Jim Jarmusch’s Father Mother Sister Brother is your surprise Venice Golden Lion winner (top prize) for 2025. The dramedy anthology from the veteran indie filmmaker boasts a cast featuring Cate Blanchett, Adam Driver, Tom Waits, Vicky Krieps, Mayim Bialik, Charlotte Rampling, Indya Moore, Luka Sabbat, and Sarah Greene.
The three act pic is being distributed by Mubi with a stateside release on Christmas Eve. While Italian reaction was positive, it would seem the jury’s verdict was even more effusive. Rotten Tomatoes is at 100% with 79 on Metacritic.
Five of the last 10 Lion recipients have gone onto a Best Picture nomination from the Academy – The Shape of Water (which won), Roma, Joker, Nomadland (which also won), and Poor Things. Jarmusch has never been a fixture with Oscar voters. Despite the Venice boost, I doubt that will change with Original Screenplay perhaps being the only realistic possibility. My Oscar Prediction posts will continue…
Guillermo del Toro’s previous three directorial efforts have either won Best Picture (2017’s The Shape of Water), been nominated for BP (2021’s Nightmare Alley), or won Best Animated Feature (Pinocchio). So it’s no surprise that his passion project – the filmmaker’s version of Frankenstein – is seen as a hopeful in numerous categories at the 98th Academy Awards. The two and a half hour gothic rendering of Mary Shelley’s novel has screened at Venice (with Toronto up next). It hits theaters October 17th in limited fashion before a Netflix streaming start on November 7th. Oscar Isaac is Dr. Frankenstein with Jacob Elordi as the Creature. Costars include Mia Goth, Christoph Waltz, Felix Kammerer, Lars Mikkelsen, David Bradley, Charles Dance, and Christian Convery.
Reaction from Italy could be described as respectful for what del Toro has accomplished without being overzealous in the praise. Rotten Tomatoes is at 77% with Metacritic at 73. That’s in the neighborhood of where Nightmare Alley was and Netflix could pull off a BP nod if their campaign is well executed. Of the cast, only Elordi (in supporting) seems like a potential threat for inclusion. I wouldn’t count on del Toro’s direction or adapted screenplay being honored.
Where Frankenstein is expected to pop up is tech derbies like Cinematography, Costume Design, Makeup and Hairstyling (a shoo-in), Production Design (same), Sound, Visual Effects, and Alexandre Desplat’s score. This may not nab the monster haul of all those categories, but it should definitely be noticed in some. My Oscar Prediction posts will continue…
The National Board of Review often marches to the beat of its own awards drum when it comes to selecting their annual pictures and performers. In 2014, only four of their eleven top movies ended up generating an Academy nomination for Best Picture. In the past decade, there’s been one other year with just four and three years where it was five and two where it was six. There’s three other years where it’s seven and that’s as high as it gets. In most years, NBR names a Best Film with ten other favorite movies listed alphabetically. During that time period, here’s just a sampling of NBR top films that probably never came close to an Oscar BP nod: Fury, The LEGO Movie, Hail, Caesar!, Patriots Day, Baby Driver, Downsizing, Waves, The Forty-Year-Old Version, Red Rocket, and Ferrari.
I give all that context because there were some unexpected selections in their list today… but not really given their history. Jon M. Chu’s Wicked is Best Film. That one is anticipated to generate an Academy BP slot. This particular group often goes with blockbuster material like Wicked for their winner. Recent examples include Mad Max: Fury Road in 2015 (guess we should’ve seen that Furiosa nod coming) and Top Gun: Maverick in 2022.
Some others… not so much. The other ten are as follows: Anora, Babygirl, A Complete Unknown, Conclave, Furiosa: A Mad Max Saga, Gladiator II, Juror #2, Queer, A Real Pain, and Sing Sing. Only half of those features (Wicked, Anora, Conclave, A Real Pain, Sing Sing) are currently in my Oscar BP ten. Babygirl, Furiosa, Juror #2, and Queer likely stand little chance at the big dance while A Complete Unknown and Gladiator II have better shots.
There are some notable omissions from the list like The Brutalist, Emilia Pérez, and Dune: Part Two. That said, recent BP victors The Shape of Water, Parasite, and CODA were nowhere to be found with NBR.
