Tag: The Ides of March

97th Academy Awards Predictions: July 4th Edition

Hello America. As we celebrate our birthday today, perhaps the biggest awards news this week came from the Venice Film Festival. It kicks off in late August and the surprise announcement was that Tim Burton’s long in the works sequel Beetlejuice Beetlejuice will open the Italian competition prior to its September 6th domestic theatrical bow.

That caused some prognosticators’ to speculate whether the Warner Bros release will make a play for Oscar inclusion. I wouldn’t go that far. In the past decade and a half, some of the premiere gala pics at Venice have generated BP nods including Black Swan, Gravity, Birdman, and La La Land. There’s been more that haven’t such as The Ides of March, Everest, Downsizing, First Man, and White Noise. That’s why you won’t find Beetlejuice Beetlejuice in my 25 possibilities for BP though I would expect to see its name (twice) in races like Makeup and Hairstyling and Production Design when I expand the category predictions a few weeks from now.

The London Film Festival shared its own scheduling report that Steve McQueen’s WWII drama Blitz will kick off that event in October before its November 1st output on the big screen. It will then hit Apple TV on November 22nd. I am a little befuddled that it is skipping Venice and Toronto, but it still appears to be Apple’s most significant contender. The word is also out that Saoirse Ronan will contend in lead Actress and not supporting for Blitz. That may well put her in competition with herself considering the acclaimed The Outrun (which was first seen at Sundance) and should make its way to theaters later this fall. I’ve had Ronan’s performance in Blitz slotted in supporting, but she makes the move up and replaces her Outrun work in the lead quintet. The buzz also has Harris Dickinson as the main supporting play over costars like Stephen Graham and Leigh Gill. Same with Kathy Burke in Supporting Actress. We’ll see if that holds true when those Londoners get eyeballs on it.

Another note – you may notice that Sing Sing is still #1 in BP while its director Greg Kwedar is on the outside looking in at sixth. That may seem counterintuitive. While it is still rare for a potential BP recipient to not see its maker in the cut for Director, it’s happened twice very recently with 2018’s Green Book and 2021’s CODA. Kwedar’s picture seems like the type of emotional crowdpleaser that could go all the way with voters. However, Kwedar himself may not make the quintet for his behind the camera efforts. I do anticipate him being up for the Adapted Screenplay that he cowrote.

Nickel Boys is the most significant gainer this time around. It moves into the BP ten while Aunjanue Ellis-Taylor vaults to #1 in Supporting Actress. The pic also materializes for the first go-round in Adapted Screenplay.

Speaking of that writing competition, I’ve shifted Emilia Pérez from Original to Adapted though that has not been determined at press time. We also have a new #1 in Adapted with my aforementioned BP leader Sing Sing.

You can read all the movement below and I’ll have another update available in a couple of weeks!

Best Picture

Predicted Nominees:

1. Sing Sing (Previous Ranking: 1) (Even)

2. Blitz (PR: 3) (+1)

3. Dune: Part Two (PR: 2) (-1)

4. Conclave (PR: 4) (E)

5. Anora (PR: 5) (E)

6. Emilia Pérez (PR: 7) (+1)

7. Queer (PR: 6) (-1)

8. The Piano Lesson (PR: 9) (+1)

9. Nickel Boys (PR: 16) (+7)

10. The Seed of the Sacred Fig (PR: 8) (-2)

Other Possibilities:

11. Nightbitch (PR: 11) (E)

12. Joker: Folie à Deux (PR: 12) (E)

13. The End (PR: 10) (-3)

14. The Apprentice (PR: 13) (-1)

15. Gladiator II (PR: 24) (+9)

16. A Real Pain (PR: 14) (-2)

17. The Room Next Door (PR: 18) (+1)

18. Nosferatu (PR: 25) (+7)

19. Maria (PR: 19) (E)

20. All We Imagine as Light (PR: 21) (+1)

21. The Fire Inside (PR: 15) (-6)

22. His Three Daughters (PR: 17) (-5)

23. Dídi (PR: 23) (E)

24. We Live in Time (PR: Not Ranked)

25. Here (PR: 20) (-5)

Dropped Out:

Hit Man

Best Director

Predicted Nominees:

