Oscar trends continue to have shorter and shorter shelf lives as the award season calendar continues to pork up and as brand new guilds and critics’ groups continue to sell their virgin reputations out to further cement Helen Mirren and Forest Whitaker’s impression of impenetrability. How else to explain the fact that Best Picture and Best Director have split as often than they’ve matched in the aughts? How else to explain the almost complete demise of period epics and their chokehold on the top award? How else to explain Rex Reed being right that the New York Film Critics Circle awarding United 93 their top prize counts for hi-jack shit when a) no one saw or wanted to see the film, and b) approximately 300 groups in the interim have given public hummers to the likes of Little Miss Sunshine, Little Children, and Little Babel? (On that note, how else to explain the injustice that the younger sister Fanning will have appeared in a Best Picture nominee before poor Dakota?)
We offer our Oscar nod predictions at this late date for two reasons. First, because nearly every last group will have had their say and we got through school by looking over our peer’s shoulders on test day. Second, and more importantly, we’d hate to think that our reiteration of the same old ragged, over-hyped contenders (instead of, you know, Sandra Huller) means we’ve given in to the pressure of Oscar season groupthink. After all, the ballots were due on Jan. 13. The damage—and there will be damage—has already been done.
PICTURE. How fitting is it that Jake Gyllenhaal kicked off his recent gig on SNL by performing Jennifer Hudson’s number from Dreamgirls? Like Brokeback Mountain last year, Bill Condon’s film was initially touted as an Oscar-night self-fulfilling prophecy. But whereas Brokeback was ridin’ high (but not dirty) on the horse right up until the moment Jack Nicholson recoiled at the contents of his envelope, Dreamgirls—with less than rapturous reviews, acceptable but hardly Chicago-level box office numbers, and no critics awards beyond Hudson—has been effectively upstaged far earlier in the game and thus we’re left with Gyllenhaal’s demand of “you’re going to love me” sounding like a requiem for a former contender. The nomination, on the other hand, is all but assured, as the various guilds have all taken their dutiful turns to play a round of Let’s Try and Guess the Best Picture Contenders. Producers Guild: Babel, The Departed, Dreamgirls, Little Miss Sunshine, The Queen. Directors Guild: Babel, The Departed, Dreamgirls, Little Miss Sunshine, The Queen. Screen Actor’s Guild ensemble: Babel, Bobby, The Departed, Dreamgirls, Little Miss Sunshine. (Well, apparently they alone couldn’t attempt to make a case for The Queen being anyone but Mirren’s show.) You can see why it’s easy to believe the American Society of Cinematographers were truly enthusiastic about the actual lensing (i.e. what they were rewarding) of Apocalypto, The Black Dahlia, Children of Men, The Good Shepherd, and The Illusionist and not just rewarding, say, Robert Richardson for the umpteenth time. (I mean, granted, direction isn’t just eye-popping action choreography, pretty pictures, important historical themes, and variations on auteur themes. But are we really supposed to believe the directors respect Jonathan Dayton and Valerie Faris’s completely facile presentation of a potentially interesting script more than the newest work of Alfonso Cuarón, Sofia Coppola, Clint Eastwood, and Pedro Almodóvar?) The carbon-copy guild slates do make the absence of Dreamgirls from the Writers Guild’s copious 10 nomination slots awfully telling. Nevertheless, Clint’s partisans are going to split, with half rewarding the collaboration with Paul Haggis and the other half choosing correctly. That leaves only United 93 as a potential spoiler, but it’s more likely that this year’s Best Picture slate will be the first possibly ever without a single Best Picture winner by the three major critics’ groups (in addition to the New York-feted United 93, L.A. went for Letters from Iwo Jima and the National Society for Pan’s Labyrinth).
ACTOR. Speaking of the short life of trends, if we were to make predictions about this year’s Best Actor line-up off of last year’s precedent, we would cite Jamie Foxx (Dreamgirls), Greg Kinnear (Little Miss Sunshine), and Leonardo DiCaprio (The Departed) before shamefully admitting that we couldn’t predict the last two nominees, what with the lack of leading male roles in either Babel or The Queen. So much for Best Picture line-ups that whip it out and slap it on the table over in the Best Actor category. This year’s Best Picture candidates belong to the ladies and their ensemble broods, which at the very least opens the Best Actor contest up to a few intriguing contenders. Leonardo DiCaprio, who admittedly has quite a pair, should show up…if only the Globes and Guilds could settle on which performance is more deserving. While Blood Diamond should satisfy the Constant Gardener-cum-Cold Mountain voting bloc who are constantly confusing bad accents with noble intentions, the “third time’s the charm” vibe behind the newest installment in the actor’s work with Martin Scorsese should end up trumping Edward Zwick (and helping Djimon Hounsou—just ask Tom Cruise, who watched Ken Watanabe sail to a Supporting Actor nod). As for the other four slots, there may be a notable paucity of pansies when compared to last year, but look closer and you’ll see a bunch of Best Actress roles here. Will Smith for crying like a little bitch. Ryan Gosling playing a socially-conscious ghetto teacher and surrogate parent figure whose drug habits have reduced him down to the bone. Peter O’Toole riding a stiffly British but limply sexless (barely sex-educational) Miramax charmer like both Gwenyth and Dench. And that Monster Whitaker, portraying the biggest bitch of them all. Is it any wonder the over-the-shoulder thong-wearing, nude-wrestling, Pamela Anderson-chasing walking penis with a nasty anti-Semitic streak might find a little difficulty joining this group of old men (i.e. feminists)?