The Wicked love continued in Director with Jon M. Chu being named. You have to go all the way to Martin Scorsese and 2006’s The Departed for the last NBR/Oscar match.
Nicole Kidman is your Best Actress for Babygirl and Daniel Craig is Best Actor for Queer. Both are considered bubble candidates for Oscar (I currently have Craig in and Kidman out). I will note that 8 of the last 10 NBR Actress winners have achieved an Academy spot. In Actor, it’s also 8.
Kieran Culkin racked up another Supporting Actor prize (right after the New York Film Critics Circle) for A Real Pain and Elle Fanning is Supporting Actress (a bit of an out of nowhere pick) for A Complete Unknown. The previous 10 Supporting Actor victors for NBR received Oscar attention as Culkin is expected to. For Supporting Actress, it’s 8.
In other NBR news for categories that correlate to the Academy Awards, Hard Truths and Sing Sing are your respective Original and Adapted Screenplay recipients. Flow snatched another Animated Feature trophy while The Seed of the Sacred Fig is their #1 International Feature. The Documentary prize went to Sugarcane with Nosferatu triumphant in Cinematography.
Keep an eye on this blog for all precursor Oscar chatter!
The 2024 Venice Film Festival has wrapped production with a bit of a surprise ending. Pedro Almodóvar’s English language debut The Room Next Door has taken the Golden Lion (equivalent to Best Picture) in Italy. The relationship drama starring Julianne Moore and Tilda Swinton has received positive reviews (95% RT), but the general consensus is they might not have been strong enough for this particular prize.
What does that mean for its Oscar chances? Well, it certainly helps exposure prior to its December 20th limited stateside start and nationwide expansion in January. Five of the past seven Golden Lion recipients have ended up nabbing BP nods – The Shape of Water (winner), Roma, Joker, Nomadland (winner), and Poor Things.
Venice spreads the wealth when it comes to the victors. The Silver Lion designation (equivalent to Best Director) was bestowed to Brady Corbet for The Brutalist. The Holocaust survivor epic was the breakout of the fest with its awards possibilities going through the roof. It could become a major player at the 97th Academy Awards and Corbet’s inclusion here proves it. On the other hand, this was probably the betting odds favorite for the Lion and didn’t get there.
The Volpi Cups go to Actor and Actress. The former went to Vincent Lindon for The Quiet Son. It’s doubtful that he’ll be a factor in the Academy’s race. In the past decade, two Volpi Actor winners have garnered Oscar nods (Willem Dafoe for At Eternity’s Gate and Colin Farrell in The Banshees of Inisherin).
In Best Actress, the story could be different with Nicole Kidman being named for Babygirl. Seeking her sixth Academy nom, she was unable to accept the Venice award due to her mother’s passing. At the Oscars, Best Actress is starting to look crowded. Yet A24 is likely to mount a spirited campaign for the performer. Half of the previous the Actress honorees have made the Academy’s cut: winners Emma Stone (La La Land) and Olivia Colman (The Favourite) in addition to Vanessa Kirby (Pieces of a Woman), Penélope Cruz (Parallel Mothers), and Cate Blanchett (Tár).
Keep checking the blog for rolling awards coverage!
As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
It begins with the ten BP contenders and then alternates alphabetically between the hopefuls in the other five big races. I’ve already covered six of the BP nominees. They are linked at the bottom of the post. Next up is Christopher Nolan’s Oppenheimer.
The Case for Oppenheimer:
Since it debuted last summer, the biopic of the “father of the atomic bomb” stood out as a massive awards player. It has a director who’s considered overdue for Oscar recognition. There’s widespread critical acclaim. And it’s an opportunity for the Academy to recognize a pic that general audiences flocked to (nearly a billion worldwide). The 13 nominations are the most of any film and it has already taken top honors at the Golden Globes and Critics Choice. The other nods are for Nolan in Director, Actor (Cillian Murphy), Supporting Actress (Emily Blunt), Supporting Actor (Robert Downey Jr.), Adapted Screenplay, Cinematography, Costume Design, Film Editing, Makeup and Hairstyling, Original Score, Production Design, and Sound. I would contend it has a real shot at picking up gold for at least 8 of them, in addition to BP.
