool, Ryan Reynolds didn’t have as much luck with this critically drubbed flop. Even the star himself has taken to calling it a waste of time for viewers.
Cowboys & Aliens
Domestic Gross: $100 million
Coming off the huge Iron Man pics, Jon Favreau cast James Bond (Daniel Craig) and Indiana Jones (Harrison Ford) in this space western that didn’t impress crowds or critics and earned considerably less than its budget domestically.
Mr. Popper’s Penguins
Domestic Gross: $68 million
Audiences were mostly cool to Jim Carrey’s treatment of the popular late 30s children’s book though it did manage to top its $55 million budget. It probably would have made far more during the star’s box office heyday.
Spy Kids 4-D: All the Time in the World
Domestic Gross: $38 million
A decade after Robert Rodriguez kicked the kiddie franchise off to great results, part 4 marked a low mark for the series.
Larry Crowne
Domestic Gross: $35 million
The star power of Tom Hanks (who also directed) and Julia Roberts couldn’t elevate this rom com from a subpar showing (critics weren’t kind either). This is largely a forgotten entity on both actor’s filmographies.
Conan the Barbarian
Domestic Gross: $21 million
Before becoming known to the masses as Aquaman, Jason Momoa couldn’t fill the shoes of Arnold Schwarzenegger in this bomb that couldn’t swim close to its $90 million budget.
And that does it, folks! I’ll have recaps of the summers of 1992, 2002, and 2012 up for your enjoyment next season!
As SNL just wrapped its 46th season last night, today seemed like a good opportunity to showcase an alumni deserving of awards consideration from a decade ago. In the summer of 2011, Paul Feig’s Bridesmaids became the comedy smash of the season. It was noticed by the Academy. Melissa McCarthy landed a nod in Supporting Actress while Kristin Wiig and Annie Mumolo were nominated for their Original Screenplay.
I would contend that Wiig should have been a double nominee in lead actress, especially considering that 2011 was a rather weak year in that race. Meryl Streep took the gold for The Iron Lady in what’s widely thought of as one of her least impressive victories. She triumphed over Glenn Close (Albert Nobbs), Viola Davis (The Help), Rooney Mara (The Girl with the Dragon Tattoo), and Michelle Williams (My Week with Marilyn).
Bridesmaids is perhaps the most impressive SNL cast member starring debut in history (an argument could also be made for Eddie Murphy in 48 Hrs.). Wiig’s drunken scene on an airplane headed to Vegas alone is worthy of awards attention and her work would have marked a fine occasion for the Academy to throw a rare bone to the comedic genre.
**Blogger’s Update (04/04): Viola Davis has won the SAG Award for Best Actress. Her victory there makes an Oscar win certainly more feasible than when I wrote the post below.
Viola Davis’s performance in Ma Rainey’s Black Bottom is first up in my Case Of posts for the five hopefuls for Best Actress:
The Case for Viola Davis:
She could make history and already has. By nabbing her fourth nod for the Netflix drama, Davis has become the most nominated African-American woman ever. She is 1 for 3 having won four years ago in Supporting Actress for Fences (her other two mentions were in supporting in 2008 with Doubt and in lead in 2011 for The Help). If she were to emerge victorious here, Davis would be the first African-American female with two victories.
The Case Against Viola Davis:
Ma Rainey underperformed significantly with voters with misses in Best Picture, Director, and Adapted Screenplay. It could win tech races like Costume Design and Makeup and Hairstyling. The best chance at a major victory, however, lies with costar Chadwick Boseman in Best Actor (who’s performing a sweep thus far with precursors). Davis’s chances have taken a backseat to Carey Mulligan (Promising Young Woman), Frances McDormand (Nomadland), and perhaps even Andra Day (The United States vs. Billie Holiday), who picked up a surprise Golden Globe trophy. There has also been some chatter that her work here should have been for Supporting Actress due to fairly limited screen time.
The Verdict
Ms. Davis was near the top of possibilities to take this award a while back. That has undoubtedly changed and a second Oscar here would be nothing short of a major upset.
My Case Of posts will continue with Riz Ahmed in Sound of Metal…
All My Life... I Wanted To Be A Blogster 