ACTRESS. Fans of The Queen seem tickled by the fact that Helen Mirren has been made a Dame by the very woman she plays in the film. Probably the same people who appreciate the Stephen Frears film for essentially doing the same grudge work the British tabloids did after the death of Princess Diana, only in a more genteel fashion—opening a window to a world where earth-shattering revelations include: Queen Elizabeth II Walks Dogs, Queen Elizabeth II Drives a Jeep, and Queen Elizabeth II is Cuntier Than Dame Edna. We don’t object to the performance, which we think is pleasantly calibrated, though we are perplexed by how a 61-year-old woman guaranteed herself an Academy Award in a category that typically rewards women who’ve only just had their first menstrual cycle. Speaking of periods, Penélope Cruz’s twisted menstrual joke from Volver is the sweetest thing about the Pedro Almodóvar film, for which the actress looks to earn her first Academy Award nomination now that the Golden Globes and the Screen Actors Guild have given Oscar voters the permission to move forward. Ditto Meryl Streep for The Devil Wears Prada and Judi Dench, who will earn her 82nd nomination in three years for playing a condescending lesbian in the histrionic and laughably retrograde Notes on a Scandal. We can dream that Sandra Huller and Laura Dern have a chance here, but Oscar voters don’t go to the movies, and we know for sure that IFC First Take and David Lynch couldn’t afford to push their prized cows—at least not figuratively in Lynch’s case. Pity, because a little elbow grease might have been enough to knock Kate Winslet out of the competition. But the Academy seems determined to mold the actress into the next Meryl Streep, so there’s probably no way for any other actress—or non-actress like Beyoncé Knowles—to interrupt her flow.
SUPPORTING ACTOR. Unless Oscar voters decide that the SAG was right for calling Leonardo DiCaprio supporting in The Departed, it’s safe to say this year’s line up will be an anomaly in an era of Tim Robbins, Thomas Hayden Church, Jake Gyllenhaal, and Clive Owen. This year’s contenders for Best Supporting Actor are all shockingly supporting. Alan Arkin, Eddie Murphy, and Jack Nicholson each shoplift a few scenes, but don’t make off with the whole store. Brad Pitt is top-billed, but it’s still an ensemble picture. Only Djimon Honsou’s leading performance in Blood Diamond should allow Oscar’s affinity for placing lead performances in the supporting categories to continue.
SUPPORTING ACTRESS. The utter predictability of some of this year’s Oscar races doesn’t make writing this prediction article much fun. Infinitely more entertaining is picking on EW’s Dave Karger, who appears to have finally caught up with Dreamgirls after presumptuously singing its praises months ago. We thought we were hard on Karger before, but we continue to be flabbergasted by his peculiar idea of objective reportage, which includes openly singing the praises of Eddie Murphy (“volcanic”), Stanley Tucci (“empathetic and snippy”), Jennifer Hudson (“divalicious”), Adrianna Barraza (“moving”), Rinko Kikuchi (“devastating”), and Emily Blunt (“subtle”—you’ve got to be fucking kidding me) but diverting whatever criticisms he may have for a film to others for fear of raging against the machine that feeds him promotional goodies. (On Babel: “[The film] seems to have as many detractors as it does ardent supporters, but its fan club may be enough to push it in.”) We won’t be able to sleep tonight not knowing if Karger is part of the Babel support group or not, but we can take some reassurance that his floppy use of the adjective guarantees that Owen Gleiberman and Lisa Schwarzbaum are not going anywhere anytime soon. Karger becomes useful to us because his superficial, almost disturbing misreading of certain films and performances (he considers Cate Blanchett’s character from Notes on a Scandal to be “morally challenged,” when, in truth, her only challenge is the guilt forcibly thrust upon her by Judi Dench’s psychotic lesbian) is an excellent barometer for determining the direction most Academy members, the majority of which are also suckers to hype, are turning. Waiting in the wings, looking to join Hudson, Kikuchi, Blanchett, and Barraza in this category, are Catherine O’Hara, Emma Thompson, Shareeka Epps, and Abigail Breslin. It’s inconceivable that Breslin received a SAG nomination over O’Hara, but if Karger’s description of O’Hara’s great performance in For Your Consideration in any indication, some members of the Academy aren’t going to be insulted by the way the film calls out the soul-suck of the Oscar process because they’ll be missing the point of the film altogether. Karger describes O’Hara’s performance as “fun,” ignoring its great tragedy. But he is right to call it “ironic,” except the only potential irony here is that O’Hara is about to share the same exact disappointment of Marilyn Hack when nominations are announced.
