Showing posts with label Matt Damon. Show all posts
Showing posts with label Matt Damon. Show all posts

Monday, September 22, 2025

Who is the Next AFI Life Achievement Honoree?

Francis Ford Coppola winning the AFI statue
from past winners George Lucas & Steven Spielberg
With the recent passing of Robert Redford, an interesting trivia topic comes up, one we've talked about on occasion on this blog but not in a few years.  Redford, screen luminary, movie star extraordinaire, film festival pioneer, & Oscar-winning director, has always felt like the oddest person to never win the AFI Life Achievement Awards, one of the highest honors for an actor or director, to the point that I have long-wondered if he just didn't want to accept (it's hard to imagine it was never offered to him).  With his death, though, it invites the question of who will be the next person to win the AFI Life Achievement Award, and I thought it'd be fun to make a Top 10 list of the people I think are likeliest to be next.  Before we get to the list, I came up with a list of criteria that usually hint at who will be the next AFI Life Achievement Award winner.

Age: The average age of a winner is roughly 70, though that's definitely an average and we have seen a pretty wide range of ages winning this (i.e. don't count someone out like Francis Ford Coppola, the  most recent winner, who took it at 86 in April).  19 of the winners have been in their 70's, which is by far the most common age group to have won in, and no victor has been older than 90 (top in age was Lillian Gish) or under 46 (Tom Hanks was the youngest, and that win was criticized enough that I doubt they go for someone that young again).  As a result, bonus points to anyone somewhere between about 65 and 79, though obviously they could and have leaned outside that age range.

Occupation: The award is open to anyone in the film industry, but like most honors, it's more geared toward movie stars.  70% of the winners have been principally known for acting, and all but one of the remaining victors have been film directors (the sole person who was neither was John Williams, and there's really no living behind-the-scenes person who could rival Williams in terms of public perception, so it's going to be a movie star or a director).  The film directors who did make it are extremely well-known, just as famous to the public in recent years as a movie star (think George Lucas, Martin Scorsese, and Steven Spielberg), so don't count on aging directing superstars like Mike Leigh or Ridley Scott, as they likely aren't famous enough.  They're also not American which brings us to...

Geography: This is the American Film Institute Award, and while that title doesn't preclude anyone, it sure helps if you're American.  92% of the winners were Americans upon the time they won (this includes people who enjoyed dual citizenship like Elizabeth Taylor, Nicole Kidman, and Sidney Poitier), which is potentially why foreign-born icons like Charlie Chaplin, Greta Garbo, Marlene Dietrich, & Laurence Olivier never won, and likely why figures such as Anhtony HOpkins or Sophia Loren (who otherwise would have been shoo-ins) haven't taken the honor yet.  The four foreign-born figures who did win (Sean Connery, David Lean, Julie Andrews, and Alfred Hitchcock) don't really have a lot in common, so it's hard to find some commonality to one person getting in if they aren't American other than a lot of fame.

Oscar History: If you're going to be taking the AFI title, it helps (a lot) if you're an Oscar winner.  78% of all of the honorees were at the time of their victory winners of at least one competitive Academy Award, and another ten were nominees (two of which, Henry Fonda & Martin Scorsese, would win competitive Oscars post their AFI ceremony).  The only person to have never been nominated for an Oscar and still win the AFI is Steve Martin, someone you'd be hard-pressed to find an obvious corollary to today.  This pattern has gotten even stronger in recent years-85% of the past twenty recipients were Oscar winners (excluding Martin, George Lucas, & Harrison Ford).  So it's likely that the next person to take the AFI will have won a competitive Oscar.

Gender: The ceremony seems to be trying to correct this in recent years, but it's still very much a boy's club at the AFI.  78% of all winners have been men, and the ceremony has never honored a woman who was solely or principally known as a behind-the-scenes figure (women like Shirley MacLaine, Barbra Streisand, and Diane Keaton have all directed films and won the AFI, but all three made their names in movies as actors).   I also wouldn't read a lot into the last winner being male...it doesn't feel like a tradeoff situation as a rule (i.e. the next could also be a man).

DeMille/Kennedy: There are at least two other awards (other than Oscar) that are a strong indicator of whether or not someone will take the AFI trophy-the Cecil B. DeMille Award and the Kennedy Center Honor.  58% of all winners of the AFI were also DeMille winners and of those who were alive to receive it (the Kennedy Center Honors started last of the three honors, in 1978, so John Ford was dead by the time they rolled around despite having already won the AFI), 70% of the AFI Award victors also won the Kennedy Center Honor.  24 people have pulled off all three.  While the AFI has occasionally led the field (ie someone won it there before they picked up other honors, like Steven Spielberg or Elizabeth Taylor), it's a pretty strong indication if you're primarily known for film and you win one of these trophies that you're going to win one (or both) of the others.  One could make a sincere argument that the list of people who have taken the DeMille or Kennedy Center Honor without also having an AFI is particularly short right now, so AFI may be forced to add a new name to the roster next year.  Of the 16 living DeMille and/or Kennedy Center victors (without an AFI) who have meaningful cinematic contributions, almost all of them have something stopping them from taking this leg of the Cinematic Life Achievement Triple Crown (I started calling it that years ago...and it has not caught on).  There is one non-American (Sophia Loren) and one American more commonly known for citizenship in a different country (Anthony Hopkins).  There are figures with major contributions to cinema but who are more known for TV (Dick van Dyke, Lily Tomlin, Rita Moreno, Billy Crystal) and music (Cher, Bette Midler), and then there are a few figures due to health or antipathy to such things might not show up at all (Joanne Woodward, Woody Allen).  There's also the new stain on the Kennedy Center Honors due to the heavy involvement of President Trump that might make it hard for Sylvester Stallone to get this award given he won with that asterisk next to his name.  That actually only leaves five figures who could be considered real contenders that AFI hasn't picked yet, four of which I'll list in my Top 10, and the fifth of which I'll cite in the Honorable Mentions.

