Oscar voting starts today with a very small window, the 17th through the 22nd.
Some might be on the fence about which film to choose for Best Picture. Maybe they didn’t really love any of them. Maybe their favorites didn’t make the list. Or maybe they don’t feel motivated to vote for their favorite because they fear it can’t win. Maybe they naturally drift, as humans often do, to the frontrunners because they want to be on the side that’s winning.
So let’s go through the movies that actually CAN win and make the best case for them to win.
The Power of the Dog should win because…
It isn’t just about Jane Campion, whose long career is finally earning due recognition. From The Piano to the Top of the Lake, her work has always been naked and uncompromising, inventive and original. She is an original, an iconoclast. which makes her not the best fit for the awards machine. How do you take an original and try to make her behave a carbon copy of a public relations parrot? You don’t. You can’t. She won’t do it and naturally, that has made her a target. But really, it’s about the movie. A movie that blew away the competition with 12 nominations. The only movie nominated for Best Picture to receive both a Directing and Editing nomination.
The Power of the Dog is a masterpiece about how men and women in the frontiers sought to conquer the natural world but couldn’t quite tame it. Dogs have been domesticated by humans, bred into the loving, devoted creatures that they are. This film, this story is about their natural-born power that still lives inside of them, even if we can’t see it. It’s about the land, the horses, the cattle. Everything we use and abuse. It is a film about our species – what we’ve done in our vain attempts to “civilize” the wilderness. And how we can be so easily undone by it. It’s a film based entirely on subtext and no, not everyone will be able to connect to that, especially right now. We need instant gratification — just tell me what I’m supposed to FEEL! Make me feel something. Everything we interact with now does that. Make me angry. Make me happy. Turn me on. But Campion’s film is like slow food to fast food. It’s meditative, moody, and oh so very beautiful. Campion is an artist. Her film is a work of art.
Campion is the first woman to be nominated for a second time for Best Director and she’s doing it at the age of 67. This is commonplace for men. It’s unheard of for women. In all ways. Surely that means something beyond the ephemeral shifting moods of awards season.
DGA-Winner
BAFTA-Winner Picture and Director
Golden Globe-Winner Picture and Director
Belfast should win because….
There isn’t any reason why Belfast will win. It wasn’t directed by a woman. It isn’t about any kind of marginalized group. It is by and about a white man’s life. That’s basically seen as a sin by some people in 2022, to care about that, to advocate for that, to vote for that. But the reason it SHOULD win, and there is only one, is because it’s a great fucking movie.
It’s a great fucking movie. It’s a great fucking movie. It’s a great fucking movie.
If you’re wondering why it is the only film with a SAG ensemble, DGA, and PGA nomination, that is why. If you’re wondering why it won the Toronto Audience Award, that is why.
It comes down to that. It’s great. All of the elements come together with the master’s touch. While Branagh has mostly and voluntarily lived in the shadow of William Shakespeare for much of his early career, here he finally put pen to paper to tell his own story of his life growing up in Belfast. He wrote the hell out of the thing. Every line of dialogue specific to the individual characters in the film, all written with the confidence of a master storyteller who has nothing to prove, who only wants to give back, and who has come to a place in his life when he’s able to do that. This isn’t something that can be gifted overnight. It comes from a lifetime of lessons, good, bad, and ugly. It comes from being a good listener, observer, and lover of all beautiful things, from years of knowing people, telling stories, and making movies. He’s been an actor, writer, and director. He’s done it all. He’s been a success, he’s been a failure. He’s been loved and loathed. All of that has brought him to Belfast, a story told with confident humility. It has the unbearable lightness of being combined with the heavy heart of letting go of the past, of saying goodbye to people you loved. That is what life is all about, after all, especially the older you get.
So what does the story of a young boy growing up in Ireland have to do with us in 2022? Branagh chose to tell this story right now because our country, and many other countries, are caught in tribal warfare. It feels like the end of everything. It feels like the apocalypse. Belfast reminds us that history has a way of repeating itself because our basic natures haven’t changed. This story is about living through something like that and reminding all of us that this too shall pass. To have love in your heart, as Van Morrison would say, that grows and grows is something you really do understand as you get older. It takes a while to get there. We’re lucky that we have storytellers who can do that for us.
Belfast stands apart because it is a true story. We know we can get through this time we’re living through and that one day we can remember to find our way back to one another.
Toronto People’s Choice Award – Winner
Why CODA should win
CODA has caught a last-minute wave that might ride it all the way to the shoreline. A real swell indeed. It is mostly due to the cast, their brilliant performances, especially Troy Kotsur, the Supporting Actor frontrunner. Films featuring actors with disabilities haven’t been that common, especially with the market that ordinarily relies on big stars to draw box office. It was hard for deaf actors to become stars at all, much less get the best roles, so deaf characters were often played by hearing actors. But the combination of a streaming platform like Apple removing the market constraints and the demands of activists, now the dream can finally be realized. CODA is a great movie because of the actors. The authenticity in this case makes all of the difference.
There probably isn’t a film in the race with characters as likable as these. That makes CODA quite the powerful cocktail heading into final voting. Based on a French film, La Famille Bélier (equally effective, so please seek it out), CODA’s adaptation is written and directed by Sian Heder, who got her start as an actress, began making short films, and eventually directed Tallulah, which led to CODA. It was a hit at Sundance and bought by Apple for $25 million (famously). It might be CODA that changes the game of Oscar is all sorts of ways. We might be past the point of no return. Sooner or later a streaming platform is going to break the seal. CODA gives voters what they want – quality, emotional release, and a way to use their vote to do something good. For the deaf community, to see a film like this recognized by the Academy would be a very big deal. That is the best reason I can think of for voting it Best Picture.
SAG Awards – Winner Best Cast
Why West Side Story should win
Steven Spielberg is, without question, one of the greatest directors who has ever lived. That isn’t hyperbole. That is a fact. Even now, later in his career, he’s still challenging himself. Making West Side Story was his Everest, a movie he so admired by a director that he thought he might see if he could reimagine it and come anywhere near the 1960 version. Turns out, Spielberg has made his own unique version of the familiar story. There doesn’t need to be a comparison because they can both exist in their own right – one that was very much about the past and one that is very much about the same past refracted vividly through the prism of our modern world. Spielberg is a master of the frame. His compositions and edits are unlike any other. He works so well with actors, capturing emotion and movement and color and light all at once. You know when you’re watching a Spielberg movie because no one can do what he does. Many have tried. Few can even come close.
