(Left) Adria Arjona stars in ‘Hit Man’. Photo: Netflix. (Right) Michael B. Jordan announces ‘Creed’ spin-off ‘Delphi’ at the Amazon Upfront on May 13th, 2025. Photo: Slaven Vlasic/Getty Images for Amazon
Preview:
Adria Arjona is the latest addition to Michael B. Jordan’s Take on ‘The Thomas Crown Affair’.
She replaces Taylor Russell, who departed over creative differences.
Amazon MGM Studios will release the movie worldwide.
Taylor Russell has left the movie, citing creative differences, leaving a key part available.
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Now we know that, after a quick search and plenty of interest from actors, the vacancy has been filled, as Variety brings word that Adria Arjona, most recently seen doing sterling work in Lucasfilm Disney+‘Star Wars’ series ‘Andor’ is joining the movie to star opposite Jordan.
(L to R) Steve McQueen and Faye Dunaway in 1969’s ‘The Thomas Crown Affair’. Photo: United Artists.
The 1968 original, directed by Norman Jewison, saw Steve McQueen as the titular bored millionaire, who concocts and executes a brilliant scheme to rob a bank without having to do any of the work himself.
When Vicki Anderson (Faye Dunaway), an investigator for the bank’s insurance company, takes an interest in Crown, the two begin a complicated cat-and-mouse game with a romantic undertone.
In an attempt to decipher Anderson’s agenda, Crown devises another robbery like his first, wondering if he can get away with the same crime twice.
Few details have emerged about Jordan’s take on the material, though we presume it’ll be a similar blend of high stakes heist action and unexpected romance.
What we do know is the script comes from ‘The Fall Guy’s Drew Pearce, with a previous draft by Wes Tooke and Justin Britt-Gibson, based on the original film.
Patrick McCormick and Toberoff Productions’ Marc Toberoff will also serve as producers, with Alan Trustman–– who wrote the 1968 original ––– serving as executive producer.
The trade site also offers word that producer Charles Roven (who recently shepherded the likes of ‘The Killer’ and ‘Oppenheimer’ to screens) will be overseeing things behind the scenes, while The Wrap has the news that Jordan’s ‘Black Panther’ co-star Danai Gurira is also aboard.
(L to R) Steve McQueen and Faye Dunaway in 1969’s ‘The Thomas Crown Affair’. Photo: United Artists.
The 1968 original, directed by Norman Jewison, saw Steve McQueen as the titular bored millionaire, who concocts and executes a brilliant scheme to rob a bank without having to do any of the work himself.
When Vicki Anderson (Faye Dunaway), an investigator for the bank’s insurance company, takes an interest in Crown, the two begin a complicated cat-and-mouse game with a romantic undertone.
In an attempt to decipher Anderson’s agenda, Crown devises another robbery like his first, wondering if he can get away with the same crime twice.
Few details have emerged about Jordan’s take on the material, though we presume it’ll be a similar blend of high stakes heist action and unexpected romance.
What we do know is the script comes from ‘The Fall Guy’s Drew Pearce, with a previous draft by Wes Tooke and Justin Britt-Gibson, based on the original film.
Patrick McCormick and Toberoff Productions’ Marc Toberoff will also serve as producers, with Alan Trustman–– who wrote the 1968 original ––– serving as executive producer.
As for who Branagh, Gladstone and Gurira will be playing? Still unknown right now.
Where else can we see Kenneth Branagh, Lily Gladstone and Danai Gurira?
Lily Gladstone stars in ‘Fancy Dance,’ now streaming on Apple TV+.
Finally, he was recently announced as part of the ensemble for comedy drama sequel ‘The Devil Wears Prada 2’.
As for Gladstone, the actor was most recently seen in romantic comedy ‘The Wedding Banquet’ and has thriller ‘Lone Wolf’ and comedy ‘In Memoriam’ on the way.
She’s most recently been working on ‘The Fighting Shirley Chisholm’ playing Chisholm, who became the first African American woman elected to the U.S. House of Representatives in 1968.