Fame: This is a hard one to quantify, but all of the winners have to be famous, and tend to still be extremely well-known when they won.  This has become even more pertinent in recent years.  Arguably the last time someone who wouldn't have been a household name still the year they won was Robert Wise in 1998, and in the past few years we've seen actors who are very active in modern filmmaking like Diane Keaton, George Clooney, and Denzel Washington take the trophy, so I suspect that the winner next year would either be still revered or quite frankly be someone whom you'd expect to be getting top billing on your local marquee still.  This means that names like Ellen Burstyn, Sissy Spacek, Julie Christie, Faye Dunaway, Mia Farrow, or Goldie Hawn, names that probably have earned this kind of distinction but aren't really household in the same way as Clooney, Streep, & Washington, are going to struggle to get a citation without some sort of revival.  This ceremony is funded by advertising revenue, and as a result they need a bigger name for ratings.

With all of that said, here are my guesses as to who the Top 10 contenders for the trophy are.  Sound off in the comments if you have predictions as well!

Honorable Mentions: Lots of options here, but seven names that come to mind are Anthony Hopkins, Robert Downey, Jr., James Cameron, Ron Howard, Eddie Murphy, Ralph Fiennes, & Jessica Lange.  All of them have debits, ranging from a curmudgeonly persona off-screen that might preclude such an honor to not having a strong enough filmography to not being American, but these are names I wouldn't be shocked get into contention.  I will note that in the past when I've done this prediction list I missed future winners because I didn't know they'd be having a moment (i.e. I had Coppola as someone whose time had likely passed until Metropolis came out and he seemed to make a point of wanting to get these honors on his resumé before he died or to remind people that movie won't be his epitaph), so some of these might be contenders, but I don't see them being immediate threats.

10. Tim Burton

It feels weird not to list a single person primarily known as a director on this list, even though directors rarely win this award, and the concept of the celebrity-director is increasingly passé, but more than Cameron, Howard, or even Quentin Tarantino, it feels like Tim Burton is the kind of guy that gets in with AFI.  Inevitably, he's going to get an Oscar moment at some point, and that will invite conversations about his singular filmography.  In many ways Burton's personality feels at-home here.  He's a California-born director, and similar to someone like Mel Brooks (a past winner) he has made or advanced the careers of a lot of stars (such as Johnny Depp & Winona Ryder) who haven't really had a moment with the AFI, and this would be a way of acknowledging that very successful segment in Hollywood.  Call it a hunch that he could win this.

9. Sally Field

A more conventional choice would be Sally Field, a recent Kennedy Center Honoree, and an actress who has been doing a lot of the "I'm a legend" rounds in recent years (not just taking the Kennedy Center Honor, but also the National Medal of Arts and the SAG Life Achievement Award).  Field is also well-regarded (it helps if you're popular), and has had a diverse career as a two-time Academy Award winner who has gone back-and-forth between populist hits and art-fare.  Also, and most critically, she is one of the rare stars of the 1970's & 80's who still works regularly in major projects and is known to a new generation of moviegoers in a way that, say, Faye Dunaway would not be that hasn't won this yet.  In some ways Jessica Lange makes more sense (she also has had television success in recent years), but for some reason she doesn't seem to be getting these types of awards (and with Trump in office, it's doubtful she'll get help from the Kennedy Center), so I will continue to bet on Field.

8. Viola Davis

You could make a sincere argument that Davis shouldn't be on this list.  In terms of leading work in films, she has  the most recent and arguably most scant filmography of these artists.  But there's a sense that Davis, one of the great talents of her generation, was cheated out of a longer career due to Hollywood's inability to give leading roles to Black women, and one wonders if that contributed in part to her recent Cecil B. DeMille Award (don't look at me like that-name another actor with as short of a filmography as Davis has had as a leading star that has won that award).  Only three Black actors have ever won the AFI Life Achievement Award (Sidney Poitier, Morgan Freeman, & Denzel Washington), and none of them have been a woman.  I think Davis makes sense here, particularly with the recent passing of Cicely Tyson, and it's more a question of if, not when, she'll win.  But she's rated lower as I think they make her wait just a few films more before they give her this statue (but it's coming).

7. Brad Pitt

Brad Pitt's wildly successful F1 (can you believe it made over $600 million?!?) earlier this year confirmed what we all know about him-he's one of the last movie stars of his era, someone who can still actually open a movie without creative IP attached (albeit he had the world's largest sport attached, but that's another story).  Pitt's problem is going to be less about his filmography (given his stature in the industry and his long career, it's hard to begrudge him this statue) and more so that Pitt is a bit of an online pariah right now.  That doesn't matter as much in Hollywood (see how he starred in a massive hit movie earlier this year), but advertisers don't want to touch him in an era of a boycott-heavy electorate, and the thorny allegations in his divorce with Angelina Jolie make me think that they might wait a few years to see if things cool down with him (this could also be the case with Johnny Depp & Ben Affleck, who I didn't list on this countdown, but obviously feel in the wheelhouse of someone who would win this).

6. Matt Damon

Pitt's Ocean's Eleven costar Matt Damon feels far more likely to win.  One wonders if they'd consider doing a pair between Damon and his childhood best friend Ben Affleck, but of the two I think that Damon, with his squeaky clean off-screen persona would be an easier sell.  Damon is actually old enough to win one of these statues now (for those wondering if I'm crazy for putting him on here), just a few years north of potential future contenders like Reese Witherspoon and Leonardo DiCaprio, and I think is a serious threat to take this, though I partially believe that he'll get the DeMille first, mostly because they tend to like younger and they love getting movie stars to show up.

5. Jeff Bridges

Robert Redford for many years was my go to answer for "who is the weirdest living person without an AFI Life Achievement Award."  With his death, that title passes to Jeff Bridges.  Bridges is such an odd exclusion from this list I constantly have to remind myself he's never won-he's a movie star from way back (and further back still if you remember he's a NepoBaby), an Oscar winner, and has a fame that means different things depending on how old you are, which is also the sign of someone with a robust filmography.  Bridges is certainly the type of person who should have an AFI Life Achievement Award (it will be a miss, similar to Redford, if he never wins), and if I was asked to unilaterally give this out to someone next year, he'd be my choice.  But his inability to win even when he could've gotten it 10-15 years ago makes me wonder if he's demurred, or isn't really on their radar.