This movie should win because it is also about the inevitable tragedies of tribal warfare, and the urgency of ending division, ending hatred. It is about compassion and understanding in a fast-changing world. It is thematically timeless because these are things humans will always struggle with. Yes, on the one hand, it’s William Shakespeare, but on the other hand, it’s those incredible songs and that incredible music. That is what West Side Story is. Any movie of it, any production of it is a delivery system for that.
Spielberg has had two Best Director wins and only one Best Picture win for Schindler’s List in 1993. It’s about time he won another.
Why King Richard should win
Reinaldo Marcus Green directed King Richard. His name is the one missing from the DGA list. If it were there, King Richard would be a formidable contender to win the big prize, driven by Will Smith’s soon-to-be Oscar-winning performance. Green isn’t getting the credit he deserves for making such a winning, entertaining, POPULAR film. No, it didn’t earn a huge box office because it hit theaters when too many people in its target audience were still too hesitant to venture out, but it has now been discovered on streaming and currently has a jaw-droppingly high audience score on Rotten Tomatoes – 98% That is true love. It’s love for Venus and Serena, for sure, and for Will Smith, but it’s love for the movie too. In a different kind of year, this film would be running away with the whole thing.
Why Licorice Pizza should win
Paul Thomas Anderson is an American original. He’s made so many interesting, diverse films throughout his career and he’s yet to win a single Oscar. That’s because his work tends to be less universally appealing for a consensus of 9,000 voters. He tells stories the way he wants to tell them and has the freedom and support to do that. Here, we get snapshots of his childhood in the valley and that of Anderson’s real-life friend by his friend Gary Goetzman, a child actor in the early 1970s. The story is told through a dual point of view alongside Gary’s quirky muse, portrayed with disarming authenticity by Alana Haim. The Haim sisters in real life are whole movies onto themselves – their songs and videos and even their TikToks are wildly entertaining. Licorice Pizza is like a pizza with everything on it. There is a lot going on and your taste buds are a bit confused but there is a spicy-sweet after taste. You remember it well and before long you lie awake at night thinking about it and at some point, it compels you to revisit it again. It is a time and a place, the San Fernando Valley in the 1970s — I know it well – it’s running out of gas at all the worst times (which we always did somehow), waterbeds, and THE MOVIES OF TARZANA. Licorice Pizza should win to celebrate PTA – his lifelong contribution to American film.
In addition, each of the films below has different reasons why they should win. There is no need for me to make the case for them to win because none of them really has a shot. They will remain part of Oscar history as nominees because they struck a chord with voters at this particular moment in time. Each of them was named as among the best of the year, and rightly so.
Nightmare Alley is a darker look at humanity, the kind of public humiliation-as-sport we’re living through now. But what it’s really about is the collaboration of Guillermo Del Toro and Kim Morgan. That is what threads through the film visually – in the dialogue, the costumes, the production design. They have created a whole universe to pay tribute to the film noir genre. Dune is going to run away with the crafts wins not just this year, but for the next two sequels if they are as good as the first. Maybe by the end of it Villeneuve will culminate his epic achievement with a Best Picture winner. Don’t Look Up is a timely story about the madness of right now. Probably there is no better film to describe our country as it actually is in 2022, where it’s headed, and perhaps the low-frequency hum of hysteria and fear that it’s all about to end. Adam McKay has had Best Picture contenders with every film he’s made since 2015. That’s incredible when you think about it. What a record. Sooner or later he’s going to bring in a winner. Drive My Car is the kind of inventive storytelling we don’t see so much in this country. A somber long-form meditation on grief that takes us from the city to the country, through theater, and eventually down a long road of self-discovery. It probably won’t win but it makes history just being nominated.
So how about you, Oscarwatchers? What is your best case for the Best Picture of the Year?
What a bruising season this has been. I’ve stanned TPOTD since Venice when I was told it could only win Director, then through the critics phase when I was told it was just a critics thing.
There are very good films like drive my car in the lineup for BP, but if it loses to the telemovie remake due to Apple’s advertising might, it will be the biggest travesty ever at the Oscars.
And what about that Volpi Cup winner?
There’s very little historical correlation between the Volpi Cup and the Oscar winners.
I was curious to see if Andrew had also been stanning Cruz since Venice. I’m fully aware of her Oscar chances or lack thereof. Sheesh.
A reminder of the 700-strong voting from the ballot here. CODA started 7th and finished 7th.
Either it’s strangely grown in esteem (well done Apple campaign), there is strategic voting, or mischief-making.
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People might not love Coda, but the Academy are not people!
Shoud we start buzzing about “Everything, Everywhere, All at Once” for Original Screenplay and Lead Actress (Michelle Yeoh)? I mean… check out the raves! It’s the kind of film that can survive till Awards season…
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(yes, Ke Huy Quan – from Indiana Jones & the Temple of Doom, and The Goonies, adds another cult film to his resume, over 30 years after)
That’s Short Round?
yes.
11th Annual Preferential Ballot Simulation
How is everyone doing? I figure, since it’s tradition, even if a few days later this year than in previous ones, on the eve of the PGA, I should once more ask for your help with my yearly preferential ballot simulation… If you feel you’ve seen enough of this year’s Best Picture nominees (including those which are most likely to win online or at the Oscars) for your vote to be relevant, please rank them here! And I will, as usual, count the votes using the preferential method, in a few days’ time, and post the results. Thanks in advance to all who decide to vote!
This year, I’m particularly interested in what the Movie Awards Redux ballots will look like, since there is reason to believe they might look rather different from the Awards Daily votes… (The truth is they often do, which is always one of the most interesting things about running this simulation.) My own ranking (which I will only count as a ballot if I manage to see Drive My Car over the next few days and add it to the list) is currently as follows:
1. Dune
2. Belfast
3. Don’t Look Up
4. West Side Story
5. CODA
6. The Power of the Dog
7. King Richard
I rewatched The Power of the Dog a couple of days ago – found it a bit more interesting than the first time, but not by much. Still not a fan of the ending. I’m probably going to see both Drive My Car and Licorice Pizza before the date of the Oscars. Not sure about Nightmare Alley. I doubt I’ll be seeing that one before tallying the votes for this simulation, in any case.
