This is our randomly annual tradition here at Awards Daily. I forgot to do this poll last year due to a bad mood. But skipping a year saved us a lot of embarrassment, didn’t it?
As you can see, there’s no poll constructed yet. I have roughly 50 titles in mind, but let’s expand the possibilities by first opening up this project to include your clever reader suggestions.
In the comments, you’re invited to name your own expectations for Best Picture 2023. You don’t need to name 10, especially if you see any of your guesses have already been floated by someone else. Then tomorrow or the next day we’ll post the massive poll and start voting, alright?
You can make things easier for me by putting the director’s name in parentheses after the title.
If you’re feeling frisky you can also try to predict who might get slapped on live TV next year.
I really am surprised more of you (if not all of you) didn’t include “Barbie) on your lists. Greta Gerwig/Noah Baumbach. C’mon!
At 3, this year marked the fewest number of films nominated for best picture. I suspect next year will continue that trend.
Whoa. You guys have really outdone yourselves this year.
Thanks to all your brilliant input, this is is going to be a monumental poll.
Due to some unexpected messes offline, I’m delayed in getting this beast assembled.
We’ll shoot for tomorrow afternoon to get it up and running, ok?
I appreciate all you help!
Please tell me that Andrew Dominik’s Blonde will be released this year. I need that assurance.
I saw a preview of Elvis and it was fantastic but I don’t know if it will a BP nomination. Who knows though right?
Elvis
Everything Everywhere All At Once
All of you are really overreacting to the slap. It’s kinda funny really. “Sickened,” “horrified?” LOL
Apparently Will Smith’s representatives claim that they were not told by AMPAS representatives to tell Will Smith to leave the show. Will Packer the show’s producer should have told Will Smith to leave.
Still putting my lists together…
What I want to know are these: Will 2022 finally be the year of the 4th animated Best Picture nominee? Will 2022 finally be the year of the 1st documentary Best Picture nominee? Will 2022 finally be the year of the 1st animated Best Director nominee?
1. Killers of the Flower Moon
2. The Fablesmans
3. The Northman
4. Nope
5. Everything, Everywhere, All at Once
6. Avatar 2
7. Tar
8. The Woman King
9. Disappointment Blvd.
10. The Whale
11. She Said
12. White Noise
13. Good Luck To You, Leo Grande
14. Babylon
15. Next Goal Wins
16. Women Talking
17. Poor Things
18. Canterbury Glass
19. The Banshees of Inisherin
20. Crimes of the Future
21. The Killer
22. Asterroid City
23. The Zone of Interest
24. Bardo (or False Chronicle of a Handful of Truths)
25. Armageddon Time
*** I don’t think it’s crazy that 1 of the 3 Marvels could snag a BP nom this year
IONO a little hard to figure out which foreign films will be a hit this far in advance, but besides that I feel like most or all of the 10 are above.
Almodovar’s take on the incident, in his lovely chronic of his trip to Hollywood on Indiewire.
As you can remember, Pedro didn’t take part in the standing ovation.
“I refuse to let that episode mark the gala and be the protagonist of a ceremony where many more things happened and of much greater interest. For example, “Drive My Car,” without a doubt my favorite film of the year, won Best International Feature Film. And also “Summer of Soul,” my favorite documentary.
Still, as I said, I was very close to the protagonists. What I saw and heard produced a feeling of absolute rejection in me. Not only during the episode, but afterward, too, in the acceptance speech — a speech that seemed more like that of a cult leader. You don’t defend or protect the family with your fists, and no, the devil doesn’t take advantage of key moments to do his work.
The devil, in fact, doesn’t exist. It is a fundamentalist speech that we should neither hear nor see. Some claim that this was the only real moment in the ceremony, but they are talking about the faceless monster that is the social media. For them, avid for carrion, it undoubtedly was the great moment of the night.”
Almodovar speaks for a lot of us. He is intelligent, truthful, and self-aware. He’s not like Hollywood folks who are shallow, superficial and self-indulgent.
still, he has a problem with his ego… I remember taking (live) with one of the directors he produced, and he was NOT happy with the experience.
Also still, he’s an inmediate contender for everything with his next film, his first long feature in English… all Hollywood eyes will be on it… Cate starring! So before even starting shooting, it may be a contender for Picture, Director, Actress, Adapted Screenplay, Score, Film Editing and Cinematography… let’s see how it goes… and who else is going to be cast. I should check out for the book, to value it better, in its chances.
Just a reminder. Smith and Almodovar met in Cannes 2017, when the latter was the president of the jury and the former a member himself.
You can see on the press conferences that they never got along.
oil and water, they come from extremely different backgrounds and got where they are in way different ways. Actually you can clearly see how much of polar opposites they are, in their Oscar nominated films this year, both of them have a heavy print of their personality and background in them.
Yeah that speech was so much worse than the slap itself. Which was already really bad
In many ways it was quite revealing. I read some people saying awarding CODA Best Picture was quite revealing and that the Oscars have finally lost the plot. But for me this was even more so and let’s not kid ourselves in thinking they are not connected. It’s the same mentality that’s responsible for both.
yes, CODA winning Best Picture (an americanization of a successful french amalgam of a 2 Oscar nominated films comming from the UK and Germany) is quite revealling.
Love this piece from Indiewire. Reading felt like a director’s statement for a short film. I adore Almodovar and happy that he’s still in top creative form after his last 3 film projects.
But this statement confused me since I saw him joined the standing ovation for Smith.
You can see him not applauding when Will Smith kisses Jada before going on stage.
SLAPGATE IS FAR FROM OVER. Just now, from the Academy Board of Governors:
“The Board of Governors today initiated disciplinary proceedings against Mr. Smith for violations of the Academy’s Standards of Conduct, including inappropriate physical contact, abusive or threatening behavior, and compromising the integrity of the Academy.”
“Consistent with the Academy’s Standards of Conduct, as well as California law, Mr. Smith is being provided at least 15 days’ notice of a vote regarding his violations and sanctions, and the opportunity to be heard beforehand by means of a written response. At the next board meeting on April 18, the Academy may take any disciplinary action, which may include suspension, expulsion, or other sanctions permitted by the Bylaws and Standards of Conduct.”
“Mr. Smith’s actions at the 94th Oscars were a deeply shocking, traumatic event to witness in-person and on television. Mr. Rock, we apologize to you for what you experienced on our stage and thank you for your resilience in that moment. We also apologize to our nominees, guests and viewers for what transpired during what should have been a celebratory event.”
“Things unfolded in a way we could not have anticipated. While we would like to clarify that Mr. Smith was asked to leave the ceremony and refused, we also recognize we could have handled the situation differently.”
Interesting, thank you for sharing this.
How hard is it to escort someone who has just committed a crime to leave the room? With all the biggest stars and executives in the industry present, they don’t have enough security guards all around, and enough conviction of their own standards (Academy reps present on the night) to act in the next commercial break or the one after that? Just obfuscation.
Smith probably had his OWN security which would no doubt have resisted any attempt to remove him. Everybody was just reacting as if a giant stun grenade had been lofted onto the floor of the Dolby.
Will Smith is dunzo. Wesley Snipes will have a better chance of getting a prime Hollywood acting gig. The shock has worn off and now AMPAS is going to drop the hammer.
So, everyone is allowed their own security? Really? That doesn’t sound right. They must have the power to chuck anyone out. Although they never before needed to chuck out such a big star.
And that’s why it is called La La Land. It is incredulous that one human being (i don’t care about his gender/race/sexuality) can assault another in public and NOTHING is done about it. AND he is celebrated and rewarded. Nutso!
Right!
I agree with you. I think some of reasons for their inaction might due to the point raised by Whoopi Goldberg. They didn’t want to be seen manhandling a big black movie star.
I used to really like Whoopi but recently……
I’m gonna dub her Wimpy Goldberg.
Yeah, I don’t know what’s happening. I thought she’d defend the rights of comedian to make fun of people and offend them. I mean, there’s no race issue to complain about or hide behind this Time.
is there, though? from her perspective? as you’ve mentioned above? If it were Sean Penn or Mel Gibson who had assaulted Chris Rock would all the positions people are taking be exactly the same?
