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Oscars 2020 Predictions: Who Will Win, Who Should Win

on February 08, 2020, 11:00am
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At this point, we spend more than a third of every calendar year on the endless talking points and debates of “awards season.” This year’s no exception, from continued discussion of the Academy’s long-running diversity woes to the many knife fights about whether certain nominated films should have been included at all. Such is the territory that comes with ranking art, and more to the point, placing art in competition with other art.

But hey. We all do it anyway, time and again. So much of the industry year, especially as it relates to which films find distribution (and when, and the volume of resources allotted to getting them in front of people) is built around the year-end awards cycle. And for film in the US, the year leads up to and revolves around the Academy Awards.

As we prepare for Sunday’s broadcast of the 92nd annual Academy Awards, it’s still worth keeping in mind that for all of the issues caused by its existence, it’s also because of the Oscars that a bunch of your older relatives have watched a 2.5-hour South Korean tragicomedy about the class struggle in recent weeks. It honors movies even as it leaves others out, and celebrates film even if the industry is, always has been, and always will be, far bigger than one organization’s interests and tastes.

We’re just days away from the ceremony, and you’re just days away from having to fill out a ballot at your Oscar party for a bunch of films that you may or may not have seen. Don’t worry, you’re covered here. Without further preamble, here are Consequence of Sound‘s picks for who’s going to take home the 24 gold statuettes this weekend, and wherever it might be relevant, who we think should be taking them home instead.

See you at the Dolby Theatre.

–Dominick Suzanne-Mayer
Senior Writer


Best Sound Editing

Ford v Ferrari
Joker
1917
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker

What should win: Once Upon a Time in Hollywood

What will win: 1917

And the winner is… Ford v Ferrari

1917 is the kind of technically superlative thriller that was born to win Oscars for sound editing and other first-hour awards. It’s proficient, it’s high impact, it’s taught and tense and terrific. But like, consider the road more travelled, Academy. Once Upon a Time in Hollywood is like ambient history. Watching and listening to Brad Pitt roll the streets of L.A. against just enough Joe Cocker and Los Bravos is to see how you create an aura. Enough boom boom, Quentin Tarantino mastered vroom vroom, with room to wander and hear the sweet sounds of the ‘60s. Yes, that’s the most Boomer thing I’ve written lately, but the sentiment stands. –Blake Goble


Best Sound Mixing

Ad Astra
Ford v Ferrari
Joker
1917
Once Upon a Time in Hollywood

What should win: Once Upon a Time in Hollywood

What will win: 1917

And the winner is… 1917

The sound mixing nominations in a given year tend to go to some of the more effects-heavy spectacles within the field, which makes this year’s mix (sorry) an interesting one. It’d be great to see the largely unheralded Ad Astra take it for its warped, muffled take on deep space. Or Once Upon a Time in Hollywood and its perpetually shifting, always-perfect radio cycle. However, it’s tough to see anything winning the day over the wartime cacophony of 1917 and its disorienting array of blasts near and far. –Dominick Suzanne-Mayer


Best Visual Effects

Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

What should win: The Irishman

What will win: The Irishman

And the winner is… 1917

They don’t look porcelain, there’s no focus of tracking issues. Everyone’s faces, just look right. The young face stuff? Not a distraction, and actually quite impressive. After years of awkward smoothing on older actors, the de-aging tech came to life in The Irishman. See decades of wrinkles come clean off of Joe Pesci, Al Pacino, Robert DeNiro, and others, in a feat of minimalist savvy. The Netflix EPKs are beyond fascinating, and it would be nice to see this award go to the cleanest, and not the loudest, contender. –Blake Goble


Best Film Editing

The Irishman, Thelma Schoonmaker
Ford v Ferrari, Andrew Buckland & Michael McCusker
Jojo Rabbit, Tom Eagles
Joker, Jeff Groth
Parasite, Jinmo Yang

What should win: The Irishman

What will win: Parasite

And the winner is… Ford v Ferrari

There was a time when the Best Film Editing category could be used as a solid predictor for which film would take home the biggest prize of the night. That time seems to have passed by in recent years, as non-Best Picture winners like Dunkirk, Mad Max: Fury Road and, uh, Bohemian Rhapsody have recently nabbed the statue. Among this year’s field, we expect Yang Jin-mo’s work on the wound-like-a-clock Parasite to take a major step in the evening here. But for all of the memes about its runtime, Thelma Schoonmaker’s work on The Irishman accounts for so much of the film’s impact that we’d love to see her honored for wrangling a 208-minute meditation on mortality into one of the year’s best and most surprisingly propulsive works. –Dominick Suzanne-Mayer


Best Makeup and Hairstyling

todd phillips joker woke culture quit comedy

Joker (Warner Bros.)

Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

What should win: Bombshell

What will win: Joker

And the winner is… Bombshell

As a quick aside, good on the Oscars for finally expanding the Makeup/Hairstyling category to five nominees, as opposed to the three-nominee field it had used since 1984. There are a number of different approaches that could be rewarded here, from the war-damaged bodies of 1917 to Renee Zellweger’s transformation into a Hollywood legend in Judy. We’d love to see it go to Bombshell for uncannily turning Charlize Theron into Megyn Kelly and John Lithgow into one of the worst modern Americans. But we see it going to the neo-classic Joker look that helped define one of the year’s most unexpected smash hits and made holiday parties a little more menacing for years to come. –Dominick Suzanne-Mayer


Best Costume Design

Leonardo DiCaprio, Quentin Tarantino, Once Upon a Time in Hollywood, Vanity Fair, 2019

Leonardo DiCaprio for Once Upon a Time . . . in Hollywood, photograph by Andrew Cooper/©2019 Sony Pictures Entertainment.

The Irishman, Christopher Peterson and Sandy Powell
Jojo Rabbit, Mayes C. Rubeo
Joker, Mark Bridges
Once Upon a Time in Hollywood, Arianne Phillips
Little Women, Jacqueline Durran

What should win: Little Women

What will win: Once Upon a Time in Hollywood

And the winner is… Little Women

Period attire rules this year’s Costume Design field, with the middle-to-late part of the 20th century holding particular sway. Jaqueline Durran’s work on Little Women stands apart from that crowd, both in setting and in boldness of approach; her work transcends capturing an era and contributes to so much of the film’s visual storytelling. The same could be said for the farcical physicality of Jojo Rabbit’s Nazi garb, or the steely monochromatic attire of The Irishman, or that suit (you know the exact one) from Joker. The look that we see winning the Oscar, however, is Arianne Phillips’ perfectly calibrated garb for a pair of antiheroes in 1969 Los Angeles. It’s both chic and a little faded, just like Rick and Cliff. –Dominick Suzanne-Mayer


Best Production Design

Quentin Tarantino, Margot Robbie, Once Upon a Time... in Hollywood

Quentin Tarantino and Margot Robbie for Once Upon a Time in… Hollywood, photo by Andrew Cooper

The Irishman, Regina Graves & Bob Shaw
Jojo Rabbit, Ra Vincent
Once Upon a Time in Hollywood, Nancy Haigh & Barbara Ling
1917, Dennis Gassner & Lee Sandales
Parasite, Lee Ha-Jun

What should win: Parasite

What will win: Once Upon a Time in Hollywood

And the winner is… Once Upon a Time in Hollywood

Parasite’s almost too cunning and plain in its design to get the win, but consider. Two big sets, an apartment and a mansion, right? Well consider that they were completely made. The apartment, built from scratch so the movie could drown it in the final chapter. And the Park family mansion is like opulence and modernity that works both angles. A practical brutalist castle atop a faux Korean city hill, it’s handsomely stocked and layered like an Escher painting with room to breathe. It’s also: Super gray and creepy as hell. That fucking basement doorway? Shining, eat your heart out. –Blake Goble


Best Cinematography

The Irishman, Rodrigo Prieto
Joker, Lawrence Sher
1917, Roger Deakins
Once Upon a Time in Hollywood, Robert Richardson
The Lighthouse, Jarin Blaschke

What should win: The Lighthouse

What will win: 1917

And the winner is… 1917

Let’s just get it out of the way: after finally getting his first Oscar for Blade Runner 2049 at the 2018 show, his first in 14 nominations, Roger Deakins will be taking home his second in a row. However you feel about the long-take approach of 1917, Deakins’ craft was the cornerstone of that hyper-stylized approach’s success. He’s winning this one.