And she will next be seen in ‘Matchbox’, adapted from the popular toy line, starring alongside John Cena.
In addition to this new directorial job, Jordan has been keeping himself typically busy.
He has several projects in development, including a ‘Rainbow Six’ film that will see him return as special forces operative John Clark. He’s also working up a fourth ‘Creed’ movie, which he’s expressed a desire to direct following his success with the third (which made $276 million at the global box office).
Jordan told Variety last year that he felt like he had plenty of work still to do:
“I still feel like an underdog. I feel like I just got here, like I’ve just arrived, and I have the tools and the things around me to really be on the offensive a little bit.”
When will the new ‘Thomas Crown Affair’ steal its way into theaters?
The movie has a March 5th, 2027 date set by backers Amazon MGM Studios. And with the cameras already rolling, Jordan is on track to deliver.
Pierce Brosnan in 1999’s ‘The Thomas Crown Affair’. Photo: MGM.
Other Movies in ‘ The Thomas Crown Affair’ Franchise:
(L to R) Kelly Marie Tran, Lily Gladstone, Han Gi-Chan and Bowen Yang in Bleecker Street’s ‘The Wedding Banquet’. Credit: Bleecker Street / ShivHans Pictures.
‘The Wedding Banquet’ receives 7.5 out of 10 stars.
This brand new version, which moves the story forward to the present day and features two couples instead of one, is directed by ‘Fire Island’s Andrew Ahn.
Joan Chen in Bleecker Street’s ‘The Wedding Banquet’. Credit: Bleecker Street / ShivHans Pictures.
It’s exceedingly rare for the writer of the original movie to be involved with a re-imagining, but here we have James Schamus, who worked on the Lee movie, back collaborating this time with director Andrew Ahn.
And the results speak for themselves –– the pair has come up with a sensitive, funny and warm new take on the story, expanding the world of the situation and exploring it through the lens of today’s LGBTQ+ attitudes and society.
Script and Direction
‘The Wedding Banquet’ writer and director Andrew Ahn. Photo: Janice Chung.
The script keeps the characters feeling grounded, even as the situation becomes more comical and, indeed, emotional and heartfelt.
Carefully charting the evolving dynamics of the various friendships –– not to mention their parents and other characters, this new ‘Wedding Banquet’ is a feast of entertaining moments, real drama and laugh-out loud scenes (including the titular ritual, which devolves into comic chaos).
Also, Ahn and Shamus smartly undercut expectations ––– when you think a character, particularly the older, more traditional types, are going to react one way, the script finds surprising, joyful and funny ways to go in a different direction.
Ahn infuses the movie with visual heart as well as the script’s existing power, guiding his cast to fully bring the characters to life.
Working with his team, he also brings the world to the screen with charm and effectiveness, the house that Angela, Lee, Min and Chris share feeling lived in and authentic. If it doesn’t always feel authentically set in Seattle (the movie was shot in Vancouver), that’s a minor issue.
Cast and Performances
(L to R) Lily Gladstone and Kelly Marie Tran in Bleecker Street’s ‘The Wedding Banquet’. Credit: Bleecker Street / ShivHans Pictures.
Perhaps the biggest advantage that ‘The Wedding Banquet’ has is a leading ensemble with the chance to offer more than they’re often given to do on screen.
Kelly Marie Tran’s role as Angela might be closer to some other characters she’s played, but it also offers the chance to play someone more complicated –– far from perfect but doing her best to navigate the world.
Lily Gladstone has been playing dramatic roles primarily for a while, and though Lee certainly has those shades, it’s also a welcome opportunity for her to return to her comedic routes. And she grabs it with both hands, giving the role an accomplished, relatable side.
Bowen Yang is more normally found in smaller comic relief roles, and while Chris has some very funny moments, it likewise lets him expand out into all sides of the character, from his commitment phobia to his struggles over his relationship when it starts to evolve before his eyes.
(L to R) Bowen Yang and Han Gi-Chan in Bleecker Street’s ‘The Wedding Banquet’. Credit: Bleecker Street / ShivHans Pictures.
