It’s never too early to start guessing, right? With Cannes yielding little to start Oscar conversation, the pressure is on for the fall to deliver in a big way. Film festivals in Venice, Toronto, and Telluride will begin to churn out candidates and weed out pretenders in just a few weeks now. Then a number of big-name films that forewent the festival circuit will have to face the gauntlet of critics and audiences. By the time the year-end lists start rolling off the presses, the game will be predictable and boring. So let’s speculate now while it’s still fun and actually involves educated guessing!
UPDATE 8/6: I can’t let these picks become dated within hours of them being posted, so I’ve replaced my predictions that included “The Great Gatsby.”
Best Picture:
- The Master
- Les Miserables
- Lincoln
- Life of Pi
- Django Unchained
- Beasts of the Southern Wild
- Moonrise Kingdom
- Argo
The Great Gatsby Zero Dark Thirty- The Best Exotic Marigold Hotel
“The Master” just seems like the movie of the year to me from this distance. Tom Cruise has seen the movie and HATES it, that’s enough for me. If the movie is really going to take on Scientology, it could really be a pop culture centerpiece for the fall.
Starring Joaquin Phoenix returning from his bizarre performance art stunt in “I’m Still Here,” Philip Seymour Hoffman fresh off two major supporting roles in Oscar-nominated films in 2011, and three-time Best Supporting Actress bridesmaid Amy Adams, it could certainly be a force to reckon with in the acting categories. It’s also a period piece that could register impressively in the technical categories.
Oh, and it’s written and directed by Paul Thomas Anderson. In the ’90s, his films “Boogie Nights” and “Magnolia” each scored him a Best Original Screenplay nomination. In 2007, “There Will Be Blood” scored him nominations for writing, directing, and producing since the film was up for Best Picture. The argument will be made – convincingly by the Weinstein Company, no less – that Anderson’s time has come.
Indeed, it has. The narrative is in place. It can easily score over 10 nominations and march towards victory. The film just needs to not suck. And according to people at the first public showing on Friday (a surprise screening after a showing of “The Shining” in Los Angeles), it doesn’t suck. It’s awesome.
Though of course, that path won’t be uncontested. However, three out of the last five Best Picture winners – “No Country for Old Men,” “Slumdog Millionaire,” and “The Artist” – asserted their dominance from the beginning of the season and never looked back. So who knows?! As the triumph of “The King’s Speech” showed us in 2010, Oscar bait isn’t dead. In fact, it’s thriving … and there is still a big portion of the Academy that succumbs to it.
In 2011, “War Horse” and “Extremely Loud & Incredibly Close” both cracked the Best Picture field despite facing a number of harsh critics and tepid response from other industry groups. Nonetheless, the Academy likes what it likes and refuses to apologize for it. 
So I doubt they will think twice about nominating “Les Miserables” for Best Picture. The Tony Award-winning musical has everything that could possibly ever appeal to an Academy member: drama, emotion, catharsis, noble prostitutes, solid acting, historical setting, impressive craftwork … and it’s directed by Tom Hooper, the man who made them feel so good they gave him Best Director for a movie that required very little directing.
Granted, everyone thought “Chicago” was going to usher in a new Renaissance for American film adaptations of musical theater. While the Golden Globes seem to be relishing in all the musicals, the Academy has ignored “The Phantom of the Opera,” “The Producers,” “Dreamgirls,” “Hairspray,” “Sweeney Todd,” “Mamma Mia,” and “Nine” (all of which were Best Picture nominees in the Musical/Comedy field for HFPA).
“Dreamgirls” was even being tipped to win in 2006 and was a surprise snub on nomination morning (“Nine” could also have cracked the field in 2009). So musicals are still iffy, but “Les Miserables” is in a league of its own. Those other musicals are nice, but none are based on a Victor Hugo novel. The story is made to win awards. .jpg)
Also falling in the bait category is Steven Spielberg’s “Lincoln,” starring Daniel Day-Lewis as one of America’s greatest presidents. Spielberg’s films since “Schindler’s List” have practically all been presumptive frontrunners, yet “Saving Private Ryan” is his only film afterwards to win an Oscar. “Munich” and “War Horse” have both slid in on residual respect, but how far does that go? Do they still owe a man who has won Best Director twice? Helmed eight Best Picture nominees?