4. Samuel L. Jackson

Bizarrely, Samuel L. Jackson has never won any of the three major Triple Crown Awards, though he did recently get an Honorary Oscar.  Jackson is a ubiquitous movie star, perhaps not to his credit (it's worth noting that Michael Caine never won any of these three prizes either, mostly because he had so much crap to go with the jewels in his filmography), but Jackson is such a big star it feels wrong that he doesn't win this award.  In many ways, between his forays into countless major franchises (Star Wars, MCU, Jurassic Park, XXX) to his position as a muse for both Quentin Tarantino and Spike Lee he is the prototype for how to navigate the IP era, so you have to believe they know they should pick him, particularly given the embarrassingly low number of Black actors who have won this prize.

3. Tom Cruise

The Top 3 are not a question of if, but when, for the victory.  All three are 1990's movie stars who have stayed relevant into the 2020's (sometimes for television, sometimes in the case of #3 for mining his filmography for legacy sequels), but they are all too famous to never win this award.  Cruise is third both because he is about to win an Honorary Oscar (and in my opinion, likely to win a competitive one next year too, which makes the Honorary statue feel like a waste when it could've gone to, say, Catherine Deneuve who needs it more), but Cruise has graduated beyond the tabloid toxicity that once nearly wrecked his career (i.e. another reason they'll likely wait on Brad Pitt), and has become the savior of the movie theater industry.  The ageless screen star probably doesn't like that he's now at the age where you win lifetime achievement awards, but it'd be nice if he won it while some of his earliest costars (like Dustin Hoffman & Jack Nicholson) are still around to give it to him.

2. Julia Roberts

Another ageless movie star that feels like she's too young to win this, but has entered that era is Julia Roberts (our Star of the Month last month!).  There's more urgency around Roberts to win, in part because she's clearly the Queen of the 1990's movie stars (you could see a world where, say, Sandra Bullock or Demi Moore also win this statue at some point, but not before Julia), and also because she seems to be itching to do this again.  In recent years she's been working more regularly, appearing in films that might gain a reputation (even if it's a bad one) like Luca Guadagnino's latest, and clearly wants to cement her place as one of the last great movie stars before IP took over Tinseltown.  Roberts, in a similar fashion to Cruise, also wants to get this statue while all of the actors whom she starred opposite early in her career are still with us (as sad as it may seem Richard Gere is 76, Dustin Hoffman in 88, & it's unlikely most of her older costars in Steel Magnolias stay around much longer)...this would be the time to give it to her.

1. Jodie Foster

But I'm going to put someone who has the DeMille (unlike Julia & Tom) at #1.  Jodie Foster doesn't have as plentiful of a filmography as Roberts & Cruise (and isn't famous in the same way anymore), but her two Oscars and recent successful run on True Detective add a timelessness to her star persona that you can't really rust.  I also think it's noteworthy that she's a feminist icon, and a film director (and would be the first openly queer person to win the award).  As I stated above, no woman has ever won this award primarily for being known for directing, but several have histories with directing, and Foster would add to that list.  She's also 62, so just a few years shy of the prime age that wins this award, and giving it to her early is hardly a moment that will age poorly (no one really focuses on winning too early if it was someone who was always destined to win).  If I had to bet on who wins next, I'd put my money on her.

Saturday, September 13, 2025

Courage Under Fire (1996)

Film: Courage Under Fire (1996)
Stars: Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarty, Matt Damon
Director: Edward Zwick
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2024 (and now 2025) Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Meg Ryan: click here to learn more about Ms. Ryan (and why I picked her), and click here for other Saturdays with the Stars articles.

Meg Ryan's pretty intense breakout fame for When Harry Met Sally... came with something of a price.  Unlike other "America's Sweethearts" actresses like Audrey Hepburn & Julia Roberts who got box office receipts AND the ultimate stamp-of-acclaim from the industry (a Best Actress Oscar nomination) early on in her career, Ryan was left off of the list by the Academy in 1989 (I suspect she was in the conversation, and one wonders if she would've had a different career if she'd gotten that sort of credibility at some point during her peak movie star years).  The early 1990's had Ryan alternating between rom-com hits like Sleepless in Seattle and French Kiss with edgier fare, meant to expand Ryan beyond her cutesy "girl next door" routine which had made America fall in love with her.  By-and-large, this was not successful.  She worked with Oliver Stone in The Doors (which bombed), starred in the Oscar-winning period drama Restoration (which also bombed), and played opposite her husband Dennis Quaid in the thriller Flesh and Bone (which, you guessed it, bombed).  Ryan's two successes getting out of the romantic-comedy trope were When a Man Loves a Woman (which won her a SAG Award nomination, though that didn't mean she was "close to Oscar" in the way it would now...SAG used to be WAY more individualistic with their choices) and today's film Courage Under Fire, the first major movie to talk about the Gulf War in Hollywood, and would pair her opposite one of the biggest leading men of the era, though like several of her outings with Tom Hanks...that didn't mean they would share much screen time.

(Spoilers Ahead) The movie follows Lt. Col. Nathaniel Serling (Washington), an alcoholic who is getting past a mistake he made during the war where he (accidentally) shot friendly fire on his fellow soldiers during an intense battle.  This was covered up by the American military, with him instead getting an award for bravery.  He is now on desk duty, though, and is investigating whether Captain Karen Walden (Ryan) has earned the distinction of being the first woman to win the Medal of Honor for combat.  His investigation, held alongside his doubts about the military & medals in general given he has won one that he feels he has not earned, turns up several inconsistencies, as the men who served with her, particularly Staff Sergeant John Monfriez (Phillips) & Specialist Andrew Ilario (Damon) have such varied opinions on Walden, and her actions in battle.  As the film progresses (recalling Rashomon) we learn that Walden's actions, like Serling's, are grey, as is much of battle, and those haunted by it.

Courage Under Fire is the kind of movie that doesn't really exist anymore-a star-driven drama, released in the summer almost exclusively as a box office play.  Today, the only angle the studios would have for a picture like this would be "Oscar bait"...even though the Academy in 1996, a year when they were pretty allergic to major studio flicks like this, wouldn't have touched it (it's worth noting it was in enough of the conversation circa 1996, though, that Entertainment Weekly predicted Washington would be cited for Best Actor).  That's a pity, because there's something here.  The storytelling is easy, but riveting, and the way that it handles the unusual twists in the plot recall some of the best John Grisham adaptations of the era.  I liked it, and was also impressed by Lou Diamond Phillips & a young Matt Damon (looking gaunt in a role where he lost over 30 pounds, and was so impressive he'd eventually get his roles in The Rainmaker and Saving Private Ryan from directors admiring this turn) in diametrically-opposed roles in the investigation (yet both men that are haunted by their actions in wartime in different ways).