A thing to note, one that helped me predict The Father in screenplay last year, is that all of the winners of this simulation, over the years, have won at least one Oscar. (Which probably won’t be very helpful this year, as all of the possible winners are for sure winning at least one at the Oscars, anyway.) The historical results are:
2011 The Social Network —— details not saved (second place was Black Swan, I believe)
2012 – not held –
2013 Zero Dark Thirty ———- 37-24 over Silver Linings Playbook
2014 Her ————————– 33-33 tied with Gravity, won 19-18 on total first place votes
2015 Birdman ——————– 62-61 over Boyhood
2016 Mad Max: Fury Road —– 51-37 over The Revenant
2017 Moonlight —————— 41-32 over La La Land
2018 Phantom Thread ——— 39-33 over Call Me By Your Name
2019 The Favourite ————- 45-30 over Roma
2020 Parasite ——————– 46-14 over The Irishman
2021 The Father —————– 36-34 over Nomadland
1. Dune
2. Drive My Car
3. Don’t Look Up
4. The Power of the Dog
5. CODA
6. Nightmare Alley
7. Belfast
8. West Side Story
9. King Richard
10. Licorice Pizza
1. The Power of the Dog
2. Licorice Pizza
3. Dune
4. West Side Story
5. King Richard
6. Nightmare Alley
7. Don’t Look Up
8. Drive My Car
9. Belfast
Whoa…
To paraphrase Rose from The Power of the Dog… “It’s just a list. Only another list.”
The absence of CODA and low placement of DMC got me whoa-ing.
I unfortunately couldn’t yet see CODA. I don’t have Apple TV and didn’t find it within me to subscribe just for this one film. I figured I’ll watch it when I’ll be in the mood to rewatch Macbeth.
Ahhh. I thought you hated it so much you couldn’t even put it on the ballot. 😉 Too bad about DMC, though.
I agree, DMC was too bad :/
(Just a joke, I don’t wanna get into a feud with many DMC-lovers on here. It’s just not for me.)
Yeah, it’s understandable. I love it but for different reasons to why most people love it. The emotional bits didn’t land with me as much as I expected . I really enjoy Hamaguchi’s writing and viewing experience was one of the best. I compare it to a wonderful companion.
I accept that. ::sob::
I loved you at #1, and loved you a little less at #8 lol
My picks
1. TPOTD (in a shock to no one)
2. Drive My Car
3. Don’t Look Up
4. Dune
5. King Richard
6. West Side Story
7. Licorice Pizza
8. Nightmare Alley
9. Belfast
10. CODA
I’ve seen 7 out of the 10, so the last 3 spots will be in order of initial appeal for the film/project
1. West Side Story
2. Belfast
3. The Power of the Dog
4. Don’t Look Up!
5. Nightmare Alley
6. Dune, Part I
7. King Richard
8. Drive my car
9. Licorice Pizza
10. CODA
1. Drive My Car
2. West Side Story
3. Licorice Pizza
4. The Power of the Dog
5. Nightmare Alley
6. King Richard
7. CODA
8. Belfast
9. Dune
10. Don’t Look Up
1. Drive My Car
2. West Side Story
3. Licorice Pizza
4. The Power of the Dog
5. Nightmare Alley
6. King Richard
7. CODA
8. Belfast
9. Dune
10. Don’t Look Up
1 The Power Of The Dog
2 West Side Story
3 CODA
4 Don’t Look Up
5 Belfast
6 Nightmare Alley
7 Licorice Pizza
8 Drive My Car
9 King Richard
10 Dune
#8?!?
Taste shaming?
An expression of surprise is not taste-shaming. Dave knows.
But yeah, it will be interesting to hear why he hasn’t connected with DMC.
No, I’m kidding. I’m not sure I even understand what that means really.
I’ve been waiting to hear what Dave thought of DMC.
Yep no offence taken from your quip. We jive on this site! I too will be interested to know what I think of Drive My Car, but as with Mr Alonso below, if i haven’t seen the film, rather than have an incomplete 10, I have opted to rate the unseen based on perception, reviews and pre-cursors.
Ahhhhhhhhhhhhhhhh. So it’s entirely possible it would be your #1 in “final polling.”
Anything’s possible. Considering my favourites this season weren’t BP nominated, this exercise is always an odd one, as I rarely coincide with AMPAS. 3 times in the last 20 years……
I’m used to it.
you and I have both selected the same two titles in our Top 3.
One of them will probably win, too.
I won’t be surprised if any of a number of the movies are ultimately named BP by the Academy. Well, i guess Dog, Belfast, CODA seem the most discussed right now to possibly win. It’s a Dog’s Belfast really!
And where’s your ballot?
I’m holding it back because there’s a couple I’ve not seen yet. I’ve recently watched DMC and I’m still digesting it. To be honest, I’m not blown away or anything and it’s not as great as I imagined it. Maybe my expectation was just unbelievably too high? It’s weird, but I love Wheel of Fortune and Fantasy more. (I didn’t love The Power of The Dog the first and gave it 4/5, but I loved much more after more viewings and with clearer mind of why I love it.)
Too high expectations (among other things) probably dampened my enthusiasm for Belfast and Licorice Pizza. I wasn’t that hyped up when I saw Drive My Car and was fairly skeptical, in fact. Very pleasantly surprised.
Despite what I said, I still thanked the director at the end of the film. It was that last scene that was particularly poignant for me. I’m not sure if I’m right in this, but I feel as though he made this film for us. And if that’s the case and not just pure coincidence, I can understand why this film deserves so much praise.
Weird you say that, because I felt like Drive My Car and West Side Story (and tick, tick…BOOM! to a slightly lesser degree) were made for me. (Plus I love Chekhov.)
That last scene is very poignant fir me because it evokes the global pandemic Covid 19. It’s so out of place with the rest of the film. But it’s clearly intentional and what I’m wondering is whether it was a last minute decision to add that scene or whether it was always in the original the plan. This is a film about grief and forgiveness so to evoke the pandemic that took many people’s loved ones was truly powerful and moving. If indeed that’s the case and Hamaguchi really did make a meditation on grief and forgiveness for a grieving world.
Do a Google search for “Oscars 2022: Meet Drive My Car’s Ryusuke Hamaguchi, the Academy Awards breakout who you need to know”
It turns out they started filming before the global pandemic and Hamaguchi added that last scene to show how time elapsed. So, it wasn’t technically for a grieving world. It might not have been made for the a grieving world but it is probably the film the world needs right now.
Maybe it all went over my head as I’m not particularly into chekhov. It’s the heart versus the head (it’s all head really as it controls the heart as well) and more of a head guy. The film feels to me like a wonderful companion and it just felt very comfortable watching it and enjoying it. But there was nothing dazzling or challenging. I think my mind likes difficult and challenging films rather than comfortable ones.
