Category: Lists, News, and Other Editorials

  • Retrospective – It’s a Wonderful Life: One of the Saddest Christmas Films Ever Made

    Retrospective – It’s a Wonderful Life: One of the Saddest Christmas Films Ever Made

    It’s the holiday season. Tis’ the time to spend with our families, watching movies to brighten our lives with joy and cheer. Frank Capra’s It’s a Wonderful Life has cemented its place as a popular pick during this time-honored tradition of Christmas-time movie watching. My family and many others watch the film every year on Christmas Day and as the film reaches its 75th anniversary, let’s take a look at what makes this film so special.

    Uplifting. That’s a word that’s commonly associated with Capra’s film (and many more of his films). It was ranked at the top of AFI’s 100 Cheers List, making it their pick for the most inspiring film of all time. I agree. You won’t find a more life-affirming film but to uplift its audience as much as it does the film first has to also bring them down.

    It’s a Wonderful Life is easily one of the saddest Christmas films ever made. It actually underperformed at the box office on release, which was likely due to it dealing heavily with the Great Depression and American hardship. It found its audience on television when it entered the public domain and became the Christmas staple that we know it as today.

    The film introduces us to its protagonist George Bailey as a kid with dreams of traveling the world, whether it’s to Europe or Tahiti. As he grows into Jimmy Stewart, those dreams are still intact though not for long. For George Bailey, no good deed goes unpunished. On the day before his long-awaited trip to Europe, his father (Samuel S. Hinds) has a fatal stroke, and his colleagues at the Building and Loan want George to run his father’s business. George is forced to postpone his dream in order to save the Building and Loan, the one organization in Bedford Falls that truly provides for the community. 

    Then when George plans to go to college he is once again forced to stay in Bedford Falls as the Building and Loan will be liquidated by the cruel and greedy Mr. Potter (Lionel Barrymore) if George were to leave. In a fiery speech, George defends the Building and Loan as the only organization keeping the people of Bedford Falls out of “Potter’s slums”. 

    George gives the money he was saving up to go to college to his brother Harry (Todd Karns) with the idea that when Harry finishes up his education he’ll come back to Bedford Falls and take the Building and Loan off of George’s hands. However, of course, that plan doesn’t pan out. When Harry returns to Bedford Falls he’s married and his wife Ruth’s father has offered Harry a job in research with a lot of potential. George, again out of his essential goodness, won’t let Harry turn down such an opportunity and is again stuck in Bedford Falls.  

    This cycle of hope and disappointment seems to be a permanent one for George. When he, newly-married, plans to finally see the world outside of Bedford Falls with his wife Mary (Donna Reed) for their honeymoon, he is once again foiled as he uses the $2000 he and Mary had saved to deal with his customers’ panic during a bank crisis. 

    Still, Capra doesn’t just subject the audience to scene after scene of George’s crushed dreams, he gives his protagonist small moments of happiness along the way to keep the audience hopeful that there is a brighter future ahead. The honeymoon scene with Mary in the old Granville house and the Building and Loan employees’ celebration after they keep the business alive during the bank crisis are just two examples of these moments of pure joy. 

    As George’s dreams move further and further away from becoming a reality, the lives of his friends and family are looking bright. His brother Harry wins the Congressional Medal of Honor due to his heroic actions as a pilot in World War II and his friend Sam Wainwright (Frank Albertson) struck it rich in the plastics business. Both of these were successes that George could’ve had if it wasn’t for his ear (George became deaf in one ear from saving Harry from drowning in a freezing lake) or his relationship with Mary (which he chose over investing in the plastics business with Sam). 

    From one perspective, it could seem like George is the unluckiest man alive and that’s the perspective that George starts to adopt as he gets close to the brink of suicide. To save him, George’s guardian angel Clarence (Henry Travers) comes down to Earth to show George how life would be in Bedford Falls if George didn’t exist. And in this world, Bedford Falls has become Potterville, a seedy town full of crime and nastiness. Of course, we as the audience already could see the impact that George had on his community. His kindness benefitted almost everybody that came into contact with him and as George’s guardian angel Clarence writes in a copy of the Adventures of Tom Sawyer: “no man is a failure who has friends”.

    ‘It’s a Wonderful Life’ (RKO Radio)

    That’s the balance the film nails. Contrasting the unfortunate circumstances of George’s existence with the joys of life. Capra is not afraid to dig deep into George’s feelings of desperation and hopelessness. Jimmy Stewart really shines in these scenes as well and it’s hard to watch this dreamer so dejected. But because Capra and Stewart allow the audience to feel George’s desperation so powerfully by letting us walk with George every step of the way, we feel the final scene of pure unadulterated joy so impactfully. It’s a scene that truly can be called life-affirming but that’s only because we’ve been given a portrait of a real life, with both the good and the bad, the joy and the sorrow. Without the darkness that the filmmakers bring us to, the light wouldn’t be as bright and the film wouldn’t be the timeless masterpiece that it undoubtedly is.

  • Oscar Shortlists Announced in 10 Categories

    Oscar Shortlists Announced in 10 Categories

    The Academy announced its shortlists for 10 categories (Documentary Feature, Documentary Short Subject, International Feature Film, Makeup and Hairstyling, Music (Original Score), Music (Original Song), Animated Short Film, Live Action Short Film, Sound and Visual Effects).

    Outside of France’s Titane missing in International Feature, there weren’t many major snubs, though Julia Ducournau’s chances at a Director nod are essentially zero after the film’s exclusion.

    Here are the shortlists:

    DOCUMENTARY FEATURE

    “Ascension”“Attica”“Billie Eilish: The World’s a Little Blurry”“Faya Dayi”“The First Wave”“Flee”“In the Same Breath”“Julia”“President”“Procession”“The Rescue”“Simple as Water”“Summer of Soul (…Or, When the Revolution Could Not Be Televised)”“The Velvet Underground”“Writing with Fire”

    DOCUMENTARY SHORT SUBJECT

    “Águilas”“Audible”“A Broken House”“Camp Confidential: America’s Secret Nazis”“Coded: The Hidden Love of J. C. Leyendecker”“Day of Rage”“The Facility”“Lead Me Home”“Lynching Postcards: “Token of a Great Day””“The Queen of Basketball”“Sophie & the Baron”“Takeover”“Terror Contagion”“Three Songs for Benazir”“When We Were Bullies”

    INTERNATIONAL FEATURE FILM

    Austria, “Great Freedom”Belgium, “Playground”Bhutan, “Lunana: A Yak in the Classroom”Denmark, “Flee”Finland, “Compartment No. 6”Germany, “I’m Your Man”Iceland, “Lamb”Iran, “A Hero”Italy, “The Hand of God”Japan, “Drive My Car”Kosovo, “Hive”Mexico, “Prayers for the Stolen”Norway, “The Worst Person in the World”Panama, “Plaza Catedral”Spain, “The Good Boss”