Han Gi-Chan has mostly worked in Korea, but he’s great as the conflicted Min, trying to balance family expectation with what is in his heart.
Around the main leads there are some equally excellent supporting turns, not the least of which are from Joan Chen and ‘Minari’ Oscar winner Youn Yuh-Jung.
Chen, playing Angela’s exuberant, supportive mother May, gets to have more fun than she has in some other roles and that spills out into the rest of the movie. She’s also a real mother, struggling with past choices and coming across as a rounded character despite more limited screentime.
Likewise Youn’s character Ja-Young (Min’s imposing grandmother), who initially comes across stoic and locked into her worldview, is revealed to be far more layered than that first impression.
Final Thoughts
(L to R) Han Gi-Chan, Youn Yuh-Jung and Kelly Marie Tran in Bleecker Street’s ‘The Wedding Banquet’. Credit: Bleecker Street / ShivHans Pictures.
‘The Wedding Banquet’ represents a truly successful update of a much-loved movie that both infuses new life into the story and honors the original.
It’s the latest impressive piece of work from director Andrew Ahn and deserves to find a place in the heart of audiences beyond LGBTQ+ and Asian cinemagoers who will see themselves represented well here.
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What’s the plot of ‘The Wedding Banquet’?
Frustrated with his commitment-phobic boyfriend Chris (Bowen Yang) and running out of time, Min (Han Gi-chan) makes a proposal: a green-card marriage with their friend Angela (Kelly Marie Tran) in exchange for her partner Lee’s (Lily Gladstone) expensive IVF. Elopement plans are upended, however, when Min’s grandmother (Youn Yuh-jung) surprises them with an extravagant Korean wedding banquet.
Who stars in ‘The Wedding Banquet’?
Bowen Yang as Chris
Lily Gladstone as Lee
Kelly Marie Tran as Angela
Han Gi-chan as Min
Joan Chen as May Chen
Youn Yuh-jung as Ja-Young
Bowen Yang stars in ‘The Wedding Banquet’. Photo: Mary Ellen Matthews.
Lily Gladstone stars in ‘Fancy Dance,’ now streaming on Apple TV+.
Premiering on Apple TV+ on June 28th following a limited run in theaters, ‘Fancy Dance’ offers yet another chance to appreciate the sheer acting ability of Lily Gladstone, who here is offered a fully rounded character in Jax Goodiron.
(L to R) Isabel Deroy-Olson and Lily Gladstone star in ‘Fancy Dance,’ now streaming on Apple TV+.
If you were frustrated with how Martin Scorsese’s ‘Killers of the Flower Moon’ initially seemed to be exploring native stories and experiences before pivoting to focus on its cartoonishly scheming white characters, then let ‘Fancy Dance’ serve as a correction.
If Scorsese’s film, with its seemingly endless running time, couldn’t find enough space to center the indigenous characters, Erica Tremblay manages to tell a more effective and enveloping tale of native culture in a quick 90 minutes. And if Gladstone missed out on an Oscar for that performance, then ‘Fancy Dance’ should certainly see her considered for next year.
Script and Direction
(L to R) Isabel Deroy-Olson and Lily Gladstone star in ‘Fancy Dance,’ now streaming on Apple TV+.
Tremblay wrote the movie alongside Miciana Alise, and together, they bring a real sensitivity plus hard-nosed honesty to both the narrative and its characters. More like something along the lines of FX series ‘Reservation Dogs’ (though without the deep well of comedy in that show), ‘Fancy Dance’s script is full of layered people who are far from noble natives. In reality, most of them are just trying to make a living in the tough conditions in which they find themselves. And the story is also shot through with grief and loss and balanced out by a coming of age story for one of the characters.
Tremblay is more normally a documentarian, but for this fictionalized effort, she applies a similar keen, observational eye to the proceedings here. Eschewing fancy camera moves or stylistic tricks, she instead finds beauty in the everyday. And she also encourages her cast to given completely believable performances, with Gladstone, Isabel Deroy-Olson and Ryan Begay standing out.