The Case Against Oppenheimer:
There’s no doubt that it’s the frontrunner. And sometimes being the frontrunner causes a backlash that begets an upset. Usually the movie with the most nods doesn’t take BP (it’s only happened 3 out of the last 10 years with Birdman, The Shape of Water, and Everything Everywhere All at Once).
The Verdict:
Yes, there’s always the chance for a shocker. The Holdovers looms as a spoiler and perhaps the huge press generated by the Barbie snubs could propel it to a BP victory. Poor Things has its ardent supporters. That said, Oppenheimer is the far and away favorite for this and other prizes on March 10th.
The 80th Venice Film Festival has signed off and the Grand Jury’s verdict has honored what’s expected to be a major awards player. From 2017-2020, the four films that took the Golden Lion (the fest’s top prize) went onto receive Best Picture nominations at the Oscars: The Shape of Water (which won), Roma, Joker, and Nomadland (another victor). 2021 French pic Happening and 2022’s documentary All the Beauty and the Bloodshed bucked the trend.
Yet I would suspect the correlation between Lion and BP nominee returns in 2023 as Yorgos Lanthimos’s Poor Things is the Lion recipient. Based on reaction from Italy, Things established itself as a major contender across many categories and this assists in cementing that. Expect to read lots about this movie in my prediction posts in the weeks and months ahead.
Venice likes to spread the wealth around. Poor Things didn’t take the directing or screenplay categories or name Emma Stone as Best Actress. Instead that statue went to Cailee Spaeny as Elvis’s young bride Priscilla in Sofia Coppola’s biopic. This does nothing but help Spaeney’s chances in what appears to be an already crowded Actress derby.
Peter Sarsgard is your Best Actor for Michael Franco’s Memory (he and Jessica Chastain are drawing raves for their work). Its distributor would need to mount a shrewd campaign for Academy voters to take notice.
The fest’s runner-up trophy (the Grand Jury Prize) went to Ryusuke Hamaguchi’s Evil Does Not Exist. Japan recently opted to select Perfect Days from Wim Wenders as their International Feature Film hopeful. Best Screenplay went to El Conde from Pablo Larrain, which will likely be Chile’s best best for IFF inclusion.
Poor Things was the odds on favorite for the Lion as Venice rolled along. Look for it to roar as the season continues.
Everything Everywhere All at Once is fifth on the docket in my Case Of posts for the 10 Best Picture nominees. Let’s plead the case for and against it!
The Case for Everything Everywhere All at Once:
The sophomore feature from Dan Kwan and Daniel Scheinert (known collectively as the Daniels) debuted at South by Southwest on March 11th and will have been a legit contender for over a year when the Oscars air March 12th. A critical darling with a 95% Rotten Tomatoes rating, it has been nominated in every major precursor. This includes 10 BAFTA nominations, 14 Critics Choice mentions with 5 wins (including Picture, Director and Screenplay), 6 Golden Globe nods with two wins for Michelle Yeoh and Ke Huy Quan, and 5 pending SAG noms. While some have griped that recent BP recipients didn’t break through with mass audiences, Everything was a box office success with $71 million domestically. Its 11 Academy nods are the most of any picture and that includes four for its ensemble (Yeoh, Quan, Jamie Lee Curtis, Stephanie Hsu).
The Case Against Everything Everywhere All at Once:
In the last 10 ceremonies, only two films that led or tied in total nominations (Birdman and The Shape of Water) ended up winning BP. One could argue Everything is the frontrunner. In recent years, ask how that worked out for La La Land, Roma, and 1917. The Academy could follow the Globes suit and skew toward The Banshees of Inisherin. There are some prognosticators who feel it’s too strange for the Academy.
Other Nominations:
Director (the Daniels), Actress (Michelle Yeoh), Supporting Actress (Jamie Lee Curtis), Supporting Actress (Stephanie Hsu), Supporting Actor (Ke Huy Quan), Original Screenplay, Costume Design, Film Editing, Original Score, Original Song
The Verdict:
I’ve never bought the “too weird for the Academy” or not traditional enough argument. You could say the same for Birdman or The Shape of Water and Everything is looking to model them on the road to victory. It is risky to be out front, but I do feel this is the odds on favorite. A SAG Ensemble loss on February 26th (especially if it’s to Banshees or The Fabelmans) could cause more intrigue. If it wins, look for this to enter March 12th as even more of a probable BP.