As I said before, there’s no issue of race here. Still, people are making excuses for it.
sigh! these are the times……
tell that to the millions of Karens who watched it
When it comes to race, sex and sexuality things take on a new dimension. So, it’s obvious that they would be bigger outcry, fir sure. That’s nit really a gauge of people reactions because these are quite different optics. The real comparison to make would be if it were two white actors involved in similar altercation. Would the reactions be that different? I don’t think it would be because violent actors are still in the business and even celebrated. I mean, it wasn’t that long ago that Harvey Weinstein was called the god of Hollywood. I’m not even sure if the Academy would have acted differently either and removed the offender. Perhaps Smith’s colour made it more difficult, I don’t know. It’s possible, but they have not reacted well overall. I think saying they were worried about the optics is the easy way out and Whoopi Goldberg was just trying to protect the governors of which is part. I believe it’s misdirection about their failure.
Smith’s outrageous sense of entitlement and gargantuan ego for me supersede race/gender/sexuality, but I get (or i am trying to get) why color is a factor here. I am never going to condone or justify what occurred. The aftermath is where it is all at and fascinating to watch it unfold.
But in the real world if a black man assaulted another black man, there would be consequences. The fact that in this case it is a mega rich celebrity, the rules are most emphatically different. As they would be probably too if it were a rich white famous dude doing the slapping.
that settles that Will Smith was actually asked to leave and chose to stay (probably to apologize on stage, which was probably a wise idea – his misbehavior was captured on camera live, so he could do his first apology live a few minutes later, even if the apology was akward and just cut deeper into the main problem)
The apology was downright cringy and creepy. And he would have been in a much better position now if he would have just left and apologized later. Instead he smirked, he stayed, he gave a horrifying speech that nobody wanted to see after what happened, he got hugs from entire bunch of A-listers and then he went to party as if there is no tomorrow. All this while people were watching in shock.
For 24 hours Will Smith through he did the right thing and support will be coming from every side. Now the shock is wearing off. The Academy has finally released a statement with appropriately condemning and harsh tone apologizing to Rock first and foremost and then to the rest of us. If anyone still thinks that Rock was some kind of a perpetrator and that Jada was the damsel in distress that needed urgent protection, then just read the Academy’s statement.
Let’s face it; Scorsese could direct a Sponge Bob Square Pants movie and he’d STILL be nominated for best director. The ULTIMATE namecheck.
That could be a pretty cool Spongbob Squarepants movie!
cool and/or violent ^,^
I dunno his films aren’t all violent, he has done family friendlyish films before (e.g. Hugo). Imagine combining A Hugo type sensibility and combining that with the wolf of Wall Street tone and bringing that to a spongeBob film. I’ve never really been into Spongbob but I’d go see that film!
Okay maybe I’m clutching at straws but seriously I believe in him, he could make it work!
I was being silly! The juxtaposition of Sponge Bob with the underbelly.
Hugo is my favourite of his, actually one of my all time favourite movies.
Will Bobby De Niro play Spobge Bob?
Nasty to Nice.
https://uploads.disquscdn.com/images/3778f38e38f11d3ca09feeacf082c58c6dc82099815db29f96d46867261c0122.gif
Yeah, and maybe Joe Pesci plays Patrick Starr.
sorry, the gif didn’t load until after the message!
It’s alright. I’ve seen it. My phone goes bonkers sometimes and misses some letters out or includes its own.
cute!
That’s because he is a real artist and one of the last greatest directors of all time.
Silence was the actual Best Picture of 2016 and the Oscars mostly ignored it.
anything but Silence kek.
What’s Oscars most overlooked Actor up to?
The Grey Man? Sounds like a top-notch action thriller. GIve it Best Editing.
Barbie – Only Gosling can pull off Ken. It will tough for the movie to get the right tone, but with this topnotch cast, I am sure the script and the director inspired Robbie and Gosling as both have their pick of projects. If the movie succeeds, look for Gosling to be the favorite in Best Actor, he’s the only actor I can think of that pull off the “Barbie” I envision.
Wolfman – well Cianfrance and Gosling are reunited. Look for something wild and untamed that doesn’t follow the rules. Gosling could surprise us with his versatility. And this film could break through in a year with 10 nominees.
The Actor – no clue on this one! Could be many different things.
Project Hail Mary – based on a book by the same guy that brought us Matt Damon, the potato farmer. Probably 2023.
Yep Ryan mate I just bout sqy u opened up Pandora’s Box !! Instead me unleashing my own epic fable of a post u seen my unleash 3 posts in 3 mins lol! ( this one forming the 3rd) u think thst ?
Oh…OH like… ok I admit we wait and see..
Cos SHIT… DAMN
https://www.google.com.au/amp/s/screenrant.com/fabelmans-movie-story-details-time-period-steven-spielberg/amp/
..I stand corrected The Fablemans is semi autobiographical drama inspired by based on a LIVING legends own trials and tribulations from being a kid to his late teens well DAMN Spirlberg out break qll rules here ..first he DARES to resurrect a old classic and masterpiece make it almost as unforgettable in West Side Story .. huge achievement in itself that q remake/ update got nominated for best picture and was one big contenders this year… but now.. holy damn shot people! SPIELBERG directs a film bout well. SPIELBERG ! IS T THEIR unspoken rule bout that in Hollywood,?
Well, be that as it may , Spielberg purpose clearly is to constantly rewrite rulebook what be achieved in cinema. He done it thrice he do it qgain !
Living legend ( the fablemans) vs( the legendary Elvis still in spirit more potent thsn ever ) vs. The modern day pioneering legend of cinema if( his film comes out ) in Nolan’s no less on legendary chilling story of America conceiving their nuclear safeguard in case of global threats for first time in history..qs Nolan’s epic story be based on ..
OK back square one i don’t know.
But if these 3 or 2 films will go head to head then it be equivalent of a ‘ royal smackdown title heavy weight championship likes we not seen in our time following movies before well could be type of generational Oscar bout that Oscar need themselves !! ( if they don’t fuk it up and go for mostly St re aiming movies next year ) bring on the biggest smackdown in our lifetime
Early shot in the dark picks
Actor – Colman Domingo
Actress – Margot Robbie
Supporting Actor – Willem Dafoe
Supporting Actress – Lily Gladstone
Yeah, that looks good. At least for nominations.
Err… I could fire qt everyone 10 best picture guesses but frankly if SURELY has to be one of two contenders as frontrunners.
And really one above the rest JUST but in a way obviously.
2 are Baz Luhrmann who truly overdue for best picture director win and only this time THIS TIME IT won’t JUST be bout bring overdue it because of both authenticity and timing of his most ambitious project yet. The biographical first ever comprehensive Hollywood biography spanning Elvis from young to old and in both timing and juxtaposition to chsos today…to go back to nostalgia..nor any nostalgia but what could be one of if not potentially greatest musical/ biographical drama to be put on big screen.
Given baz luhrmann outstanding track record qnd crazy courage to take on such a daunting project ELVIS has yo surely be clear frontrunner in many ways..
But..if I can’t remember whether it 2022 or 2023 CHRISTOPHER NOLAN’S yet be titled film on Dr. Manhattan his inspiration qnd journey to establish the infamous ‘ MAnhattan Project ” comes out in same year we could have one heck of epic Oscar showdown next year . Both Luhrmann and Nolan qre owed big time by Oscars in their ‘ I owe you ‘ tradition .
But in any other year I back in Nolan is overall frontrunner but I no hesitation in luhrmanns potentially biggest event musical biographical drama Hollywood will witness …so long as it q huuuuge hit in box office QND critics ( surely??) Will love it I have to give the floor to the King Elvis and baz luhrmann. With sincere apologies to Nolan who could best be q runner up.
Other contenders are irrelevant by comparison. But this year shown anything cam happen.
Sure I put the Northsman and the Fableman I didn’t know Spielberg could be releasing
The backlash the movie will get is predictable. It will either give too much credit or not enough credit the role Black musicians played at the time. I am sure there will be armies on both sides.
Will Audra McDonald get to sing in Rustin? I am tired of America’s greatest singer not getting to sing in her film and TV roles. She should be a superstar.
https://www.hollywoodreporter.com/movies/movie-news/wanda-sykes-will-smith-chris-rock-oscars-1235122470/ I was initially drawn in by the headline and read it, but ultimately, more relevance deprivation syndrome from Wanda Sykes who wanted an apology too, as host!