With that said, how great would it be if Jarin Blaschke’s sparse, surrealistic work on The Lighthouse managed to steal an Oscar? It’s the lone nomination for one of 2019’s most brazenly strange and original features, and the Academy has to reward one of these 4:3 ratio revivals sooner or later, right? We can dream. –Dominick Suzanne-Mayer


Best Original Song

“(I’m Gonna) Love Me Again” – Elton John & Bernie Taupin, Rocketman
“I’m Standing With You” – Diane Warren, Breakthrough
“Into the Unknown” – Robert Lopez & Kristen Anderson-Lopez, Frozen 2
“Stand Up” – Joshuah Brian Campbell & Cynthia Erivo, Harriet
“I Can’t Let You Throw Yourself Away” – Randy Newman, Toy Story 4

What should win: “(I’m Gonna) Love Me Again”, Rocketman

What will win: “(I’m Gonna) Love Me Again”, Rocketman

And the winner is… “(I’m Gonna) Love Me Again”, Rocketman

First off, it’s too bad the Academy snubbed what might’ve been the best song in any 2019 film with “Glasgow (No Place Like Home)” from the underseen Wild Rose. Among a 2020 field packed with former nominees, the category seems wide open. Sure, it’s odd to deny another Frozen-related hit, and there’s a chance “Into the Unknown” will run away with the category. That said, we see it going to a brand new Elton John song, from a biopic that managed to sidestep most of that genre’s worst cliches and even lend a bit of sincere insight into the man. –Dominick Suzanne-Mayer


Best Original Score

1917, Thomas Newman
Marriage Story, Randy Newman
Little Women, Alexandre Desplat
Star Wars: The Rise of Skywalker, John Williams
Joker, Hildur Guðnadóttir

What should win: The Newmans

What will win: Joker, Hildur Guðnadóttir

And the winner is… Joker, Hildur Guðnadóttir

It is to Hildur Guðnadóttir’s credit and skills as a new sound in aural composition work that her score was nominated. Especially given how weirdly shoehorned the score felt dropped atop Todd Phillips’ clunkily-edited Joker. She’s been rocking the awards circuits, had a splashy 2019 with this and her work on HBO’s Chernobyl, and to her credit, the score’s like a new wave album when removed from the movie it’s from. BUT. Would it fucking kill the Academy to finally give Randy Newman an Oscar for score? Or his cousin Thomas, for that matter? Thomas is a 15-time nominee and 1917 is as great as any of his works. And Randy, well, he has two Oscars for Pixar songs… but that feels like a snub on his American orchestral style. –Blake Goble


Best Animated Short Film

Dcera (Daughter)
Hair Love
Kitbull
Mémorable
Sister

What should win: Hair Love

What will win: Kitbull

And the winner is… Hair Love

Kitbull has the benefit of the Pixar brand and Disney marketing behind it. Not a knock! It’s a terrific Disney+ exclusive (that my toddler happened to quite like). It would make a nice win. But bah-gawd, Hair Love is such a fast-and-earned weepie about one girl’s unmanageably beautiful (and amazingly animated) hair. Watch a dad struggle with his daughter’s hair, and the big bush atop her head turns into a monstrous boxing ring creature as a creative visual for the difficulties we all face in getting ready and looking nice for the day. Come for the bright visuals, and chummy vibe of Sony Pictures Animation working in the vein of their vibrant Spider-Verse. Stay for touching reveal and truths about family. –Blake Goble

Bonus: It’s free and online.