I didn’t expect Belfast to be great considering its MC score and not huge critics awards and Branagh directing and it was just fine. Nothing special. I do expect Licorice Pizza to be great, but not top level PTA great.
1. Drive My Car
2. West Side Story
3. The Power of the Dog
4. Dune
5. Don’t Look Up
6. Nightmare Alley
7. CODA
8. Licorice Pizza
9. Belfast
10. King Richard
1. West Side Story
2. Belfast
3. Drive My Car
4. Licorice Pizza
5. CODA
6. Nightmare Alley
7. The Power of the Dog
8. King Richard
9. Dune
10. Don’t Look Up
1 – dont look up!
2 – nightmare alley
3 – belfast
4 – coda
5 – dune
6 – west side story
7 – the power of the dog
8 – king richard
9 – licorice pizza
Havent seen drive my car yet….
1. CODA
2. West Side Story
3. Belfast
4. Dune
5. Licorice Pizza
6. Power of the Dog
7. Drive My Car
8. King Richard
9. Nightmare Ally
10. Don’t Look Up
1. The Power of the Dog
2. Drive My Car
3. Dune
4. West Side Story
5. Licorice Pizza
6. Nightmare Alley
7. King RIchard
8. Don’t Look Up
9. Belfast
10. CODA
1. Drive My Car
2. West Side Story
3. Dune
4. King Richard
5. Belfast
6. Licorice Pizza
7. Don’t Look Up
8. Nightmare Alley
9, The Power of the Dog
Haven’t seen CODA
1. Drive My Car
2. West Side Story
3. Licorice Pizza
4. The Power of the Dog
5. Coda
6. King Richard
7. Nightmare Alley
8. Dune
9. Belfast
10. Don’t Look Up
1. Drive my Car
2. Licorice Pizza
3. The Power of the Dog
4. Nightmare Alley
5. West Side Story
6. Belfast
7. Don’t look up
Haven’t seen the rest.
1. Licorice pizza
2. Drive my car
3. West side story
4. The power of the dog
5. Belfast
6. Nightmare alley
7. Dune
8. Don’t look up
1. Dune
2. CODA
3. TPOTD
4. WSS
5. Belfast
6. King Richard
7. Nigjtmare Alley
8. Licorice Pizza
9. DLU
10. DMC
1. TPOTD
2. Licorice Pizza
3. West Side Story
4. Drive My Car
5. Dune
6. Nightmare Alley
7. Belfast
8. King Richard
9. CODA
10. Don’t Look Up
Dune is the best movie of the year but it’s Picture win will come with the Part 2. Goodwill will amount among AMPAS so they won’t deny it the second time around.
Re: TPOTG. It’s funny that TPOTD is the only movie in Top 10 that hit all noms that lead to Picture win (Director + Editing + Script + Acting + Techs) yet feels constantly under serious threat from movies that underperformed in one category or the other.
yet feels constantly under serious threat from movies that underperformed in one category or the other.
Who feels? The movie? Or the so-called pundits? Feelings can just be fantasy or imagination.
Anonymous ballots started to pop up and they are all over the place when it comes to Picture which bodes well for the frontrunner. I mena, it’s early into ballot leaking and they are not 7000 AMPAS members so error margin is huge, but atm there’s no rallying behind any movie. You’d expect CODA CODA CODA by the way pundits make the industry sound like.
Anonymous ballots! lol.
I love them. They are fun because most of the time they make no sense. 🙂
They *are* fun. For entertainment. Not as a sampling of anything.
You know they only publish the wildest ones, right?
yes, though they did point out at Parasite, Colman (over Close), Hopkins.
Crap shoot. I’m sure the consensus of these anon ballots was wrong plenty of time as well.
But the point Manwe is a good one. As long as there’s no alternative film to the frontrunner, it bodes well for The Dog’s chances of winning. Coda, in particular, isn’t getting lots of love so far.
They are wrong more often than right and purely clickbait but the Parasite/Boon dominance was a good sign, that I tried to ignore LOL
Or we could just follow the stats that favored heavily Parasite over 1917. The historic scenario notwithstanding.
I think it’s because we’ve seen TPOTD under performing. It first got snubbed for SAG Ensemble. Then Kotsur upset McPhee at SAG. Then it incurred surprise losses with USC Scripter and ACE. And at BAFTA, it lost Screenplay and could not get a win for Cumberbatch, who was favored.
BTW, anonymous ballots started to pop and it looks like Picture is a mess. No rallying behind anything in particular.
Come on please.
It overperformed in noms.
It won both best picture & best director at:
Golden Globes
BAFTA
Critics Choice
It won DGA.
Yes its lost 2 screenplay prizes & has lost its supporting actor place but it’s not underperforming.
Manwe, it’s now or never for Dune. Some artsy-fartsy indie film will sneak up and steal the 2023 Best Picture award from Dune 2 if it’s as great or better than the first. Mark it and bank it. Hell, you can even go back to 2001: A Space Odyssey for proof the Academy will screw over epic sci-fi any chance they get. Fifty years of evidence.
well, artsy fartsy is already the frontrunner so…I respect TPOTD fans but the tai chi jerkoff with the scarf and those gay porn mags were big stinky fart in the middle of “lets make every shot pretty and keep all doors and windows perma open to show pretty mountains in the background” art.
Combination of
1. Pundits wanting clicks and a “nail biter” narrative
2. Pundits wanting to campaign for their favourite (was Belfast now for some it’s CODA)
3. Apple’s big marketing budget.
If TPOTD wins, I’m sure they will tell us it was always going to win
Of course. Pundits always find a positive spin to look right.