And she is right. Smith should apologize to everybody starting to Christ Rock… his PR did it the day after.
I just found her stuff about being a host inviting; him in etc etc to be pretty self important and not terribly relevant. There’s a bigger picture here than a nicety that wasn’t given to Wanda Sykes
I just found her stuff about being a host inviting; him in etc etc to be pretty self important and not terribly relevant. There’s a bigger picture here than a nicety that wasn’t given to Wanda Sykes
has Chris Rock actually apologized already for his remarks on Cruz and Jada? Because both have to be clearly apologizing for their behavior
The Guardian’s Peter Bradshaw spitting out some truth here: “Anyway, back to Coda, the shallow film which won each of the categories in which it had been nominated: best picture, best adapted screenplay for its director Sian Heder and best supporting actor for Troy Kotsur, the second deaf actor to win an Oscar. A young high-school student called Ruby (Emilia Jones) is the child of deaf adults – or Coda – with her parents played by Troy Kotsur and Marlee Matlin. Ruby is not deaf and must help her mum, dad and brother (Daniel Durant), who are all deaf, as they live on the modest proceeds from catching and selling fish. But when she discovers she has a wonderful talent for singing and has a chance to go to a prestigious music academy, she is agonised by the thought that she is existentially disloyal on a double level: her life-purpose is now in music, which her family cannot appreciate, and she can no longer be a hearing deckhand on her dad’s boat, without which he cannot trade.
Well the film just about solves the first problem with the power of love. But that second matter, of her family’s fishing livelihood, gets outrageously fudged. The script and performances (including, I have to say, that of winner Kotsur) wouldn’t get mentioned in any letters home. In the end, Coda is a drama about three disabled characters’ purpose being to launch the attractive non-disabled character’s journey, to showcase her caringness and all-round loveliness. The disabled characters get to be left behind – and the film’s emotional work is all being done by Joni Mitchell’s song Both Sides Now. Cinematically, it’s a real non-event.”
So apparently she should spend the rest of her life as a servant to her family. Or should I say slave, since she won’t be pulling in a salary.
At least he captured the inherent tragedy of the situation, one of the reasons I think it makes the movie great. She’s destined to be separated from her family and they all know it although they do their best to pretend it’s not happening.
I agree. If the film had been tied up in a neat package with no down sides for anyone he’d have attacked that, too. But then he tends to hate any film with things as banal as human emotion. His idea of a light family-film is puppy snuff porn.
I think you completely missed the points he was making. The only worthy thing sbout the film is for employing deaf actors. But is that worthy of an Oscar and Best Picture in particular? I don’t think so.
I understand the point he was making. It’s not a point worth making since it’s a crappy point.
Are you saying their not accurate? You can be spin it how you want but the film isn’t a celebration of deaf people, outside employment of deaf actors. That’s not a BP or even a decent film.
I’m really not sure what you are trying to say. All I know is that life isn’t fair, some are given harder obstacles, and sometimes one’s choices can’t please everyone.
I was unaware the film was supposed to be a “celebration of deaf people.” Maybe it should have been called “A Celebration of Deaf People” then I would have known.
The movie pointed out that this view infantilizes deaf people. Lots of deaf families don’t have a hearing member and they still survive.
They can just hire a hearing deck hand and teach them a few basic relevant ASL phrases.
I think it just illustrates the shallowness of Hollywood. They just don’t do depth and only care about what’s on the surface, whether it’s superficial or not. Anyone who does or says anything interesting doesn’t stand a chance. You have to lay it on thick for them and tell them what they want to hear. If by chance they recognise something interesting, it’s by accident or for superficial reasons. Take, for example, what happened on Sunday night at the Oscars. Their reaction to Smith’s thuggish behaviour is indicative of their mentality. They were not sure how to react and did what they thought was least controversial. You can clearly see they didn’t think it through and were just following the Mood and emotions of the moment. The applauding of Smith and awarding CODA top awards like Best Picture and Screenplay are really two sides of the same coin. It’s all for show and anything truthful and difficult is rejected. It’s all about self satisfying.
You say race plays no part, yet you say Smith’s behavior was “thuggish” – maybe you should check the history of that characterization.
I just kind of assumed that the point of the Amy Forsyth character would be pretty much exactly that
Yeah, and in the movie they said they can’t afford to hire someone. They’ve already been struggling financially.
This doesn’t infantilize deaf people, it shows that many Americans face challenges unique to them. If anything this movie empowers deaf people in that they were the only ones to “save the fishing community” by starting the co-op. It was either that or a monorail.
Killers of the Flower Moon
Elvis
Napoleon
Babylon
Avatar 2
I think you’ve got the first title the wrong way around.
I’d unironically watch a movie titled like that. Sounds like an epic fantasy.
Lol
I’m still reeling from Will Smiths antics.
Corrected.
Many thanks
Napoleon is 2023 I believe.
My bad
Offtopic: Bruce Willis forced to retire from acting due to aphasia diagnosis. The final act in a sorrowful tragedy.
From the most popular action movie star in the world to having his own category at the Razzies. What the fork went wrong? Worse than Nicolas Cage taking Z-list, direct to video movies back in the day to pay the bills. Now this. Hope he gets better; he deserves a better fate than this.
Offtopic: Bruce Willis forced to retire from acting due to aphasia diagnosis. The final act in a sorrowful tragedy.
From the most popular action movie star in the world to having his own category at the Razzies. What the fork went wrong? Worse than Nicolas Cage taking Z-list, direct to video movies back in the day to pay the bills. Now this. Hope he gets better; he deserves a better fate than this.
Very sad news… 🙁
The Killer by David Fincher
The Way of The Wind by Terrence Malick
Decision to Leave by Park Chan-wook
Tar by Todd Field
Crimes of the Future by David Cronenberg
Actress
Cate Blanchett in Tar
Adèle Exarchopoulos in Zero Fucks Given
Michelle Yeoh in Everything Everywhere All At Once
Noomi Rapace in You Won´t Be Alone
Actor
Michael Fassbender in The Killer
Brendan Fraser in The Whale
Fraser is a so obvious contender, from so long ago, that I can picture him suffering the Travolta syndrome… he was close to the nomination for Gods & Monsters back in 1998, probably not far with Crash (2005) and now he could get it, be even the frontrunner and lose to some bigger star in a flavor of the year film, like Travolta lost his Pulp Fiction to Tom Hanks in Forrest Gump for what it was back-to-back Oscars. Still hurts.
Fincher? Great! Malick? Very ambitious stuff! I’m looking forward to both, and maybe even more so for Nalick. I’m interested to see what he’s going to with it. You know it’s not going to anything like normal. It could be out of this world.
There is no set release date yet for Leave the World Behind (Sam Esmail) but it sounds like it will be a late entry.
Semi-spoilers ahead…
This is the type of slow burn film the Oscars love – Everything starts out normal, and then slowly everything falls apart and the two central families struggle to adjust and accept (that’s as vague as I can get)
More details. You never know what will be kept from the book, but you definitely get a sense the world is ending and these 6 characters are vacationing in a country house so they only get a sense that something bad is happening far away. And then they notice small changes around them (such as animal behavior) But what makes it good is that there is already heightened drama with all of characters as the strange events start and they are slow (some slower than others) adjust to a new reality.
There will likely be a scene that takes place 2/3 into the film where one of the characters begins to lose their teeth for no apparent reason. In the book it is simply horrifying the way it plays out, not like a horror film but terribly upsetting to the characters and to the reader (plays into one’s worst fears). I think this is the scene that will catapult the film into greatness and just maybe a second Oscar for Julia Roberts. I also think Ethan Hawke will be given a ton of great scenes and could easily dominate in supporting. Sound and Cinematography are also possible.
I just loved the book and it’s the rare book (because its short) that will make a great movie.
Also really enjoyed the book. Curious what they will do with The Sound from the book
I could see Spielberg and Kushner’s screenplay winning. Like Tom O’Neil used to say, there’s a big Oscar IOU out there. (Kushner losing for Lincoln)
I have not seen Tom O’Neil lately. Is he ok?