Should Be Nominated: Catherine O’Hara (For Your Consideration), Fiona Shaw (The Black Dahlia), Jessica Lange (Don’t Come Knocking), Simone Signoret (Army of Shadows), and Luminița Gheorghiu (The Death of Mr. Lazarescu)
DIRECTOR. It used to be that we could count on the director’s branch of the Academy to bring coke to the party—at least a wild-child guest from the far-flung reaches of our film culture no one ever saw coming. Now they can’t even be trusted to nominate Woody-fucking-Allen for another one of his career comebacks. After Michel Gondry, David Cronenberg, and Gus Van Sant were passed up in the past few years, we have very little faith that Alfonso Cuarón, Pedro Almodóvar, Guillermo del Toro, or Peter Greengrass’s names will be called this year. Robert Altman died recently, but the success of Crash confirmed that Oscar voters never leave their living rooms for fear that Chinamen will set their cars on fire, meaning we’re not even sure voters got the news of this great director’s death while trying to base their nominations entirely on the information scrawled on the back of the two dozen for-your-consideration screeners they received this Oscar season. Consider Stephen Frears a lock, because in the spirit of Capote and Sideways, his perfectly mediocre The Queen possesses that special gift of offending no one. Strange that Bill Condon, whose Dreamgirls should be offending everyone, isn’t even a lock in spite of his film’s frontrunner status, but after Baz Luhrmann was snubbed by the Academy and Rob Marshall’s Chicago walked off with an Oscar without him, the Academy seems to be of the opinion that musicals direct themselves. Condon’s spot here wasn’t guaranteed as of last week, but now it’s almost assured given the DGA’s support. Two legitimate auteurs, Martin Scorsese and Clint Eastwood, were shoe-ins as of last week, but when the DGA passed over Eastwood in favor of Jonathan Dayton and Valerie Faris, Scorsese has now almost been assured a victory on Oscar night. Still, we think Eastwood has the muscle to enter the race based on clout alone, especially since the very well-received Letters from Iwo Jima is still in the process of catching everyone’s attention. Another film trying to play catch-up is Children of Men. Though its Oscar campaign was seriously botched by Universal Pictures, the film is now touching the hearts and minds of critics and audiences alike. Outside of the cinematography category, this may be Children of Men’s best chance at a nomination, but the Academy seems likely turn to another more predictable Mexican filmmaker, Alejandro González-Iñáritu, given that the fake seriousness of Amores Perros 3: World Police has been sautéing on people’s minds since October. Per usual, the Oscars will remind us on nomination morning that studios must put out as early as possible or fail to get invited to the party.
Should Be Nominated: Alfonso Cuarón (Children of Men), Jean-Pierre and Luc Dardenne (L’Enfant), Carlos Reygadas (Battle in Heaven), David Lynch (Inland Empire), and Jean-Pierre Melville (Army of Shadows)
2019 Tony Nominations: Hadestown and Ain’t Too Proud Lead Field
Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.
Nominations for the 73rd Tony Awards were announced this morning, with CBS This Morning co-host Gayle King and actors Bebe Neuwirth and Brandon Victor Dixon revealing the nominees in the top eight categories. Leading the pack with 14 nominations Hadestown, followed by Ain’t Too Proud—The Life of the Temptations with 12. Both shows were joined in the Best Musical category by Beetlejuice, The Prom, and Tootsie.
See below for a full list of the nominations.
Ain’t Too Proud—The Life and Times of The Temptations
Choir Boy by Tarell
Gary: A Sequel to Titus Andronicus
What the Constitution Means to Me
Best Revival of a Play
Arthur Miller’s All My Sons
The Boys in the Band
The Waverly Gallery
Best Revival of a Musical
Kiss Me, Kate
Rodgers & Hammerstein’s Oklahoma!
Best Performance by an Actor in a Leading Role in a Play
Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy
Best Performance by an Actress in a Leading Role in a Play
Annette Bening, Arthur Miller’s All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me
Best Performance by an Actor in a Leading Role in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain’t Too Proud—The Life and Times of the Temptations
Alex Brightman, Beetlejuice
Damon Daunno, Rodgers & Hammerstein’s Oklahoma!
Santino Fontana, Tootsie
Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O’Hara, Kiss Me, Kate
Best Book of a Musical
Ain’t Too Proud—The Life and Times of the Temptations, Dominique Morisseau
Beetlejuice, Scott Brown and Anthony King
Hadestown, Anaïs Mitchell
The Prom, Bob Martin & Chad Beguelin
Tootsie, Robert Horn
Best Original Score (Music and/or Lyrics) Written for the Theatre
Be More Chill, Joe Iconis
Beetlejuice, Eddie Perfect
Hadestown, Anaïs Mitchell
The Prom, Matthew Sklar and Chad Beguelin
To Kill a Mockingbird, Adam Guettel
Tootsie, David Yazbek
Best Performance by an Actor in a Featured Role in a Play
Bertie Carvel, Ink
Robin De Jesús, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, Arthur Miller’s All My Sons
Best Performance by an Actress in a Featured Role in a Play
Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear
Best Performance by an Actor in a Featured Role in a Musical
André De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain’t Too Proud—The Life and Times of the Temptations
Ephraim Sykes, Ain’t Too Proud—The Life and Times of the Temptations
Best Performance by an Actress in a Featured Role in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Rodgers & Hammerstein’s Oklahoma!
Mary Testa, Rodgers & Hammerstein’s Oklahoma!
Best Scenic Design of a Play
Miriam Buether, To Kill a Mockingbird
Bunny Christie, Ink
Rob Howell, The Ferryman
Santo Loquasto, Gary: A Sequel to Titus Andronicus
Jan Versweyveld, Network
Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain’t Too Proud—The Life and Times of the Temptations
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Rodgers & Hammerstein’s Oklahoma!