Best Documentary (Short Subject)

In the Absence
Learning to Skateboard in a Warzone
Life Overtakes Me
St. Louis Superman
Walk Run Cha-Cha

What should win: In the Absence

What will win: Life Overtakes Me

And the winner is… Learning to Skateboard in a Warzone

There isn’t a lot of light subject matter to be found among this year’s crop. Even the more inspiring entries like St. Louis Superman, about battle rapper-turned-Missouri state rep Bruce Franks, carry the weight of human pain alongside their inspiration. We were particularly struck by In the Absence, a horrifying recount of the 2014 ferry disaster in South Korea where hundreds of people were killed by bureaucratic negligence. Yet the most haunting (and the likely winner) is Life Overtakes Me, which follows a group of refugee children in Sweden left comatose by Resignation Syndrome, a condition triggered by an inability to process severe trauma. It’s a potent, aching reminder of the real, sustained human costs of war. –Dominick Suzanne-Mayer


Best Live Action Short Film

Brotherhood
Nefta Football Club
The Neighbors’ Window
A Sister
Saria

What should win: Saria

What will win: The Neighbor’s Window

And the winner is… The Neighbor’s Window

Respectfully, these things are always such a game of roulette to pick. Global, social, and consciously-minded issues pack the live action short deck. But based on previous history, and pure style and impact in brief form? Consider The Neighbors’ Window. Marshall Curry, an already three-time nominee, could have some seniority working in his favor. And it’s a satisfyingly tricky blend. There’s strained metropolitan domesticity in a married couple that begins dabbling in neighborly voyeurism. But like any good short there’s more, and fast. Curry makes a weary and wise work of empathy. –Blake Goble


Best International Feature

Parasite bong joon-ho adam mckay hbo english language limited series

Parasite (Neon)

Corpus Christi
Honeyland
Les Miserables
Pain and Glory
Parasite

What should win: Pain and Glory

What will win: Parasite

And the winner is… Parasite

Look look look, this is not an admonishment of Parasite at all. Suggesting it shouldn’t win? Absurd. Gosh, we only get foreign-language and best picture film nominees that gross $100 million globally once in a blue moon. Parasite is a critical class-A thrill ride among Consequence writers (and a new personal favorite for some of us as well). It’s covered. But, if for just a second, could we talk about the under-appreciated, semi-biographical beauty that is Pedro Almodovar’s wondrously hallucinatory Pain and Glory? A career-high for the famed Spanish drama king, and career-best effort from Antonio Banderas. It’s a humbling and heartfelt meditation on sense-memory and the human condition. Almodovar digs deep and asks why artists create, and what make us, well, us? A gem, and worth a find if you can. –Blake Goble


Best Animated Feature Film

2020 Oscar Predictions

I Lost My Body (Xilam Animation)

How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

What should win: Missing Link

What will win: I Lost My Body

And the winner is… Toy Story 4

Now that the animated hit most people had pegged as an early winner isn’t even nominated in 2020, this has become a surprisingly open race. It still feels foolhardy to bet against Disney/Pixar for any reason, but we’d hardly be surprised if a newcomer takes the gold instead. Regular Consequence readers know of our affinity for Laika’s revolutionary stop-motion work, and we’d be elated to see the charming and meticulously crafted Missing Link become the first of their six nominated films to finally win. With Netflix backing, though, we see the endlessly clever (and creepy) I Lost My Body taking the category, and getting a few more people to check it out along the way. You can do it right now! –Dominick Suzanne-Mayer


Best Documentary Feature Film

2020 Oscar Predictions

American Factory (Netflix)

American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

What should win: Honeyland

What will win: American Factory

And the winner is… American Factory

In a year filled with documentaries stuffed end-to-end with searing images, Tamara Kotevska and Ljubomir Stefanov’s Honeyland offered up some of the most striking. Hatidze Muratova, the last of long line of Macedonian beekeepers, scales a mountain to capture the most nestled and hard-to-reach honeycombs imaginable. In a rage, Muratova slams a dish of food her mother refuses to eat, and the camera’s there to catch the cats running up to the waste ready to lick the floor clean. Image after image blazes upon the brain in Honeyland, a coyly environmentalist take on carbon footprint, wasting resources, and keep old world tradition alive. American Factory will play to older American voters, and Netflix has the capital and the Obama clout to push it over the top. But for what it’s worth, our minds are still in Honeyland. –Blake Goble


Best Adapted Screenplay

Sony releases first trailer for Little Women

Little Women (Sony)