Performances
(L to R) Isabel Deroy-Olson and Lily Gladstone star in ‘Fancy Dance,’ now streaming on Apple TV+.
‘Fancy Dance’ keeps its focus narrow, letting the story breathe through a relatively small cast, though still featuring of a supporting cast to keep it vivid and full.
Lily Gladstone as Jax Goodiron
Lily Gladstone stars in ‘Fancy Dance,’ now streaming on Apple TV+.
It would be demeaning to say that Gladstone is a revelation here; she has been putting in excellent work for several years now. But Jax is a character unlike almost anything she has played –– this is a damaged, clever, haunted young woman who lives by her own set of rules. When we’re first introduced to Jax, she’s keeping a fisherman occupied while her niece, Roki (Olsen) steals his wallet, some lures and the keys to his truck.
Jax is unapologetic, and also weighed down by the disappearance of her sister Tawi (Hauli Gray) and is endlessly angry that the federal authorities aren’t doing enough to track her down. This is a complicated woman, a hustler who deeply cares for her niece and is traumatized when Roki is carted off by family services to live with her semi-estranged father (Shea Whigham).
Cue Jax going on the run with Roki, ostensibly to take her to a powwow in Oklahoma (an event the girl has attended with her mother in the past, entering mother-daughter dances (which give the movie its title). Their journey is one of danger and learning about each other, all while the authorities are closing in –– ironically, they will launch a taskforce to find Roki who is with a relative while largely ignoring the disappearance of her mother.
Isabel Deroy-Olson as Roki
Isabel Deroy-Olson stars in ‘Fancy Dance,’ now streaming on Apple TV+.
Deroy-Olson sparks really well off of Gladstone’s energy, and comes across as an unpretentious, charismatic performer, steering clear of teen/tween cliches as Roki goes through a gamut of emotions –– she’s worried about her mother, suspicious of the authorities and loyal to her aunt, even as she wonders whether she’s the best role model. All the while, she wraps herself in tradition and culture as a way to keep her sanity. It’s one of the best young performances of the year.
Ryan Begay as JJ
Jax’s brother, and a member of the reservation police force, JJ straddles two worlds, and is very much caught between them when Jax absconds with Roki. Begay has less to do than the two leads, but he’s a key supporting role, and brings low-key energy to the part.
Shea Whigham as Frank
Whigham is one of the few truly recognizable names in the cast besides Gladstone, but he doesn’t stick out, instead meshing well with his fellow cast members as Jax’s father, who married a native and spent 15 years in reservation territory before pulling the eject cord when she died. He brings a sad, frustrated energy to his work here.
Final Thoughts
(L to R) Lily Gladstone and Isabel Deroy-Olson star in ‘Fancy Dance,’ now streaming on Apple TV+.
A vital exploration of indigenous issues and the lack of attention paid to missing persons cases (especially women), ‘Fancy Dance’ is a carefully crafted movie that offers rounded characters and an interesting story. While a few cliches do creep in here and there (especially in the final act), they don’t impact it enough to reduce the effectiveness of the whole.
‘Fancy Dance’ receives 8 out of 10 stars.
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What’s the story of ‘Fancy Dance’?
Since her sister’s disappearance, Jax (Lily Gladstone) has cared for her niece Roki (Isabel Deroy-Olson) by scraping by on the Seneca-Cayuga reservation in Oklahoma. Every spare minute goes into finding her missing sister while also helping Roki prepare for an upcoming powwow.
At the risk of Jax losing custody to Roki’s grandfather, Frank (Shea Whigham), the pair hit the road and scour the backcountry to track down Roki’s mother in time for the powwow. What begins as a search gradually turns into a far deeper investigation into the complexities and contradictions of Indigenous women moving through a colonized world while at the mercy of a failed justice system.
Ryan Gosling’s “I’m Just Ken” performance was a highlight.
After some rougher Oscar nights (slaps, snubs and that brave but ultimately disappointing low key pandemic version), 2024 very much represented a return to form for Hollywood’s Most Glittering Night™.
