This year's looking a lot like 2014, isn't it?
Jan 21, 2018 23:51:21 GMT
stephen, fotodude, and 3 more like this
Post by Zeb31 on Jan 21, 2018 23:51:21 GMT
Assuming the current frontrunners all win, this year's shaping up to be a lot like that one. I've seen next to nothing from this season's slate and I'm sure some of these will turn out to be wrong, but what the hell, here goes.
Fox Searchlight is the clear champion of the season, having produced the two contenders with the most nominations and wins, both break-out fall festival hits. One of them, a dark dramedy, is more of a big 8 player and wins Original Screenplay, while the other does better with techs, including Production Design and Original Score for Alexandre Desplat. Both are breakout hits for their directors, to whom the Academy had shown some love in the past but never to this degree.
Best Actor goes to a Focus Features/Working Title biopic penned by Anthony McCarten about an iconic 20th century British figure, anchored by a performance that's heavy on physical impersonation and make-up/prosthetic work. They beat out a much more popular (at least among cinephiles), less traditionally baity alternative in a more acclaimed film and consequently attract very vocal detractors.
Best Actress goes to a highly acclaimed veteran over the age of 50.
The Supporting categories award first-time nominees who've been around for a long time but had never figured heavily in the awards conversation. The male winner is an unlikeable antagonist (at least at first); the female plays the mother of her film's lead character.
Adapted Screenplay is the sole win for an LGBT-themed BP nominee that's embraced but not a major frontrunner.
One of the BP nominees is a fact-based period drama about very weighty subject matter that was rushed out by their studio to make the awards deadline and consequently missed every major precursor except the Globes... who actually went for it pretty hard.
An offbeat coming-of-age indie about an American teenager, established as a major frontrunner earlier in the season, does well with nominations and gets two for its actors, but winds up with one win at the most.
Following a somewhat underwhelming run with precursors, a brainy sci-fi by a popular director with massive support from online cinephiles gets a handful of tech nods but misses BP.
A Britain-set arthouse drama starring Lesley Manville about an artist with a difficult temperament overperforms at the last minute; gets nominated for Score and Costume Design.
A war film makes the BP lineup.
Deakins gets nominated.
Also possible: after making the shortlist, Ruben Östlund gets snubbed for Foreign Language Film.
AND OF COURSE...
Fox Searchlight is the clear champion of the season, having produced the two contenders with the most nominations and wins, both break-out fall festival hits. One of them, a dark dramedy, is more of a big 8 player and wins Original Screenplay, while the other does better with techs, including Production Design and Original Score for Alexandre Desplat. Both are breakout hits for their directors, to whom the Academy had shown some love in the past but never to this degree.
Best Actor goes to a Focus Features/Working Title biopic penned by Anthony McCarten about an iconic 20th century British figure, anchored by a performance that's heavy on physical impersonation and make-up/prosthetic work. They beat out a much more popular (at least among cinephiles), less traditionally baity alternative in a more acclaimed film and consequently attract very vocal detractors.
Best Actress goes to a highly acclaimed veteran over the age of 50.
The Supporting categories award first-time nominees who've been around for a long time but had never figured heavily in the awards conversation. The male winner is an unlikeable antagonist (at least at first); the female plays the mother of her film's lead character.
Adapted Screenplay is the sole win for an LGBT-themed BP nominee that's embraced but not a major frontrunner.
One of the BP nominees is a fact-based period drama about very weighty subject matter that was rushed out by their studio to make the awards deadline and consequently missed every major precursor except the Globes... who actually went for it pretty hard.
An offbeat coming-of-age indie about an American teenager, established as a major frontrunner earlier in the season, does well with nominations and gets two for its actors, but winds up with one win at the most.
Following a somewhat underwhelming run with precursors, a brainy sci-fi by a popular director with massive support from online cinephiles gets a handful of tech nods but misses BP.
A Britain-set arthouse drama starring Lesley Manville about an artist with a difficult temperament overperforms at the last minute; gets nominated for Score and Costume Design.
A war film makes the BP lineup.
Deakins gets nominated.
Also possible: after making the shortlist, Ruben Östlund gets snubbed for Foreign Language Film.
AND OF COURSE...
Meryl Streep gets nominated; fucks over Jessica Chastain in the process.
Disney wins Animated Feature (against a pretty slim lineup of competitors that has more foreign titles than usual).
Disney wins Animated Feature (against a pretty slim lineup of competitors that has more foreign titles than usual).