The Irishman, Steven Zaillian
Jojo Rabbit, Taika Waititi
Joker, Todd Phillips & Scott Silver
Little Women, Greta Gerwig
The Two Popes, Anthony McCarten

What should win: The Irishman, Steven Zaillian

What will win: Little Women, Greta Gerwig

And the winner is… Jojo Rabbit, Taika Waititi

Greta Gerwig’s remix on Louisa May Alcott’s perennial lit fave is nothing short of brilliant. Take a 150-year Great Work, and completely restructure it to focus on themes and offer new insights through a unique form. Gerwig’s command of character, plotting, and all-around genial storytelling is par excellence, and her winning would just feel right. But if we can, for a minute, praise the screenplay that had all-timer lines like, “You didn’t say you want a salmon, you want a haddock, you want a fucking cod?” IT’S A META-PHORRR!!! IT’S NOT ABOUT THE FISH! Point being… Whereas Little Women felt like a loving re-up on a classic novel, Steven Zaillian took a memoir of dubious reputation and made something grandly American, truthful, and enduring out of it. It’s a confession, a plea for more time, and an uber-epic crime film. The Irishman was arguably Zaillian’s best and most expansive work since, yes, Schindler’s List. –Blake Goble


Best Original Screenplay

Once Upon a Time in Hollywood, Sony, Leonardo DiCaprio, Al Pacino, Brad Pitt, New Trailer

Once Upon a Time in Hollywood (Sony)

Once Upon a Time in Hollywood, Quentin Tarantino
Knives Out, Rian Johnson
Marriage Story, Noah Baumbach
1917, Sam Mendes & Krysty Wilson-Cairns
Parasite, Bong Joon Ho & Jin Won Han

What should win: Knives Out, Rian Johnson

What will win: Once Upon a Time in Hollywood, Quentin Tarantino

And the winner is… Parasite, Bong Joon Ho & Jin Won Han

One of this year’s hardest races to call may end up coming down to which features are going to be left out of the mix elsewhere. The Academy has a long history of using the Screenplay categories to reward features that underperform elsewhere on the ballot, and on that basis, we’d be ecstatic to see Rian Johnson take one home for his clever and slyly topical Knives Out script. The WGA awards nodded to Parasite here, and we wouldn’t be surprised if Bong Joon-ho and Han Jin-won took the big one here as well. Still, it feels like this is going to be a notable year for Tarantino, and we’re seeing a third win in this category for him in 2020. –Dominick Suzanne-Mayer


Best Supporting Actor

Brad Pitt The Matrix Red Pill Keanu Reeves

Once Upon a Time in Hollywood (Sony)

Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood

Who should win: Brad Pitt, Once Upon a Time in Hollywood

Who will win: Brad Pitt, Once Upon a Time in Hollywood

And the winner is… Brad Pitt, Once Upon a Time in Hollywood

In another year, where one particular nominee hadn’t already swept his way through every major pre-Oscars version of this category, this would be as uncallable a field as it gets. From Tom Hanks’ human-in-every-way portrayal of a true cultural icon to Anthony Hopkins’ of an almost impossibly complex figure, and through a pair of turns from The Irishman that stand among the best work from a pair of top veterans, any of this year’s Supporting Actor nominees could have taken another year. This year, it was over by late July. Brad Pitt’s performance as disgraced stuntman Cliff Booth may be his best ever, as one of Tarantino’s thorniest and most morally complicated characters to date, and it’s time for one of the last true movie stars to win his first (acting) Oscar. –Dominick Suzanne-Mayer


Best Supporting Actress

2020 Oscar Nominations

Marriage Story (Netflix)

Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell

Who should win: Florence Pugh, Little Women

Who will win: Laura Dern, Marriage Story

And the winner is… Laura Dern, Marriage Story

Laura Dern basically got this when she brought god into court proceedings in Marriage Story. In supporting categories, the Academy loves villainy as much as they love a barn-burner speech, and Laura Dern’s Nora Fanshaw delivers one of the year’s finest stumps as she touches on everything from motherhood to alcohol consumption to gender inequality to god. Dern winning is an open-and-shut case. You just believe she’s a goddamn terrifying and truly sympathetic attorney. Amazing given the jokes about the profession. But in our heart of hearts, we kinda love Amy. Florence Pugh’s breezy and amiable coming-of-age take of Amy. The spirit of Little Women. Bangs and all. –Blake Goble


Best Actor

Joker Joaquin Phoenix evolution laugh Todd Phillips

Joker (Warner Bros.)