    MAKEUP AND HAIRSTYLING 

    “Coming 2 America”“Cruella”“Cyrano”“Dune”“The Eyes of Tammy Faye”“House of Gucci”“Nightmare Alley”“No Time to Die”“The Suicide Squad”“West Side Story”

    MUSIC (ORIGINAL SCORE)

    “Being the Ricardos”“Candyman”“Don’t Look Up”“Dune”“Encanto”“The French Dispatch of the Liberty, Kansas Evening Sun”“The Green Knight”“The Harder They Fall”“King Richard”“The Last Duel”“No Time to Die”“Parallel Mothers”“The Power of the Dog”“Spencer”“The Tragedy of Macbeth”

    MUSIC (ORIGINAL SONG)

    “So May We Start?” from “Annette”“Down To Joy” from “Belfast”“Right Where I Belong” from “Brian Wilson: Long Promised Road”“Automatic Woman” from “Bruised”“Dream Girl” from “Cinderella”“Beyond The Shore” from “CODA”“The Anonymous Ones” from “Dear Evan Hansen”“Just Look Up” from “Don’t Look Up”“Dos Oruguitas” from “Encanto”“Somehow You Do” from “Four Good Days”“Guns Go Bang” from “The Harder They Fall”“Be Alive” from “King Richard”“No Time To Die” from “No Time to Die”“Here I Am (Singing My Way Home)” from “Respect”“Your Song Saved My Life” from “Sing 2”

    ANIMATED SHORT FILM

    “Affairs of the Art”“Angakusajaujuq: The Shaman’s Apprentice”“Bad Seeds”“Bestia”“Boxballet”“Flowing Home”“Mum Is Pouring Rain”“The Musician”“Namoo”“Only a Child”“Robin Robin”“Souvenir Souvenir”“Step into the River”“Us Again”“The Windshield Wiper”

    LIVE-ACTION SHORT FILM

    “Ala Kachuu – Take and Run”“Censor of Dreams”“The Criminals”“Distances”“The Dress”“Frimas”“Les Grandes Claques”“The Long Goodbye”“On My Mind”“Please Hold”“Stenofonen”“Tala’vision”“Under the Heavens”“When the Sun Sets”“You’re Dead Helen”

    SOUND

    “Belfast”“Dune”“Last Night in Soho”“The Matrix Resurrections”“No Time to Die”“The Power of the Dog”“A Quiet Place Part II”“Spider-Man: No Way Home”“tick, tick…BOOM!”“West Side Story”

    VISUAL EFFECTS

    “Black Widow”“Dune”“Eternals”“Free Guy”“Ghostbusters: Afterlife”“Godzilla vs. Kong”“The Matrix Resurrections”“No Time to Die”“Shang-Chi and the Legend of the Ten Rings”“Spider-Man: No Way Home”

    Source: The Hollywood Reporter

  • Post-Nominations Analysis: Critics’ Choice and Golden Globes

    Post-Nominations Analysis: Critics’ Choice and Golden Globes

    Now that the BFCA and the HFPA have announced the nominations for their respective awards, there are multiple races that become increasingly clear.

    BEST PICTURE

    As I said in the post announcing the Critics’ Choice nominations, “there are now 12 films that I think have a chance at a Best Picture nomination as they hit at least one of AFI, Golden Globes, or Critics Choice: Belfast, CODA, Cyrano, Don’t Look Up, Dune, King Richard, Licorice Pizza, Nightmare Alley, The Power of the Dog, tick, tick…Boom!, The Tragedy of Macbeth, and West Side Story.”

    Of those 12 films, there is no way Cyrano is getting a Best Picture nomination so that’s out. The slot for the last exclusion, I think, is between tick, tick…Boom!, The Tragedy of Macbeth, Nightmare Alley, and CODA. Who I choose as for the 11th slot will likely fluctuate as the season goes on. Right now I have The Tragedy of Macbeth missing. Even though its stars two of the most beloved actors working today in Denzel Washington and Frances McDormand and has an 89 Metascore, there doesn’t seem to be much passion for it. It isn’t showing up on too many best of 2021 critics lists and isn’t getting too many best picture nominations at critics’ awards either. If it starts picking up more steam once it has a proper release around Christmas I’ll slot it in, but right now I’m going to keep it out.

    In terms of what can win Best Picture, a stat that I want to mention is that no Best Picture winner in at least the last 10 years has won the award without being at least nominated for a Picture award, Best Director, and Best Screenplay at the Golden Globes. This year, two films fit that criteria: The Power of the Dog and Belfast. My pick to win is currently The Power of the Dog especially since only one film in the preferential era (Green Book) won Best Picture with a Metascore less than 86. Belfast has a 77 and The Power of the Dog is at an 88.

    BEST DIRECTOR

    Kenneth Branagh, Jane Campion, Steven Spielberg, and Denis Villeneuve all made it into both Critics Choice and the Golden Globes, yet to me, only the last three directors are locked for an Oscar nod. In the last four years, six directors, Regina King, Aaron Sorkin, Peter Farrelly, Bradley Cooper, Martin McDonagh, and Steven Spielberg, all missed Director nods at the Oscars after hitting both Critics Choice and the Golden Globes. I think Kenneth Branagh and Belfast would fit pretty well into this group. Paul Thomas Anderson will probably take the 4th slot and I’m going to be watching for BAFTA to see who’ll take the last slot but it could be Hamaguchi, Larrain, Ducournau, or someone completely different. Also, I think Campion is most definitely the frontrunner to win this.

    BEST ACTOR

    Benedict Cumberbatch, Peter Dinklage, Andrew Garfield, Will Smith, and Denzel Washington all received nominations from both groups. I think Cumberbatch, Garfield, Smith, and Washington will all get nominated for their work but Dinklage in Cyrano doesn’t really seem like something that the Oscar will take to and I think Javier Bardem in Being the Ricardos or Leonardo DiCaprio in Don’t Look Up (both received Golden Globe nods) are more likely nominees. This seems to be between Cumberbatch and Smith for the top prize and unless something drastic occurs, Cumberbatch has both the visibility (he has a major role in what will be this year’s biggest box-office hit: Spider-Man: No Way Home) and the plaudits from the critics’ groups to take the win.

    BEST ACTRESS

    In the last four years years, all five eventual Oscar Best Actress nominees were chosen at Critics Choice. This year’s nominees are Jessica Chastain, Olivia Colman, Lady Gaga, Alana Haim, Nicole Kidman, and Kristen Stewart. All of these women received a Golden Globes nomination as well and four or five of them will be nominated for an Oscar this year. SAG will help us narrow it down but right now the top 5 is definitely Stewart, Colman, Kidman, Gaga, and Chastain. Chastain’s film has probably been forgotten by now and she might not have enough steam to get a nomination in February, and in the event of that happening someone from a stronger Best Picture contender like Rachel Zegler or Alana Haim can take her spot.