David Korins, Beetlejuice
Best Costume Design of a Play
Rob Howell, The Ferryman
Toni-Leslie James, Bernhardt/Hamlet
Clint Ramos, Torch Song
Ann Roth, Gary: A Sequel to Titus Andronicus
Ann Roth, To Kill a Mockingbird
Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain’t Too Proud—The Life and Times of the Temptations
Best Lighting Design of a Play
Neil Austin, Ink
Jules Fisher + Peggy Eisenhauer, Gary: A Sequel to Titus Andronicus
Peter Mumford, The Ferryman
Jennifer Tipton, To Kill a Mockingbird
Jan Versweyveld and Tal Yarden, Network
Best Lighting Design of a Musical
Kevin Adams, The Cher Show
Howell Binkley, Ain’t Too Proud—The Life and Times of the Temptations
Bradley King, Hadestown
Peter Mumford, King Kong
Kenneth Posner and Peter Nigrini, Beetlejuice
Best Sound Design of a Play
Adam Cork, Ink
Scott Lehrer, To Kill a Mockingbird
Fitz Patton, Choir Boy
Nick Powell, The Ferryman
Eric Sleichim, Network
Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain’t Too Proud—The Life and Times of the Temptations
Drew Levy, Rodgers & Hammerstein’s Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown
Best Direction of a Play
Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C. Wolfe, Gary: A Sequel to Titus Andronicus
Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Rodgers & Hammerstein’s Oklahoma!
Des McAnuff, Ain’t Too Proud—The Life and Times of the Temptations
Casey Nicholaw, The Prom
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain’t Too Proud—The Life and Times of the Temptations
Michael Chorney and Todd Sickafoose, Hadestown
Simon Hale, Tootsie
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Rodgers & Hammerstein’s Oklahoma!
Harold Wheeler, Ain’t Too Proud—The Life and Times of the Temptations
Recipients of Awards and Honors in Non-competitive Categories
Special Tony Awards for Lifetime Achievement in the Theatre
Special Tony Awards
Jason Michael Webb
Regional Theatre Tony Award
TheatreWorks Silicon Valley
Isabelle Stevenson Tony Award
Tony Honors for Excellence in the Theatre
Broadway Inspirational Voices
Joseph Blakely Forbes
FDNY Engine 54
Tony Nominations by Production
Hadestown – 14
Ain’t Too Proud—The Life and Times of the Temptations – 12
Tootsie – 11
The Ferryman – 9
To Kill a Mockingbird – 9
Beetlejuice – 8
Rodgers & Hammerstein’s Oklahoma! – 8
Gary: A Sequel to Titus Andronicus – 7
The Prom – 7
Ink – 6
Network – 5
Choir Boy – 4
Kiss Me, Kate – 4
Arthur Miller’s All My Sons – 3
Burn This – 3
The Cher Show – 3
King Kong – 3
Bernhardt/Hamlet – 2
The Boys in the Band – 2
Torch Song – 2
The Waverly Gallery – 2
What the Constitution Means to Me – 2
Be More Chill – 1
Hillary and Clinton – 1
King Lear – 1
Oscars 2019: Complete Winners List
The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS.
The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS. Which isn’t to say that the ceremony wasn’t without its surprises. For one, whoever decided to capture Lady Gaga and Bradley Cooper’s performance of “Shallow” from A Star Is Born in one single take that would end with the pair sitting side by side, rapt in each other and framed in Bergman-esque repose, should hereby be responsible for every Oscar ceremony moving forward.
For some, though not us, Green Book’s victory for best picture came as surprise. As our own Eric Henderson put it in his prediction: “Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.”
In the end, the awards went down more or less as expected, with the only real shock of the evening being Oliva Colman’s stunning upset over Glenn Close in the best actress race. (Glenn, we hope you are on the phone right now trying to get that Sunset Boulevard remake to finally happen.) Black Panther proved more indomitable than expected, winning in three categories (none of which we predicted), and Free Solo pulling a victory over RBG that was the first big sign of the evening that, then and now, AMPAS members vote above all else with their guts.
See below for the full list of winners from the 2019 Oscars.
Green Book (WINNER)
A Star Is Born
Spike Lee, BlacKkKlansman
Pawel Pawlikowski, Cold War
Yorgos Lanthimos, The Favourite
Alfonso Cuarón, Roma (WINNER)
Adam McKay, Vice
Christian Bale, Vice
Bradley Cooper, A Star Is Born
Willem Dafoe, At Eternity’s Gate
Rami Malek, Bohemian Rhapsody (WINNER)
Viggo Mortensen, Green Book
Yalitza Aparicio, Roma
Glenn Close, The Wife
Olivia Colman, The Favourite (WINNER)
Lady Gaga, A Star Is Born
Melissa McCarthy, Can You Ever Forgive Me?
Mahershala Ali, Green Book (WINNER)
Adam Driver, BlacKkKlansman
Sam Elliott, A Star Is Born
Richard E. Grant, Can You Ever Forgive Me?