1. Denis Villeneuve, Dune: Part Two (PR: 1) (E)

2. Steve McQueen, Blitz (PR: 2) (E)

3. Edward Berger, Conclave (PR: 3) (E)

4. Jacques Audiard, Emilia Pérez (PR: 6) (+2)

5. Mohammad Rasoulof, The Seed of the Sacred Fig (PR: 5) (E)

Other Possibilities:

6. Greg Kwedar, Sing Sing (PR: 7) (+1)

7. Sean Baker, Anora (PR: 4) (-3)

8. Luca Guadagnino, Queer (PR: 8) (E)

9. RaMell Ross, Nickel Boys (PR: Not Ranked)

10. Marielle Heller, Nightbitch (PR: 10) (E)

11. Malcolm Washington, The Piano Lesson (PR: 12) (+1)

12. Ridley Scott, Gladiator II (PR: 15) (+3)

13. Payal Kapadia, All We Imagine as Light (PR: 13) (E)

14. Joshua Oppenheimer, The End (PR: 9) (-5)

15. Todd Phillips, Joker: Folie à Deux (PR: 11) (-4)

Dropped Out:

Pedro Almodóvar, The Room Next Door

Best Actress

Predicted Nominees:

1. Amy Adams, Nightbitch (PR: 1) (E)

2. Angelina Jolie, Maria (PR: 2) (E)

3. Mikey Madison, Anora (PR: 3) (E)

4. Karla Sofia Gascón, Emilia Pérez (PR: 4) (E)

5. Saoirse Ronan, Blitz (PR: Not Ranked) – moved from Supporting

Other Possibilities:

6. Lady Gaga, Joker: Folie à Deux (PR: 6) (E)

7. Tilda Swinton, The Room Next Door (PR: 8) (+1)

8. Natasha Lyonne, His Three Daughters (PR: 7) (-1)

9. Marianne Jean-Baptiste, Hard Truths (PR: 11) (+2)

10. Saoirse Ronan, The Outrun (PR: 5) (-5)

11. Ryan Destiny, The Fire Inside (PR: 9) (-2)

12. Jessica Lange, Long Day’s Journey Into Night (PR: 12) (E)

13. Lily Gladstone, Fancy Dance (PR: Not Ranked)

14. Zendaya, Challengers (PR: 14) (E)

15. Noémie Merlant, Emmanuelle (PR: Not Ranked)

Dropped Out:

Tilda Swinton, The End

Tessa Thompson, Hedda

Florence Pugh, We Live in Time

Best Actor

Predicted Nominees:

1. Colman Domingo, Sing Sing (PR: 1) (E)

2. Ralph Fiennes, Conclave (PR: 2) (E)

3. Daniel Craig, Queer (PR: 3) (E)

4. André Holland, The Actor (PR: 4) (E)

5. Sebastian Stan, The Apprentice (PR: 5) (E)

Other Possibilities:

6. Joaquin Phoenix, Joker: Folie á Deux (PR: 6) (E)

7. John David Washington, The Piano Lesson (PR: 7) (E)

8. Sebastian Stan, A Different Man (PR: 11) (+3)

9. Paul Bettany, The Collaboration (PR: 9) (E)

10. Glen Powell, Hit Man (PR: 10) (E)

11. Jesse Plemons, Kinds of Kindness (PR: 8) (-3)

12. Ethan Herisse, Nickel Boys (PR: Not Ranked)

13. Paul Mescal, Gladiator II (PR: 14) (+1)

14. Tom Hanks, Here (PR: 12) (-2)

15. Andrew Garfield, We Live in Time (PR: 13) (-2)

Dropped Out:

Jesse Eisenberg, A Real Pain

Best Supporting Actress

Predicted Nominees:

1. Aunjanue Ellis-Taylor, Nickel Boys (PR: 4) (+3)

2. Zoe Saldaña, Emilia Pérez (PR: 2) (E)

3. Danielle Deadwyler, The Piano Lesson (PR: 3) (E)

4. Isabella Rossellini, Conclave (PR: 1) (-3)

5. Carrie Coon, His Three Daughters (PR: 6) (+1)

Other Possibilities:

6. Kathy Burke, Blitz (PR: Not Ranked)

7. Julianne Moore, The Room Next Door (PR: 9) (+2)

8. Joan Chen, Dídi (PR: 10) (+2)

9. Toni Collette, Juror No. 2 (PR: 14) (+5)

10. Erin Kellyman, Blitz (PR: 13) (+3)

11. Selena Gomez, Emilia Pérez (PR: 12) (+1)

12. Lesley Manville, Queer (PR: 7) (-5)

13. Elizabeth Olsen, His Three Daughters (PR: 11) (-2)

14. Valeria Golino, Maria (PR: 8) (-6)

15. Emily Watson, Small Things like These (PR: Not Ranked)

Dropped Out:

Saoirse Ronan, Blitz – moved to lead Actress

Catherine Keener, Joker: Folie à Deux

Best Supporting Actor

Predicted Nominees:

1. Clarence Maclin, Sing Sing (PR: 1) (E)

2. Samuel L. Jackson, The Piano Lesson (PR: 2) (E)

3. Kieran Culkin, A Real Pain (PR: 4) (+1)

4. Stanley Tucci, Conclave (PR: 3) (-1)

5. Harris Dickinson, Blitz (PR: 12) (+7)

Other Possibilities:

6. Jeremy Strong, The Apprentice (PR: 6) (E)

7. Drew Starkey, Queer (PR: 8) (+1)

8. Denzel Washington, Gladiator II (PR: 11) (+3)

9. Adam Pearson, A Different Man (PR: 9) (E)

10. Brian Tyree Henry, The Fire Inside (PR: 5) (-5)

11. John Lithgow, Conclave (PR: 7) (-4)

12. Stephen Graham, Blitz (PR: 14) (+2)

13. Scoot McNairy, Nightbitch (PR: 13) (-1)

14. Elliot Heffernan, Blitz (PR: Not Ranked)

15. Mark Eidelstein, Anora (PR: Not Ranked)

Dropped Out:

Michael Shannon, The End

Barry Keoghan, Bird

Best Original Screenplay

Predicted Nominees:

1. Anora (PR: 1) (E)

2. Blitz (PR: 2) (E)

3. A Real Pain (PR: 5) (+2)

4. The Seed of the Sacred Fig (PR: 4) (E)

5. His Three Daughters (PR: 7) (+2)

Other Possibilities:

6. Hard Truths (PR: 9) (+3)

7. The Room Next Door (PR: 8) (+1)

8. The End (PR: 3) (-5)

9. The Apprentice (PR: 11) (+2)

10. Dídi (PR: 12) (+2)

11. Kinds of Kindness (PR: 10) (-1)

12. Juror No. 2 (PR: Not Ranked)

13. All We Imagine as Light (PR: 15) (+2)

14. Maria (PR: 13) (-1)

15. Challengers (PR: 14) (-1)

Dropped Out:

Emilia Pérez – moved to Adapted Screenplay

Best Adapted Screenplay

Predicted Nominees:

1. Sing Sing (PR: 2) (+1)

2. Conclave (PR: 1) (-1)

3. The Piano Lesson (PR: 4) (+1)

4. Nickel Boys (PR: 7) (+3)

5. Nightbitch (PR: 5) (E)

Other Possibilities:

6. Queer (PR: 3) (-3)

7. Emilia Pérez (PR: Not Ranked) – moved from Original Screenplay

8. Dune: Part Two (PR: 6) (-2)

9. Hit Man (PR: 8) (-1)

10. Joker: Folie à Deux (PR: 9) (-1)

11. Inside Out 2 (PR: 13) (+2)

12. Gladiator II (PR: 14) (+2)

13. The Collaboration (PR: 11) (-2)

14. The Fire Inside (PR: 10) (-4)

15. Here (PR: 12) (-3)

Dropped Out:

The Actor

Oscar Predictions: The Boys in the Boat

George Clooney’s sophomore directorial effort Good Night, and Good Luck garnered six Oscar nominations 18 years ago including Best Picture. It’s been slim pickings awards wise for the six features that he’s followed up with. 2011’s The Ides of March nabbed an Adapted Screenplay nod while 2020’s The Midnight Sky competed for Visual Effects.