    In terms of the win, Stewart is the frontrunner at the critics’ awards right now. Her biggest competition at the Oscars seems to be Kidman at the moment, yet Kidman still hasn’t won one critics’ award. She still has a lot of time and if she racks up a handful I think she can win this but if not, Stewart has this in the bag.

    BEST SUPPORTING ACTOR

    Jamie Dornan, Ciaran Hinds, Troy Kotsur, and Kodi Smit-McPhee all made both Critics’ Choice and the Golden Globes. I think all four of these men will make it to the Oscars with the inclusion of either Licorice Pizza’s Bradley Cooper or The Power of the Dog’s Jesse Plemons as the fifth pick.

    Of the categories I have discussed so far, this one seems the most up-in-the-air when it comes to who I think will win. At the critics’ awards, Smit-McPhee is the clear frontrunner though I do think he might not be well-established enough and his work might be too subtle for the Academy’s tastes (I personally believe his performance was fantastic, by the way). I think Ciaran Hinds’ work in Belfast fits the more traditional winner in this category and he is my current pick to win though Troy Kotsur is definitely a dark horse.

    BEST SUPPORTING ACTRESS

    Caitrona Balfe, Ariana DeBose, Kirsten Dunst, and Aunjanue Ellis all made both Critics’ Choice and the Golden Globes and I think all of them will be nominated at the Oscars. The question is who will be that last slot? I think it’s between Ruth Negga for Passing and Rita Moreno for West Side Story. I think if Negga continue to pick up critics’ awards she might drum up enough visibility for her to get the nomination but if West Side Story overperforms on nomination morning, Moreno is coming with it.

    For me, the contenders for the win are DeBose, Dunst, and Balfe. I think I’m leaning towards DeBose at it seems like she has a lot of momentum at this point in the race.

    BEST ORIGINAL SCREENPLAY

    Licorice Pizza, Belfast, Don’t Look Up, and Being the Ricardos all hit both Critics Choice and the Golden Globes yet I think Being the Ricardos will miss at the Oscars. This has already happened twice for Sorkin as he was nominated at both Critics’ Choice and the Golden Globes for both Charlie Wilson’s War and Steve Jobs (He actually won at the Globes for this) yet ended up failing to be nominated at the Oscars.

    For those last two slots, I think its going to come down to King Richard, C’mon C’mon, or The French Dispatch. I think King Richard will get in on account of it being a Best Picture nominee but the last slot is more tricky. Everybody loves Wes Anderson so this may be the place where they might give him a nod here but C’mon C’mon is a movie that seems to be well-liked by everybody and it may become a surprise nominee here. It’s not something that Mike Mills is new to as his last film 20th Century Women also received its only Oscar nomination in Original Screenplay.

    For the win, this is between Licorice Pizza and Belfast. I think Paul Thomas Anderson (deservedly) has a very strong overdue narrative here and Licorice Pizza is his biggest Oscar contender since There Will Be Blood so there’s a very strong case for him winning. But watch out for Belfast because if it ends up being the Best Picture winner it will essentially have to win here as well.

    BEST ADAPTED SCREENPLAY

    The Power of the Dog is the only film that hit both awards bodies and is pretty much locked for a win in this category. The Lost Daughter, CODA, West Side Story, and Drive My Car are my picks for the last four slots though something like Dune, Nightmare Alley, or tick, tick…BOOM! could also be nominated. We’ll have to wait for BAFTA, WGA, and USC Scripter to make more informed conclusions about what will be nominated.

     

  • Critics Choice Nominations: ‘The Power of the Dog’, ‘Belfast’, ‘West Side Story’, ‘Licorice Pizza’, and ‘Dune’ Cement Themselves as the Top 5 BP Contenders

    Critics Choice Nominations: ‘The Power of the Dog’, ‘Belfast’, ‘West Side Story’, ‘Licorice Pizza’, and ‘Dune’ Cement Themselves as the Top 5 BP Contenders

    Now that the Critics’ Choice nominations have been released, the Oscar race in all categories is looking much clearer. Though I will have a more in-depth analysis of these nominations in another post, I want to mention that there are now 12 films that I think have a chance at a Best Picture nomination as they hit at least one of AFI, Golden Globes, or Critics Choice: Belfast, CODA, Cyrano, Don’t Look Up, Dune, King Richard, Licorice Pizza, Nightmare Alley, The Power of the Dog, tick, tick…Boom!, The Tragedy of Macbeth, and West Side Story.

    Anyway, here are the nominees:

    Best Picture

    Belfast
    CODA
    Don’t Look Up
    Dune
    King Richard
    Licorice Pizza
    Nightmare Alley
    The Power of the Dog
    tick, tick…Boom!
    West Side Story

    Best Actor

    Nicolas Cage, Pig
    Benedict Cumberbatch, The Power of the Dog
    Peter Dinklage, Cyrano
    Andrew Garfield – tick, tick…Boom!
    Will Smith, King Richard
    Denzel Washington, The Tragedy of Macbeth

    Best Actress

    Jessica Chastain, The Eyes of Tammy Faye
    Olivia Colman, The Lost Daughter
    Lady Gaga, House of Gucci
    Alana Haim, Licorice Pizza
    Nicole Kidman, Being the Ricardos
    Kristen Stewart, Spencer

    Best Supporting Actor

    Jamie Dornan, Belfast
    Ciarán Hinds, Belfast
    Troy Kotsur, CODA
    Jared Leto, House of Gucci
    J.K. Simmons, Being the Ricardos
    Kodi Smit-McPhee, The Power of the Dog

    Best Supporting Actress

    Caitríona Balfe, Belfast
    Ariana DeBose, West Side Story
    Ann Dowd, Mass
    Kirsten Dunst, The Power of the Dog
    Aunjanue Ellis, King Richard
    Rita Moreno, West Side Story

    Best Young Actor/Actress

    Jude Hill, Belfast
    Cooper Hoffman, Licorice Pizza
    Emilia Jones, CODA
    Woody Norman, C’mon C’mon
    Saniyya Sidney, King Richard
    Rachel Zegler, West Side Story

    Best Acting Ensemble

    Belfast
    Don’t Look Up
    The Harder They Fall
    Licorice Pizza
    The Power of the Dog
    West Side Story

    Best Director

    Paul Thomas Anderson, Licorice Pizza
    Kenneth Branagh, Belfast
    Jane Campion, The Power of the Dog
    Guillermo del Toro, Nightmare Alley
    Steven Spielberg, West Side Story
    Denis Villeneuve, Dune