Sam Rockwell, Vice
Amy Adams, Vice
Marina de Tavira, Roma
Regina King, If Beale Street Could Talk (WINNER)
Emma Stone, The Favourite
Rachel Weisz, The Favourite
The Ballad of Buster Scruggs, Joel Coen and Ethan Coen
BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, and Spike Lee (WINNER)
Can You Ever Forgive Me?, Nicole Holofcener and Jeff Whitty
If Beale Street Could Talk, Barry Jenkins
A Star Is Born, Eric Roth, Bradley Cooper, and Will Fetters
The Favourite, Deborah Davis and Tony McNamara
First Reformed, Paul Schrader
Green Book, Nick Vallelonga, Brian Currie, and Peter Farrelly (WINNER)
Roma, Alfonso Cuarón
Vice, Adam McKay
Foreign Language Film
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico) (WINNER)
Free Solo, Jimmy Chin and Elizabeth Chai Vasarhelyi (WINNER)
Hale County This Morning, This Evening, RaMell Ross
Minding the Gap, Bing Liu
Of Fathers and Sons, Talal Derki
RBG, Betsy West and Julie Cohen
Incredibles 2, Brad Bird
Isle of Dogs, Wes Anderson
Mirai, Mamoru Hosoda
Ralph Breaks the Internet, Rich Moore and Phil Johnston
Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey, and Rodney Rothman (WINNER)
Cold War, Lukasz Zal
The Favourite, Robbie Ryan
Never Look Away, Caleb Deschanel
Roma, Alfonso Cuarón (WINNER)
A Star Is Born, Matthew Libatique
BlacKkKlansman, Barry Alexander Brown
Bohemian Rhapsody, John Ottman (WINNER)
Green Book, Patrick J. Don Vito
The Favourite, Yorgos Mavropsaridis
Vice, Hank Corwin
Black Panther, Hannah Beachler (WINNER)
First Man, Nathan Crowley and Kathy Lucas
The Favourite, Fiona Crombie and Alice Felton
Mary Poppins Returns, John Myhre and Gordon Sim
Roma, Eugenio Caballero and Bárbara Enrı́quez
BlacKkKlansman, Terence Blanchard
Black Panther, Ludwig Goransson (WINNER)
If Beale Street Could Talk, Nicholas Britell
Isle of Dogs, Alexandre Desplat
Mary Poppins Returns, Marc Shaiman and Scott Wittman
All The Stars from Black Panther by Kendrick Lamar, SZA
I’ll Fight from RBG by Diane Warren, Jennifer Hudson
The Place Where Lost Things Go from Mary Poppins Returns by Marc Shaiman, Scott Wittman
Shallow from A Star Is Born by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice (WINNER)
When A Cowboy Trades His Spurs For Wings from The Ballad of Buster Scruggs by David Rawlings and Gillian Welch
The Ballad of Buster Scruggs, Mary Zophres
Black Panther, Ruth E. Carter (WINNER)
The Favourite, Sandy Powell
Mary Poppins Returns, Sandy Powell
Mary Queen of Scots, Alexandra Byrne
Avengers: Infinity War, Dan DeLeeuw, Kelly Port, Russell Earl, and Daniel Sudick
Christopher Robin, Chris Lawrence, Mike Eames, Theo Jones, and Chris Corbould
First Man, Paul Lambert, Ian Hunter, Tristan Myles, and J.D. Schwalm (WINNER)
Ready Player One, Roger Guyett, Grady Cofer, Matthew E. Butler, and David Shirk
Solo: A Star Wars Story, Rob Bredow, Patrick Tubach, Neal Scanlan, and Dominic Tuohy
Black Panther, Steve Boeddeker, Brandon Proctor, and Peter Devlin
Bohemian Rhapsody, Paul Massey, Tim Cavagin, and John Casali (WINNER)
First Man, Jon Taylor, Frank A. Montaño, Ai-Ling Lee, and Mary H. Ellis
Roma, Skip Lievsay, Craig Henighan, and José Antonio García
A Star Is Born, Tom Ozanich, Dean Zupancic, Jason Ruder, and Steve Morrow
Black Panther, Benjamin A. Burtt and Steve Boeddeker
Bohemian Rhapsody, John Warhurst (WINNER)
First Man, Ai-Ling Lee and Mildred Iatrou Morgan
A Quiet Place, Ethan Van der Ryn and Erik Aadahl
Roma, Sergio Diaz and Skip Lievsay
Makeup and Hairstyling
Border, Göran Lundström and Pamela Goldammer
Mary Queen of Scots, Jenny Shircore, Marc Pilcher, and Jessica Brooks
Vice, Greg Cannom, Kate Biscoe, and Patricia Dehaney (WINNER)
Live Action Short Film
Detainment, Vincent Lambe
Fauve, Jeremy Comte
Marguerite, Marianne Farley
Mother, Rodrigo Sorogoyen
Skin, Guy Nattiv (WINNER)
Documentary Short Subject
Black Sheep, Ed Perkins
End Game, Rob Epstein, Jeffrey Friedman
Lifeboat, Skye Fitzgerald
A Night at the Garden, Marshall Curry
Period. End of Sentence., Rayka Zehtabchi (WINNER)
Animal Behaviour, Alison Snowden and David Fine
Bao, Domee Shi (WINNER)
Late Afternoon, Louise Bagnall
One Small Step, Andrew Chesworth and Bobby Pontillas
Weekends, Trevor Jimenez
Oscars 2019: Who Will Win? Who Should Win? Our Final Predictions
No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them.
No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits. Across the last 24 days, Ed Gonzalez and I have mulled over the academy’s existential crisis and how it’s polluted this year’s Oscar race so thoroughly that it feels eerily similar to the 2016 election cycle all over again. We’re spent, and while we don’t know if we have it in us to do this next year, we just might give it another go if Oscar proves us wrong on Sunday in more than just one category.
Below are our final Oscar predictions. Want more? Click on the individual articles for our justifications and more, including who we think should win in all 24 categories.