Again it films that are NOT present that qre best films of the year…honestly? One gets the feeling awards season esp AMPAS is so excessively choked up with insane apologist attitude to minority voices on Twitter and fukedbook… in such q warped desperate bid to elevate most creative of obscure irrelevant issued films in these times…. that they have reduced themselves to disjointed farcical almost philosophical remotely significant films to our times. That most us find literally in films depiction trying to force certain angle how we c world simply inaccessible increasingly boring uninspired stories …this is future of AMPAS ladies and grnts and it sure fire way for Oscar destroy all they supposed stand for. Films capture imaginations of least half of domestic film audiences…that entrust film goer have q say at cineplexes. SHOULD BE dual release on streaming qnd cineplexes yes era of cineplexes is in no way becoming less relevant for from it or evolving…but that does not justify picking films that still very large proportion of worlds population prefer to see on big screen…(circumstances permitting ) well picking films as frontrunners of many increasingly going back releases in cinepmexes globally to choose films that exclusive only fir streaming not least dual releases or films key into broader public discourse clearly power of Dog, don’t look up, even bfast are not it! Don’t be fooled really trouble lot pple here how with power of Dog of q film… that new thinking sociological woke drama exploits q traditional respectable western genre visually masquerading in conservative setting on unconventional obscure questionable themes terms how relevant they are today? No this is utterly unacceptable I guarantee like so many oscarcwinners in last 13 years or so that most be forgotten qfter they win best picture I challenge severely mentality that notion embracing best ppic films leave lasting impression I not talking bout dc or mcu that embracing these filmsisa thing ideal of past..very fact this is emerging pomt of conversation amongst awards season pundits should be querulous redflag in eyes of AMPAS president all qs history shown in awards season up till great awakening indeed semi popular films won best picture more often than not. Clearly no need no destructive need for second best popular film category..that will destroy last leg Oscar have to stand for.
This inind it what missing that 8s raison host pr not I predict a mild improvement in ratings not enough anyone say Oscar are back big time long way to go yet. If Oscar keep snubbing such high profile films under nominating films qt rate they have this year snubbing likes of ridley Scott again,last duel, no time to die, respect, I even put house of Gucci qbove likes of don’t look up Adam McKay gees does not deserve for his anti establishment crusade panders direct ro online socialist activist cause … is last filmmaker deserve best film nomination every year. 1.
Eyes of Tammy Faye, Spencer, even the tragedy of macbeth and last night in soho.
I guarantee in parallel universe this were nomination list best picture in thus order:
More or less anyway:
No Time to die – 13 nominations
The Last Duel – 12 nominations
Dune- same I think? 10 nominations
West Side Story- 10 nominations
King Richard – 8 nominations
Last night in Soho- 8 nominations
CODA- 7 nominbations
Eyes of Tammy Faye- 6 nominations
Belfast- 6 nominations
Tragedy of Macbeth- 5 nominations
I guarantee you would this 10 nomination list capture imaginations diversity balance more publicly accessible way compared to half miserable list AMPAS chosen today? Just common sense see?
Overall this year, and i make the point again which is absolutely a dastardly poor reflection on complete systemic dismantlink of what OSCAR should stand for in terms of films that ought to TRULY be the frontrunners…truly be the ones worthy of enthusiasm in the public domain and the critics combined..not just a threadbare miniscule sample of overall filmgoers both on streaming AND in cineplexes.
While i disagree that Spiderman latest one should be a big best picture contender..nevertheless the FACT AS PROOF OF THE STRENGTH AND RESILIENCE AND ETERNAL APPEAL OF CINEPLEXES role in showcasing more engaging of films…that even a mcu film or a dc film can after unprecedented battering courtesy of Chinese Govt sponsored pandemic…that films can set records..in environment even when streaming is also getting more popular too..and yet box office records by traditional film studios hihglights what A CATASTROPHIC COMPLETE UTTER DISGRACEFUL LACK OF JUDGEMENT AMPAS ARE SHOWING BY IGNORING the power and significance of return of the big screen movie..there have been others as been pointed out been snubbed that so seriously deserved to be big time best pic contender..
In fact we could have had a list of oscar contenders of a happy mix of some truly broader crowdpleasing uplifting streaming movies…AND big screen hits that left their mark on film going public long after they left cinemas..
make the point as illuystrated in my BELOW POST: JUST IMAGINE HOW MORE EVENTFUL AND MEMORABLE if likes of Last Night in Soho, Last Duel and No Time to Die were competing..and not just with thimble ful of nod and wink of very small minority of overall nominations? IT COULD RIVAL THE WHAT MANY US INC MYSELF DARTED TO HAVE FALSE HOPE THAT THE JOKER VS. ONCE UPON A TIME VS. 1917 VS. PARASITE VS. KNIVES OUT VS FORD VS. FERRARI YEAR..
in contrast we could have had a oscar race to really remember after it done if AMPAS STOPPED their incessant head over heels unhealthy infatuation with obscure socialist irrelevant arthouse that BOTH INACCESIBLE literally and meaningless to most of above film demographic i alluded to. that is simply a FACT.
So can everyone see the value in relative to THAT most competitive epic oscar year i reckon since at least the Avatar vs. hurt locker year that we could have had another year soon after the Parasite winning year (franlkly shoulfd been more generous in spreading wealth to 1917, Joker, etc..imagine if only AMPAS and awards race as a hole STOPPED PAYING LIP SERVICE TO THE FILM COMMON SENSE INTELLIGENT FILMGOERS who all for challenging themes in films sure but are underpinned themselves by creative, innovative…engaging and enthralling edge in story telling characters we can relate to…moments in films we remember AT LEAST for few years after they compete for best picture?
How much better the headlines would look even to sceptical disenchanted film fan (like myself)…if this year was in no particular order terms which is most nominated.. of No Time to Die vs. Last Duel Vs. West Side Story, vs. King Rcihard, vs. Coda Vs. Dune..it really is not that difficult for OSCAR TO TAKE A FUKIN STAND FOR PRINCIPLES THAT DO STILL EXIST AND MUST FOR SAKE OF IT OWN OROIGINAL PURPOSE GUIDED IT MORE OFTEN THAN NOT BEFORE GREAT AWOKENING AS SASHA RIGHTFULLY PUTS IT… AND REDISCOVER THEIR BEST PRINCIPLES AND VIRTUES AS PER WHAT AMPAS STANDS FOR I SHOULD NOT BY RIGHTS BE HAVING TO RECYCLE AN OLD POINT BUT FACT I HAVE OUGHT TO RAISE ALARM BELLS FOR TRADITIONAL AMPAS VOTER AND BOARD MEMBERS TRADITIONAL MIND YOU NOT NOT CONSERVATIVE…TRaditions can evolve..but the principle remains…it core profound point in this sentence that can reshape public perceptions of oscars appeal to reconnect to most of us esp disenchanted..