Ryan, though, is not very good.  I feel this needs to be said at this point (especially because I don't get much kinder the further I go)-I love Meg Ryan.  Her work in Sleepless in Seattle and You've Got Mail is hallowed ground in my house, and I do like her in literally everything I've seen her in in the sense that I like spending time with Meg Ryan.  But in the most dramatic and heaviest lifting of her career, I don't think she's able to get this part across-the-finish line.  It doesn't help that she's not actually sharing any screen-time with Washington (I think they would've paired well, but she's dead the entire time that Washington's character is aware of her), but she also can't land her southern accent properly, and the film's views on feminism (insisting that she's the one who cries on the mission) are pretty lazy.  As we'll talk about over the next couple of weeks, Ryan, an actress who once turned down the lead in The Silence of the Lambs because it was "too violent" would never get another role this traditionally meaty again in a prominent studio film; she'd star in dramas, but never of this pedigree.  You have to wonder if part of the reason she didn't get it was because people saw this, and wondered if she could carry a film like that without someone more "actorly" like Washington helping her.

Saturday, August 02, 2025

Mystic Pizza (1988)

Film: Mystic Pizza (1988)
Stars: Annabeth Gish, Julia Roberts, Lili Taylor, Vincent D'Onofrio, Willam R. Moses, Adam Storke, Conchata Ferrell, Matt Damon
Director: Donald Petrie
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

Each month, as part of our 2024 (and now 2025) Saturdays with the Stars series, we are looking at the women who were once crowned as "America's Sweethearts" and the careers that inspired that title (and what happened when they eventually lost it to a new generation).  This month, our focus is on Julia Roberts: click here to learn more about Ms. Roberts (and why I picked her), and click here for other Saturdays with the Stars articles.

Julia Roberts early career is such an uphill climb that it might honestly be a straight line north.  When she came to Hollywood she was just Eric Roberts' kid sister; by the time of her screen debut in 1987's Satisfaction, her big brother Eric (now a bit of a trivia punchline for the amount of random movie appearances he's made in literally hundreds of low-budget & independent films) had spent a decade making appearances in prestige fare like Raggedy Man, The Pope of Greenwich Village, & Runaway Train (which won him his sole Oscar nomination to date).  But by 1988, kid sister Julia was attracting attention, first in her breakout role in today's movie Mystic Pizza (a sleeper hit), then getting her own matching Oscar nomination in Steel Magnolias, and a second as the lead of Pretty Woman.  Steel Magnolias was a big hit, but Pretty Woman was a movie that Hollywood couldn't really ignore-making over $400 million, at the time of its release it was the fifth-highest grossing film of ALL TIME, having grosses that put it next to Star Wars & Jaws.  Though it would lose that top five spot later in the year to Ghost (starring Demi Moore, who would spend much of the next decade alongside Julia Roberts as one of the biggest and most-discussed actresses of the era), the signs were clear-Julia Roberts had not just arrived as America's next sweetheart, she was also a movie star who could compete with figures like Arnold Schwarzenegger and Harrison Ford in terms of box office performance...and as Hollywood would soon find out, she'd demand to get paid like she was worth that much.

(Spoilers Ahead) Mystic Pizza is about three young women who work in a pizza parlor in a small town in Connecticut named Mystic (a real town, in fact).  We have sisters Kat (Gish), the brainy one, and Daisy (Roberts), the sexy rebellious one, joined by JoJo (Taylor), their horny friend who just left her husband-to-be Bill (D'Onofrio) at the alter.  After JoJo breaks off her engagement (but not her relationship) with Bill in the film's opening scenes, we spend a summer with these three young women, all dealing with their various romantic relationships.  JoJo is trying to find a balance between her independence and giving her life over to a man, while Kat is shedding her goody-two-shoes layers before attending Yale by becoming smitten with (and eventually sleeping with) the adult man (Moses) whose daughter she is nannying for.  We also get an interlude with Daisy falling for a guy from the right-side-of-the-tracks named Charlie (Storke) who has dropped out of law school & is struggling with his uptight New England family (in his film debut, Matt Damon plays his little brother in a scene late in the picture...you gotta wonder if Roberts & Damon spent any of their time on the Ocean's pictures discussing that this was not their first film together).

The movie Mystic Pizza is more of an ensemble piece than Pretty Woman, and doesn't necessarily "star" Julia Roberts (she doesn't even get top billing), though you'd be forgiven for thinking otherwise looking at it now.  Roberts is magnetic here, wonderfully stealing every scene she's in, even against formidable talent like Taylor & Gish.  There's a scene early in the picture where she's playing pool, and she's so unfathomably sexy with her mane of iconic hair and that sly, Lloyd's-of-London-worthy smile coming out that the entire movie sort of falls silent as you can hear everyone's blood pressure start to rise.  The movie gains from this, as it's not a particularly funny or groundbreaking picture, but having so many likable & impressive young actors early in their careers makes it feel fresh.

I will note, that while I was prepared for Roberts to be intoxicating here (this film is part of her legend for a reason), what I was not expecting was how unfathomably sexy Vincent D'Onofrio is in this movie.  I would not normally name-check D'Onofrio as a sex symbol (he's so known for playing characters that really mess with his physical appearance he's hard to pin down in that way), but you will be stunned how upsettingly good-looking he is in this movie.  He plays a fisherman who basically makes Lili Taylor feral (to the point where in one scene she understandably begs him to let her give him oral sex), and girl...I get it.

Next week, we're going to talk about what fame did to Julia Roberts in the early 1990's, and one of the biggest hits of her newfound movie stardom, which would team her alongside another quintessential movie star of the era.

Wednesday, January 10, 2024

No Globe? No SAG? No Problem!