    Best Original Screenplay

    Paul Thomas Anderson, Licorice Pizza
    Zach Baylin, King Richard
    Kenneth Branagh, Belfast
    Adam McKay, David Sirota, Don’t Look Up
    Aaron Sorkin, Being the Ricardos

    Best Adapted Screenplay

    Jane Campion, The Power of the Dog
    Maggie Gyllenhaal, The Lost Daughter
    Siân Heder, CODA
    Tony Kushner, West Side Story
    Jon Spaihts, Denis Villeneuve, Eric Roth, Dune

    Best Cinematography

    Bruno Delbonnel, The Tragedy of Macbeth
    Greig Fraser, Dune
    Janusz Kaminski, West Side Story
    Dan Laustsen, Nightmare Alley
    Ari Wegner, The Power of the Dog
    Haris Zambarloukos, Belfast

    Best Production Design

    Jim Clay, Claire Nia Richards, Belfast
    Tamara Deverell, Shane Vieau, Nightmare Alley
    Adam Stockhausen, Rena DeAngelo, The French Dispatch
    Adam Stockhausen, Rena DeAngelo, West Side Story
    Patrice Vermette, Zsuzsanna Sipos, Dune

    Best Film Editing

    Sarah Broshar and Michael Kahn, West Side Story
    Úna Ní Dhonghaíle, Belfast
    Andy Jurgensen, Licorice Pizza
    Peter Sciberras, The Power of the Dog
    Joe Walker, Dune

    Best Costume Design

    Jenny Beavan – Cruella
    Luis Sequeira – Nightmare Alley
    Paul Tazewell – West Side Story
    Jacqueline West, Robert Morgan – Dune
    Janty Yates – House of Gucci

    Best Hair and Makeup

    Cruella
    Dune
    The Eyes of Tammy Faye
    House of Gucci
    Nightmare Alley

    Best Visual Effects

    Dune
    The Matrix Resurrections
    Nightmare Alley
    No Time to Die
    Shang-Chi and the Legend of the Ten Rings

    Best Comedy

    Barb & Star Go to Vista Del Mar
    Don’t Look Up
    Free Guy
    The French Dispatch
    Licorice Pizza

    Best Animated Feature

    Encanto
    Flee
    Luca
    The Mitchells vs the Machines
    Raya and the Last Dragon

    Best Foreign Language Film

    A Hero
    Drive My Car
    Flee
    The Hand of God
    The Worst Person in the World

    Best Song

    “Be Alive,” King Richard
    “Dos Oruguitas,” Encanto
    “Guns Go Bang,” The Harder They Fall
    “Just Look Up,” Don’t Look Up
    “No Time to Die,” No Time to Die

    Best Score

    Nicholas Britell, Don’t Look Up
    Jonny Greenwood, The Power of the Dog
    Jonny Greenwood, Spencer
    Nathan Johnson, Nightmare Alley
    Hans Zimmer, Dune

    Source: Yahoo!

  • Golden Globes Reveal Their Nominations: ‘The Power of the Dog’ and ‘Belfast’ Lead With 7 Each

    Golden Globes Reveal Their Nominations: ‘The Power of the Dog’ and ‘Belfast’ Lead With 7 Each

    Though they won’t be televised this season, the Golden Globes released their nominations this morning and there are some interesting inclusions and exclusions. A stat that I want to mention is that no Best Picture winner in at least the last 10 years has won the award without being at least nominated for a Picture award, Best Director, and Best Screenplay at the Golden Globes. This year, two films fit that criteria: The Power of the Dog and Belfast. Both CODA and The Lost Daughter seem to benefit from today’s nominations as they both received two nods a piece.

    Best Motion Picture, Drama

    “Belfast”

    “CODA”

    “Dune”

    “King Richard”

    “The Power of the Dog”

    Best Motion Picture, Musical or Comedy

    “Cyrano”

    “Don’t Look Up”

    “Licorice Pizza”

    “Tick, Tick … Boom!”

    “West Side Story”

    Best Director, Motion Picture

    Kenneth Branagh, “Belfast”

    Jane Campion, “The Power of the Dog”

    Maggie Gyllenhaal, “The Lost Daughter”

    Steven Spielberg, “West Side Story”

    Denis Villeneuve, “Dune”

    Best Performance by an Actress in a Motion Picture, Drama

    Jessica Chastain, “The Eyes of Tammy Faye”

    Olivia Colman, “The Lost Daughter”

    Nicole Kidman, “Being the Ricardos”

    Lady Gaga, “House of Gucci”

    Kristen Stewart, “Spencer”

    Best Performance by an Actress in a Motion Picture, Musical or Comedy

    Marion Cotillard, “Annette”

    Alana Haim, “Licorice Pizza”

    Jennifer Lawrence, “Don’t Look Up”

    Emma Stone, “Cruella”

    Rachel Zegler, “West Side Story”

    Best Performance by an Actress in a Supporting Role in any Motion Picture

    Caitriona Balfe, “Belfast”

    Ariana DeBose, “West Side Story”

    Kirsten Dunst, “The Power of the Dog”

    Aunjanue Ellis, “King Richard”

    Ruth Negga, “Passing”

    Best Performance by an Actor in a Motion Picture, Drama

    Mahershala Ali, “Swan Song”

    Javier Bardem, “Being the Ricardos”

    Benedict Cumberbatch, “The Power of the Dog”

    Will Smith, “King Richard”

    Denzel Washington, “The Tragedy of Macbeth”

    Best Performance by an Actor in a Motion Picture, Musical or Comedy

    Leonardo DiCaprio, “Don’t Look Up”

    Peter Dinklage, “Cyrano”

    Andrew Garfield, “Tick, Tick … Boom!”

    Cooper Hoffman, “Licorice Pizza”

    Anthony Ramos, “In the Heights”

    Best Performance by an Actor in a Supporting Role in any Motion Picture

    Ben Affleck, “The Tender Bar”

    Jamie Dornan, “Belfast”

    Ciaran Hinds, “Belfast”

    Troy Kotsur, “CODA”

    Kodi Smit-McPhee, “The Power of the Dog”

    Best Screenplay, Motion Picture

    Paul Thomas Anderson, “Licorice Pizza”

    Kenneth Branagh, “Belfast”

    Jane Campion, “The Power of the Dog”

    Adam McKay, “Don’t Look Up

    Aaron Sorkin, “Being the Ricardos

    Best Original Score, Motion Picture

    Alexandre Desplat, “The French Dispatch”

    Germaine Franco, “Encanto”

    Jonny Greenwood, “The Power of the Dog”

    Alberto Iglesias, “Parallel Mothers”

    Hans Zimmer, “Dune”

    Best Original Song, Motion Picture

    “Be Alive,” “King Richard”

    “Dos Oruguitas,” “Encanto”

    “Down to Joy,” “Belfast”

    “Here I Am [Singing My Way Home],” “Respect”

    “No Time to Die,” “No Time to Die”

    Best Motion Picture, Animated

    “Encanto”

    “Flee”

    “Luca”

    “My Sunny Maad”

    “Raya and the Last Dragon”

    Best Motion Picture, Non-English Language

    “Compartment No. 6”

    “Drive My Car”

    “The Hand of God”

    “A Hero”

    “Parallel Mothers”

    Source: New York Times

  • AFI Top 10 is Released: The Best Picture Lineup Begins to Take Shape

    AFI Top 10 is Released: The Best Picture Lineup Begins to Take Shape

    Considering how early, the AFI awards occur in the season, their picks are ridiculously predictive. I personally think 7-8 films from the lineup below will be nominated (the misses being CODA and Tick, Tick…Boom).