Picture: Green Book
Director: Alfonso Cuarón, Roma
Actor: Rami Malek, Bohemian Rhapsody
Actress: Glenn Close, The Wife
Supporting Actor: Mahershala Ali, Green Book
Supporting Actress: Regina King, If Beale Street Could Talk
Original Screenplay: Green Book
Adapted Screenplay: BlacKkKlansman
Foreign Language: Roma
Documentary Feature: RBG
Animated Feature Film: Spider-Man: Into the Spider-Verse
Documentary Short: Period. End of Sentence
Animated Short: Weekends
Live Action Short: Skin
Film Editing: Bohemian Rhapsody
Production Design: The Favourite
Cinematography: Cold War
Costume Design: The Favourite
Makeup and Hairstyling: Vice
Score: If Beale Street Could Talk
Song: “Shallow,” A Star Is Born
Sound Editing: First Man
Sound Mixing: Bohemian Rhapsody
Visual Effects: First Man
Oscar 2019 Winner Predictions: Picture
The industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again.
“I’m hyperventilating a little. If I fall over pick me up because I’ve got something to say,” deadpanned Frances McDormand upon winning her best actress Oscar last year. From her lips to Hollywood’s ears. No one is okay with the Academy Awards the way they are, and everyone seems sure that they know how to fix them. Cut out the montages, bring back honorary award presentations, give stunt performers their own category, let ranked-choice voting determine every category and not just best picture, overhaul the membership ranks, hold the event before the guilds spoil the surprise, find a host with the magic demographic-spanning mojo necessary to double the show’s recent audience pools, nominate bigger hits, nominate only hits.
But first, as McDormand herself called for during her speech, “a moment of perspective.” A crop of articles have popped up over the last two weeks looking back at the brutal showdown between Saving Private Ryan and Shakespeare In Love at the 1999 Academy Awards, when Harvey Weinstein was at the height of his nefarious powers. Every retrospective piece accepts as common wisdom that it was probably the most obnoxious awards season in history, one that indeed set the stage for every grinding assault we’ve paid witness to ever since. But did anyone two decades ago have to endure dozens of weekly Oscar podcasters and hundreds of underpaid web writers musing, “What do the Academy Awards want to be moving forward, exactly? Who should voters represent in this fractured media environment, exactly?” How much whiskey we can safely use to wash down our Lexapro, exactly?
Amid the fox-in-a-henhouse milieu of ceaseless moral outrage serving as this awards season’s backdrop, and amid the self-obsessed entertainers now wrestling with the idea that they now have to be “content providers,” all anyone seems concerned about is what an Oscar means in the future, and whether next year’s versions of Black Panther and Bryan Singer’s Bohemian Rhapsody have a seat at the table. What everyone’s forgetting is what the Oscars have always been. In other words, the industry’s existential crisis has polluted this race so thoroughly that it feels eerily similar to the 2016 election cycle all over again, and Oscar’s clearly splintered voting blocs may become ground zero for a Make the Academy Great Again watershed.
In 1956, the Oscars took a turn toward small, quotidian, neo-realish movies, awarding Marty the top prize. The correction was swift and sure the following year, with a full slate of elephantine epics underlining the movie industry’s intimidation at the new threat of television. Moonlight’s shocking triumph two years ago was similarly answered by the safe, whimsical The Shape of Water, a choice that reaffirmed the academy’s commitment to politically innocuous liberalism in artistically conservative digs. Call us cynical, but we know which of the last couple go-arounds feels like the real academy. Which is why so many are banking on the formally dazzling humanism of Alfonso Cuarón’s Roma and so few on the vital, merciless fury of Spike Lee’s BlacKkKlansman.
And even if we give the benefit of the doubt to the academy’s new members, there’s that righteous, reactionary fervor in the air against those attempting to “cancel” Green Book. Those attacking the film from every conceivable angle have also ignored the one that matters to most people: the pleasure principle. Can anyone blame Hollywood for getting its back up on behalf of a laughably old-fashioned but seamlessly mounted road movie-cum-buddy pic that reassures people that the world they’re leaving is better than the one they found? That’s, as they say, the future that liberals and Oscar want.
Will Win: Green Book
Should Win: BlacKkKlansman
Oscar 2019 Winner Predictions: Adapted Screenplay
After walking back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing here.
Eric and I have done a good job this year of only selectively stealing each other’s behind-the-scenes jokes. We have, though, not been polite about stepping on each other’s toes in other ways. Okay, maybe just Eric, who in his impeccable take on the original screenplay free-for-all detailed how the guilds this year have almost willfully gone out of their way to “not tip the Oscar race too clearly toward any one film.” Case in point: Can You Ever Forgive Me? winning the WGA’s adapted screenplay trophy over presumed Oscar frontrunner BlacKkKlansman. A glitch in the matrix? We think so. Eric and I are still in agreement that the race for best picture this year is pretty wide open, though maybe a little less so in the wake of what seemed like an easy win for the Spike Lee joint. Nevertheless, we all know that there’s no Oscar narrative more powerful than “it’s about goddamn time,” and it was so powerful this year that even the diversity-challenged BAFTAs got the memo, giving their adapted screenplay prize to Lee, Charlie Wachtel, David Rabinowitz, and Kevin Willmott. To bamboozle Lee at this point would, admittedly, be so very 2019, but given that it’s walked back almost all of its bad decisions ahead of this year’s Oscars, there’s no way AMPAS isn’t going to do the right thing.