This morning we saw the SAG nominations, and with the Globes held this weekend, that means we get to write one of my favorite recurring annual articles on the blog-our annual look at the few performers whose dreams of Oscar glory have seemingly been dashed by not getting in with either of these high-profile precursors...who still could be in for a wonderful night in a few weeks at the Dolby Theater.  Every year since 2006, at least one actor has gotten a nomination for an Oscar without being cited by either the Globes or the SAG Awards, with a much larger number in the past two years:

2022: Brian Tyree Henry, Andrea Riseborough, Judd Hirsch, & Paul Mescal
2021: Penelope Cruz, Jesse Plemons, JK Simmons, Judi Dench, & Jessie Buckley
2020: Paul Raci & LaKeith Stanfield
2019: Florence Pugh
2018: Marina de Tavira & Yalitza Aparicio
2017: Lesley Manville
2016: Michael Shannon
2015: Charlotte Rampling, Tom Hardy, & Mark Ruffalo
2014: Bradley Cooper, Marion Cotillard, & Laura Dern
2013: Jonah Hill

As a general rule, the best way to get another nomination is to get in as a result of your film having heat for either Best Picture or another acting race.  Last year, we saw this with someone like Judd Hirsch, who was starring in a film that was on-track for Best Picture & Actress, and then carried him along with the show.  Last year saw a disproportionately large number of people (Andrea Riseborough, Paul Mescal, & Brian Tyree Henry) who were their films only Oscar nod, which does happen, but this is generally hard to pull off, especially in the ten-wide Best Picture era.  Generally, the new name is someone from a Best Picture nominee that Oscar liked a little bit more than the rest of the season.

I say each year that I'm worried this trend won't continue, but this year I'm especially nervous because of the expansion of the Golden Globes.  This is the first year that the Globes had six nominees for each of the acting races, rather than five.  You can best see how this will hurt this stat by looking at Best Actor in a Drama.   This featured three Oscar frontrunners (Cillian Murphy, Bradley Cooper, & Leonardo DiCaprio) along with three "on the bubble" nominees (Colman Domingo, Andrew Scott, & Barry Keoghan).  In a normal year, one of those "on the bubble" nominees wouldn't have gotten mentioned, and if it had been Scott/Keoghan, would've been in my Top 5 here given the heat off of those films peaking at the right time (Domingo got a Globe nod).  This year, none of them are in the Top 10, and so I had to scrounge a little bit to get a plausible Top 10.  Still, a 14-year streak is going to be tough to beat-one of these names (#1 being the most likely) probably gets on Oscar's radar in two weeks.

Honorable Mention: I'm just going to list a few names that need to be mentioned.  I am still catching up on a few contenders (hence why own personal Top 10 lists haven't been revealed yet), so a couple of performances that I haven't seen include Erika Alexander (American Fiction), Christian Friedel (The Zone of Interest), Aunjanue Ellis (Origin), Jamie Bell (All of Us Strangers), & Juliette Binoche (The Taste of Things).  These all have their champions (and Binoche & Ellis are former nominees, which helps), but without seeing them I don't know if they make sense or even how substantial their roles are...so I'm just naming them for posterity.  Florence Pugh (Oppenheimer), Jesse Plemons (Killers of the Flower Moon), John Magaro (Past Lives), & Taraji P. Henson (The Color Purple) have large supporting parts in Best Picture contenders, but they've been ignored all season, and save for Magaro, they're all former nominees so if they were going to get in...why not get mentioned by SAG or the Globes?  Lastly, I do wonder if AMPAS will like Ferrari more than most, and Penelope Cruz's surprise SAG inclusion means that Adam Driver (a two-time nominee) deserves a mention in this list even if this is probably a miss for him.

10. Rachel McAdams (Are You There God? It's Me, Margaret.)

For Her: McAdams has received some of the best reviews of her career for this Judy Blume adaptation, and there's a lot of passion surrounding her performance, despite it coming out in April.  She even won a surprise inclusion from the Los Angeles Film Critics Association.  Sometimes underestimated when it comes to what screeners get the "Play" button pressed is whether you can watch a movie with your kids-Margaret is far more "let's all sit in front of the couch" friendly than May December or Saltburn.  She's also a former Oscar nominee-AMPAS has liked her before.
Against Her: The film has no shot in any other categories and it's a coming-of-age movie about a girl getting her period that was released almost a year ago.  No matter how good McAdams may be, that was always going to be hard to get past, especially without some help from something like SAG which is more the audience for this style of film.

9. Paul Mescal (All of Us Strangers)

For Him: I mean, he did it last year.  Mescal was able to take a small, family drama last year and ride it to the Oscars, what's to stop him this year?  All of Us Strangers is not necessarily in the Best Picture running, but it does have the kind of heat & interest that would make it a surprise inclusion in the 9th or 10th spot if heat for something that feels more like a "required" nominee (like Maestro) that no one really loves doesn't get in.  Additionally, everyone who sees the movie loves Andrew Scott, which makes him a stealth contender for the competitive fifth Best Actor slot.
Against Him: I haven't seen the movie, but literally any internal competition from Jamie Bell is going to cost him this, as it's already a small film...will Bell split his support?  Additionally, this is a film that Oscar voters aren't required to see-will they get to it, or is it just a move they're still saying "I've heard that's good" about come nominations time.

8. Sandra Huller (The Zone of Interest)

For Her: She's having a helluva a year.  Huller didn't get in with SAG, but she managed a Globe nomination for her work in Anatomy of a Fall, which I think will score her her first Oscar nomination in Best Actress.  Weirdly, she's also an option in supporting for Zone of Interest, which like All of Us Strangers is in the hunt for 9th or 10th in the Best Picture field.  Huller's supposedly good, and a significant part here.  Could she get double the love?
Against Her: Unlike a lot of past double nominees (like Scarlett Johansson or Al Pacino) she's not super famous headed into the night, and usually you come armed with all of the precursors if you're going to be cited twice.  It's possible, but I'm assuming on her first go-around AMPAS will think Best Actress is enough.

7. Zac Efron (The Iron Claw)

For Him: Efron checks two of the Academy's favorite boxes.  One, he's a matinee idol transforming himself physically for a role, and two, he's in the middle of something of a comeback, giving his most lauded performance to date after years as a teen idol.  A family drama and a biopic, this is in Oscar's wheelhouse (Mickey Rourke got nominated for a similar film a few years back), and it has a lot of fans.
Against Him: Efron is the sort of contender that the Globes normally would've gone for (not sure if that's because we're in a post-HFPA world or not, but a celebrity like him normally would've been able to sneak in over Andrew Scott).  Will enough people see it...and will enough respond given Efron's otherwise shallow acting resumé (unlike Rourke, Efron didn't spend a decade giving critically-acclaimed, edgy performances before Oscar noticed).