    Anyway, here are their picks.

    AFI Movies of the Year

    • “CODA” (Apple Original Films)
    • “Don’t Look Up” (Netflix)
    • “Dune” (Warner Bros.)
    • “King Richard” (Warner Bros.)
    • “Licorice Pizza” (MGM/United Artists Releasing)
    • “Nightmare Alley” (Searchlight Pictures)
    • “The Power of the Dog” (Netflix)
    • “Tick, Tick … Boom!” (Netflix)
    • “The Tragedy of Macbeth” (Apple Original Films/A24)
    • “West Side Story” (20th Century Studios)

    AFI Television Programs of the Year

    • “Hacks” (HBO Max)
    • “Maid” (Netflix)
    • “Mare of Easttown” (HBO)
    • “Reservation Dogs” (FX)
    • “Schmigadoon!” (Apple TV Plus)
    • “Succession” (HBO)
    • “Ted Lasso” (Apple TV Plus)
    • “The Underground Railroad” (Prime Video)
    • “WandaVision” (Disney Plus)
    • “The White Lotus” (HBO)

    AFI Special Award

    • “Belfast” (Focus Features)
    • “Squid Game” (Netflix)
    • “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” (Searchlight Pictures)

    The AFI Awards will take place on Jan. 7 in Los Angeles.

    In past years, AFI has one of the best track records when it comes to predicting the Oscar nomination slate.

    • 2021 – 6 of the 8 Oscar nominees received a nod from the AFI (Missed: Promising Young Woman and The Father)
    • 2020 – 8 of 9 (Missed: Ford v Ferrari)
    • 2019 – 6 of 8 (Missed: Vice and Bohemian Rhapsody)
    • 2018 – 7 of 9 (Missed: Phantom Thread and Darkest Hour)
    • 2017: 7 of 9 (Missed: Lion and Hidden Figures)
    • 2016: 6 of 8 (Missed: The Revenant and Brooklyn)

    (Note: The AFI Top 10 can only include American films but in 2020 and 2019, Parasite and Roma, respectively, won AFI Special Awards)

    Here’s every film that did not make the AFI cut but received either a Golden Globe, SAG, Critics Choice, BAFTA, or National Board of Review nod on their way to becoming a Best Picture nominee.

    • The Father – Nominated at BAFTA and at the Golden Globes
    • Promising Young Woman – Nominated for Best Picture at Critics Choice. Also nominated by the Golden Globes, BAFTA, and the National Board of Review.
    • Ford v Ferrari – Nominated for Best Picture at the Critics Choice Awards and by the National Board of Review
    • Vice – Nominated at both Golden Globes and Critics Choice
    • Bohemian Rhapsody – Nominated at Golden Globes (won as well) and SAG
    • Phantom Thread – Nominated by National Board of Review
    • Darkest Hour – Nominated at BAFTA and at Critics Choice
    • Lion – Nominated at the Golden Globes and Critics Choice
    • Hidden Figures – Nominated at SAG (won as well) and picked by the NBR
    • The Revenant – Nominated by Golden Globes (won as well), BAFTAs (won as well), and the Critics Choice Awards
    • Brooklyn – Nominated at the Critics Choice Awards

    So something like The Lost Daughter, which didn’t receive a NBR or AFI pick, will need a nod at at least one of these major awards bodies if it wants a chance at making it in to BP.

  • ‘Licorice Pizza’ Wins Big and ‘The Power of the Dog’ Misses at NBR

    ‘Licorice Pizza’ Wins Big and ‘The Power of the Dog’ Misses at NBR

    The first major precursor of the season just announced its picks. For years, the National Board of Review (NBR) awards have marked the beginning of Oscar season and they continued that with today’s announcement. One startling omission was Jane Campion’s The Power of the Dog, which many predicted to win here. It was not named as one of the top 10 films which is something that forces me to remove it from its place as the Best Picture favorite. It is absolutely still getting nominated, it just may not have the kind of support to get the haul I was predicting it to get. Licorice Pizza, on the other hand, gains in standing as its now both one of the most critically-acclaimed films of the year (90 Metascore) and has the first major precursor under its belt. Of course, it’s important to mention that none of the NBR’s Best Film winners in the last ten years except for Green Book ended up winning Picture, but Paul Thomas Anderson’s film gets a boost nonetheless.

    In the last 10 years an average of just over 5 films picked by the NBR went on to become Best Picture nominees. With the expanded field of 10 BP nominees this year I am predicting that around six of this year’s NBR picks will end up getting nominated for Best Picture.

    2011 — 4/9
    2012 — 7/9
    2013 — 5/9
    2014 — 4/8
    2015 — 5/8
    2016 — 7/9
    2017 — 6/9 (The Shape of Water was not picked by the NBR)
    2018 — 4/8
    2019 — 6/9 (Parasite won Best Foreign Language Film)
    2020 — 5/8

    Also, in the last 10 years every eventual Best Picture winner except for The Shape of Water in 2017 was a member of the NBR’s Top 10 Films, which makes it seem very likely that the eventual Best Picture winner from this year will one of the 10 films chosen by the NBR.

    Also, this is slightly irrelevant but I hope the Tragedy of Macbeth winning for Best Cinematography becomes a trend as the camerawork in that film (just from the trailer) epitomizes stunning.

    So without further ado, here are the picks from the NBR.