The filmmaker’s latest is the true life Olympic sports drama The Boys in the Boat and it debuts Christmas Day. The cast includes Callum Turner, Joel Edgerton, Jack Mulhern, Peter Guinness, Hadley Robinson, and James Wolk.

With its review embargo lapsed, the RT score is a discouraging 47%. The Amazon MGM production did surprisingly manage to make the reported final 20 contenders in Visual Effects. When the shortlist of ten comes out later this week, I would be surprised if it advances to the next cut. I also don’t see much hope for the score from Alexandre Desplat, despite his previous eleven nominations and two victories.

The Boys in the Boat would need lots of good luck to be a factor in any race. Don’t count on it happening. My Oscar Prediction posts will continue…

The Lone Screenplay Nominee: An Oscar Prediction Analysis

We are getting the nitty gritty on nailing down Oscar predictions on this blog and it’s time to consider a prevailing trend in the 21st century when it comes to the Adapted and Original Screenplay contests. That would be The Lone Screenplay Nominee.

What’s that you ask? For the last 20 award ceremonies, at least one movie has been nominated in its screenplay race and in no other additional category. That’s a rather startling statistic, but it’s true. You have to go all the way to 2000 to find a year in which the ten nominated films in those two derbies didn’t get a nod elsewhere.

Here’s the list from 2001-2020 of pictures that got The Lone Screenplay nomination (abbreviation are AS for Adapted and OS for Original):

2001 – Ghost World (AS), The Royal Tenenbaums (OS)

2002 – About a Boy (AS), My Big Fat Greek Wedding, Y Tu Mama Tambien (OS)

2003 – American Splendor (AS), Dirty Pretty Things (OS)

2004 – Before Sunset (AS)

2005 – Match Point, The Squid and the Whale (OS)

2006 – Borat (AS)

2007 – Lars and the Real Girl (OS)

2008 – Happy-Go-Lucky, In Bruges (OS)

2009 – In the Loop (AS)

2010 – Another Year (OS)

2011 – The Ides of March (AS), Margin Call (OS)

2012 – Moonrise Kingdom (OS)

2013 – Before Midnight (AS)

2014 – Nightcrawler (OS)

2015 – Straight Outta Compton (OS)

2016 – 20th Century Women, The Lobster (OS)

2017 – The Disaster Artist, Logan, Molly’s Game (AS), The Big Sick (OS)

2018 – First Reformed (OS)

2019 – Knives Out (OS)

2020 – The White Tiger (AS)

Clearly the writing branch of the Academy enjoy singling out a pic or two that doesn’t get any love elsewhere. And it’s a tradition that I haven’t really factored into my predictions for 2021’s hopefuls. That changes today.

My latest round of predictions from last week were the following for Adapted Screenplay and Original Screenplay:

Adapted – CODA, Dune, The Lost Daughter, The Power of the Dog, West Side Story

Original – Being the Ricardos, Belfast, Don’t Look Up, King Richard, Licorice Pizza

Here’s the problem – all ten of those pictures are highly likely to find nominations elsewhere.

So… what’s vulnerable and what are the movies that could fit the Lone Screenplay Nominee mold when the announcement is made on February 8?

Glad you asked. In Adapted, Dune could absolutely miss. The voters in the screenplay race could decide that it’ll get plenty of tech nods (it will) as well as Picture and Director mentions (highly probable). Its screenplay nod could  wait until its sequel.

So what are the contenders in Adapted that may not get nods elsewhere? There’s The Last Duel, which could get points for its unique script that tells its medieval tale from three differing perspectives. It appears to have little chance at Picture or even Jodie Comer’s acclaimed performance in lead actress.

There’s also Passing, but that’s assuming Ruth Negga misses out in Supporting Actress (and I’ve got her in). Other possibilities are Nightmare Alley (though it should at least be recognized for Production Design) and Tick, Tick… Boom! (which could be in line for Picture but especially for Andrew Garfield in lead actor). The Lost Daughter could be the one. However, I have a hard time seeing Olivia Colman not getting in for Best Actress.

Moving to Original Screenplay, my five current nominees all seem destined to achieve mentions elsewhere. I look at King Richard and Being the Ricardos as potentially being two that could miss the screenplay cut.