6. Ben Affleck (Air)

For Him: Affleck is a strange beast in Hollywood-someone well-loved by the Academy behind-the scenes (he has Oscars for writing and producing, and directed a Best Picture winner), but who has never been nominated for an Oscar for acting despite matinee idol good looks and appearing in many of his movies.  His latest directorial effort, Air, is a film I think is going to get into Best Picture (I haven't written my final nominations yet, but it'll be on there as my surprise guess unless something bizarre happens with the PGA/DGA/BAFTA citations), and since no film has only gotten a Best Picture nomination since 1943, if it gets in one place, it'll probably get in another.
Against Him: I think that most agree that Affleck, unlike his buddy Matt Damon, is better behind-the-scenes than in front of the camera, and while this is a showy part, there's a more traditional role for the Academy to cite in Air if they feel so inclined.  Also, Best Supporting Actor is already bursting at the seams without adding someone like Affleck into the conversation.

5. Claire Foy (All of Us Strangers)

For Her: Foy is one of the most recognized actresses on television, she's British (the Academy loves British actresses), and she works in a lot of prestige films that have gotten on Oscar's radar (First Man, Women Talking).  Her work in All of Us Strangers as the main character's mother isn't work I've seen yet, but from what I've heard it's strong, scene-stealing stuff, and if the film is peaking at the right time (which it is), like Paul Mescal, I could see her being in the running.
Against Her: At this point, Foy has been turned down by the Academy twice.  Similar to Emily Blunt (who after two decades is finally going to get an Oscar nomination in two weeks for Oppenheimer after basically begging the Academy every year for it), it's possible she's just not their cup of tea?  If she can't get in for a Best Picture nominee, why this?

4. Viola Davis (Air)

For Her: As I mentioned above, there's a more traditional option in Air if AMPAS wants to nominate it for an acting trophy than Ben Affleck, and that's Oscar-winning actress Viola Davis.  Davis gets a showy supporting part as Michael Jordan's mother, plays well off of Matt Damon (whom, it is worth noting, did get a Golden Globe nomination for this film), and we know Oscar loves her.  They also might feel they owe her after she missed last year for an expected nomination for The Woman King.
Against Her: She still has a trophy, so it's not like ignoring her for The Woman King was a major crime.  More importantly, it's possible I'm overestimating Air's strength.  It came out last spring, and hasn't shown up on a lot of year-end lists.  Maybe it's just one of those movies people liked, but doesn't score with Oscar, in which case Davis is a non-entity.

3. Matt Damon (Oppenheimer)

For Him: Our top three contenders I'm going all in on movies that all of the Academy's acting branch will have seen by the time the nominations start, but feature three performers with prominent roles in those films that haven't gotten mention yet.  Damon's lack of a nomination has perplexed me all season.  In a sea of options, he and Downey are the only two supporting actors who are clearly prominent enough in terms of screen-time to stand out from the crowd.  Given his personal popularity (as well as love for Oppenheimer), why isn't he showing up?
Against Him: Damon's problem is twofold.  One, his internal competition, particularly from Robert Downey, Jr. who is going to win this category with Oscar, means that spreading-the-wealth feels like the correct choice (Oppenheimer isn't hurting for love).  Second, the supporting actor race is stacked this year, the strongest contenders and the most quality options of any of the four acting races.  This would feel like a "weak field" filler nomination, not needed for 2023.

2. Dominic Sessa (The Holdovers)

For Him: The Holdovers is an acting trio, one that features two people who are surefire nominees (and potential winners): Da'Vine Joy Randolph & Paul Giamatti.  Their counterpart Dominic Sessa, though, has gotten plenty of good notices for his screen debut in The Holdovers.  It's a lead performance that is being passed off as supporting (that always helps), and if you're a fan of the movie, you might just want to put down one actor for each category.
Against Him: He's so young.  This is his first film, and in a category where they tend to nominate longtime veterans (like Willem Dafoe or Mark Ruffalo, both also on the edge for this category), they might want to make him pay his dues.  Plus, given The Holdovers didn't get into Best SAG Cast (usually a prerequisite for a Best Picture nomination), this might be a movie that voters more like than love.

1. America Ferrera (Barbie)

For Her: Everyone loves Barbie.  Even if you aren't a fan of the movie itself, in an industry town that had a lower-than-expected box office last yeaer, everyone knows that Barbie is a movie they should be grateful for.  Ferrera is a longtime character actress who weirdly (despite the large female cast) will be the only Supporting Actress option from the film.  People love her monologue scene in the picture, and she's been pushing the movie hard.  These are all things that usually add up to a surprise inclusion.
Against Her: Unless Jodie Foster or Danielle Brooks fall (both are on shaky, but likely, ground), this is really a fifth slot play against Viola Davis (Air), Julianne Moore (May December), Penelope Cruz (Ferrari), and Rosamund Pike (Saltburn).  None of those are Best Picture nominee locks like Barbie is, but unlike Ferrera, they're all former Oscar nominees/winners who come armed with precursors (save Davis).  Still...I think I'll probably guess Ferrera because her math feels really good in this scenario.

Sunday, October 24, 2021

The Last Duel (2021)

Film: The Last Duel (2021)
Stars: Matt Damon, Adam Driver, Jodie Comer, Ben Affleck, Harriet Walter
Director: Ridley Scott
Oscar History: No nominations
Snap Judgment Ranking: 3/5 stars

24 years ago (prepare to feel old), Ben Affleck & Matt Damon won their first Oscars for Good Will Hunting.  This was not the first film that the two men had made together (they'd worked together on 1992's homoerotic School Ties, or at least it was homoerotic for me when I saw it on TBS as a closeted 11-year-old), but it was the breakout role for both.  The years that followed have been, let's say "unexpected" in the direction each men has taken.  Damon was celebrated as the better actor initially, which is correct though while he had movie star success in the past couple of decades, you could make an argument that his filmography is somewhat underwhelming.  There are cult classics, popcorn hits, and he's managed a couple of Oscar nominations, but when you think Matt Damon, don't you still kind of think "Good Will Hunting?"  This isn't the case for Ben Affleck, who became a tabloid sensation due to his romances with Gwyneth Paltrow, Jennifer Lopez & Jennifer Garner, then took a surprising left field turn into prestige director, won his second Oscar, had an ill-regarded turn as Batman, and is now back to tabloid sensation for dating Jennifer Lopez.  All of this is to say that when it comes to The Last Duel, I don't really know what to expect from these two as a pair anymore, and under the relatively successful guiding hand of Ridley Scott, this movie attempts to navigate that ambiguity.