    Best Film: LICORICE PIZZA

    Best Director: Paul Thomas Anderson, LICORICE PIZZA

    Best Actor: Will Smith, KING RICHARD

    Best Actress: Rachel Zegler, WEST SIDE STORY

    Best Supporting Actor: Ciarán Hinds, BELFAST

    Best Supporting Actress: Aunjanue Ellis, KING RICHARD

    Best Original Screenplay: Asghar Farhadi, A HERO

    Best Adapted Screenplay: Joel Coen, THE TRAGEDY OF MACBETH

    Breakthrough Performance: Alana Haim & Cooper Hoffman, LICORICE PIZZA

    Best Directorial Debut: Michael Sarnoski, PIG

    Best Animated Feature: ENCANTO

    Best Foreign Language Film: A HERO

    Best Documentary: SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED)

    Best Ensemble: THE HARDER THEY FALL

    Outstanding Achievement in Cinematography: Bruno Delbonnel, THE TRAGEDY OF MACBETH

    NBR Freedom of Expression Award: FLEE

    Top Films (in alphabetical order)
    Belfast
    Don’t Look Up
    Dune
    King Richard
    The Last Duel
    Nightmare Alley
    Red Rocket
    The Tragedy of Macbeth
    West Side Story

    Top 5 Foreign Language Films (in alphabetical order)
    Benedetta
    Lamb
    Lingui, The Sacred Bonds
    Titane
    The Worst Person in the World

    Top 5 Documentaries (in alphabetical order)
    Ascension
    Attica
    Flee
    The Rescue
    Roadrunner: A Film About Anthony Bourdain

    Top 10 Independent Films (in alphabetical order)
    The Card Counter
    C’mon C’mon
    CODA
    The Green Knight
    Holler
    Jockey
    Old Henry
    Pig
    Shiva Baby
    The Souvenir Part II

    Source: Yahoo

  • The Oscars Need to Reform the International Feature Category

    The Oscars Need to Reform the International Feature Category

    With the news on Tuesday that the Spanish Film Academy has picked the Javier Bardem-led comedy “The Good Boss” instead of Oscar-winner Pedro Almodovar’s “Parallel Mothers” as its submission for the Best International Feature Oscar, the need for the Academy to reform its system for this category is very apparent.

    If you are unaware about the Academy’s current rules for this category, here are three important points:

    1. Each country can only submit one film. Meaning that each year, a country’s representative film academy has to choose which film they want to represent them at this year’s Oscars.
    2. The film has to be non-American and must be mostly in a language other than English. While prior to the 2006 Academy Awards, a foreign country had to submit a film that was in one of their official languages, that rule is (thankfully) no longer in place and Canada submitted the Hindi-language film Water at the 2007 Oscars as a result of this shift in policy. As a result of the films having to be non-American, films that were primarily in a non-English language like Apocalypto and last year’s Minari were ineligible from competing in this category since they were both American-produced features.
    3. The director accepts the award on behalf of their producing country’s film academy. The filmmakers themselves do not receive Oscars, their countries do.

     

    The idea that a country can only submit one film for this category is ludicrous as it defeats the point of having this category. This rule is archaic and needs to be amended. In an era like the 1950s where the cinema of countries like France and Italy dominated the American cinephile’s perception of what international cinema was, it makes some sense that each country could only submit one film as the Academy members of the time likely had a limited knowledge and appreciation of cinema outside of the canon of the Western world. Of the 32 International Feature awards given from the late 40s through the 70s, only five were given to non-European countries (three were for Japan, likely due to the fact that the United States was highly involved in the politics of Japan at the time after World War II and thus the Americans had an especially strong access to Japanese art. The two other films were in French and directed by men who worked in France but produced by African countries specifically the Ivory Coast and Algeria.) But in an era where 5 of the last 10 winners in this category were from non-European countries (and when a Korean film can win Best Picture), this system has become obsolete. The fact that only one film can be submitted for each country is quite mind-boggling in today’s world where the Academy has a diverse array of members and access to the art of other countries has been amplified extensively.

    A country’s film Academy shouldn’t have to submit films at all and the wealth of choices that international cinema has to offer should not be restricted by the politics of a small closed off voting body. There has been speculation that Spain did not submit Parallel Mothers (whose director and lead actress are Oscar winners) as the film is critical of the Spanish government. While this may not be the reason why the Spanish Film Academy did not choose Almodovar’s film, this situation wouldn’t be an outlier. Take filmmaker Jafar Panahi, one of the most celebrated Middle Eastern filmmakers of the 21st century. None of his films have ever been selected by the Iranian Film Academy as Panahi is a vocal critic of the Iranian government and that is apparent in his work. In 2010, Panahi was arrested and placed under house arrest “for propaganda against the Islamic republic” as he was attempting to make a documentary about the 2009 election of Mahmoud Ahmedinejad which he believed to be fraudulent. He was subsequently banned from making films for 20 years. Panahi’s case is just a symptom of a larger problem. Oppressive countries around the world often suppress art that doesn’t conform to their leaders’ values and beliefs and the Academy is essentially supporting this suppression by creating a system that keeps Academy members from choosing fantastic cinema that may challenge the values of their home country. If the Oscars truly want to reflect the best of film today, they should not restrict International film to a small pool of cinema. With this system, the Academy will actually be able to award the best of International cinema (of course the bias of the Academy towards certain types of films will always be a factor but with the greater diversification of Academy membership, let’s hope that issue becomes less and less prevalent) without the whims of each country’s respective film academies getting in the way.

    The other problem with this category is that ridiculously the award is not given to the directors and/or producers of the films but instead to the films’ country. Federico Fellini one of the most celebrated filmmakers to walk the earth has 0 competitive Oscars to his name even though four of his films won in this category. While the directors do accept the award at the ceremony they are actually accepting it on behalf of the country that submitted their film. Ingmar Bergman would have 3 Oscars and Vittorio De Sica would have four (if Special Awards are taken into account) if filmmakers were given their due like they are at other prestigious awards, such as the BAFTAs. Essentially, some of the best directors who have ever lived never received Oscars due to a rule that doesn’t need to have been in place (why couldn’t the Oscar be awarded to both the country and the filmmaker?)

    Every year, the Academy seems to tease some sort of major change (like the addition of a Best Popular Film category a few years ago) but this is an advance the Academy actually needs to act upon if we want to get international film and filmmakers to be treated fairly by the Academy. Of course the fact that the Oscars, awards that are supposed to honor the best of cinema no matter where it comes from, have to have an International Feature award in the first place is an inherently faulty notion but the time when the Academy moves away from being so aggressively American-centric is far down the line. But before that time (which will sadly probably never come to fruition) arrives, it wouldn’t be asking for too much for the Academy to amend what is easily its most controversial category.

  • Emmys 2021: ‘The Crown’ Sweeps and ‘Ted Lasso’ and ‘The Queen’s Gambit Win Big

    Emmys 2021: ‘The Crown’ Sweeps and ‘Ted Lasso’ and ‘The Queen’s Gambit Win Big

    Here are the winners from the 2021 Primetime Emmys.