I think so, too. They’ve disrespected a few times. I believe Fabelmans will be frontrunner in Original Screenplay and BD.
Kushner is an icon, his status won’t be improved by winning an Oscar.
But if there’s such a notable Oscar IOU to Kushner, one would imagine that he would have gotten nominated nominated in adapted screenplay just because people respect him.
There is a film called 13 Lives about the Thai cave rescue from a few years ago starring Viggo Mortensen who is overdue and Colin Farrell never nominated,Ron Howard is directing,it was moved from April to a November release due to huge test score screenings 97 per cent positive.
Yeah, that looks interesting and it’s got Oscar pedigree.
It’ll be the 50th Anniversary of Sacheen Littlefeather’s speech. She’ll be invited back.
Would they do “The Godfather turns 50” twice?
Also, something that really frustrated me about the movie tributes like that at this year’s Oscars: you’re awarding the movies of 2021, 50 years ago is 1971, not 1972.
Not everyone who watches the Oscar’s thinks in terms of ceremonies
It’s not even that I think in terms of ceremonies, I’d argue I’m thinking of the movies being awarded at this current ceremony and drawing links between those movies and movies that came out a certain amount of time before the ceremony, which in my opinion should on some level link up to reflecting on movies that came out a certain amount of time before the movies being discussed that night.
Hollywood always has a pretty rubbery handle on the truth!
The Godfather came out in 1972. The ceremony awarding the Godfather was in 1973. Last year was the 50th anniversary of the movie, this year is the 50th anniversary of the ceremony.
Her speech wasn’t about The Godfather, so it wouldn’t be a “Godfather Turns 50” moment.
I understand the basic idea but the tribute is still happening at the ceremony, at which point it is in my opinion bizarre to make the distinction between movie release year and Oscar year
They’ve always done it that way, haven’t they? Beatty and Dunaway were on stage in 2017 for the 50th anniversary of Bonnie and Clyde, which came out in 1967.
It’s still bizarre in my opinion. I think it also bothers me that since they’re looking at the entire year when the event is held in February or March because not all of these movies have reached the notable moment yet (The Godfather at least actually came out in March but why is Juno turning 15 years in March when it was released in December). That’s also why I think it should go by ceremony, you are getting for films that were nominated a pretty exact “birthday” tribute and even in the case of something like White Men Can’t Jump, they are still reflecting on the past movie year, so it seems reasonable to ask: “What was the movie year the Oscars were reflecting on 30 years ago” rather than vaguely pointing to release years
they’re celebrating the film, not themselves giving it Best Picture.
They should have celebrated 30 years of Clint Eastwood’s Unforgiven.
as great as Unforgiven it is… it’s no The Godfather (and I still prefer “Pale Rider”, by the way)
My favourite Eastwood Westerns are ‘The Good The Bad And The Ugly’ and ‘The Outlaw Josey Wales’. This year is also 45 years of ‘Star Wars’. Why bring out the cast of ‘White Men Can’t Jump’?
They needed Sacheen this week to accept on behalf of the Leading Actor winner who should have been indisposed. She could have remarked ‘that “he very regretfully cannot accept this very generous award.”
Yes, “he’s in jail at the moment”.
https://uploads.disquscdn.com/images/eb25605a61d2921df5a4c7dcc165bc71c74d74c499ecd9c2059704fdbc5ffed1.jpg
ok, well I might need to hire a temp assistant to help me collate this Pandora’s Box we’ve opened.
but I do very much admire how eager everyone is to bury 2021 deep under a mountain of fresh hopes and dreams!
Ryan how u mate ? Won’t u email mW tell mW boyt going on with u in u own time ? Answer questions not here I did to you in my prior email? Just reply my email by email ey?
Hope u well..
Have ask u personally felt CODA didn’t deserve win best picture ? Bet u disappointed as way things are controversy qs in will Smith stupidity overshadows well deserved gamecganging win ? First film truly highlight trial qnd tribulations of challenges of q disabled community to fit in with non disabled people been long time coming too long since it was recognised ey?
Early 95th Oscars Predictions
Best Picture
The Fablesman (Steven Spielberg)
Babylon (Damien Chazelle)
Killers of the Flower Moon (Martin Scorsese)
She Said (Maria Schrader)
Elvis (Baz Luhrmann)
White Noise (Noah Baumbach)
Limbo (Alejandro Gonzalez Iñárritu)
Canterbury Glass (David O. Russell)
See How They Run (Tom George)
Don’t Worry Darling (Olivia Wilde)
A few of these will likely get in. Your top four in particular looks good for big Oscar campaigns next year.
Babylon (Damian chazelle)
Killers of the flower moon (Martin Scorsese)
The Fabelmans (Steven Spielberg)
Canterbury Glass (David O Russell)
Empire of Light (Sam Mendes)
White Noise (Noah Baumbach)
The Whale (Darren Aronofsky)
Bardo (Alejandro G Inarritu)
Woman Talking (Sarah Polley)
The Northman (Robert Eggers)
The only Batman actor with any chance at awards is Kravitz. Dano got mixed reviews.
This reminds me how much Turturro is overdue for his first NOMINATION.
Not only for his whole work with the Coens, but also for one of the best supporting performances I’ve seen these last years: his bilingual comedic turn in Moretti’s Mia madre
check him and Christopher Walken in Severance. Sure it’s TV but it’s as good as it gets from both, especially Walken.
I’m 8 movies into my 10 tickets to Alliance Francais 2022
Farewell, Mr Haffman (Gilles Lellouche, Daniel Auteuil) – fascinating story, wonderful actors.
Madeleine Collins (Virginie Efira) – my crush – Virginie – the Belgian Bombshell! Intriguing movie
The Young Lovers (Fanny Ardant, Melvil Poupard, Cecile De France) – Romantic, Sad, Sweet
Peaceful (Benoit Magimel, Catherine Deneuve) – Tragic, Cesar & Lumiere winning Magimel
Men On The Verge Of A Nervous Breakdown – Thoughtful but a bit contrived
Waiting for Bojangles (Romain Duris, Virginie Efira) -Gorgeous leads, but all about bipolar, heavy!
Everything Went Fine (Sophie Marceau, Andre Dussolier) – Euthanasia; Marceau is wonderful
Lost Illusions (Benjamin Voisin, Vincent Lacoste, Xavier Dolan) – Handsome, ambitious, epic
** Still to see: Hear Me Out (Sandrine Kiberlain), Full Time (Laure Calarmy)
*****The great: Everything Went Fine (Francois Ozon; Dir) , Lost Illusions (Xavier Giannoli; Dir)
**** The Very Good: The Young Lovers, Peaceful
*** The good: Farewell Mr Haffman, Madeleine Collins,
** The OK: Men on the Verge of A Nervous Breakdown, Waiting for Bojangles.
Note to self – see lighter, happier films next year!!!!
I’ll just bet on the opposite of whatever the pundits say is going to win Best Picture.
https://uploads.disquscdn.com/images/e868ba334999da8df6bc91c31b88ffc3f5f94c1cef2a0c848eb4106ab0bd0fb3.gif
Unless it is Nomadland or The Artist. Buries the competition. Good to see James Cameron, David O Russell and Baz luhrmann return after many years.
It’s never about the director. That’s the big mistake that pundits and the pretentious always make. It’s about the material. If someone told you that Sian Heder would make a better film than Spielberg, Campion, Villeneuve, and Del Toro you could’ve gotten incredible betting odds.
There is no way Kathryn Bigelow’s ‘The Hurt Locker is better than ‘Zero Dark Thirty’ and ‘Strange Days’.
Shirley for Best Picture and Regina King for Best Actress.
Looking forward to “Operation Mincemeat” since it is a remake of one of my favorite films “The Man Who Never Was”.
Whoopie Goldberg in Till for actress.
Has anyone seen Everything Everywhere All at Once ?
Does Yeoh have a chance?
