The Likely Stories
One of this year’s likely front-runners, even after dozens of other titles come and go, is Christopher Nolan’s war epic about the evacuation and siege of Dunkirk. Although it’s unlikely to make too much noise in the acting categories, given that its uniformly terrific performances are given limited screentime for all of the sprawling cast members, we’d put early money on Nolan getting a Best Director nod (and being a front-runner to win) for the film’s stunning, largely CG-free staging of one harrowing wartime setpiece after the next.
The laurels will hardly stop there. Hoyte van Hoytema’s gorgeous IMAX photography will look to make substantial noise for Best Cinematography, Hans Zimmer’s anxious clockwork score is the best of the year so far, and it’s a virtual lock to run away with most of the technical categories. (Say what you want about the film’s deliberately cacophonous sound design, but it’s one of the most overwhelming theatrical experiences we’ve had in years, in a good way.) Whether it can make the cut at the Best Picture level remains to be seen, but it’s entirely possible that Nolan’s most succinct project in years may be the one that finally wins him the big one, after Inception was nominated at the 2011 ceremony.
Read our full review: Dunkirk.
The Big Sick
While the Oscars are sometimes gunshy when it comes to comedies, The Big Sick has more in common with James L. Brooks’ empathetic dramedies than with most of the prior outings from Judd Apatow as a key producer. Considering that Brooks was honored multiple times by the Academy, including a Best Picture win for Terms of Endearment, we’d bet that Kumail Nanjiani and Emily V. Gordon’s autobiographical tale of their especially unconventional courtship will make some noise at year’s end, between its widespread critical praise and its status as this summer’s biggest indie success.
It could well work itself into the Best Picture race on the strength of its crowd-pleasing presentation, but at the very least we’re expecting a Best Original Screenplay nomination for Nanjiani and Gordon. While we’re at it, we’d make a wholehearted case for Nanjiani’s coming-out party as a leading man for Best Actor and twin Supporting nominations for Holly Hunter and Ray Romano as his ex-girlfriend’s sardonic parents. It’s a film that excels on the strength of its performances, and it warrants major consideration in that respect.
Read our full review: The Big Sick.
Stay with us here. Some might call Jordan Peele’s surprise horror smash a long shot given the Academy’s general reluctance to honor genre fare, but his screenplay managed to do what few films of any ilk accomplish in a year: capture the zeitgeist in a real way. He tapped into a vein of cultural phobias and anxieties, turning his debut feature into such an obvious slam dunk that it’s shocking so few horror directors had explored white privilege as a source of terror before now. It’s not the likeliest option in the world, but we can absolutely see Peele being honored for the kind of horror movie that we can already see standing the test of time.
Read our full review: Get Out.
This could still go either way; Detroit’s release was met with a substantial deal of controversy, about its grisly true-life violence and about director Kathryn Bigelow and writer Mark Boal’s handling of the Algiers Motel tragedy in 1967 Detroit and the surrounding uprising throughout the city. If voters read its for its searing, nightmarish approach to the period piece, Bigelow could be honored again after The Hurt Locker won Best Picture and Zero Dark Thirty was likewise nominated. The backlash could prove to be too much for it to gain the necessary traction, however. That said, Will Poulter (as a racist cop) and Algee Smith (as a touring R&B singer trapped in the middle of the night’s horrors) are both supporting performances worthy of awards season recognition, standouts in a uniformly good-to-great ensemble cast.
Read our full review: Detroit.
At the beginning of 2017, the DCEU existed in a cloud of negativity in the wake of last year’s pair of fiscally successful but critically panned features. And as it’s been for decades in the comic pantheon, in came Wonder Woman to lend a sense of hope to comic book adaptations the world over. Patty Jenkins’ unusually optimistic origin story isn’t the world’s likeliest contender, but it’s garnering some serious buzz in the wake of announcements that Warner Bros. have plans to make a serious year-end push for the film, throwing its weight behind Jenkins and the film alike. Take a “wait and see” approach, but don’t be shocked if you hear even more about Themyscira’s proudest daughter in a couple months’ time.
Read our full review: Wonder Woman.
Best Documentary is always a tough category to call, due to the Academy’s litany of rules about what does and doesn’t constitute an eligible nominee. That said, the safest bet we’ve seen so far is Whose Streets?, Sabaah Folayan and Damon Davis’ wrenching chronicle of Ferguson, MO, in the wake of Michael Brown’s fatal shooting by a Ferguson police officer and the resulting demonstrations. The film faithfully captures the strength of the city’s BLM demonstrators even as it examines the toll it takes on residents and protestors alike, particularly when their rebellion is met with disdain and misinformation at the national level. It’s the kind of documentary that taps into a crucial moment in American history, right as it’s happening.
Read our full review: Whose Streets?.