IGNORE THE EXTERNAL PRESSURES OF SOCIAL MEDIA…THERE IS SIMPLY NO COMPELLING CASE EITHER FOR OSCAR TO NAIVELY REFLECTED FROM DIVERSIFICATION OF ONLINE STREAMING go all in to elevate Netflix of all streaming services as the penultimate standard bearer of best film contenders year in year out. I wager people far more in favour en masse in streaming crowd i guarantee being driven off netflix…to amason to see some stunning original and adapted strreaming movies..even Disney plus and we know Apple tv are too..unlike NETFLIX they do not elevate the least accessible film that be easily dismissed and forgotten after its eventual maybe? oscar win.
NETFLIX ought to make us sick how it panders to the social media twitterati pigs ..rather than expand and get behind very few netflix films worth seeing that speak to bigger crowd..gee how far netflix have fallen..there are other more deserved worthy streaming platforms now that earnt the right to be first online streaming film oscar winner..just cos Netflix is the first does not justify whatsoever it self entitlement to win best picture..in following path Netflix has gone on esp in lsat few years EVERY SINGLE YEAR they have capability if they actually give a fuk about silent majority of streaming subscirbers online to get behind a film that MATTERS to core demographic for best picture but they always ALWAYS DISGUSTINGLY champion the least relevant film …and one that preachers to the minority crowd..
THERE ARE HUGE TREMENDOUS DANGERS IN AMPAS continuing to go down this path…basically they are trying to take a dismissive approach of preceding decades each decade sure has change that must be reflected in film..but you JUST DONT FORSAKE principles that once made oscar memorable lot more publicly respected just to appease minorities… seems to me AMPAS PRESIDENT and the entire BOARD who while they dont have a say who wins to REPRESENT the interests or supposed to of direction and path through things they promote the press conferences they have, what they say ..has DIRECT IMPLICATION of which type of films by category that streaming services especially would rally behind..arguments sake maybe not netflix fault entirely? but there needs to be accountability and self ownership of the systemic DISMANTLING of what AMPAS deserves to be regarded as as opposed to the isolationist monster it become…the academy PRESIDENT SITS IDLY BY AFTER MAKING SOME PRESS ANNOUNCEMENTS AT START OF EACH YEAR overexaggerating the gestures and tokenism and posturing by implications against the establishment forces…and takes NO RESPONSIBLITY OR OWNERSHIP for their gaffes, errors of judgement and overplaying and not nipping in the bud some movements…
‘me too’ was noble to begin with BUT IF EVER THERE WAS A DISTURBING EXAMPLE OF A campaign gone adnauseum gone insanley mad and over the top..THIS IS IT! Soom the words ‘ me too’ were to be explo0ited through social media in ill conceived ways…the same PRESIDENT still in power to this day (or even if they had successor it bout continuity of same lose lose culture corrupting the once respected regarded most sacred of arts institutions in the world), just rode on the coattails of this movement..oblivious to consequences of fanning flames of discontent to those oscar viewers who only cared bout films that had some meaning to most of us..not just ‘movement’ of the time…problem with ‘me too’ was not it initial intent but that it spawned from social media..the minute the President let the floodgates open well THAT THE DEFININING MOMENT in current ACADEMY history and awards season they never LOOKED BACK..is it ANY WONDER RATINGS collapsed as a consequence? like tradiitonjal core still relevant film audience base sending a message..’ yes we care for the cause’ but ‘ why should that drive type of films that are forgettable that we cannot relate to by and large?’
THERE ARE 2 CHOICES IN LIFE I HONESTLY WOULD HAVE THOUGHT THE ACADEMY PRESIDENT AND THE BOARD WOULD WITH THERE SUPPOSED EXPERIENCE (THOUGH I LEGITMATELY AS WE ALL SHOULD QUESTION WHAT TYPE SPECIFICALLY WHAT THEIR BACKGROUND INFLUENCES ARE THEY BRING TO THEIR ROLE) BUT FOR THEIR SUPPOSED EXPERIENCE AND SUPPOSEDLY WITH THAT INSIGHT AND FORESIGHT INC FORESEE CONSEQUENCES OF THEIR ACTION AND INACTION BOTH AT SAME TIME…THAT THEY MAKE CHOICE TO CHANGE THEIR ATTITUDE THROUGH RULE CHANGES AND VOTING CHANGES PRESIDENT AND BOARD HAVE CONTROL OF..TO BROADEN PROPERLY NOT BY NITPICKING AND FAVOURITISM TO SOCIALIST INCREASINGLY FAR LEFT DEMOGRAPHIC OF AMPAS MEMBERSHIP ..OR CHOOSE AS THEY STUPIDLY HAVE THEY PAY THE PRICE A TIME WILL COME MARK MY WORDS I PREDICT WITHN A YEAR OR 2 A BACKLASH BE SO GREAT THAT THE CURRENT PRESIDENT AND BOARD..WILL RUE STUBBORNLY STAYING DOWN THE SAME PATH.
For wat the fuk is the point of expanding to 10 categories best picture when barely as trend most years sine it was introdfuced ‘diversification; means to nitpick out of so many worthy films to make final cut to be oscar best pic contenders…when you sideline time and time again so many…bettter worthy more culturally engaging an enriching films…and exploit the 10 categry expansion as spin and shallow announcement to appease critics but in end fill 75% of the spots with obscure film titles? ok to be fair 70% people are sick of it.. so dont be surprised host or not if ratings boost is tiny increase of say plus 5million.
Frankly that is MARGINAL improvement at BEST but by constantly sidelining centrist common sense film goer and i WARN AMPAS RIGHT NOW ignoring the please surely falling on deaf ears but exist within core traditional principles more established ampas voter…IGNORE the pleas at your own peril.
You MDE YOUR POINT when 12 years a slave won best picture..beyond that that was storuy covering no hold bar most shocking necessary portrayla of black oppression and brutal suffering athands of whites in that dark chapeter in the US but done in a way never done before but it was essential..one more important oscar winners leading into the ‘oscar so white’ era..but it relevance went beyond a movement but still point was made..why keep over stating the point of initial noble movements when so many far more worthy films that dont pander to any activist minority group…treated like a backwater?
Imake NO APOLOGY for my resentment of Power f the Dog but clear to me..not many have come out overall in comments this awards season most you not sold this is deserved frontrunner..unless of course your parochial…sociological masquerading as conservative online bully…uh yes this is the perfect movie to suit them..a film depicts it own mdness of bullying and demonising of men..after years of academy rallying against form of abuse against women through ‘me too’ before time mvement eroded all sense of good will..from us..so now it ok if it reverse sexism..it ok to demonise men…honestly? seems to me Campion is a spiteful..vindictive person and filmmaker…is THIS REALLY what most people feel be good path for AMPAS to go down? they should care bout filmmakers as role models to certain degree..this is type of madness that AMPAS is going towards…TIME FOR A CHANGE FOR COMMON SENSE TO RETURN maybe MAUYBE next year ..or maybe it just distant dream..and im the fool? BUT IF I AM FOLKS then where does that leace most of you in AMPAS eyes?
