Rose Glass’s 2020 directorial debut Saint Maud was a critically hailed horror tale that originally screened at Toronto in 2019. Her sophomore effort Love Lies Bleeding (out March 8th) is a Sundance affair and it is one of the more eagerly awaited titles. The 80s set noirish thriller casts Kristen Stewart and Katy O’Brian as lovers embroiled in crime drama. Costars include Ed Harris, Jena Malone, Anna Baryshnikov, and Dave Franco.
From the reaction out of Utah, Bleeding should inspire strong reactions across the spectrum. The RT score is 90% (**Blogger’s Note: updated March 9th) with reviewers praising technical aspects (cinematography, score) and the cast (Stewart is particularly getting some shouts along with Harris). K-Stew has quite a presence at Sundance 2024. Her sci-fi two-hander Love Me with Steven Yeun is drawing mixed notices.
A24 apparently has a wild ride on its hands. If the studio play their cards right, supporting campaigns for Stewart (or maybe lead) and Harris are in order. On the other hand, this could be too out there for awards voters. My Oscar Prediction posts will continue…
Last year, a late breaking Oscar campaign for Andrea Riseborough’s performance in the micro-budgeted drama To Leslie resulted in success. With various celebrities holding events touting her work, Riseborough nabbed one of the five slots in Actress (over favored competitors like Danielle Deadwyler in Till and Viola Davis in The Woman King). This resulted in both controversy and kudos for a unique way to campaign for gold hardware.
Now for the 96th Academy Awards, we have another midnight hour title raising eyebrows in the form of Selma director Ana DuVernay’s Origin. Based on Isabel Wilkerson’s nonfiction novel, the race relations drama premiered on the festival circuit early in the fall at Venice and Toronto. Some reviews were raves, but not all. An 80% Rotten Tomatoes score resulted and Neon picked up distribution rights. Its wide release comes this Friday.
That timing could come in handy. However, Origin hasn’t been seen as a true threat for Picture, Adapted Screenplay, or Actress. Yet there’s been some noteworthy activity over the past week. Angelina Jolie hosted an FYC event with DuVernay and the film’s lead Aunjanue Ellis-Taylor (nominated for Supporting Actress in 2021 for King Richard). Today the USC Scripter nods for Adapted Screenplay had this in their top 5 along with expected heavy hitters American Fiction, Killers of the Flower Moon, Oppenheimer, and Poor Things.
Could Origin nab a screenplay mention from the Academy? That’s still a tough road. The other four titles should make the cut and Barbie is also an adapted work according to Oscar (despite that being heavily debatable). It wasn’t eligible for the USC prize due to their rules.
Where this could “come out of nowhere” as Riseborough did is in Actress. I would say Lily Gladstone in Flower Moon and Emma Stone in Poor Things are locked in. Sandra Hüller (Anatomy of a Fall) and Carey Mulligan (Maestro) aren’t shoo-ins, but their inclusion is expected. Then we have one slot up for grabs and hopefuls include Greta Lee (Past Lives), Margot Robbie (Barbie), and Annette Bening (Nyad). We shall see if this fresh round of campaigning puts Ellis-Taylor in the mix. I have my doubts. Then again I didn’t predict Riseborough a year ago and was proven wrong.
I do think Best Picture is a reach. At best, this might be 12th or 13th as far as possibilities. Or perhaps the power of Jolie isn’t to be underestimated. My final Oscar predictions are arriving on the blog imminently…
Nisha Pahuja’s documentary To Kill a Tiger originally premiered at the Toronto Film Festival back in September of 2022 and scored stateside distribution in October of last year. The true crime saga set in a small Indian village won Best Canadian Film honors at TIFF and has picked up regional fest awards over the past few months.
With a RT rating of 100%, it was still surprising that Tiger was included among the 15 shortlisted features for Documentary Feature at the Oscars. There’s always the possibility of unexpected inclusions in this race, but I haven’t put it in the top ten contenders in recent forecasts. My Oscar Prediction posts will continue…
The Iron Claw is in theaters on December 22nd as it tells the true life tale of the Von Erich family of wrestlers. Recounting their triumphs and many tragedies, Sean Durkin writes and directs a cast including Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Holt McCallany, and Lily James.
The A24 release’s review embargo lifted today and the Rotten Tomatoes meter stands at an impressive 93%. Frankly, I’m surprised the sports biopic chose to forego screenings at festivals like Toronto and Telluride. That could’ve built awards buzz for the picture itself, as well as Efron and White.