There are three pictures with original scripts that could fill the slots and be The Lone Nominee and they are:

    • C’Mon C’Mon. And there’s history here. Mike Mills was the writer/director for the aforementioned 20th Century Women from 2016. With Joaquin Phoenix as a long shot for Best Actor inclusion, this is the type of nominee that the writers might celebrate.
    • Mass. It looked like a potential BP nominee for some time but it has fallen (it’s not even in my top 15). Ann Dowd could score a Supporting Actress nomination, but I currently have her ranked 7th. It’s a pic that’s all dialogue between four actors and that could strike the voters fancies.
    • Parallel Mothers. The Pedro Almodovar pic was not Spain’s selection for International Feature Film and is therefore not eligible. Penelope Cruz is a possibility for Actress, but I have her outside the top five.

When I update my estimates for all categories this weekend, expect to see one of these titles (either in Adapted or Original or maybe both) selected. History says it’s the right call. Stay tuned!

Oscar Watch: Suburbicon

George Clooney’s directorial career has one Oscar bright spot in the form of 2005’s Good Night, and Good Luck which received six nominations, including Picture and Director. His other work behind the camera (2002’s Confessions of a Dangerous Mind, 2008’s Leatherheads, 2011’s The Ides of March, 2014’s The Monuments Men) haven’t fared as well on the awards circuit. With its Venice Film Festival, Clooney’s latest Suburbicon is looking like it will belong in the latter category.

The 1950s set crime comedy was penned by acclaimed directors Joel and Ethan Coen and early critical reaction indicates it has the feel of one of their efforts. However, reviews thus far are mixed with a current 60% Rotten Tomatoes score. Matt Damon, Julianne Moore, and Oscar Isaac are among the cast. Mr. Damon could have more of a good night and good luck come Oscar time with Downsizing, but I don’t look for Suburbicon to receive much attention come nominations time (perhaps some Golden Globe in the Comedy categories could surface).

My Oscar Watch posts will continue…

Money Monster Movie Review

A few years back, George Clooney revealed a list of his top 100 films released between 1964 and 1976. It’s an era he considers the best in the history of the medium and that’s certainly a valid hypothesis. In his impressive career, Clooney has appeared in movies that could have come out in that time frame. Good Night, and Good Luck and The Ides of March deal with themes of corporate corruption and dirty politics in ways that entries on his list did more often forty to fifty years ago. Titles like 1976’s Network and George’s all-time #1 All the President’s Men. Both of those features also deal with the positive and negative aspects of journalism and so does Money Monster. In 1976, 24 hour cable news didn’t exist yet. There were no programs like the one in the title where over-the-top host Lee Gates (Clooney) tells viewers how to invest their cash. Think Jim Cramer… except he looks like George Clooney.

Lee is set to tape his Friday show with his trusty director Patty (Julia Roberts) in his ear. Shortly after the cameras roll, Kyle (Jack O’Connell) crashes the set with a gun and explosive laden vest for Lee to don. His beef? He lost his life savings in a company that his now bomb strapped captive heartily endorsed. As millions of ciewees watch the situation live on TV, Monster becomes a rumination on the themes mentioned earlier.

That list Clooney made also correctly included 1975’s Dog Day Afternoon. Like that excellent effort, this is a real-time New York City hostage drama with humor frequently injected. Al Pacino gave one of his richest performances of his filmography in Afternoon and his riveting character made the tension substantial in it. That’s a problem here as the character of Kyle is neither fleshed out enough or believable enough to create any significant suspense. It’s not O’Connell’s fault really. He’s just written that way. And therein lies the film’s biggest drawback.

Often, Monster manages to coast on the considerable charms of its two leads and their nice rapport. We’ve seen plenty of pictures with this one’s “Wall Street is bad” theme but few with the star wattage. The quick running time (99 minutes) is a plus. This is never boring, though it’s credibility does dip in the third act.

The director, by the way, is an actress you may have heard of named Jodie Foster. She appeared in 1974’s Alice Doesn’t Live Here Anymore and 1976’s Taxi Driver. They both also made that Clooney list. Money Monster probably won’t be listed on anyone’s all-time top 100 of anything. You may not regret investing a short amount of time in it, but there’s lists of similarly themed fare that’s far superior. Even this movie’s star did one.

**1/2 (out of four)