I think that the raves already received, the inmediate cult status and likability of the film (Jamie Lee Curtis! Ke Huy Quan!) along with Michelle Yeoh’s overdueness (I’d say Curtis is also overdue for some Oscar recognition: Trading Places and True Lies should have been translated into Oscar nominations, not to forget her last Halloween entry – not Halloween Kills – where she’s giving a phenomenal strong performance), may work the magic if the studio and/or distributor believe in the film’s chances. I am totally in favor of a project like this, being a contender…
I see. I’m worried about its March release tho, and also the fact A24 hasn’t been a very good campaigner
still… March is an excellent time for an underdog to be released and end being a competitor… they just need to hold their guns to release it on VOD or Bluray till the start of award season, to remind/or let voters discover the film, and with the right strategy they could do a “Get Out” or even a “Silence of the Lambs”, two great examples of early raved genre films that ended going all the way to the big night. After this year’s lack of originality (Nightmare Alley, CODA, West Side Story, Dune, are all new versions), the AMPAS may be eager for some freshness (as Drive My Car’s nomination hints), and that’s why I wouldn’t discard a raved film that looks super-original and ultra-engaging, to earn hearts during the year… it’s not the kind of film that you just forget about, it seems.
I am SO looking forward to months of AD articles about how Yeoh is only getting awards attention because of her race.
I don’t think so… because AD actually always pointed out the lack of diversity and how traditionally minorities have been shunned (this year we had the first openly queer performer winning – as I doubt Jolie was open about her sexuality back in 1999)… how many latinos have won? (Bardem and Cruz are not what in America are known as latinos, but they are mediterranean).
Sure, but whenever a POC is contending and she doesn’t want them to win, Sasha writes article after article saying people are supporting them because of their race.
DeBose, Benicio Del Toro, Jose Ferrer, Rita Moreno, Anthony Quinn, Mercedes Ruehl
not that many, if you consider the actual latino population in the USA, are they? We could also check out how non-english speaking performances / screenplays and directors (for foreign language films) have won… let’s not get into how many openly out LGTB performers have taken the prize (DeBose and pending on dates of coming out and who believed it was a stunt to call for attention, Angelina Jolie… I think Swinton wasn’t out and definetively Paquin wasn’t out either when she won, neither Foster).
Basically most Oscar wins in acting have been white, english-speaking, straight…
Kudos to Ferdinand’s list (excited for the new Eggers, Hansen-Love, Kore-eda, Lanthimos, Malick, Polley, Strickland, etc.).
Decision to Leave (Park Chan-wook)
The Eternal Daughter (Joanna Hogg)
Dead For A Dollar by Walter Hill starring Willem Dafoe & Christophe Waltz. Best title of the year. Great cast. Walter Hill knows how to make western.
Women Talking, by Sarah Polley starring Rooney Mara, Jessie Buckley, Claire Foy, Ben Wishaw and Frances McDormand. Great director and a superb cast. All the right elements are there.
Poor Things by Yorgos Lanthimos starring Emma Stone, Willem Dafoe and Mark Ruffalo. The track record is strong.
Lady Chatterley’s Lover by Laure de
Clermont-Tonnerre (The Mustang)
starring Emma Corrin (who also has My Policeman with Harry Styles) and Jack
O’Connell. A bit of a long shot at this stage but if it turns out well expect to see at the fall fests.
They already mentioned it but Misanthrope (by Damián Szifron)
It’s his first English language film. His film Wild Tales was nominated for an Oscar a couple of years ago. It stars Shailene Woodley. This is my most anticipated film of 2022. His work always feels fresh and never boring.
Wild Tales is quite fun, but I fell it was a bit over the place and a collection of short stories with little to do with each other. If you want to see how it should have been, to feel like a movie, watch “Unfortunate Stories”, by Javier Fesser or… of course, “Pulp Fiction”. I may be in the minority, that a stories film should have some cohesion and sense of unity, which Wild Tales actually doesn’t really have, beyond the dread of violence and dark humor, but those stories have absolutely zero connection among then…
I don’t know about Best Picture, but I bet at least a THIRD of all the acting nominees are from biopics. Just about every year.
And the industry wonders why people think the Oscars are boring. Uninspired biopics don’t help. Amy Schumer’s joke about Being the Ricardos not being funny despite being about Lucille Ball, to me, could be applied to most other biopics’ inaccurate depictions of icons. They’re just vehicles for their stars nab an award. Will Smith and Jessica Chastain in fat suits was catnip for their fans, and easy to predict very early on.
Best director could be Spielberg, Scorcese, James Cameron, Fincher. Maybe Ridley Scott or Baz Luhrman takes the fifth spot.
Spielberg and Scorsese, yes, but I’m not sure about the others in BD.
Taika Waititi
I forgot to post this earlier – failed lock calls made this season, that I logged. Fewer than usual (I wasn’t as vigilant this year), and one is mine. 🙂 I don’t think it’s the only one made against CODA – I think I remember at least one more, but I didn’t actually log that one or any others (usually, due to lack of time), so, officially, that “honor” falls to me alone…
Pete Miesel, 25 DEC: “Dog getting the sound guild nomination tells me it’s already got the win for BP locked”
8 FEB: “Literally no way Dog loses best Picture. It hit in every single major category.”
MovieManiac14, 3 FEB: “Okay, it should be EXTREMELY OBVIOUS by now that The Power of the Dog has this entire race sealed in a cake walk.”
8 FEB: “Anyone betting against The Power of the Dog at this point is a fool.”
JP, 8 FEB: “I feel very comfortable to call it. It’s a lock to win Picture and Director.” [About The Power of the Dog.]
Myself, 28 FEB: “I think it’s time for my first BP lock call of the season: CODA is not winning Best Picture.”
Well in Feb I felt that the PGA could provide a last minute twist and since it was so close to the Oscar Awards it would be too late for POTD to do anything if it lost. But yes there was no way I would have said that POTD goes 1/12.
The PGA is just always the most interesting moment in the BP race. It’s so weird for it not to be broadcast anywhere. (Or maybe it’s the WGA – likewise, not broadcast… They also pick unexpected winners often-enough – although you can usually predict them better than the PGA, because they’re the last to announce of the major guilds and they tend to follow at least one of those. But not always…)
“But yes there was no way I would have said that POTD goes 1/12.”
Nor I, of course. 🙂
Hey, where are all the repeated CODA locks by me, when everyone else was still kowtowing
to the Dog? I never wavered.
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Might be a case of the tail wagging the dog! https://uploads.disquscdn.com/images/936c2d71fb763a4f5f479c2e0c610c53eed51e992736e69a5f0ba056565aaf6c.gif
Sammy also made a bunch of lock calls (a hat was usually involved) that all worked out… 🙂
No, no, I said failed calls. 🙂 I already gave you props for sticking with CODA throughout in another post.
You’re so kind not to note my hot takes.
:)) But you didn’t make any lock calls, right? I don’t remember any. And, even if you did, it wasn’t at AD, no?
No, I don’t think I made any lock calls. I know all too well how the race can change.
This would be my short list for Best Picture; Academy should give a try to get back to only five nominees:
Elvis
The Batman
Nope
The Fabelmans
Killers of the Flower Moon
Napoleón
Everything Everywhere All At Once
Avatar 2
Babylon
Kenneth Branagh’s Bee Gees movie
The Batman doesn’t deserve to be anywhere close Best Picture, sorry. It’s a great film but too silly at some points (specially the ending). Still, they’ve chosen worse than that, and I could live with it, being nominated for Best Picture… but The LEGO Batman Movie and The Dark Knight are the only Batman films that I consider worthy of a Best Picture nomination…
Oh please. Every year has silly nominees. Like TPOTD. The silliness of Cumberbatch tai chi masturbation with the BH scarf and hiding gay porn in the woods is hard to surpass. As is the glacially paced crime plot that basically happened thanks to a number of random events since the killer didn’t exactly work on creating opportunities himself.
The fact that won Directing is embarrassing
Amen!
More silly than CODA?
I haven’t seen CODA, but I saw the original, on tuesday. La Familie Bèlier isn’t silly. It’s just unoriginal, an amalgam of Billy Elliott and Jenseits der Stille, both Oscar nominated films and obviously known by the people in the business.
Y’all are too good and on the spot finding all of these films.
Many are making me excited for what’s to come….
Could it be a Spielberg vs Scorsese fight? Battle of the directing icons!? I see it now.