I wonder now it it’s too late in the season for Claw to reach voters. While it did make the cut in the National Board of Review’s 10 best, it was nowhere to be seen with AFI or at the Golden Globe nominations. If Claw can manage to squeeze into the SAG nods next month (for Best Ensemble or with Efron or White individually), that could help visibility with the Academy. Right now I think the likeliest scenario is it comes up empty-handed on Oscar nom morning. My Oscar Prediction posts will continue…
Documentarian Roger Ross Williams is already an Oscar winner for his short film Music by Prudence (for which he became the first African-American filmmaker to receive an Academy Award). His 2016 feature-length doc Life, Animated make the quintet in its longer form category and Williams hopes for a return to show with Stamped from the Beginning.
It’s based on the 2016 book by Ibram X. Kendi (subtitled The Definitive History of Racist Ideas in America). Out on Netflix last Friday, it played the Toronto Film Festival in September to solid notices. The Rotten Tomatoes score is 100%. Stamped was up for Best Feature and for Historical Documentary at the Critics Choice Documentary Awards over the weekend and went 0 for 2.
Despite the perfect meter, there are other docs with even stronger reviews. Yet I’ve had Stamped marked for a nomination in my recent predictions. Don’t be surprised if it makes the shortlist and eventual cut. My Oscar Prediction posts will continue…
On November 17th, the true life sports dramedy Next Goal Wins finally kicks it in theaters after numerous delays. Filmed about four years ago, Taika Waititi directs with Michael Fassbender (currently pulling double duty in David Fincher’s The Killer on Netflix) as a down of his luck soccer coach assigned to American Samoa. Costars include Oscar Kightley, Kaimana, David Fane, Rachel House, Beulah Koale, Will Arnett, and Elisabeth Moss. Arnett’s parts, by the way, were reshot after the studio replaced Armie Hammer with him.
Unlike the filmmaker’s Jojo Rabbit from 2019, Goal did not generate any awards buzz after it hit the festival circuit. The Rotten Tomatoes score is a blah 51% as it arrives during the increasingly crowded November season.
It certainly seems like this will get lost in the shuffle and I’m not even confident this earns $5 million for its start.
Next Goal Wins opening weekend prediction: $3.8 million
For my The Hunger Games: The Ballad of Songsbirds & Snakes prediction, click here:
After playing the festival circuit at Telluride and Toronto and generating impressive grosses in limited release, The Holdovers expands on November 10th. The dramedy reunites director Alexander Payne with his Sideways lead Paul Giamatti. The supporting cast includes Da’Vine Joy Randolph, Dominic Sessa, and Carrie Preston.
With a 96% Rotten Tomatoes score, the pic is hoping to score a handful of nominations come Oscar time. This past weekend, The Holdovers posted an estimated $600,000 on 64 screens for a nearly $10k venue average.
A theater count in the 800 range is expected this frame. If The Holdovers can manage an average of around $4k, that would give it around $3 million and that’s what I’m counting on.
The Holdovers opening weekend expansion prediction: $3 million
Paul B. Preciado’s French documentary Orlando, My Political Biography (out in limited fashion November 10th) explores the title character from a Virginia Woolf novel who changes gender midway through. It premiered at the Berlin Film Festival and has continued to play the circuit this fall. The Critics Choice documentary nods put it up for Best First Documentary Feature.
With an 89% Rotten Tomatoes score, there are other docs generating more rapturous acclaim. Yet the subject matter could be tantalizing for awards voters. That said, I wouldn’t be surprised if it doesn’t make the Academy’s shortlist of possibilities when revealed next month. My Oscar Prediction posts will continue…
Documentarian Asmae El Moudir delves into her family history in The Mother of All Lies, a Moroccan effort that has played Cannes and Toronto to all positive reaction. With a 100% Rotten Tomatoes rating, I’m not sure the 7 reviews up at press time indicate that it will be a heavy awards player. There’s time for that to be rectified, but I’ll note the Critics Choice Association totally ignored it in their nominations this past week.
It is Morocco’s entry for Best International Feature Film and the odds are likely long for inclusion. The submitting nation has yet to receive a nomination despite 18 tries since 1977. If Lies gets recognized by the Academy, a nod in Documentary Feature is more realistic. I suspect 20 Days in Mariupol, which is Ukraine’s pick in IFF and Doc, stands a much better shot at the latter race than this. My Oscar Prediction posts will continue…
The three-hour heist dramedy The Delinquents from Argentina premiered at Cannes and has been traveling the fest circuit (Toronto, New York) since. From writer/director Rodrigo Moreno, it stars Daniel Elias and Esteban Bigliardi and is out in limited release this week.
Argentina has seen four of their efforts make the International Feature Film five in the 21st century: 2001’s Son of the Bride, 2009’s The Secret in Their Eyes (which won), 2014’s Wild Tales, and last year’s Argentina, 1985 (which may well have been runner-up to All Quiet on the Western Front).
With an 87% Rotten Tomatoes rating, don’t be surprised if this makes the shortlist in IFF. I’m more skeptical this becomes the fifth Argentinian entry to make the final cut. My Oscar Prediction posts will continue…
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