MCN Commentary & Analysis

29 Weeks To Oscar, Maybe: The Entire “Movie” Award Season

I was as generous as I could be. 38 movies seems to be the maximum that could be in contention for everything but Shorts, Animation, International, and Documentary. This includes 6 titles that are not currently scheduled to premiere this year, in theaters or out, or which have no announced their awards ambitions.

Now… remove, if you will, the 15 titles that everyone reading this knows do not have a chance in hell of getting within a mile of Best Picture or Screenplay or Director and the 6 that may well not join this dance, and your entire Oscar season is a battle between 17 movies, the vast majority of which have not been seen outside of their production teams.

Meanwhile, New York, which has been months ahead of getting the COVID issue settled… they seem to be about to tighten things back up as cases and positivity rates are on the rise again. And The PGA, which announced their Oscar-connected date today, has not publicly acknowledged whether movies with have to play in theaters in NY and LA this time out.

I’m going to just shut my big mouth now and leave you with this question… Does this look like any kind of Oscar Season to you?

The Assistant
The Broken Hearts Gallery
C’mon C’mon**

Coming 2 America
Da Five Bloods

The Father
First Cow
The 40-Year-Old Version
Hillbilly Elegy

I’m Thinking of Ending Things
I’m Your Woman**
The Invisible Man
Ma Rainey’s Black Bottom

Next Goal Wins**
News of the World
No Time To Die

On The Rocks
One Night in Miami
The Outpost
Penguin Bloom**
Pieces of a Woman

Promising Young Woman**

The Trial of The Chicago Seven
The United States vs. Billie Holiday
The White Tiger

6 Responses to “29 Weeks To Oscar, Maybe: The Entire “Movie” Award Season”

  1. Douglas Pratt says:

    I guess that probably means we’ll be back to just 5 nominations this year

  2. Bob Burns says:

    Any given year there are about twenty films worthy of best picture, assuming you limit the field to actor-driven dramas, as is customary. This does not mean that there are twenty films at the level of, say,……Roma, but twenty or so that are about as good as the median-quality BP nominee. I think that you could rustle up 6-8 from this list that would be as good as the average nominee,. For instance, you could have a closing shootout between Mank and Ma Rainey, Fincher and Wolf, that would stir up all kinds of PR, and twitter fights. Add in Sorkin, Chloe Zhao, Spike and Lee Daniels… this starts to look close to normal., at least as far as quality goes.

    And, I could imagine a distanced Dolby ceremony restricted to nominees, the presenters and their families. That should be enough to have a pretty good red carpet, too.

  3. YancySkancy says:

    Won’t The Boys in the Band be eligible?

  4. YancySkancy says:

    I’d love to see a push for Tracee Ellis Ross in The High Note, possibly in Supporting, since Dakota Johnson has the protagonist arc.

  5. Sean Sweeney says:

    How about no awards this year?

  6. J Besh says:

    I haven’t, and won’t, see any of these films. My streaming is classics only. There is way too much classic streaming for me to care what streamed new this year. I am indifferent to Oscars but enjoy the live audience and presenters. Zoom presenters/”winners” over streamed dull films. Not so much.

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The Guardian

"Will it matter in No Time to Die that the state-of-the-art Bond gadgetry is last year’s model? Have In the Heights and West Side Story missed the post-"Hamilton" wave they might have been hoping to catch? Will it be weird seeing a 16-year-old Finn Wolfhard in Ghostbusters: Afterlife when he’s pushing 19 in real life? In the broader sense, will any of these delayed movies feel truly fresh?"

The Guardian | April 12, 2021

"Even former assistants who survived their tenure with Rudin and became executives themselves described the tough skin they developed as an asset. Emotional and mental anguish—reportedly at minimum wage—were a given. “You’d always forgive him because he’s so smart, cares so much, and he gets movies made that no one else can,” explained Amy Pascal, one of Rudin’s former assistants who became a major studio executive herself, in 2008. “I attribute an enormous amount of whatever success I’ve been able to attain directly because of how I saw him operate,” the producer Craig Perry, another Rudin acolyte, said in 2005. “Does he yell? Sure. Do I yell? Sure.” Rudin’s workplace behavior may have been an open secret, but open secrets eventually build cultures—in this case, one where tolerating mistreatment is a fundamental ingredient for success. And that culture was reflected in the press: Many stories about Rudin casually downplayed or reframed his nastiness. Tempestuousness was excused as 'behind-the-scenes excesses of passion.'"

April 12, 2021

What A Brit Misses
—Discovering that you and your viewing partner had wildly different views about the merits of a film and knowing that a treat of discussing is about to unfold over several drinks.
—Discovering during the film that you and your viewing partner have equally eye-rolling disdain for something and anticipating picking over the cadaver afterwards.
—Discovering you and your viewing partner both loved what you watched and sitting in awe and ‘aw shucks’ at some of the best moments.
—Holding a new beloved’s hand to the point of discomfort.
—The drowning feeling of being sucked under into sleep in NFT1.
—Being absolutely slathered in a film, emerging alone into the night, carrying its mood with you.
—Blinking back into the light during a daytime show, realising how little time you’ve been away in actual hours.
—The magnetic connection between audiences that can cry and laugh together.

April 11, 2021

BAFTAs: Nomadland, Zhao, McDormand, Hopkins; Soul; Screenplays, Promising Young Woman, The Father; Editing, Sound of Metal; Cinematography, Nomadland; Another Round, Not In English; Youn Yuh-jung, Daniel Kaluuya; My Octopus Teacher; Score, Soul

April 11, 2021

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