It’s that time of year again. The silliness of the Golden Globes is behind us (I only got 3 out of 9 of my wishes!) and now it’s time to get down to some serious awards business. (Well as serious as we can be about rich people handing each other golden trophies.) The Oscar nominations are coming tomorrow and so I am here to bring you my tried and true predictions for the big categories. Overall I think I stayed pretty safe with my predictions, but I also tried to predict any wild and crazy upsets. There are pundits and precursor noms and all that, but in the end you never really know what will happen.
Dallas Buyers Club
12 Years a Slave
The Wolf of Wall Street
The weighted Best Picture voting means that there an be anywhere from six to ten nominees. I’m going for nine with the caveat that Blue Jasmine and/or Saving Mr. Banks could sneak in if there’s a tenth spot. The race has actually had quite a few twists and turns so far this season, what with Inside Llewyn Davis fading almost entirely from guild consideration and American Hustle getting boosts just about everywhere. The Wolf of Wall Street is super divisive (I myself was not a fan) but I’m giving it last year’s Django Unchained wildcard spot for divisive films. Philomena is perhaps my boldest choice but it has a lot of British enthusiasm and the new voting system favors small groups of fervent support over large swaths of general support. And this is all despite the fact that the real race is still between 12 Years a Slave, Gravity and American Hustle. Expect those three titles to come up without a doubt.
Alfonso Cuarón (Gravity)
Paul Greengrass (Captain Phillips)
Steve McQueen (12 Years a Slave)
Alexander Payne (Nebraska)
David O. Russell (American Hustle)
The Director’s Guild may have nominated Martin Scorcese over Payne, but if the past few years are any roadmap, the Academy’s director’s branch likes to make its own choices. Last year’s category was a little bonkers and Ben Affleck’s snub was actually the beginning of the groundswell for Argo’s eventual Best Picture win. So you never know what could happen and whether it’s actually a bad thing. Cuarón, McQueen and Russell are Affleck-style locks, so expect Affleck-like backlash if any are snubbed. Greengrass and Payne are kind of safe choices for the last two spots, I’ll admit. They’re both former nominees in this category, while Spike Jonze would be a bolder choice, but Her is still a quirky genre film, and the Academy has never been a huge fan of sci-fi.
Bruce Dern (Nebraska)
Leonardo DiCaprio (The Wolf of Wall Street)
Chiwetel Ejiofor (12 Years a Slave)
Tom Hanks (Captain Phillips)
Matthew McConaughey (Dallas Buyers Club)
Dern, Ejiofor, Hanks and McConaughey are dead locks for the first four spots (if any of them are left out, that’s where the big shocking snub will be). As far as the fifth nomination goes, there are four guys with a really decent chance at claiming it: Leonardo DiCaprio (The Wolf of Wall Street) Forest Whitaker (The Butler), Robert Redford (All is Lost) and Christian Bale (American Hustle). Redford had the early momentum but that has mostly dried up. Whitaker got a big boost from the SAGs but hasn’t really been heard from since. Bale got a late boost from BAFTA, but it may not have been enough. I’m going with Leo as part of the general groundswell for Wolf of late. But really, I might as well have picked at random.
Amy Adams (American Hustle)
Cate Blanchett (Blue Jasmine)
Sandra Bullock (Gravity)
Judi Dench (Philomena)
Emma Thompson (Saving Mr. Banks)
I thought when I picked Adams over Meryl Streep for this category, I might be swinging for the fences. But it seems that lots of pundits are picking this particular swap, and that’s probably due to general antipathy towards August: Osage, the seemingly non-stop power of American Hustle and Adams taking Streep’s spot at the BAFTAs, where there is quite a bit of voter crossover with the Academy. When it comes to personal taste, I think Adams is the most deserving of all the Hustle hopefuls, even more so than Jennifer Lawrence (more on her later), and I would be ecstatic if she took the fifth spot.
Best Supporting Actor:
Barkhad Abdi (Captain Phillips)
Daniel Bruhl (Rush)
Michael Fassbender (12 Years a Slave)
James Gandolfini (Enough Said)
Jared Leto (Dallas Buyers Club)
Despite the fact that Jordan Catalano– I mean Jared Leto has the actual win all but guaranteed, this is actually the most fluid category. Leto is a surefire nominee, and Abdi and Fassbender are the next surest things. As far as the last two spots go, well, take your pick. Bruhl has the SAG and BAFTA noms, something he only shares with Abdi and Fassbender (Dallas Buyers Club was completely shut out by the BAFTAs), so I’d say he’s a good bet. The last spot? Well it seems to be down to Bradley Cooper in American Hustle and Gandolfini. I’m going with Gandolfini, if only because it is the last chance to reward a beloved actor for a lifetime of great work.
Best Supporting Actress:
Jennifer Lawrence (American Hustle)
Lupita Nyong’o (12 Years a Slave)
Julia Roberts (August: Osage County)
June Squibb (Nebraska)
Oprah Winfrey (Lee Daniels’ The Butler)
Despite the fact that I think Lawrence’s performance is being overpraised (she was fine, but Adams was better), she’s pretty much in a three-way contest with Nyong’o and Squibb for the win (one guess who I’m rooting for). Then there’s Oprah, and whatever you thought of The Butler, there’s no denying that Oprah really went for it. Plus she’s Oprah. The last spot will most likely go to Roberts for her turn in August: Osage, but lately there’s been a swell of support for Sally Hawkins in Blue Jasmine, who took Squibb’s spot at the BAFTAs. If she does get nominated over Roberts it would be indicative of two things: Meryl Streep will almost certainly miss out on a Best Actress nom and Blue Jasmine might sneak in a Best Picture nom. It’s not super likely but it definitely could happen.
Best Original Screenplay:
Inside Llewyn Davis
Original Screenplay is the category where the Academy allows itself to get the quirkiest (think Eternal Sunshine of the Spotless Mind). That said, this year it’s dominated by heavyweights and is more competitive than Adapted Screenplay. Inside Llewyn Davis was left out by the WGA, but I feel like this nomination is the consolation prize the Academy might throw the Coens.
Best Adapted Screenplay:
12 Years a Slave
The Wolf of Wall Street
Philomena and 12 Years were ineligible for the WGAs, which will count for a big departure here since 12 Years is currently tipped to win. I’d say this category is pretty much all sewn up (even if you, like me, think it’s super weird that Before Midnight is being called adapted) but there might be a possibility for a spoiler from Osage‘s Tracy Letts, who adapted his own Tony and Pulitzer-winning play, two large precursor awards in themselves.