Gurus O'Gold

Gurus o’ Gold: Best Picture

Rank Last Chart Best Picture AdamsBahrEllwoodHowellJohnsonKargerMoralesPattersonPolandPondRogersSneiderStone Votes Total
t1 Once Upon A Time... In Hollywood
6 2 1 1 2 2 3 1 2 1 1 3 1 13 156
t1 The Irishman
3 1 2 2 1 1 1 2 3 2 3 2 3 13 156
3 Marriage Story
5 3 3 6 5 3 2 3 6 4 2 1 6 13 133
4 Parasite
7 5 5 3 4 5 4 4 10 3 5 10 5 13 112
5 1917
9 7 7 7 3 4 7 6 1 5 6 6 2 13 112
6 Jojo Rabbit
1 4 4 6 7 7 4 7 4 4 4 11 102
7 Little Women
4 4 6 5 12 6 6 9 6 10 5 11 81
8 The Two Popes
2 12 9 8 8 9 5 7 8 7 11 11 68
9 Ford v Ferrari
11 11 8 7 12 8 12 5 9 12 7 7 12 59
10 Joker
10 8 9 10 10 10 11 11 12 13 9 10 12 45
11 Bombshell
8 10 9 9 8 8 9 12 12 9 41
12 The Farewell
9 8 12 11 9 13 8 8 13 9 35
13 A Beautiful Day In The Neighborhood
12 6 11 13 11 12 10 10 11 9 30
14 Waves
10 10 9 3 13
15 Dolemite Is My Name
13 13 13 11 8 5 12
17 Richard Jewell
12 11 2 5
One Vote Wonders
Just Mercy
5 1 9
Knives Out
11 1 3
Rocketman
13 1 1
Uncut Gems
13 1 1
Queen and Slim
13 1 1
Apollo 11
13 1 1
Pain & Glory
13 1 1

The Acting Categories

The Gurus, At Your Service

Thelma Adams: Author, Critic, Oscar Expert
Robyn Bahr: Freelance (Hollywood Reporter, Vanity Fair, Guardian)
Gregory Ellwood: The Playlist
Peter Howell: Toronto Star
Mark Johnson: Awards Circuit
Dave Karger: TCM, IMDb
Tomris Laffly: Freelance (RogerEbert.com, Time Out New York, Film Journal International)
Wilson Morales: BlackFilm.com
Michael Patterson: Michael’s Telluride Film Blog; Twitter; Facebook
David Poland
Steve Pond: The Wrap
NathanielR: The Film Experience
Sasha Stone: Awards Daily
Jeff Sneider: Collider

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"With Toronto, Telluride, Ven­ice, New York and other key fests opening amid an overcrowded field that includes films postponed from 2020, the acclaim, buzz and dis­tinction festivals bestow on award contenders is more important than ever — especially for spec­tacles such as Dune, which lose impact on the small screen in hybrid streaming/theatrical releases. Yet the surging Delta variant now threatens to derail premieres, star appearances, in-person screenings and the press, the public’s and Oscar vot­ers’ willingness to attend them.

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