Will Win: BlacKkKlansman
Could Win: Can You Ever Forgive Me?
Should Win: BlacKkKlansman
Oscar 2019 Winner Predictions: Original Screenplay
This season, Hollywood is invested in celebrating the films they love while dodging the cultural bullets coming at them from every angle.
You know, if it weren’t for the show’s producers effectively and repeatedly saying everything about the Academy Awards is terrible and needs to be changed, and the year’s top-tier contenders inadvertently confirming their claims, this would’ve been a comparatively fun and suspenseful Oscar season. None of us who follow the Academy Awards expect great films to win; we just hope the marathon of precursors don’t turn into a Groundhog Day-style rinse and repeat for the same film, ad nauseam.
On that score, mission accomplished. The guilds have been handing their awards out this season as though they met beforehand and assigned each voting body a different title from Oscar’s best picture list so as not to tip the Oscar race too clearly toward any one film. SAG? Black Panther. PGA? Green Book. DGA? Roma. ASC? Cold War. ACE? Bryan Singer’s Bohemian Rhapsody. Even awards-season kryptonite A Star Is Born got an award for contemporary makeup from the MUAHS. (That’s the Make-Up Artists and Hair Stylists Guild, not the sound Lady Gaga fans have been making ever since A Star Is Born’s teaser trailer dropped last year.)
Not to be outdone, the Writers Guild of America announced their winners last weekend, and not only did presumed adapted screenplay frontrunner BlacKkKlansman wind up stymied by Can You Ever Forgive Me?, but the original screenplay prize went to Eighth Grade, which wasn’t even nominated for an Oscar. Bo Burnham twisted the knife into AMPAS during his acceptance speech: “To the other nominees in the category, have fun at the Oscars, losers!” In both his sarcasm and his surprise, it’s safe to say he speaks on behalf of us all.
As is always the case, WGA’s narrow eligibility rules kept a presumed favorite, The Favourite, out of this crucial trial heat. But as the balloting period comes to a close, the question remains just how much enthusiasm or affection voters have for either of the two films with the most nominations (Roma being the other). As a recent “can’t we all just get along” appeal by Time’s Stephanie Zacharek illustrates, the thing Hollywood is most invested in this season involves bending over backward, Matrix-style, to celebrate the films they love and still dodge the cultural bullets coming at them from every angle.
Maybe it’s just tunnel vision from the cultural vacuum Oscar voters all-too-understandably would prefer to live in this year, but doesn’t it seem like The Favourite’s tastefully ribald peppering of posh-accented C-words would be no match for the steady litany of neo-Archie Bunkerisms spewing from Viggo Mortensen’s crooked mouth? Especially with First Reformed’s Paul Schrader siphoning votes from among the academy’s presumably more vanguard new recruits? We’ll fold our words in half and eat them whole if we’re wrong, but Oscar’s old guard, unlike John Wayne, is still alive and, well, pissed.
Will Win: Green Book
Could Win: The Favourite
Should Win: First Reformed
Oscar 2019 Winner Predictions: Sound Mixing
For appealing to voters’ nostalgia for drunken karaoke nights of yore, one film has the upper hand here.
Given what Eric wrote about the sound editing category yesterday, it now behooves me to not beat around the bush here. Also, it’s my birthday, and there are better things for me to do today than count all the ways that Eric and I talk ourselves out of correct guesses in the two sound categories, as well as step on each other’s toes throughout the entirety of our Oscar-prediction cycle. In short, it’s very noisy. Which is how Oscar likes it when it comes to sound, though maybe not as much the case with sound mixing, where the spoils quite often go to best picture nominees that also happen to be musicals (Les Misérables) or musical-adjacent (Whiplash). Only two films fit that bill this year, and since 2019 is already making a concerted effort to top 2018 as the worst year ever, there’s no reason to believe that the scarcely fat-bottomed mixing of Bryan Singer’s Bohemian Rhapsody will take this in a walk, for appealing to voters’ nostalgia for drunken karaoke nights of yore.
Will Win: Bryan Singer’s Bohemian Rhapsody
Could Win: A Star Is Born
Should Win: First Man
Oscar 2019 Winner Predictions: Sound Editing
If it were biologically possible to do so, both Ed and I would happily switch places with A Quiet Place’s Emily Blunt.
If it were biologically possible to do so, both Ed and I would happily switch places with A Quiet Place’s Emily Blunt, because we’d much rather give birth in a tub while surrounded by murderous blind creatures than have to once again write our predictions for the sound categories. As adamant as we’ve been that the Academy owes it to the nominees to air every category, which they agreed to after an extended “just kidding,” it might have given us pause had the sound categories been among the four demoted by Oscar. But no, we must now endure our annual bout of penance, aware of the fact that actually knowing what the difference is between sound editing and sound mixing is almost a liability. In other words, we’ve talked ourselves out of correct guesses too many times, doubled down on the same movie taking both categories to hedge our bets too many times, and watched as the two categories split in the opposite way we expected too many times. So, as in A Quiet Place, the less said, the better. And while that film’s soundscapes are as unique and noisy as this category seems to prefer, First Man’s real-word gravitas and cacophonous Agena spin sequence should prevail.
Will Win: First Man
Could Win: A Quiet Place
Should Win: First Man
Oscar 2019 Winner Predictions: Actress
Sometimes it’s important to just step back and pay your respects to a remarkable actress.