True, it got off to a controversial (and late) start when protestors advocating for a cease fire between Israel and Gaza disrupted attendees’ access to the Kodak Theater, but once the show was actually underway, it became something that most attendees and viewers recognized as a classic Academy Awards, for good and ill.
There were your typical annoyances –– many below-the-line craftspeople being played off far too soon by an orchestra who looked for all the world like they were in some sort of science fiction vessel. Some of the comedy banter fell flat. Not everything worked.
But for all the issues, there was an awful lot to like about the show, so we’ve rounded up some memorable moments…
In the sort of performance that would bring a smile to musical number specialist Busby Berkeley’s face, Ryan Gosling’s much-mooted performance of “I’m Just Ken” from ‘Barbie’ proved to be just as much of a showstopper as we’d all hoped it would be.
Kicking off in the audience as Gosling rose to start singing, he passed a charmed and giggling Greta Gerwig and Margot Robbie –– who got in on singing along –– while amusing the likes of Emily Blunt and then the whole audience as he reached the stage and started a big production number of the song, complete with cutout cardboard Barbie heads and some of the movie’s other Kens (Simu Liu and Kingsley Ben-Adir among them), Guns N’ Roses’ Slash on guitar, plus a plethora of dancers joining him on stage for a memorable and hilarious highlight.
“I’m Just Ken” might not have won its Oscar (‘Barbie’s “What Was I Made For?” took the movie’s only award in that same category), but it won the night.
Presenting Best Costume Design, John Cena proved he’s easily among the most charismatic wrestlers-turned-actors out there, and even more adaptable than Dwayne Johnson. With Jimmy Kimmel cueing up talking of a streaker (one of the most infamous moments of Oscars past), there was a moment where it appeared Cena was having second thoughts about the comedy bit they’d come up with for him to present naked.
But nope, he arrived on stage in the buff (though reportedly with a modesty sling to hide things that can’t be shown on TV outside of HBO etc.), covering himself with the sealed Oscar envelope for the category. All in all, a moment of naked hilarity.
All right, so Emma Stone’s Best Actress triumph for her role in ‘Poor Things’ wasn’t a complete surprise; after all, she’d scooped other trophies. But following ‘Killers of the Flower Moon’s Lily Gladstone scoring the Screen Actors Guild award, the tide had turned in the native’s favor.
Still, it was Stone going on stage, seemingly shocked (did she have Gladstone on her Oscar ballot like many others?), making a heartfelt speech in which she praised her fellow nominees, thanked ‘Poor Things’ director Yorgos Lanthimos and even joked that her dressed, which had broken, had been ripped by her laughing at Gosling’s “I’m Just Ken” performance.
Jimmy Kimmel must have been sweating when Al Pacino, tasked with announcing the Best Picture category, abruptly skipped right past the traditional stage of listing the nominees and went straight to opening the envelope, like a child who can’t wait to tear into their Christmas present. “Here it comes… and my eyes see ‘Oppenheimer‘”.
Unlike “Moonlight-gate”, where Faye Dunaway and Warren Beatty mistakenly announced ‘La La Land’ as Best Picture over actual victor ‘Moonlight’ in 2017 (Kimmel’s first hosting gig), Pacino had it right, Christopher Nolan’s movie capping a successful night where it picked up seven gongs. But in skipping over the nominees, Pacino certainly didn’t make for a highlight.
Old friends (and ‘Twins’ co-stars) Arnold Schwarzenegger and Danny DeVito reunited for the second time this year (after their State Farm Super Bowl commercial) for a funny bit where they talked about playing Batman villains.
The highlight, DeVito pointed out Michael Keaton, the most famous of the movie Batman actors, who gamely played along, putting up his dukes as DeVito promised to start a fight after the Governor’s Ball. The only way it could have gone better is if George Clooney had shown up, since he was Schwarzenegger’s Bat-opponent.