My Case Of posts will continue with The Fabelmans!
If you missed my other posts in this series, you can find them here:
Another significant piece of the Oscar prognosticating puzzle is put together on Wednesday when nominations for the 29th Screen Actors Guild (SAG) Awards are dropped. The ceremony’s main prize, it’s important to note, is not Best Picture but Best Ensemble. That means a correlation from the Oscar BP and the top race here is not apples to apples. It is worth noting that half of the last 10 SAG Ensemble victors (Argo, Birdman, Spotlight, Parasite, CODA) did go on to win BP from the Academy. On the other hand, three recent BPs (The Shape of Water, Green Book, Nomadland) didn’t make the SAG quintet at all.
Let’s go through all six categories one by one with my picks and a runner-up call, shall we?
Outstanding Performance by a Cast in a Motion Picture
There are plenty of possibilities including box office hits like Black Panther: Wakanda Forever, Elvis, and Top Gun: Maverick. For Panther, the original won Ensemble in 2018 so the sequel materializing is feasible. I wouldn’t discount the sprawling cast of Babylon though middling reviews could hurt it. It’s tempting to pick Glass Onion but I’m hesitant since Knives Out was snubbed in 2019.
Everything Everywhere All at Once and The Fabelmans seem safe. Despite the small call sheet for The Banshees of Inisherin (with just four significant roles), I could see the SAG branch honoring it. I’m also liking The Woman King‘s chances. Women Talking is perhaps the biggest question mark. It has underperformed with precursors. A couple of months ago, I’d have considered it a potential frontrunner to win. Now I wonder if it makes it at all. Nevertheless – here’s my take:
Predicted Nominees:
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
The Woman King
Women Talking
Runner-Up: Glass Onion: A Knives Out Mystery
Outstanding Performance by a Female Actor in a Leading Role
In the previous decade, SAG in Actress has matched the Academy 4/5 on six occasions and 3/5 on four. There are no perfect correlations. SAG has shown they will throw in a shocker – Jennifer Aniston in Cake, Sarah Silverman for I Smile Back or Emily Blunt in The Girl on the Train are recent examples. If there’s one here, look out for Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody).
Margot Robbie (Babylon) is currently the one I’ve got in the Academy five (for the moment) that I don’t have here. Ana de Armas (Blonde) is a real threat. If she makes this quintet, look for her Oscar stock to soar. With those possibilities mentioned, my choices are…
Predicted Nominees:
Cate Blanchett, Tár
Viola Davis, The Woman King
Danielle Deadwyler, Till
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once
Runner-Up: Ana de Armas, Blonde
Outstanding Performance by a Male Actor in a Leading Role
Austin Butler (Elvis), Colin Farrell (The Banshees of Inisherin), and Brendan Fraser (The Whale) should all be safe. Bill Nighy (Living) is fourth though I suspect there’s a better chance at SAG leaving him off than the Academy. Then there’s that five spot. It could be Tom Cruise (Top Gun: Maverick), Tom Hanks (A Man Called Otto), Hugh Jackman (The Son), or Paul Mescal (Aftersun). Take your pick. I’m leaning toward the star of the year’s biggest hit. On a side note, there’s been a SAG/Oscar match of 5/5 for the previous two cycles.
Predicted Nominees:
Austin Butler, Elvis
Tom Cruise, Top Gun: Maverick
Colin Farrell, The Banshees of Inisherin
Brendan Fraser, The Whale
Bill Nighy, Living
Runner-Up: Paul Mescal, Aftersun
Outstanding Performance by a Female Actor in a Supporting Role
Last year was an anomaly when just 2 of the SAG nominees (Ariana DeBose for West Side Story and The Power of the Dog‘s Kirsten Dunst) scored Oscar nods. The magic number is usually 3 or 4. The wide open nature of this race has been discussed a lot on the blog. Beyond my picks and runner-up, don’t discount Dolly De Leon (Triangle of Sadness), Claire Foy (Women Talking), Stephanie Hsu (Everything Everywhere All at Once), Janelle Monae (Glass Onion: A Knives Out Mystery), and Carey Mulligan (She Said).