    Outstanding Drama Series

    The Boys (Amazon Prime Video)
    Bridgerton (Netflix)
    [WINNER] The Crown (Netflix)
    The Handmaid’s Tale (Hulu)
    Lovecraft Country (HBO)
    The Mandalorian (Disney+)
    Pose (FX)
    This Is Us (NBC)

    Outstanding Directing in a Drama Series

    Bridgerton (Julie Ann Robinson) – “Diamond Of The First Water” (Netflix)
    The Crown (Benjamin Caron) – “Fairytale” (Netflix)
    [WINNER] The Crown (Jessica Hobbs) – “War” (Netflix)
    The Handmaid’s Tale (Liz Garbus) – “Wilderness” (Hulu)
    The Mandalorian (Jon Favreau) – “Chapter 9: The Marshal” (Disney+)
    Pose (Steven Canals) – “Series Finale” (FX)

    Outstanding Writing in a Drama Series

    The Boys (Rebecca Sonnenshine) – “What I Know” (Amazon Prime Video)
    [WINNER] The Crown (Peter Morgan) – “War” (Netflix)
    The Handmaid’s Tale (Yahlin Chang) – “Home” (Hulu)
    Lovecraft Country (Misha Green) – “Sundown” (HBO)
    The Mandalorian (Dave Filoni) – “Chapter 13: The Jedi” (Disney+)
    The Mandalorian (Jon Favreau) – “Chapter 16: The Rescue” (Disney+)
    Pose (Steven Canals, Ryan Murphy, Brad Falchuk, Our Lady J) – “Series Finale” (FX)

    Outstanding Comedy Series

    black-ish (ABC)
    Cobra Kai (Netflix)
    Emily in Paris (Netflix)
    Hacks (HBO Max)
    The Flight Attendant (HBO Max)
    The Kominsky Method (Netflix)
    Pen15 (Hulu)
    [WINNER] Ted Lasso (Apple TV+) 

    Outstanding Directing in a Comedy Series

    B-Positive (James Burrows) – “Pilot” (CBS)
    The Flight Attendant (Susanna Fogel) – “In Case Of Emergency” (HBO Max)
    [WINNER] Hacks (Lucia Aniello) – “There Is No Line (Pilot)” (HBO Max)
    Mom (James Widdoes) – “”Scooby-Doo Checks And Salisbury Steak” (CBS)
    Ted Lasso (Zach Braff) – “”Biscuits” (Apple TV+)
    Ted Lasso (MJ Delaney) – “The Hope That Kills You” (Apple TV+)
    Ted Lasso (Declan Lowney) – “Make Rebecca Great Again” (Apple TV+)

    Outstanding Writing in a Comedy Series

    The Flight Attendant (Steve Yockey) – “In Case Of Emergency” (HBO Max)
    Girls5Eva (Meredith Scardino) – “Pilot” (Peacock)
    [WINNER] Hacks (Lucia Aniello, Paul W. Downs, Jen Statsky) – “There Is No Line (Pilot)” (HBO Max)
    Pen15 (Maya Erskine) – “Play” (Hulu)
    Ted Lasso (Jason Sudeikis, Brendan Hunt, Joe Kelly) – “Make Rebecca Great Again” (Apple TV+)
    Ted Lasso (Jason Sudeikis, Bill Lawrence, Brendan Hunt, Joe Kelly) – “Pilot” (Apple TV+)

    Outstanding Limited or Anthology Series

    I May Destroy You (HBO)
    Mare of Easttown (HBO)
    [WINNER] The Queen’s Gambit (Netflix)
    The Underground Railroad (Amazon Prime Video)
    WandaVision (Disney Plus)

    Outstanding Directing for a Limited or Anthology Series or Movie

    Hamilton (Thomas Kail) – Disney+
    I May Destroy You (Michaela Coel and Sam Miller) – “Ego Death” – HBO
    I May Destroy You (Sam Miller) – “Eyes Eyes Eyes Eyes” – HBO
    Mare of Easttown (Craig Zobel) – HBO
    [WINNER] The Queen’s Gambit (Scott Frank) – Netflix
    The Underground Railroad (Barry Jenkins) – Amazon Prime Video
    WandaVision (Matt Shakman) – Disney+

    Outstanding Writing for a Limited or Anthology Series or Movie

    [WINNER] I May Destroy You (Michaela Coel) – HBO
    Mare of Easttown (Brad Ingelsby) – HBO
    The Queen’s Gambit (Scott Frank) – Netflix
    WandaVision (Chuck Hayward and Peter Cameron) – “All-New Halloween Spooktacular!” – Disney+
    WandaVision (Jac Shaeffer) – “Filmed Before a Live Studio Audience” – Disney+
    WandaVision (Laura Donney) – “Previously On” – Disney+

    Lead Actor in a Drama Series

    Sterling K. Brown for This Is Us (NBC)
    Jonathan Majors for Lovecraft Country (HBO)
    [WINNER] Josh O’Connor for The Crown (Netflix)
    Regé-Jean Page for Bridgerton (Netflix)
    Billy Porter for Pose (FX)
    Matthew Rhys for Perry Mason (HBO)

    Lead Actress in a Drama Series

    Uzo Aduba for In Treatment (HBO)
    [WINNER] Olivia Colman for The Crown (Netflix)
    Emma Corrin for The Crown (Netflix)
    Elisabeth Moss for The Handmaid’s Tale (Hulu)
    Mj Rodriguez for Pose (FX)
    Jurnee Smollett for Lovecraft Country (HBO)

    Outstanding Lead Actor in a Comedy Series

    Anthony Anderson for black-ish (ABC)
    Michael Douglas for The Kominsky Method (Netflix)
    William H. Macy for Shameless (Showtime)
    [WINNER] Jason Sudeikis for Ted Lasso (Apple TV+)
    Kenan Thompson for Kenan (NBC)

    Outstanding Lead Actress in a Comedy Series

    Aidy Bryant for Shrill (Hulu)
    Kaley Cuoco for The Flight Attendant (HBO Max)
    Allison Janney for Mom (CBS)
    Tracee Ellis Ross for black-ish (ABC)
    [WINNER] Jean Smart for Hacks (HBO Max)

    Outstanding Lead Actor in a Limited or Anthology Series or Movie

    Paul Bettany for WandaVision (Disney+)
    Hugh Grant for The Undoing (HBO)
    [WINNER] Ewan McGregor for Halston (Netflix)
    Lin-Manuel Miranda for Hamilton (Disney+)
    Leslie Odom Jr. for Hamilton (Disney+)

    Outstanding Lead Actress in a Limited or Anthology Series or Movie

    Michaela Coel for I May Destroy You (HBO)
    Cynthia Erivo for Genius: Aretha (NatGeo)
    Elizabeth Olsen for WandaVision (Disne+)
    Anya Taylor-Joy for The Queen’s Gambit (Netflix)
    [WINNER] Kate Winslet for Mare of Easttown (HBO)

