|Birth of a Nation|
I'll get into that further in my posts on the various acting categories, but I'll start with Best Picture. So far this year the pickings have been slim, and in looking over the slate of films coming out later this year, only a few films jump out at me. Usually I can guess about five out of ten films right (the nominees are anywhere from five to ten films) but I wouldn't put much hope in that this year. This is the kind of year that could be very kind to small indies or to blockbusters. A nomination for Captain America: Civil War? Not completely out of the realm of possibility.
Here, in alphabetical order, are ten films I'm banking on, as of now. Only one has been released.
American Pastoral, Oct. 21, Ewan MacGregor. Although I am somewhat hesitant because this is the first film directed by MacGregor, it should be remembered that because of the large preponderance of actors in the Academy, actors turned directors are treated very kindly. One of two Philip Roth adaptations this year (the other, Indignation, probably won't be nominated in this category, though it may be better), American Pastoral is based on a Pulitzer Prize-winning novel on a weighty subject: a successful Jewish businessman's life is turned upside down by the radicalization of his daughter during the 1960s.
Billy Lynn's Long Halftime Walk, Nov. 11, Ang Lee. Lee's films can't be ignored. I loved the book, but as I read it and envisioned it as a film I wondered how it would succeed as a film, since much of its comedy comes from description, not from plot or dialogue. It's about a unit of soldiers who are honored as heroes at a Dallas Cowboys' Thanksgiving game, and the hypocrisy of it all. I will be interested to see Steve Martin as a Jerry Jones-type owner.
Birth of a Nation, Oct. 7, Nate Parker. This film has been a favorite for an Oscar since it wowed them at Sundance and got purchased by Fox Searchlight for 17.5 million. Purposely co-opting the title of D.W. Griffith's racist masterpiece, Parker writes, directs, and stars in this story of the slave rebellion by Nat Turner. Oddly, the film may have hit some trouble with the relevation that Parker was once charged with rape as a college student, but acquitted. Will that stick until Oscar nominations? Hard to tell. A reminder that no person of color has ever won the Best Director Oscar.
Denial, Sep. 30, Mick Jackson. Haven't heard a lot about this film, but after seeing the trailer it hits a lot of Academy buttons. It is the true story of a woman who is sued for libel by a holocaust denier. As the stereotype goes, films about the holocaust, however tangential, strike chords with Academy voters, and this at least seems to be a well-done project. Starring Rachel Weisz and Timothy Spall as David Irving, the denier.
Fences, Dec.16, Denzel Washington. Washington's only other feature as a director, Antwone Fisher, didn't exactly thrill many, but this adaptation of August Wilson's play will provide several opportunities for black actors to be nominated, notably Viola Davis and Washington himself, as a former Negro League ballplayer turned trash collector who is dealing with issues in his own life and the world around. If this is any good at all, it should garner several above the line nominations.
Florence Foster Jenkins, Stephen Frears, Aug. 12. The only one of these ten that people can now see, it's a crowd-pleaser about the world's worst singer. Films about entertainers usually do well with the Academy, but this is a twist given she's bad. But it could strike a nerve with actors who secretly may feel that they have no talent. It's a lush period piece, which helps, and while Meryl Streep has not been in as many Best Picture nominees as you might think, (both of her wins for Best Actress were in films not nominated for Best Picture) her performance, as well as the "comeback" of Hugh Grant, should help.
La La Land, Dec. 2, Damien Chazelle. The writer/director of Whiplash is back with another musical film, this time about the relationship between a jazz pianist (Ryan Gosling) and a waitress (Emma Stone). Hard to know with this one, as an original musical hasn't been nominated for Best Picture since (and check me if I'm wrong) Doctor Dolittle in 1967.
Loving, Nov. 4, Jeff Nichols. While Birth of a Nation has gotten most of the Oscar buzz for black-themed films, it may be this film that sneaks in, and I'm going to make it my ridiculously early pick as winner. Directed by Jeff Nichols, who has made several fine independent films, it details the plaintiffs in Loving v. Virginia, a 1967 Supreme Court case that tested Virginia's miscegenation laws. I know so many mixed-race couples these days that it may come as a shock to people today that interracial marriage was once outlawed. Look for Ruth Negga, who plays the wife, to be a breakout star.
Manchester by the Sea, Nov.18, Kenneth Lonergan. The Academy has been hit or miss with Lonergan, but this film was another Sundance sensation, being bought by Amazon for 10 million. It stars Casey Affleck as a man returning to his home town to assume legal guardianship for his late brother's son. Said to be almost unrelievedly bleak, maybe too much so to get traction in this category.
Miss Sloane, Dec. 9, John Madden. I'm going with this film, knowing almost nothing about it, as my zeitgeist film. Jessica Chastain is the title character, a lawyer fighting for gun control measures. May not do well in fly-over country, but among the liberals of Hollywood this could strike a nerve--if it's any good.
Other possibilities: The Light Between Oceans, Sep. 2, Derek Cianfrance; Snowden, Sep. 16, Oliver Stone; Sully, Sep. 9, Clint Eastwood; Hell or High Water, Aug. 12, David Mackenzie; and Silence, Martin Scorsese. This last film, about missionaries in Japan, would seem to be prime Oscar bait, but a release date has not been announced. It will probably be released in award-season, but might be pushed to 2017 as well.