Cue the classic, bombastic theme tune! ‘Godzilla: Minus One’, whose producers originally didn’t intend to submit for the Oscars as they didn’t think the film stood a chance of winning, actually went home with Best Visual effects.
The team showed up wearing custom Godzilla shoes and carrying adorable gold statuettes shaped like the classic character. Could the giant lizard himself have shown up to collect? We doubt the Kodak Theater could have accommodated him, sadly.
This year’s show brought back a segment that had been tried a few years ago where former winners paid tribute to current nominees. Nicolas Cage (who won in 1995 for ‘Leaving Las Vegas’) was enthusiastic in his praise for ‘The Holdovers’ Paul Giamatti, impressed with his dedication to wearing a false eye for his role as grouchy teacher Paul Hunham. “Would I have done that? Hell yes!” Cage said, going on to call Giamatti “brilliant”. The actor didn’t end up winning the trophy (‘Oppenheimer’s Cillian Murphy took Best Actor) but he must have felt like a winner in that moment.
The 96th Academy Award ceremony will take place on Sunday, March 10th on ABC.
Preview:
‘Oppenheimer’ dominated the 96th annual Academy Awards with wins for Best Picture, Best Director, and Best Actor, while ‘Poor Things’ landed four Oscars, including Best Actress for Emma Stone.
‘Barbie,’ ‘The Zone of Interest,’ and ‘The Holdovers’ all nabbed awards as well, while ‘Killers of the Flower Moon,’ ‘Past Lives,’ and ‘Maestro’ were shut out.
Jimmy Kimmel hosted a smooth, mostly well-paced show, with a naked John Cena and Messi the dog pulling off the most entertaining bits.
Jimmy Kimmel once again hosted the broadcast, which began for the first time at 7:00 p.m. ET/4:00 p.m. PT – an hour earlier than usual – a shift that became grist for a handful of one-liners from the late-night comedian, who at point joked that so many viewers missed the first hour that the producers were going to restart the show.
If they had, viewers tuning in late would have gotten a chance to see an emotional acceptance speech from Da’Vine Joy Randolph, who notched the first prize of the evening, Best Supporting Actress, for her work in ‘The Holdovers.’ Randolph was one of several first-time nominees and winners, a list that included Cillian Murphy and ‘American Fiction’ screenwriter/director Cord Jefferson (winner for Best Adapted Screenplay), who admonished Hollywood, “Instead of making one $200 million movie, why not make 20 $10 million movies?”
Although Billie Eilish and her brother Finneas O’Connell won Best Song for the ‘Barbie‘ tune “What Was I Made For?” – making them the youngest two-time Oscar winners ever after triumphing in 2022 for their James Bond theme song ‘No Time to Die‘ – ‘Barbie’ itself was shut out the rest of the night, along with other high-profile contenders like ‘Killers of the Flower Moon,’ ‘Maestro,’ and ‘Past Lives.’ Perhaps the biggest shockers of the night were Stone’s win – since she was locked in a tight race with ‘Killers’ star Lily Gladstone – and the stunning Best Visual Effects win for ‘Godzilla Minus One,’ the surprise hit that notched the big green lizard’s first-ever Oscar.
In two of the evening’s more somber moments, a visibly nervous Jonathan Glazer – director of Best International Feature winner ‘The Zone of Interest’ – accepted his Oscar by noting that his film’s accounting of the Nazi horrors of the past was very much a reflection of the “dehumanization” of people in the present. The night’s other powerful moment came when ’20 Days at Mariupol’ – made in Ukraine literally as Russia’s horrific war against that country was underway – landed Best Documentary Feature. Director Mstyslav Chernov, almost overcome with emotion, said that while he was honored to accept Ukraine’s first Oscar, he “[wished] I would never make this film. I wish to be able to exchange this [for] Russia never attacking Ukraine, never occupying our cities.”