THEY HAVE TOTALLY COMPLETELY ALMOST UTTERLY FORGOTTEN HOW TO KEY INTO PUBLIC CONCIOUSNESS it just utterly self defeating and extraordinary type of self humilitation of once revered arts insitution i honestly thought i NEVER SEE.. but here we are..how much longer can AMPAS afford to go down this path? i predict not muchy lnger..we see…
This is the 50th anniversary of one of cinema’s greatest movies, and why awarding Best Picture to Dune should be a no-brainer.
Because The Godfather won BP. Then Godfather II a couple years later.
It would be unthinkable to even suggest the Academy wait until they see how Godfather 2 turned out, quality-wise. But that’s what most seem to be suggesting are putting as their reason to deny Dune what they IMO deserve. Dune winning the big prize would be the first baby step in restoring confidence in their viewers that a terrific mainstream movie can break through the glass ceiling, even a (gasp!), genre film. There’s a narrative here that mirrors Avatar/Hurt Locker; we gotta give the big ticket Oscars to a woman. Only this time who didn’t win on her previous try. And that’s no way to determine what’s the best in film.
Honor Dune NOW. Don’t wait until 2024 when yet another arthouse movie becomes the flavor of the moment and Dune 2 inevitably gets hosed. I have confidence Villeneuve will be up to the challenge. After a generation +, it’s time sci-fi bias goes the way of the hula hoop and the pet rock.
Here here mate I with you on this…almost but taking into account responses below is also true it bit like half a film but what incredible story gamechanher if Dune wins best pic…I prefer that ro most other more favoured outcomes lot us tire of the overplayed ” because there chance for first woman win after 2 nominations mentality which be clear is ONLY reason mist overrated frontrunner in last several years in DOG is q frontrunner let us hope wrong on that. Lived Dune pt I sooo much I got steelbook edition of new release on blu ray 4k…
I’ll give you this much- Dune is a hell of a lot more worthy of BP than the remake telemovie.
The passion that some people have against TPOTD is hilarious. They would support any movie that can dethrone it! Potd is my favoritte of all those nominees! Coda is a fine movie with a lot of cliches nothing important. King Richard though i would back because it was a perfect film. Smith gave me goosebumps and just the story alone was amazing. Imagine that somehow people believe that TPOTD is like Nomadland last year where the script was nothing at all. Tpotd was complex and timeless. The only winner that i am willing to see in adapted is DMC. i didnt like this film at all, i almost hated it cause of the runtime and the slowness. But it started growing in me and i would catch it in my local theatre when its here. And another fact that nobody is watching. At wga the only film that won that was adapted from another movie was The Departed they only giving they awards to adaptations from novels, books and sometimes plays! I would back that WSS has a chance in WGA even not nominated at the oscars and of course Dune!
Gotta give you props for your committment to the movie you love. I think the distributor should be giving you some promotional/marketing payments! 🙂
Though the year we’re in is 50 years away from 1972, The Godfather was 49 years ago in terms of Oscar years
The difference is that The Godfather was a complete film, beginning and end, and one of the most brilliant in film history. Dune is, as of yet, only half a film. Very hard to award half a film, no matter how great, over things that are complete.
No, it is not. Dune: Part 1 has a beginning and a clear and satisfying end. Paul kills Jamis effectively simultaneously killing his past self , as the BG’s ancestral voices say in his head. Then he becomes Fremen (is accepted into the tribe) and heads out to the Sietch to begin his new life, which will lead to an implied terrible future (the Tent scene). I don’t get why viewers cannot understand it. Maybe their attention span is too narrow and they need less complex movies like Spider-Man..
Could you spare the smugness, please? I actually loved Dune, but to me it’s clear that the endpoint is no real ending in any dramatic sense – no character’s journey is complete. As you actually said, Paul is just beginning his “new life”. This is a midpoint in in his story and there is no closure yet in any dramatic sense, not without the second part.
DRIVE MY CAR isn’t only the Best Film of This Year. It’s one of the Best Films of the 21st Century. Ryusuke Hamaguchi’s gentle masterpiece about love, grief and the need for human connection is a virtuoso piece of filmmaking – from its richly layered screenplay – in which every detail and line of dialogue is there for a reason to the stunning cinematography that is specifically built for the theatrical experience. Why is this film a difficult sell? Because it’s 3 hours? (The movie is confident in its pace and never dull.) Because it’s depressing? (It’s not. The ending is actually quite powerful and uplifting.) Is it the multiple languages and subtitles? Possibly – though the latter helps the audience in following the story.
Ryusuke Hamaguchi proves himself not only a master of technical aspects and writing, but of dealing with actors. The entire ensemble cast works perfectly as a unit. Hidetoshi Nishijima gives a lead performance as impressive as any I’ve seen this year — subtle and controlled in his voice and gestures to the most minute detail, holding everything in – which makes his closing scenes so emotionally effective. He is the anchor, on which all the other actors depend. As a mute actress, Park Yu-rim has four major scenes, and she makes them all count – without uttering a single audible word. She’s the heart of the film, and her final minutes on screen feel like a genuine hug of emotional support toward the audience. Both should have been nominated, and both were good enough to win.
DRIVE MY CAR is a movie about many things – love, grief, and survivor’s guilt. Realizing you can never truly know anyone else other than yourself. The healing power of art. The need for human empathy and connection. And getting yourself unstuck. In the currently stressful times in which we’re living – where people are instantaneously connected by electronics yet feel more divided and isolated than they ever have – these are messages that many of us needed to hear. That is why DRIVE MY CAR resonates so strongly with us. Through visionary ambition and restraint, Ryusuke Hamaguchi has made an epic film that ennobles the art of filmmaking. I believe it clearly deserves BEST PICTURE and BEST DIRECTOR at this year’s Oscars.
‘There isn’t any reason why Belfast will win. It wasn’t directed by a woman. It isn’t about any kind of marginalized group. It is by and about a white man’s life. That’s basically seen as a sin by some people in 2022, to care about that, to advocate for that, to vote for that. But the reason it SHOULD win, and there is only one, is because it’s a great fucking movie.’