Predicted Nominees:
Angela Bassett, Black Panther: Wakanda Forever
Jessie Buckley, Women Talking
Hong Chau, The Whale
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Runner-Up: Stephanie Hsu, Everything Everywhere All at Once
Outstanding Performance by a Male Actor in a Supporting Role
Like Supporting Actress last year, there was only a 2 for 5 match with Troy Kotsur in CODA and Kodi Smit-McPhee in The Power of the Dog. Usually it’s 4. For 2022, I believe only Ke Huy Quan and Brendan Gleeson are safe assumptions. The remaining three slots should be some combo of Paul Dano (The Fabelmans), Tom Hanks (Elvis), Brian Tyree Henry (Causeway), Judd Hirsch (The Fabelmans), Brian Tyree Henry (Causeway), Brad Pitt (Babylon), and Eddie Redmayne (The Good Nurse) sorting it out.
Predicted Nominees:
Paul Dano, The Fabelmans
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Ke Huy Quan, Everything Everywhere All at Once
Eddie Redmayne, The Good Nurse
Runner-Up: Brian Tyree Henry, Causeway
Outstanding Performance by a Stunt Ensemble
Don’t discount The Batman or Doctor Strange in the Multiverse of Madness, but my quintet is as follows…
Predicted Nominees:
The Batman
Black Panther: Wakanda Forever
Everything Everywhere All at Once
Top Gun: Maverick
The Woman King
Runner-Up: RRR
That equates to these movies generating these numbers:
5 Nominations
The Banshees of Inisherin, Everything Everywhere All at Once
3 Nominations
The Fabelmans, The Woman King
2 Nominations
Black Panther: Wakanda Forever, Top Gun: Maverick, The Whale, Women Talking
1 Nomination
The Batman, Elvis, The Good Nurse, Living, Tár, Till
On Wednesday evening you can expect a recap of what happens after noms are revealed!
We have reached 2017 in my posts speculating on a specific piece of Oscar history. As awards followers are aware, 2009 saw the Academy expand the Best Picture category from five movies to ten. That lasted for two years and in 2011, it switched to anywhere from 5-10 with 8 or 9 as the magic numbers for several years. In 2021, the number reverted back to a set ten.
What if that hadn’t happened? What if the BP derby had stayed at a quintet? What pictures would have made the cut? If you missed my write-ups centered on 2009-16, they are linked at the bottom of the post.
There were nine nominees for 2017’s competition. If there were 5, we know Guillermo del Toro’s The Shape of Water would have made the quintet. It won BP along with Director, Original Score, and Production Design and received 13 nods total (easily the most of all).
Of the 8 remaining movies, here’s my thoughts on which half is in and which half and is out.
Call Me by Your Name
Luca Guadagnino’s coming-of-age romance was a critical darling that won Adapted Screenplay. It was also up for Actor (Timothee Chalamet) and Original Song. The Academy likely almost nominated Armie Hammer for Supporting Actor and are probably glad they snubbed him.
Does It Make the Final Five?
No, but I struggled with this call. An argument could be made with the Adapted Screenplay victory. However, none of the other four nominees in this category were BP nominees (extraordinarily rare). Call could’ve heard its name up, but I have it sixth or seventh.
Darkest Hour
Gary Oldman as Winston Churchill was a recipe for a Best Actor win and it was up for Production Design, Cinematography, Makeup and Hairstyling (another victory), and Costume Design.
Does It Make the Final Five?
No. Despite its admirable turn in the tech derbies, this was all about Oldman. The lack of directing, screenplay, and editing noms leave this out. This is the rare occurrence where I’m saying the Best Actor winner’s movie doesn’t get in the BP race.
Dunkirk
Christopher Nolan’s epic WWII tale earned 8 mentions (2nd behind Shape) and won 3 – both Sound races and Film Editing. Nolan also scored his first and only directing nod.
Does It Make the Final Five?
Yes. I don’t think it’s 100% considering other contenders, but this probably had enough support and was generally considered Nolan’s strongest awards pic in his filmography.