Antonio Banderas, Pain and Glory
Adam Driver, Marriage Story
Leonardo DiCaprio, Once Upon a Time in Hollywood
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Who should win: Antonio Banderas, Pain and Glory

Who will win: Joaquin Phoenix, Joker

And the winner is… Joaquin Phoenix, Joker

Joaquin Phoenix is already sweeping early awards shows, and Joker pretty much got the insane amount of nominations it has solely on the strength of the mercurial actor’s freakshow ballet. Say what you will about the clunky dialogue, choppy metaphors, or perceived toxicity, Phoenix is sticking around. It’s a role that people seem to be connecting with. (Which, we have to say, he’s been much much better elsewhere? Like, can we interest you in a Lynne Ramsay?) But from an emotional standpoint, no performance was more sensitive, nor purer, than Antonio Banderas’s work in Pain and Glory. Part naked testimonial, part reconciliation with old friends, Banderas got to show off just what the heartthrob’s always been capable of in a deeply touching show of performative poetry. –Blake Goble


Best Actress

2020 Oscar Predictions

Judy (Pathe)

Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Who should win: Saoirse Ronan, Little Women

Who will win: Renée Zellweger, Judy

And the winner is… Renée Zellweger, Judy

What a category to have to compete in this year. From stirring renditions of historical legends to uncanny transformations into complicated public figures, this year’s Best Actress race has a breadth of wildly different but uniformly strong performances. While the excellent Little Women has plenty of chances to win across the board, Saoirse Ronan’s resolute and tenacious approach to Jo March was as pleasing a performance as the last year had to offer. And while the double nomination is probably going to see her boxed out, Johansson’s portrayal of a devastated ex-spouse in crisis stands as one of her best turns to date. However, with the BAFTA, SAG, and Golden Globe already under her belt, we see Renee Zellweger claiming her second Oscar for her tender portrayal of Judy Garland. –Dominick Suzanne-Mayer


Best Director

Quentin Tarantino, Once Upon a Time in Hollywood
Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Bong Joon-ho, Parasite

What should win: A three-way tie between Bong Joon Ho, Quentin Tarantino, and Martin Scorsese?

What will win: Sam Mendes, 1917

And the winner is… Bong Joon-ho, Parasite

It would be nice to see Marty get another gold statue, given the career he’s had, and the peak skill he was working with on with Irishman. It would be pretty cool to see Tarantino finally get the directing win, given the long-standing wins in screenwriting. And it would be wild, even amazing, if Bong Joon Ho, emerges from cult status and is recognized by the Academy as a director of great cinema, capping off a whirlwind awards campaign since Parasite’s audacious debut at Cannes. But hey, Sam Mendes knew what he was doing here. Based on targeted ads, he’s putting himself out there quite nicely. And you know, there are worse things than awarding a man with a laser-focused vision. Blake Goble


Best Picture

1917, Sam Mendes, World War I, George MacKay, Sam Mendes, War

1917 (Universal Pictures)

Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

What should win: Parasite or Once Upon a Time in Hollywood

What will win: 1917

And the winner is… Parasite

The frontrunner for this year’s Best Picture has changed so frequently between September and now that this year’s category seems to be just about anyone’s guess. Even this group’s prediction has shifted between several titles over the course of putting this feature together. The easy money (as of this article’s publication) seems to be on 1917, the exact sort of humane spectacle that’s been a hit at the Oscars as long as it’s existed. Could Quentin Tarantino land what would somehow be his first Best Picture for another Academy favorite, a movie about the transcendent power of the movies? Does Bong Joon-ho ride Parasite shocking wave of late-year momentum into a game-changing win? Unlike the acting categories, we have no idea. We’re saying 1917 on the record. Just don’t be surprised if Sunday ends in a shocker. –Dominick Suzanne-Mayer

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