    Outstanding Supporting Actor in a Drama Series

    Giancarlo Esposito for The Mandalorian (Disney+)
    O-T Fagbenie for The Handmaid’s Tale (Hulu)
    John Lithgow for Perry Mason (HBO)
    [WINNER] Tobias Menzies for The Crown (Netflix)
    Max Minghella for The Handmaid’s Tale (Hulu)
    Chris Sullivan for This Is Us (NBC)
    Bradley Whitford for The Handmaid’s Tale (Hulu)
    Michael K. Williams for Lovecraft Country (HBO)

    Outstanding Supporting Actress in a Drama Series

    [WINNER] Gillian Anderson for The Crown (Netflix)
    Helena Bonham Carter for The Crown (Netflix)
    Madeline Brewer for The Handmaid’s Tale (Hulu)
    Ann Dowd for The Handmaid’s Tale (Hulu)
    Aunjanue Ellis for Lovecraft Country (HBO)
    Emerald Fennell for The Crown (Netflix)
    Yvonne Strahovski for The Handmaid’s Tale (Hulu)
    Samira Wiley for The Handmaid’s Tale (Hulu)

    Outstanding Supporting Actor in a Comedy Series

    Carl Clemons-Hopkins (Hacks)
    [WINNER] Brett Goldstein (Ted Lasso)
    Brendan Hunt (Ted Lasso)
    Nick Mohammed (Ted Lasso)
    Paul Reiser (The Kominsky Method)
    Jeremy Swift (Ted Lasso)
    Kenan Thompson (Saturday Night Live)
    Bowen Yang (Saturday Night Live)

    Outstanding Supporting Actress in a Comedy Series

    Aidy Bryant (Saturday Night Live)
    Hannah Einbinder (Hacks)
    Kate McKinnon (Saturday Night Live)
    Rosie Perez (The Flight Attendant)
    Cecily Strong (Saturday Night Live)
    Juno Temple (Ted Lasso)
    [WINNER] Hannah Waddingham (Ted Lasso)

    Outstanding Supporting Actor in a Limited Series or Movie

    Thomas Brodie Sangster (The Queen’s Gambit)
    Daveed Diggs (Hamilton)
    Paapa Essiedu (May Destroy You)
    Jonathan Groff (Hamilton”)
    [WINNER] Evan Peters (Mare Of Easttown)
    Anthony Ramos (Hamilton)

    Outstanding Supporting Actress in a Limited Series or Movie

    Renée Elise Goldsberry (Hamilton)
    Kathryn Hahn (WandaVision)
    Moses Ingram (The Queen’s Gambit)
    [WINNER] Julianne Nicholson (Mare Of Easttown)
    Jean Smart (Mare Of Easttown)
    Phillipa Soo (Hamilton)

    Outstanding Competition Program

    The Amazing Race (CBS)
    Nailed It! (Netflix)
    [WINNER] RuPaul’s Drag Race (VH1)
    Top Chef (Bravo)
    The Voice (NBC)

    Outstanding Variety Sketch Series

    A Black Lady Sketch Show (HBO)
    [WINNER] Saturday Night Live (NBC)

    Outstanding Variety Talk Series

    Conan (TBS)
    The Daily Show With Trevor Noah (Comedy Central)
    Jimmy Kimmel Live (ABC)
    [WINNER] Last Week Tonight With John Oliver (HBO)
    The Last Show With Stephen Colbert (CBS)

    Outstanding Variety Special (Pre-Recorded)

    8:46 – Dave Chappelle (Netflix)
    Bo Burnham – Inside (Netflix)
    David Byrne’s American Utopia (HBO)
    Friends: The Reunion (HBO Max)
    [WINNER] Hamilton (Disney+)
    A West Wing Special to Benefit When We All Vote (HBO Max)

    Outstanding Variety Special (Live)

    The 63rd Grammy Awards (CBS)
    Celebrating America – An Inauguration Special (PBS)
    [WINNER] Stephen Colbert’s Election Night 2020: Democracy’s Last Stand Building Back America Great Again Better 2020 (Showtime)
    The Oscars (ABC)
    The Pepsi Super Bowl LV Halftime Show with The Weeknd (CBS)

  • ‘Belfast’ Wins the TIFF People’s Choice Award; ‘The Power of the Dog’ and ‘Scarborough’ are Runner-Ups

    ‘Belfast’ Wins the TIFF People’s Choice Award; ‘The Power of the Dog’ and ‘Scarborough’ are Runner-Ups

    Finally, we have some truly concrete frontrunners in this Oscar race! Belfast won the TIFF People’s Choice Award (which I predicted, not to brag) and The Power of the Dog (which I also predicted) and Scarborough were named as runner-ups.

    I had already declared The Power of the Dog to be locked for a Best Picture nomination after its performance in Venice and now Kenneth Branagh’s semi-autobiographical black-and-white picture Belfast joins that camp.

    Scarborough seems like another in the line of Canadian films that get a runner-up award at the Toronto-based festival (like Beans last year and Starbuck in 2011) so I doubt it gets much Oscar traction.

    Maybe you might not know why I am so confidently proclaiming Belfast and The Power of the Dog as major frontrunners this early in the race so I’ll give you some reasons

     

    Here are some TIFF stats to show you how predictive this festival is:

    The winner of the TIFF’s Grolsch People’s Choice Award has been nominated for Best Picture every year since 2012 and after.

    Every winner of the People’s Choice award since Silver Linings Playbook in 2012 has won at least one above-the-line Oscar (Picture, Acting, Directing, or Screenplay)

    3 out of the last 10 winners won Best Picture (12 Years a Slave, and Green Book, Nomadland).

    The festival also gives 2nd and 3rd place awards and in five times of the last 6 years at least one of those runner-ups go on to get a Best Picture nomination.

    In fact, in the past 10 years, 3 of those runner-ups (Argo, Spotlight, and Parasite) have gone on to win Best Picture.

    In 2019, 5 of the 9 eventual Best Picture nominees went to TIFF, in 2018, 3 of the 8, in 2017, 5 of the 9, in 2016, 5 of the 9, and in 2015, 4 of the 8.

    Out of the last 10 Best Picture winners, 9 went to TIFF (the exception being 2014’s Birdman)

    Here’s a list of People’s Choice Award winners since 2012 that were Best Picture nominees:

    2012: Silver Linings Playbook (Runner-Up: Argo)

    2013: 12 Years a Slave (Runner-Up: Philomena)

    2014: The Imitation Game

    2015: Room (Runner-Up: Spotlight)

    2016: La La Land (Runner-Up: Lion)

    2017: Three Billboards Outside Ebbing, Missouri (Runner-Up: Call Me By Your Name)

    2018: Green Book (Runner-Up: Roma)

    2019: Jojo Rabbit (Runner-Ups: Marriage Story and Parasite)

    2020: Nomadland

     

    As you can see Belfast, The Power of the Dog, and Scarborough join some very distinguished company. The former two will undoubtedly be in the top 3 of my predictions coming later this month and I would say that they are the only two films so far that can be declared locked.