And in general, in case the poll needs more movies here are my most anticipated films of the year and a few that I’ve already seen and really liked in alphabetical order:
The Actor (Duke Johnson)
After Yang (Kogonada)
Alcarràs (Carla Simón)
Alpha Gang (The Zellners)
Anatomy of a Fall (Justine Triet)
Apollo 10½: A Space-Age Childhood (Richard Linklater)
Are You There God? It’s Me, Margaret (Kelly Fremon Craig)
Armageddon Time (James Gray)
Asteroid City (Wes Anderson)
Babylon (Damien Chazelle)
The Banshees of Inershin (Martin McDonagh)
Bardo Or (False Chronicle of a Handful of Truths) [Alejandro González Iñárritu]
Benediction (Terence Davies)
Beth & Don (Nicole Holofcener)
Black Panther: Wakanda Forever (Ryan Coogler)
Blonde (Andrew Dominik)
Bones & All (Luca Guadagnino)
Broker (Hirokazu Kore-eda)
Bullet Train (David Leitch)
Cow (Andrea Arnold) [seen already, phenomenal]
Crimes of the Future (David Cronenberg)
Disappointment Blvd. (Ari Aster)
Don’t Worry Darling (Olivia Wilde)
École de l’air (Robin Campillo)
Elvis (Baz Luhrmann)
Empire of Light (Sam Mendes)
The End (Joshua Oppenheimer)
The Eternal Daughter (Joanna Hogg)
Eureka (Lisandro Alonso)
Everything Everywhere All At Once (Daniels)
The Fabelmans (Steven Spielberg)
Fire (Claire Denis)
Flux Gourmet (Peter Strickland)
Funny Wars (Jean-Luc Godard)
The God Beside My Bed (Lisandro Alonso, Rick Alverson)
God’s Creatures (Anna Rose Holmer, Saela Davis)
Happening (Audrey Diwan)
Holy Spider (Ali Abbasi)
Hustle (Jeremiah Zagar)
Il Buco (Michaelangelo Frammartino)
In Front of Your Face (Hong Sang-soo)
Infinity Pool (Brandon Cronenberg)
The Killer (David Fincher)
Killers of the Flower Moon (Martin Scorsese)
KIMI (Steven Soderbergh)
Knives Out 2 (Rian Johnson)
Maestro (Bradley Cooper)
Master Gardener (Paul Schrader)
Men (Alex Garland)
Misanthrope (Damián Szifron)
Napoleon (Ridley Scott)
Nope (Jordan Peele)
The Northman (Robert Eggers)
The Novelist’s Film (Hong Sang-soo)
One Fine Morning (Mia Hansen-Love)
Onoda: 10000 Nights in the Jungle (Arthur Harari)
Passages (Ira Sachs)
Peter Pan & Wendy (David Lowery)
Petrov’s Flu (Kirill Serebrennikov)
Pinocchio (Guillermo Del Toro)
Poor Things (Yorgos Lanthimos)
Red Post on Escher Street (Sion Sono) [seen already, phenomenal]
R.M.N (Cristian Mungiu)
Scarlet (Pietro Marcello)
Showing Up (Kelly Reichardt)
Spider-Man: Across the Spider-Verse (Part One) [Joaquim Dos Santos, Justin K. Thompson, Kemp Powers]
The Stars at Noon (Claire Denis)
Tchaikovsky’s Wife (Kirill Serebrennikov)
Three Thousand Years of Longing (George Miller)
Triangle of Sadness (Ruben Östlund)
Turning Red (Domee Shi)
Tár (Todd Field)
The Unbearable Weight of Massive Talent (Tom Gormican)
The Way of the Wind (Terrence Malick)
Wendell & Wild (Henry Selick)
The Whale (Darren Aronofsky)
When the Waves Are Gone (Lav Diaz)
White Noise (Noah Baumbach)
The Woman King (Gina Prince-Bythewood)
Women Talking (Sarah Polley)
The Wonder (Sebastian Lelio)
The Zone of Interest (Jonathan Glazer)
You’re amazing!
Cow is great.
Bless your soul. Many thanks, Ferdinand.
I am curious, which Javier Fesser and Nacho Vigalondo films have you seen, out of their careers? Both were Oscar nominated for short films, in the last 20 years and have the two most exciting careers in Spain (and both are potential Oscar winners, whenever they decide to make a studio film in Hollywood… Fesser already won Best Picture in Spain 2 times and one of them for a film that could be compared to CODA, and Vigalondo is simply the spanish Charlie Kauffman at writing)
Already rooting for “Everything Everywhere All at Once” to sweep in the nominations, by the way, just for the mere concept and the reviews I am reading. Michelle Yeoh, to get her due! And hopefully Ke Huy Quan finally breaks after being the iconic child performer in “Indiana Jones and the Temple of Doom” and “The Goonies” (and the backlash for playing two characters that have been deemed as racist stereotypes, by the portrayal by Amblin productions)
I was just recently at the Spain Pavilion at the Dubai Expo and Vigalondo made this awesome short to promote Spain…you should check it out, it should be online already
Vigalondo is SO winning Original Screenplay some day… “Open Windows” is his weaker film, “Extraterrestrial” is fun and works on many levels, but “Timecrimes” and specially “Colossal” are masterpieces… all of them are challenging screenplays… Fesser in exchange is better at Directing and his screenplays can be not as good as the visuals sometimes…
I haven’t seen anything by Fesser and the only Vigolando movie I’ve seen is Colossal which (as I think we’ve discussed here before) I wasn’t that big a fan of
which I don’t understand. It’s pure genius twisting genres continuously to ellaborate the ultimate feminist film, while also delivering the most undercover and intelligent superhero film I’ve ever seen (which I guess it is a minor spoiler). His mastery with that shot of Jason Sudeikis feet stepping in the park while Hathaway silently screams in horror and we hear the screams of the people in horror and disbelief is one of my fave shots of the century and the ultimate way to both shoot with a limited budget and convey the ultimate horror of a disaster and massacre, without recreating in it. “Colossal” is pure genius from start to finish… it manipulates the audience to believe they’re going to check out another rom-com (Hathaway, Sudeikis and Stevens are obvious material for that), and slowly but firmly transforms itself into an allegory that juggles with feminism, toxic masculinity, alcoholism, the importance of the responsability, and so on… in an effortless way. And you don’t really see how limited the budget actually was (it is a spanish film)
Already seen Petrov’s Flu and Onoda. Both in my top 10 2021 (#10 and #4).
Didn’t know Lisandro Alonso had already a new film after Jauja. Boy, that was a trip.
I haven’t seen Jauja but I basically put both the Lisandro Alonso projects on this list because someone I know described seeing it at a festival screening I think at around 3 a.m. and made it sound like the most incredible movie ever made
Didn’t know about the new Wes Anderson, Fincher or Aronofsky! Thanks for highlighting, exciting year coming up!
I did know about Fincher’s The Killer starring Michael Fassbender, but that might because I’m huge fan of his. The Aronofsky film seems like a departure for him si we’ll see how that goes. I don’t know anything about Wes Anderson one, though.
Disappointment Blvd is my most anticipated title of 2022.
Internationally: Decision to Leave.