(Spoilers Ahead) The film is based on a true story about a longstanding rivalry between Sir Jean de Carrouges (Damon) and Jacques Le Gris (Driver) in late 14th Century France.  Carrouges in the film is a rather abrupt, callous man, depending on your viewpoint (more on that in a second) either a solemn man of honor or a dour figure getting into his own way.  Le Gris, on the other hand, is a handsome, charming sort who is also sycophantically kissing up to Count Pierre d'Alencon (Affleck), and in the process taking away much of Carrouges power & wealth for his own, including part of Carrouges' wife Marguerite's (Comer) dowry & the captaincy that Carrouges' father & grandfather had held, and which he assumed he would get.  The film reaches a turning point when Marguerite accuses Le Gris of rape, and as no one will back down, Carrouges & Le Gris wage what would become the last judicial duel, allowing God to decide who was just & who was lying to the king.

The film is notable specifically for its formatting.  We get to see the story, at least heading into the title sequence, from the (skewed) vantage points of Carrouges, Le Gris, & Marguerite, in that order.  This has an unusual effect on the film, in that we see certain scenes with all involved in better light within their own story.  One example of this happens at a party, where in the first story Carrouges offers an olive branch, in the second one Le Gris, and in Marguerite's story, the host of the party offers it with neither man willing to do so.  This has a fascinating effect on the film, as the audience becomes the judge-and-jury, trying to decipher what is truth & what isn't.  I kind of wish that Scott hadn't made an overt attempt to point out that he feels (and, to be fair, historians feel as well) that Marguerite's story was the accurate one (the word "the truth" hovers briefly after the rest of the text in "Marguerite's version of the truth" has left a title card announcing her version of the story, enough so the audience gets the picture that we're about to see what really happened); part of the complexity of the story, and the way that truth can have "versions" depending on your viewpoint (as well as a lie can also have versions)  is the best part of the film.

Well, one of the best parts-the other is Jodie Comer.  Comer, best-known to audiences for her work on the British spy drama Killing Eve (which won her an Emmy), is excellent in the lead role.  This is a tricky part to play, as she needs to play a subtler game in the other versions of the story than the men do, but she nails it.  There's a lot of great moments late-in-the-film where you don't know her motives anymore, and while you never doubt the veracity of her claims, other things about her remain a mystery (specifically her attitude toward her husband & their marriage, and what this duel will do to it).  That's a striking combination for a film to give a character, where she plays an honest, enigmatic central player, but Comer does well with the task.

So why only three stars?  Honestly, it's because The Last Duel is kind of silly.  The film doesn't feel its 140-minute runtime, and weirdly the screenplay handles the three viewpoints well without feeling repetitive.  But the accent work in the film is dreadful (forget the French accents the whole cast should have but doesn't...it feels like Affleck, Damon, & Driver stop in long sequences of the movie doing even the vague British accent they're doing in other scenes).  It's the sort of movie it's hard to take seriously because Damon & Affleck are such a bad fit for the roles.  Both are just such thoroughly American personas that them playing 14th Century French aristocrats...the audience in my theater literally started laughing at the ridiculousness of it in certain sequences.  But Scott delivers in the action, pacing, & Comer brings it well enough that I'm bummed this was a flop...even if I kind of get how that happened.

Thursday, May 28, 2020

OVP: Picture (2016)

OVP: Best Picture (2016)

The Nominees Were...


Shawn Levy, Dan Levine, Aaron Ryder, & David Linde, Arrival
Scott Rudin, Denzel Washington, & Todd Black, Fences
Bill Mechanic & David Permut, Hacksaw Ridge
Carla Hacken & Julie Yorn, Hell or High Water
Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams & Theodore Melfi, Hidden Figures
Fred Berger, Jordan Horowitz, & Marc Platt, La La Land
Emile Sherman, Iain Canning, & Angie Fielder, Lion
Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck, & Kevin J. Walsh, Manchester by the Sea
Adele Romanski, Dede Gardner, & Jeremy Kleiner, Moonlight

My Thoughts: And here we go.  After 19 contests, and way too long spent between them, we are at the finish line ready to discuss the Best Picture nominees of 2016.  A bit of housekeeping before we go into the contest-if you are new, you can review all of the past 2016 contests, as well as Best Picture races (and the links to any contests within those years) in the giant link roundup at the bottom of this article.  We will be kicking off a new season very quickly of this series on Sunday, with new competition articles as early as next week.  My goal, as ever, is to get this done in roughly three months, but as I have not pulled that off to date, I shall stop promising it to you (even if I'm goaling it still for me).  What I will promise is a fitting tribute to these nine films we know so well at this point, and we will start that conversation with Fences.

Fences is a weird film for me to review, because the story and acting are solid.  This is an incredible feat, and the writing is brilliant-August Wilson at his best.  But it's basically a staged play, the kind we used to get more of in the 1950's where it felt more natural for such a situation (as most films limited their set counts and where they could film their movies).  Here, I feel like Washington's take on Fences never escapes its Broadway beginnings, playing too loud or too constrained, trying to bring not just the words of Wilson's play to life, but the play itself.  This would be mesmerizing, five-star entertainment in real life, but on a movie screen it feels like he doesn't meet the challenges of the medium he's crafting for, and as a result we get only a ground-rule double rather than a home run.

The same could be said for Lion, but instead of missing its setting, here we get a movie that can't ever get past its incredible first half.  The nail-biting adventure of the first half of Lion, of a young boy who moves halfway across a gigantic country by accident, is the stuff of great movies-it's action, drama, and terrific cinematography all rolled into one.  The movie never captures that energy in the second half, though, becoming a family drama without enough introspection or vision.  I'm excited this brought about new chapters for Nicole Kidman & Dev Patel's careers, but the movie is just fine.