The same questions can be asked of Day-Lewis, who clearly has a ton of respect as shown by his two Best Actor trophies. However, the Academy felt no shame in shutting him out of the 2009 Best Actor race in favor of first-time nominee Jeremy Renner. Granted, Renner’s “The Hurt Locker” was worlds better than Day-Lewis’ “Nine,” but it’s still fair to wonder if the Academy is done with him like they are done with Clint Eastwood. Unless you are Meryl Streep or Jack Nicholson (or John Williams), two is basically the magic number.
People have been raving about Ang Lee’s “Life of Pi” since its presentation of footage at CinemaCon back in the spring, and I think the coupling of a respected, Oscar-winning director tackling 3D will be the “Hugo” of 2012. It will also probably score no acting nominations and plenty of tech nods like Scorsese’s 5-time winner from last year.
Beyond those four heavy-hitters, it’s anyone’s guess. Perhaps I guessed the overdue writer/director incorrectly, and the Academy will choose to fete Quentin Tarantino for “Django Unchained.” People counted out “Inglourious Basterds,” and it wound up with eight nominations. 
“Beasts of the Southern Wild” has certainly proven to be the art-house hit of the year, winning major prizes at Sundance and Cannes, stealing critics’ hearts, and racking up enough money to where it can’t be dismissed as totally esoteric. There’s certainly precedent for a summer indie favorite to sneak into the Best Picture field – “Winter’s Bone” in 2010 and “The Tree of Life” in 2011. It will need the critics groups to come out in favor for it in a big way or the pint-sized star Quvenzhané Wallis to be a unanimous and strong first-choice in the Best Actress race.
Some people think the inclusion of “Beasts” might leave out the other summer indie sleeper hit, “Moonrise Kingdom.” To that I say, look to last year when “Midnight in Paris,” a funny crowd-pleaser, cracked the same field with “The Tree of Life.” I think the Academy could decide the time is here to honor Wes Anderson’s peculiar gifts. If they could accept “Little Miss Sunshine” and “Juno,” I see no reason why “Moonrise Kingdom” couldn’t be a Best Picture nominee.
“Argo” could also be a sleeper to watch in this race. Ben Affleck’s directorial skills are definitely improving with each movie, and his last film, “The Town,” was definitely just on the outside looking in at the 2010 Best Picture field. Could getting out of his native country of Boston put him in the race this time? We’ll know after its Toronto premiere.
Baz Luhrmannn’s singular work “Moulin Rouge” tickled the Academy’s fancy in 2001. His 2008 “Australia,” a more refined, baity piece, only netted a Best Costume Design nomination. Which will his adaptation of “The Great Gatsby” be? My gut says a hit like “Moulin Rouge” because I’m so in love with the source material, but that love could be blinding me. This will either be a big hit or a big flop.
And who knows if the Academy field will extend to ten this year, but I’ll go ahead and predict ten. Could lighting strike for the fourth time for Peter Jackson with “The Hobbit: An Unexpected Journey?” Will “Hyde Park on Hudson” be more than just a feel-good biopic? Can Christopher Nolan’s “The Dark Knight Rises” finally get the franchise the recognition it deserves?
These are big “if”s, so I’m just going to choose safe (because my wild-card predictions in years past have spawned picks of “It’s Complicated” and “Never Let Me Go”) and predict Kathryn Bigelow’s “Zero Dark Thirty.” It could be bold, daring, and thrilling if it succeeds. The expectations will be high since the production has been so guarded. But if it works, it could be a major player.
And for the hell of it, why not say that the decidedly middling “The Best Exotic Marigold Hotel” becomes the low-brow film that makes the cut and makes me curse the Academy once more. Read the rest of this entry »
Dylan Kidd’s “Get a Job” shot in 2012 but did not see release until 2016 – a four-year gap that did not serve the film well. Rather than an imperfect snapshot of its moment, the “comedy” now plays like a period piece of the recent past. This story of recent college graduates’ rocky entrance into the professional world appears completely oblivious to the kind of pain present in the post-recession economic landscape.
The potential criminalization of thought. The stoking of Americans’ fear of immigrants. The incessant blabbering that the media is infecting the world with its supposed invective.
In 2010, Gareth Edwards unleashed the ultra-low budget flick “
I don’t know whether “
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