For next year… well I am looking forward to the MCU next entries (Dr. Strange and the Multiverse of Madness and Thor: Love and Thunder look really amazing beforehand – can we have Ash killing zombies in Raimi’s nightmarish multiverse? It is comic-book canon! – and won’t get probably close to the Oscars beyond VFX and maybe some other technical, regardless how good they may be)… and also Taika Waititi’s “Next Goal Wins”, George Miller’s “Three Thousand Years of Longing” and Andrew Dominik’s “Blonde” (watch out for Ana de Armas, who has been quietly storming Hollywood in the last two years, for a possible nomination or even win, playing Marilyn)…
However, I am in doubt any of the three will even make a single nomination, looking at this year’s wins. Hollywood’s taste might be way more mainstream than that, at this point…
Saw yesterday “La Familie Bèlier”, the original in which CODA – which I read differs only in details here and there, changing the farm to fishing, for example – is a remake of… and LOL. IT IS A BILLY ELLIOTT RIP OFF!!! Same structure, same beats, same teacher encouraging the starring character to dance/sing, same final 20 minutes (audiition/bittersweet farewell in a vehicle). LOL THEY JUST GAVE BEST PICTURE TO THE AMERICANIZATION OF A FRENCH RIP OFF OF AN OSCAR FILM OF 20 YEARS AGO. (Sorry, I couldn’t help it, this just makes 2021’s edition even worse than I thought it was). Again, it has nothing to do with the actual quality of CODA, whatever it may be (La Familie Bèlier” starts strong and nice, but quickly you discover that they’re cupboard characters, and there’s little complexity to the situation/dilema, some of the members of the family is clearly underwritten (the son) and the teacher’s character is one-dimensional… there’s no visual language other than naturalism (which is OK, I love films in which the director disappears, like most of Frank Oz’s, one of my faves), but I really don’t get why Hollywood has been infatuated with a film that can’t really desguise its true nature as completely manufactured and industrial and fake… therefore the decision to work with deaf actors, becomes more a stunt, than an actual wise decision, as it is not a truly original film nor story. I’d compare it with Javier Fesser’s “Campeones”, which won the Spanish Oscar – Goya – a couple of years ago, and in which he used disabled performers (most of them not professional by then, but have continued working afterwards), in a truly inclusive story that while it used an already abused story (fallen coach finds redemption through helping a group of misfits), it felt authentically warm and featured a great ensemble work, and became risky because of the casting of so many non-professionals… still, the overuse of dramatic score enhancing how you SHOULD film, made of “Campeones” – by far – Fesser’s less interesting film (but it was a b.o. monster that is earning the sequel treatment as I write).
“I am looking forward to the MCU next entries (Dr. Strange and the Multiverse of Madness and Thor: Love and Thunder”
https://uploads.disquscdn.com/images/d98537d19411de8746338cf809ce55ba1cbf12640a61781bd3506ee5bd54a010.gif
sorry, I don’t sneer to other one’s tastes, you troll. I don’t have to explain nor apology for what I like… grow up. Your post is clearly looking for attention… you got it and that’s all my attention you will have…
I think you’ve nailed it.
So happy this thread is back this year after its hiatus. I had to work so much harder to build my “Films to See” list this past year without everyone’s knowledge here. This year the list practically makes itself with everyone’s knowledge of the upcoming slate and their anticipation for the year to come in cinema. And, I think I speak for everyone, I’ve never been more excited to turn the page on an awards season.
24 days until my most anticipated film of 2022: The Northman!
Best Documentary: NAVALNY directed Daniel Roher, winner of the Sundance Audience Award. Seems to be hitting the zeitgeist at the right time. Plus it’s Sundance (where CODA and Summer of Soul were christened.)
Best Animated nominees:
Apollo 10½ by Richard Linklater
Lightyear (Disney Pixar)
Pinocchio by Guillermo del Toro.
Spider-Man: Across the Spider-Verse (Part One)
Wendell and Wild (voiced by Key and Peele)
I wonder how much of a role Jean Smart will have in Babylon. She seems to be having a real career high point. She could get nommed
I’d of course like to see Nitram get some recognition, it was far and away the best film of 2021, but let’s face it, a year beyond release, awkward existence, it might not go the 2022 awards distance save CLJ maybe.
I am a big fan of Oates and Dominik so keen for Blonde. Probably more a Director/Actress threat though.
As much as I love DeLillo, I doubt White Noise will be Oscary, adapting his work comes with challenges and takes vision, and the results tend to veer small and arty. But with Baumbach and recent history it could hit the Mark. DeLillo’s Game 6 script was very Belier-Birdman as well.
Sight unseen, I already have my quest. Carey Mulligan – Best Actress in “She Said”.
My full year-in-advance predictions (predicted winners in bold):
Best Picture
Empire of Light
Babylon
She Said
Rustin
Killers of the Flower Moon
Canterbury Glass
The Son
The Fabelmans
White Noise
The Whale
Best Director
Sam Mendes (Empire of Light)
Damien Chazelle (Babylon)
Maria Schrader (She Said)
George C. Wolfe (Rustin)
Martin Scorsese (Killers of the Flower Moon)
Best Original Screenplay
Empire of Light
Rustin
Babylon
Canterbury Glass
Bardo or (False Chronicle of a Handful of Truths)
Best Adapted Screenplay
She Said
The Son
Killers of the Flower Moon
White Noise
Women Talking
Best Actress
Carey Mulligan (She Said)
Margot Robbie (Canterbury Glass)
Olivia Colman (Empire of Light)
Greta Gerwig (White Noise)
Naomi Ackie (I Wanna Dance with Somebody)
Best Actor
Colman Domingo (Rustin)
Brendan Fraser (The Whale)
Micheal Ward (Empire of Light)
Hugh Jackman (The Son)
Adam Driver (White Noise)
Best Supporting Actor
Paul Dano (The Fabelmans)
Leonardo DiCaprio (Killers of the Flower Moon)
Glynn Turman (Rustin)
Don Cheadle (White Noise)
Colin Firth (Empire of Light)
Best Supporting Actress
Jean Smart (Babylon)
Anya Taylor-Joy (Canterbury Glass)
Laura Dern (The Son)
Lily Gladstone (Killers of the Flower Moon)
Michelle Williams (The Fabelmans)
Best Film Editing
Babylon
Killers of the Flower Moon
Empire of Light
Canterbury Glass
The Fabelmans
Best Cinematography
Empire of Light
Babylon
Rustin
Killers of the Flower Moon
The Whale
Best Production Design
Babylon
Killers of the Flower Moon
The Whale
Three Thousand Years of Longing
Black Panther: Wakanda Forever
Best Costume Design
Babylon
Elvis
Black Panther: Wakanda Forever
Killers of the Flower Moon
Three Thousand Years of Longing
Best Original Score
Babylon
The Fabelmans
The Whale
Three Thousand Years of Longing
Killers of the Flower Moon
Best Visual Effects
Avatar 2
Doctor Strange in the Multiverse of Madness
Three Thousand Years of Longing
Black Panther: Wakanda Forever
Thor: Love and Thunder
Best Sound
Avatar 2
Babylon
The Whale
The Batman
Elvis
Best Makeup and Hairstyling
Elvis
Black Panther: Wakanda Forever
I Wanna Dance with Somebody
Three Thousand Years of Longing
The Whale
Best International Feature
Bardo or (False Chronicle of a Handful of Truths
Broker
R.M.N
École de l’air
Rheingold
Best Documentary Feature
Navalny
All That Breathes
The Territory
Aftershock
The Exiles
Best Animated Feature
Pinocchio
Apollo 10½: A Space-Age Childhood
Wendell & Wild
Spider-Man: Across the Spider-Verse (Part One)
Turning Red
I hope Scorsese gets a second Oscar ahead of Mendes. And given the material, Scorsese might very well win this.
Amazing!
What’s the plot of Empire of Light?
Details haven’t been shared but apparently it’s some kind of love story set around a cinema. Who knows if it will actually do well but at this point I usually try to avoid predicting the absolute biggest year-in-advance frontrunners. Also, I think their pivot from CODA might not be to a film that’s bigger but to a film that’s less overtly emotional. And most importantly, I think there is strong support for Mendes who the industry seemed very willing to award a few years ago before Parasite became an even bigger priority.
Picture
Avatar 2 (the Way of the Water or whatever title they settle in for)
The Batman
Killers of the Flower Moon
Actress or Supporting Actress
Elizabeth Olsen (Doctor Strange: Multiverse of Madness)
I know this sounds crazy but Olsen was nominated for the Emmy for Wandavision and Multiverse gives her character tons to do including playing different versions of Wanda. Olsen is phenonemal in Wandavision and I expect her to be sensational in Multiverse.
Sup. Actor
Paul Dano (The Batman)
Best Actor
MIKE FAIST (that Zendaya flick)
Will Smith (Emancipation) – move over Waltz, Ali and Hanks, Big Willy is in town!
Fassy (Next Goal Wins) – the comeback of the year
Not sure if Leo is going to be Actor or Supporting but he’s going to be deranged which is awesome.
And it begins again …. super exciting.
From movies released this year so far it feels like only Everything Everywhere All At Once is a potential contender.
Nitram is finally being released in theatres this weekend.