This is more than I can say for Hacksaw Ridge.  I've been more charitable with this movie than most throughout these write-ups, but when it comes down to it, this is a film with some very strong elements that doesn't ultimately come together.  The first twenty minutes are embarrassing, and the movie's middle third is more homoerotic than you could possibly imagine, but that really doesn't make it a good movie (even if it got my attention with a cascade of shirtless men).  The final third the movie comes to life, but with so little payoff emotionally, we are left with some creative action sequences, but some featuring a bunch of soldiers we haven't grown to cherish or aren't really invested in their journey.  This has always been a problem with Gibson's movies, but it's easier to scrutinize with the shimmer of a Best Picture nomination surrounding Hacksaw.

Hidden Figures is, along with Hacksaw, the only other "populist" film of this bunch, but whereas Hacksaw simply ignores anything not directly related to the meat of its plot, Hidden Figures makes these touches the main course.  The three central performances are sublime, but they're also great movie star turns from actresses who can, well, act.  The movie isn't as deep as it could've been, but it doesn't matter-it generally avoids the sort of "white savior" racial politics that might have made it age poorly (specifically with Kevin Costner's character), and shows three accomplished women & the "hidden" story that they made incredible.  Fun, fluffy, but really well-done popcorn fare.

Moonlight is not popcorn fare by any means, but it might be the most cinematic movie of all of these when I think about it in this context.  I've talked about the best elements of this a few times now, but the pacing once again bears repeating.  Moonlight doesn't give you time to breath-it pushes Chiron's story forward, and those who are left behind (both onscreen and off) are forced to reckon with the young man he's become.  Visually compelling, haunting music, great performances-Moonlight is not the kind of film you normally associate with the Oscars, but it's so good that it demands Oscar's attention.

La La Land is the sort of film that you associate with the Oscars, in many ways because it associates itself with so many Oscar-nominated classics.  The movie is occasionally luminous-the costumes and cinematography are gorgeous, and the two leads have never looked better.  But the film is too much facade, not enough substance, and certainly not enough originality when it comes to how it pays homage to movies of the past.  In a lot of ways it reminds me of The Artist-a film that seems tailor-made for my sensibilities, and yet I was left cold by the director's inability to make it sing.

Manchester by the Sea is also the sort of film you associate with the Oscars, albeit not necessarily in Best Picture.  While this field oftentimes is littered with depressing tales of humanity, they aren't usually as subtle and specific as what Kenneth Lonergan crafts for Manchester.  The movie simmers and stirs, making sure to highlight each performance and each curve of the story without it feeling forced or too quick.  Manchester is a good lesson to the many, many lesser dramas that get nominated for a plethora of awards each year-focus on the story rather than ensuring a character meets a specific arc.

Then again, if you make a film that is leading to one specific arc, you need to ensure that what came before it will make that twist worth it.  Arrival is loving cinema, unfolding with great wonder, but it would fall apart if we didn't care enough about Amy Adams' Louise by the end in order for us to feel the bittersweet emotion of the final scenes of the picture.  Arrival achieves that final moment, and it does so after giving us a great leading performance (that should have been nominated), wonderful visual effects and beautiful cinematography.

And that leaves us with Hell or High Water, the movie weirdly of this bunch that I most want to see again after writing about these pictures for so long.  Hell is a really good movie, and the sort of morality tale that people forget was central to the western, possibly my favorite film genre (give or take noir).  David Mackenzie spices this film just right with solid performances, believable twists, and escalating stakes so that we stay vested, even if we don't always understand why we're taking a detour.  This is the sort of film that people forget was nominated, and then revisit & reassess as better-than-they-originally thought twenty years later, a classy & smart choice by the Oscars.

Other Precursor Contenders: The Globes split their nominations between Comedy/Musical and Drama, so we have a full ten nominees here.  The Drama categories went all with Oscar-nominees, bringing Moonlight to the top over Hacksaw Ridge, Hell or Hight Water, Lion, and Manchester by the Sea.  In Comedy, we saw only La La Land of Oscar's choices (it won), besting 20th Century Women, Deadpool, Florence Foster Jenkins, and Sing Street.  BAFTA still only goes five-wide, though they did have the very British I, Daniel Blake losing to La La Land, which also beat Arrival, Moonlight, and Manchester by the Sea.  And finally, the PGA Awards once again goes ten-wide, with every Best Picture nominee accounted for, as well as Deadpool (oh, the PGA), and La La Land emerging victorious.  If we were still in the ten-wide field you could make a lot of arguments, some even sound for a film like Deadpool, but my gut says it would've been Nocturnal Animals, which had a lot of last-minute momentum even if it stalled out with AMPAS.
Films I Would Have Nominated: Since Oscar is given nine slots in 2016, I'm going to get the same (I hate when people give a laundry list of snubs without acknowledging that there is a finite number of slots you can fill for a category).  I would keep my Top 3 here (with sincere apologies to my #4, who might on some days make this cut), and then add in six other favorites we've talked about a lot throughout these write-ups.  Certainly the introspective Jackie, the epic Silence, and the clever Everybody Wants Some! must make the cut, as will my personal beloved A Monster Calls.  I'd also add in two under-sung foreign language films: the grief meditation L'Attesa and the sexually-charged film noir From Afar, both of which you should add to your "to watch" list if you like smart, modern cinema.
Oscar’s Choice: The Academy went with the expected La La Land over some bolder choices...wait, no, that's not right-we spoke too soon.  In one of the most unforgettable moments in Oscar history, we briefly had two Best Picture winners, but it was Moonlight that ended up victorious.
My Choice: Moonlight was a shock, and a pleasant one.  The best film of the year, and the best film that the Oscars had honored for their top prize in almost a decade.  Follow that with (in order): Arrival, Hidden Figures, Manchester by the Sea, Hell or High Water, Fences, Lion, La La Land, and Hacksaw Ridge.

And with that, we close 2016, though it will carry on in the comments if you so choose.  Are you with me on Team Moonlight, or do you join many of the precursors voting for the "City of Stars?"  What was the tenth place film-it feels like Oscar nominated everything that was remotely in conversation here?  And who ended up with a better lineup for Best Picture-Oscar or me?  Share your thoughts on anything 2016-related below!


Past Best Picture Contests: 20072008200920102011201220132014, 2015