Sometimes it’s important to just step back and pay your respects to a remarkable actress for having given a performance that, while not your, um, favourite nominated one, is still deserving of an Oscar victory lap. Now, if only others felt the same. Very early on in the awards season, there was already a sense that this award could become a career-achievement coronation for the six-time losing Glenn Close—and that people were going to have a problem squaring that with the fact that her Oscar would be tied to a film perceived to be a piffle. That’s not an inaccurate perception, but it’s difficult to remember a time when critics have used that as an excuse to not do their homework.
In short, have you seen The Wife? Indeed, until the awards-media system’s attention shifted full time into covering AMPAS’s A Series of Unfortunate Oscar Decisions, it seemed as if every day brought us a new article by some pundit about the Oscar race in which it strangely sounded as if the The Wife was still a blind spot for the writer. Which is shame, because Close gives good face throughout the film. Certainly, few Oscar-nominated films this year are as absurd as The Wife, but I’ll do battle with anyone who thinks Close is getting by on her legend alone. Close’s triumph is recognizing The Wife’s inherent ludicrousness and elevating it, and without condescension, with a kabuki-like verve that seeks to speak to the experiences of all women who’ve been oppressed by their men. It’s a turn worthy of Norma Desmond.
Today, the most reliable Oscar narrative is the overdue performer. And if you take stock in that narrative, then you’ll understand why I texted Eric, my fellow Oscar guru, the following on the morning of November 29: “I think Close is going to Still Alice at the Oscars.” After that morning, when the New York Film Critics Circle officially kick-started the Oscar season (and gave their award for best actress to Regina Hall in Support the Girls), no actress ran the table with the critics and guilds, but most of the cards that matter did fall into place for Close, and much as they did for Julianne Moore ahead of her winning the Oscar for Still Alice.
This was a done deal when Close won the Golden Globe, received a standing ovation, and gave the night’s most impassioned speech, immediately after which Eric conceded that my instincts had been right. Of course, that was no doubt easy for him to admit given that, by that point, the oxygen had already seeped out of A Star Is Born’s awards campaign, leaving only Olivia Colman in Close’s way. Colman has worked the campaign trail in spectacular ways, giving speeches that have been every bit as droll as this, but in the end, she doesn’t have the SAG, and as bold and subversive as her performance certainly is, it isn’t sufficiently big enough to convince enough AMPAS members that Close should continue waiting for Oscar.
Will Win: Glenn Close, The Wife
Could Win: Olivia Colman, The Favourite
Should Win: Olivia Colman, The Favourite
Oscar 2019 Winner Predictions: Film Editing
Sigh, can we just edit this whole Oscar season from our memories?
Sigh, can we just edit this whole Oscar season from our memories? AMPAS has officially brought more queens back from the brink than this year’s season of RuPaul’s Drag Race All-Stars. Now that the academy has reneged on its plans to snip four categories from the live Oscar telecast, after first attempting damage control and assuring members that it will still run those four awards as not-so-instant replays in edited-down form later on in the show, we can once again turn our attention to the other editing that’s so vexed Film Twitter this Oscar season. We yield the floor to Twitter user Pramit Chatterjee:
People, actual fucking people, are watching scene after scene like this and are saying “bruuuh! best. movie. of. the. year”?
This is objectively bad. Someone with no idea about editing will notice it. My brain is on fire thinking that this is an OSCAR NOMINATED MOVIE! FUCK! pic.twitter.com/QVDCxe2iaf
— Pramit Chatterjee 🌈 (@pramitheus) January 26, 2019
Very fuck! The academy would’ve been shooting itself in the foot by not airing what’s starting to feel like one of this year’s most competitive Oscar categories—a category that seems like it’s at the center of ground zero for the voters who, as a fresh New York Times survey of anonymous Oscar ballots confirms, are as unashamedly entertained by a blockbuster that critics called utterly worthless as they are feeling vengeful against those who would dare call a film they loved racist. Interestingly enough, the New York Times’s panel of voters seems palpably aware that Spike Lee’s BlacKkKlansman is the nominee this year that’s going to go down in history as the “right thing” they’ll be embarrassed for not “doing.” No arguments from this corner. Lee’s film is narratively propulsive and knotty in ways that ought to translate into a no-brainer win here. (My cohort Ed recently mused that he’d give the film the Oscar just for the energy it displays cutting back and forth during phone conversations.)
We’re glad that the academy walked back its decision to not honor two of the most crucial elements of the medium (editing and cinematography) on the live Oscar telecast, but what we’re left with is the dawning horror that the formless flailing exemplified by the clip above might actually win this damned award. Guy Lodge sarcastically mused on the upside of Pramit’s incredulous tweet, “I’ve never seen so many people on Twitter discussing the art of film editing before,” and honestly, it does feel like Bryan Singer’s Bohemian Rhapsody getting publicly dog-walked like this stands to teach baby cinephiles-in-training the language of the cut as well as any of the myriad montages the show producers intended on airing in lieu of, you know, actually awarding craftspeople. But only a fraction of the voting body has to feel sympathy for John Ottman (whose career, for the record, goes all the way back with Bryan Singer), or express admiration that he managed to assemble the raw materials from a legendarily chaotic project into an international blockbuster. The rest of the academy has their ostrich heads plunged far enough into the sand to take care of the rest.
Will Win: Bryan Singer’s Bohemian Rhapsody
Could Win: BlacKkKlansman
Should Win: BlacKkKlansman
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