After Yang and X also got good reviews but won’t stand a chance.
The Batman will probably get some nominations.
Turning Red for animated, although it skipped theatres. Right?
Anything else so far?
Well, let’s see…
From what I ‘know’ is coming out this year:
Killers of the Flower Moon (Scorsese)
The Fabelmans (Spielberg)
Canterbury Glass (David O Russell)
Babylon (Damien Chazelle)
Disappointment Blvd. (Ari Aster)
Don’t Worry Darling (Olivia Wilde)
Blonde (Andrew Dominik) (Finally?)
The Killer (Fincher)
Also, The Northman from Robert Eggers would be cool too, but the April release date and apparent studio meddling makes me doubt if it will be even half as good as it should be.
I’ll name this one so nobody else has to:
Emancipation
Directed by Antoine Fuqua
Starring Will Smith
“Warner Bros, MGM, Lionsgate and Universal Pictures bid on the film before Apple ultimately won distribution rights for over $130 million.”
Wow. Excellent investment.
https://uploads.disquscdn.com/images/03e4787d1d8f3d2078e0ab31f03e341b1b44cdadeefee97c325ac68666353d0c.gif
Will Smith pulling a Hanks/Waltz/Ali + Chris Rock as the host. Boom. Ratings through the roof!
https://media0.giphy.com/media/2nGfl4QfpCtW/giphy.gif
Pass.
I’ll say it.
Fuqua? Fuqno.
I see what you did here with the director’s name. Bravo!
Yep, I try. When I have some relaxing time off from work, the bon mots just flow. (Christophe, I used your language, my buddy!)
That’s a great use of the expression! Thx for the mention friend.
(I will correct one tiny little thing though if you don’t mind: it’s “les bons mots” with an -s at the end of “bon” in plural form because adjectives have to agree with names in French, there are a few exceptions but most of the time they do.)
Duolingo during the pandemic can only take me so far. 🙂
Julie! https://uploads.disquscdn.com/images/000549fabca5116a22d6ba6fbffd0e04db279e87e717e8dde247b041c3b74f94.gif
I love Ginger Rogers. I still have her Oscar-winning movie Kitty Foyle in my basement. Ooh, I want to make a list of great old movies that are in my basement because I have a vcr down there.
Kitty Foyle
Gay Divorcee
Cat on a Hot Tin Roof
Kitty (starring Paulette Goddard)
Casablanca
Seven Year Itch
Some Like It Hot
Others that are not as old: Chicago, Moulin Rouge, A League of Their Own, Reversal of Fortune…
no. that would be disgusting.
https://uploads.disquscdn.com/images/ba9ebc986d71d6f14aa519c725e40190089e65a7d37254cc48e43b82b0ad29f0.gif
Babylon
Killers of the Flower Moon
The Fabelmans
She Said
Disappointment Blvd
Canterbury Glass
White Noise
Next Goal Wins
White Noise
Red, White, and Water
But it has Armie Hammer in it. Which might offset any goodwill Taiki Waititi brings to the table.
No, I think he re-cast Armie’s part. Let me look it up.
Final Oscar ratings: 16.6m viewers, 3.8 in 18-49. Ratings rose almost 60% in total audience, 73% in the demo from 2021.
The Mulligan/Kazan movie about MeToo might be a factor.
I can see The Woman King getting in for Best Picture
I think there should be a tiebreaker for “who will get slapped” or “who will mention slapping.” I’d fare better with that one than the time one.
My predictions:
Best Actress: Margot Robbie
Best Picture, Director, Supporting Actor, and Adapted Screenplay: Killers of the Flower Moon
Supporting Actor: Jesse Plemons
Plemons is the lead in Killers of the Flower Moon.
Spielberg vs. Scorsese
I don’t know who will be at the Oscars next year, but I expect to be rooting for the new
Malick, Chazelle, Scorsese, Lanthimos, Guadagnino, and Almodóvar.
I always realise when this thread comes along each year that I never know anything about the upcoming year in film until after the Oscars.
Bardo by Alejandro Gonzalez Iñarritu
Mike Faist is gonna win the Oscar for Zendaya tennis love triangle flick. Screnecap this Mikebros!
And I think Marlee Matlin is presenting Best Picture.
Cronenberg’s Crimes of the future (If Cannes rumours are true)
There’s a big risk I’ll left my diplomacy out next year to defend it. I prefer to apologize now. I won’t in a few months
When is Oppenheimer coming out /?
2023
Killers of the Flower Moon (Scorsese)
Babylon (Chazelle)
Avatar: The Way of Water
The Fabelmans (Spielberg)
Women Talking (Sarah Polley)
Disappointment Blvd (Aster)
Rustin (George C. Wolfe)
Canterbury Glass (O. Russell)
Thirteen Lives (Howard)
Elvis (Lurhmann)
Blonde, White Noise, The Woman King, and Emancipation are also possible nominees, though I have my doubts about them due to subject matter and/or their directors.
is the Way of the Water official title? I love it but through it was just a rumor.
Not official yet, just what I’m calling it. Cameron confirmed the announced titles were in consideration though
1. Babylon (Damien Chazelle) – Brad Pitt, Margot Robbie
2. Elvis (Baz Luhrman) – Austin Butler (rumors are that he is incredible) as Best Actor nominee
3. Everything Everything All At Once (Daniels) – Reviews are off the charts; Michelle Yeoh gives best performance of her career; Michelle Yeoh nominee for Best Actress
4. I Wanna Dance With Somebody (Kasi Lemmons) – Naomi Ackie nominee for Best Actress
5. Killers Of The Flower Moon (Martin Scorsese) – Jesse Plemons, Leonardo DiCaprio, Robert DeNiro, Lily Gladstone for Best Supporting Actress
6. Nope (Jordan Peele) – Daniel Kaluuya & Keke Palmer; Steven Yeun
7. Rustin (George C. Wolfe) – Colman Domingo, Jeffrey Wright, Chris Rock, Audra McDonald; written by Dustin Lance Black who won for Milk
8. Shirley (John Ridley) – Biopic starring Regina King as Shirley Chisholm, America’s first Black Congresswoman; written & directed by John Ridley who won an oscar for writing 12 Years A Slave.
9. White Noise (Noah Baumbach) – Adapted screenplay & directed by Noah Baumbach; starring Greta Gerwig, Adam Driver, Jodie Turner-Smith & Don Cheadle
10. The Woman King (Gina Prince-Blythewood) – An Epic based on a true story of an African Warrior Queen; Starring Viola Davis, Thuso Mbedu (The Underground Railroad), John Boyega, Lashana Lynch; Viola Davis coming for her 5th Best Actress Oscar nomination (and who I’m hoping wins the Oscar for Best Actress next year).
Possibilities:
Asteroid City (Wes Anderson)
Avatar 2 (James Cameron)
The Banshees Of Inisherin (Martin McDonaugh)
The Batman (Matt Reeves)
Blonde (Andrew Dominik)
Bones and All (Luca Gaudanigno)
Canterbury Glass (David O. Russell)
Cha Cha Real Smooth (Cooper Raiff)
Devotion (JD Dillard)
Disappointment Blvd (Ari Aster)
Don’t Worry Darling (Olivia Wilde)
Emancipation (Antoine Fuqua)
The Fabelmans (Steven Spielberg)
Hate To See You Go (Ben Tishler)
Next Goal Wins (Taika Waititi)
The Nightingale (Melanie Laurent)
The Northman (Robert Eggers)
Poor Things (Yorgos Lanthimos)
She Said (Maria Schrader)
The Son (Florian Zeller)
Tar (Todd Field)
Thirteen Lives (Ron Howard)
White Bird (Marc Forster)
Women Talking (Sarah Polley)
The Wonder (Sebastian Leilo)
Here’s one… https://uploads.disquscdn.com/images/bc4f4a43d649dca0d6f4f5dc46e746a78bc8de8cdbafd2c5153f6353b1d7d73d.jpg
Can’t wait for Arnie to read Abadah 2 when Picture winner is announced.
Blonde
The Fabelmans
Showing Up
TÁR
A Manual for Cleaning Women
Killers of the Flower Moon
The Killer
She Said
Babylon
The Batman ::wink wink::