Basic. You’ re doing it great
TPOTD is written by a gay man about a white man’s life. It’s got virtually all white people in it. Belfast is not winning because it’s not good enough. Period.
But “TPOTD” is about homophobia so it wins because of the subject. And because it is directed by a woman.
If they were choosing the best movie, “Drive My Car” would be an obvious favourite.
The Power of The Dog can win beacuase this year lineup is boring and because it’s a good movie
If they were choosing the best movie, “Drive My Car” would be an obvious favourite.
You obviously don’t know the general AMPAS’s taste.
Go CODA.
I’m onto to the films of 2022 (Batman!). Here’s where I landed once all was said and seen.
1. CODA
2. Dune
3. In the Heights
4. Malignant
5. Barb and Star Go To Vista Del Mar
6. Red Rocket
7. The Worst Person In the World
8. Drive My Car
9. Fear Street
10. Spider Man
After viewing 7 of the nominated best pictures, West Side Story is the only one that felt like a movie of bygone days of Hollywood with heart and soul and passion. Seeing it on the big screen was one the most enjoyable immersive experience I’ve had. It definitely deserves best director and would be amazing and a miracle if Spielberg ties with Campion.
The weirdest part of this season is the “stats don’t matter if they love CODA” baloney.
The amount of stats that the 3 nom film would have to bust is extraordinary.
Off the top of my head:
No DGA nom
No Eddie nom
No BAFTA best film nom
No Editing nom
No Directing nom
No GG Director nom
Someone at Gold Derby literally said yesterday that the only stat that mattered was winning Best Picture. Yes, the outcome not a predictor. And someone else said the BP nom is the only stat a film needs.
It’s a great marketing campaign no doubt, pushed by CODABros pundits, but I can’t see it getting enough actual AMPAS voters to change their minds
we shall see
I am afraid that people always like a comeback story and the dethroning of the presumed frontrunner the last years. TPOTD is such a great movie, not exactly a masterpiece though that it must win BP. But the last few years the presumed frontrunner in the end losses because people want to see another winner i guess. So i am afraid that CODA maybe wins its three nominations in a shocker! I dont want to see this happen but i guess will see!
I liked a lot of the movies this year – but top of the list would be DRIVE MY CAR, WEST SIDE STORY and DUNE.
Licorice Pizza all the way. The only film on the list I can really get behind.
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Welllll…
TPOTD will win Jane Campion Best Director and Best Picture. It could win Adapted Screenplay but I think and HOPE CODA wins it.
Belfast has lost a lot of steam during the awards season!
If CODA have gotten more nominations like Film Editing and Best Director then I would consider it a threat. Troy Kotsur looks set to win Supporting Actor and I think Sian Heder will win Adapted Screenplay.
I really think Ariana DeBose will be WWS only win.
I think KR has a chance………….It doesn’t have DGA nomination which I wouldn’t think matters but it does have other important nominations and I think it could surge…….it kinda depends on WGA Saturday. Of course Will Smith is winning Best Actor………that’s a DONE DEAL there.
Licorice Pizza depends on WGA
Drive My Car will only win International Feature.
Dune will win the tech categories; NOT all but most.
Don’t Look Up & Nightmare Alley look like the two films that will MOSTLY go home empty handed. Belfast could join these two films if Branagh doesn’t win Original Screenplay or PTA for Licorice Pizza or BOTH…………..
I have a terrible feeling that all stats will be thrown out the window this year and the Academy is going to go super Basic and award the average American remake of a middling French film. Oh dear…
Apple along with a few compliant pundits are certainly trying very hard. Stats are stars though, they are never all thrown out the window.
I’m rooting for IN THE HEIGHTS.
How exactly are Dune and Licorice Pizza losing to these films?
Because one is a puffle and the other a piffle.
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Licorice Pizza is a bad film that a lot of people hate. It will be forgotten.
Delusional. PTA filmography won’t be forgotten, not even the mediocre films
I know right?
This Oscar season has been endless, and I am glad to see it come to an end. And frankly I have stopped caring, partly because the argument is over what is a pretty weak year in films. All are good films, I will not raise an eyebrow if any of them won, and I can’t wait to stop talking about this dreadful year in movies.
If Dog doesn’t win either Screenplay or Cinematography, it’s not winning picture. No film has EVER won just picture and director.
So I guess it’s winning Screenplay and/or Cinematography…
You Can’t Take It With You and All Quiet on the Western Front won wíth only picture and director in 1938 and 1929/1930 respectively
We’re not talking the dark ages. If you do, then CODA has the Grand Hotel scenario for it.
Every film has the Grand Hotel scenario for it (unless you have a write-in winner), you can’t really prove any specific behavior based on the Grand Hotel precedent
So if Dog wins it’s 1938, and if CODA wins it’s 1932.
If CODA wins, it’s 1932, if Dog wins, it’s 1938, 1929/1930 (I updated my first comment to also include All Quiet on the Western Front as the other precedent but I guess I updated it too late for it to show up for you) and 1932, because a picture win is a lesser assumption than a picture/director win
In Europe, it feels a bit like 1938 right now.
Springtime For Putin
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I wish it was just Putin. No one is innocent, but the civilians, anywhere.
Giving this an upvote as I feel for our European friends such as your good self Dominik. The world is on edge, but you would be that much more on edge. My thoughts go your way.
If you’re talking Grand Hotel, you’re scraping the bottom of the desperation barrel for stats.
CODA has more total nominations than Grand Hotel did.
BUT if it wins picture it would be the least nominated film to win since GH
Grand Hotel also had the Barrymores, Joan Crawford, Wallace Beery and Garbo, which you can’t say for CODA.
Apropos of nothing.
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That’s how you win BP with only one nomination.
There wasn’t Editing until after Grand Hotel.
Since the inception of editing, no film EVER has won without editing AND Director noms. Ever.
If I were to argue a stats avenue for CODA, I’d instead point towards the PGA win. It would be an extremely odd PGA winner (almost as odd a winner as it would be a best picture winner) from a stats point of view that if it does actually win PGA, it would imply that it is in fact an abnormal case which could result in a best picture win
All Quiet on the Western Front.
And You Can’t Take It With You (1938)
It’s a pitty that Drive my car’s quality hasn’t had enough of lines written in this site and of course there’s nothing to object if the staff is simply and respectfully not passioned about it.
But I can tell you that it has already made history by its own value, Oscar nominations aside.
A good article to remind us that there’s no objectively correct choice; we like what we like, just like every AMPAS voter.