Get Out
Jordan Peele’s heralded horror flick was a box office smash. Its other three nominations were Director, Actor (Daniel Kaluuya), and Original Screenplay where it beat out Shape of Water.
Does It Make the Final Five?
Yes. Like Dunkirk, not a guarantee but that screenplay statue (over the BP recipient and two other contenders) make me think so.
Lady Bird
Greta Gerwig’s coming-of-age dramedy nabbed 5 inclusions with Director, Actress (Saoirse Ronan), Supporting Actress (Laurie Metcalf), and Original Screenplay.
Does It Make the Final Five?
Yes. Broken record… not a slam dunk considering it went 0 for 5. Yet it took the Golden Globe for Musical/Comedy (over Get Out) and was highly acclaimed.
Phantom Thread
Paul Thomas Anderson’s sartorial drama was an overachiever on nomination morning with six including Director, Actor (Daniel Day-Lewis), Supporting Actress (Lesley Manville), Score, and Costume Design (the sole win).
Does It Make the Final Five?
No, but I was tempted. It really did perform better than anticipated. I could also see it just missing considering the competition. It might have been sixth.
The Post
Steven Spielberg’s Watergate era drama received only one other nom for Meryl Streep in Actress.
Does It Make the Final Five?
No and this is by far the easiest projection. Spielberg’s magic probably got it in the mix, but I suspect it was ninth.
Three Billboards Outside Ebbing, Missouri
A player in 7 categories, Martin McDonagh’s pic took home Actress (Frances McDormand) and Supporting Actor (Sam Rockwell). Woody Harrelson was also up for Supporting Actor in addition to Original Screenplay, Score, and Film Editing.
Does It Make the Final Five?
Yes, even with McDonagh missing Director. If for no other reason, I can’t imagine the four acting winners having none of their movies up. That would be the case if you left this off considering Oldman’s Darkest Hour and I, Tonya (where Allison Janney took Supporting Actress) not being in the nine.
If you weren’t keeping score, here’s my projected 2017 five:
2022 should be the year where Netflix makes significant waves in the Best Animated Feature category at the Oscars and Guillermo del Toro’s Pinocchio is its lead off hitter. The acclaimed filmmaker’s stop-motion passion project is out in select theaters next month with a streaming release on December 9th. Receiving a first look today at the London Film Festival, Pinocchio arrives a half decade after del Toro’s The Shape of Water took Best Picture (along with a directorial victory) and one year after his follow-up Nightmare Alley made the BP ten. Actors providing voiceovers include Ewan McGregor, David Bradley, Gregory Mann, Finn Wolfhard, Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, Christoph Waltz, and Tilda Swinton.
Since I added Animated Feature in my predictions a few weeks back, I’ve had del Toro’s tale of the iconic puppet turned real boy listed in first place. Part of that is due to its maker’s track record. That’s not the only reason why. The other is that it might be a rare off year for Disney, who have taken the gold statue 15 out of 21 times. This summer’s Lightyear was a high profile flop that is likely to be omitted from the final five altogether. Turning Red from the spring achieved solid enough notices to make the cut, but I certainly don’t see it as an automatic winner. The Mouse Factory still has next month’s Strange World in their arsenal so we’ll see if that emerges as a major threat.
Several critics from the London screenings are proclaiming this Pinocchio to be great or near great. On the other hand, some reviews aren’t quite as effusive. I do think the early word-of-mouth is enough to take comfort in the #1 ranking. Yet I wouldn’t say it’s a slam dunk pick to take gold like, say, 2020’s Soul was. I would also keep an eye on Original Score with Alexandre Desplat composing. Visual Effects is also doable (if perhaps a stretch).
A nomination seems assured and Netflix could hold 60% of the nominees this year. Wendell and Wild, another upcoming stop-motion pic from Henry Selick, should get in. Either The Sea Beast or My Father’s Dragon could as well (though probably not both). The streamer got their first contender in 2019 with Klaus and then Over the Moon in 2020 and The Mitchells vs. the Machines last year. They’re 0 for 3 in wins. That may change with del Toro in the company mix. My Oscar Prediction posts will continue…
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