Among the evening’s other highlights were the testimonials by five previous winners in each of the acting categories for each one of the night’s nominees, featuring a star-studded roster than ranged from Nicolas Cage to Jessica Lange; Ryan Gosling’s anthemic performance of ‘I’m Just Ken,’ featuring Slash on lead guitar; Messi the dog (from ‘Anatomy of a Fall’) “clapping” for Robert Downey Jr.’s long-anticipated win; John Cena coming out naked to present Best Costume Design in a nod to an infamous 1974 incident in which a streaker ran onstage; and one of Kimmel’s closing bits, in which he read an apparently real social media post lambasting his performance from a certain former president. “Isn’t it past your jail time?” the host quipped, one of just two politically-tinged jokes in an otherwise placid and (much to the producers’ relief) scandal-free ceremony.
Nominated films include two of the biggest blockbusters of last year, ‘Oppenheimer’ and ‘Barbie,’ as well as critically acclaimed movies like ‘The Holdovers,’ ‘Killers of the Flower Moon,’ ‘Poor Things,’ and ‘Maestro.’
While ‘Oppenheimer’ seems poised to have a big night, and Robert Downey Jr. and Da’Vine Joy Randolph are virtual locks in their supporting categories, Best Actor is still a two-man race between Cillian Murphy and Paul Giamatti, with the Best Actress category too close to call between Lily Gladstone and Emma Stone.
Below are our predictions for who will win Oscars on Sunday at the 96th Academy Awards. We are only breaking down our predictions for the six major categories, Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress.
Let’s Begin!
BEST PICTURE
Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
This is probably the easiest category to call as it’s obvious that ‘Oppenheimer’ will win Best Picture. The film has won every major award so far including the Golden Globes, Critics Choice and a SAG Award for Outstanding Performance by a Cast.
Considering the movie’s critical acclaim, box office achievements, domination during award season, and the overall love for director Christopher Nolan, it would seem like this is finally his year to win Best Picture and Best Director, but more on that in a minute.
While many fans are probably rooting for ‘Barbie’ to pull out a win, it doesn’t seem very likely at this point. ‘Oppenheimer’s biggest competition is probably ‘Killers of the Flower Moon,’ ‘Poor Things’ and possibly ‘The Holdovers,’ but again, it seems very unlikely that any of them will ultimately be able to best Nolan’s movie.
Who Could Win: ‘Killers of the Flower Moon’ or ‘Poor Things’
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BEST DIRECTOR
Writer, director, and producer Christopher Nolan on the set of ‘Oppenheimer.’
If Best Picture is the easiest category to predict this year, then Best Director is the second easiest. Again, this is Christopher Nolan’s year!
Having won a Golden Globe, a Critics Choice Award, and the all-important DGA Award, Nolan is all but a lock to win his long-overdue first Best Director Oscar.
Nolan’s biggest competition is probably a nostalgia win from legendary filmmaker Martin Scorsese, or a surprise win from ‘Poor Things’ Yorgos Lanthimos, but neither seem very likely. It would be quite a shock if Nolan does not end up winning this award.
Who Could Win: Martin Scorsese, ‘Killers of the Flower Moon’
BEST ACTOR
Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
As mentioned earlier, this has become a two-man race between ‘Oppenheimer’s Cillian Murphy and ‘The Holdover’s Paul Giamatti.
Since the Golden Globes puts comedic performances in a separate category, both actors won, however Giamatti bested Murphy at the Critics Choice Awards. It seemed like Giamatti was the frontrunner, but with Murphy recently winning the all-important SAG award, I think this is now Murphy’s award to lose.
Since the actor’s branch of the Academy is who votes for this award, and they are also SAG members, you never want to bet against the SAG winner, as it is almost always a precursor of who will win on Oscar night. That doesn’t mean Giamatti is completely out, but the momentum is no longer on his side and with ‘Oppenheimer’ poised to have a big night, Murphy seems like the clear choice at this point.
(L to R) JaNae Collins, Lily Gladstone, Cara Jade Myers and Jillian Dion in ‘Killers of the Flower Moon,’ coming soon to Apple TV+.
In another category that seems too close to call, ‘Killers of the Flower Moon’s Lily Gladstone has a slight edge over ‘Poor Things’ Emma Stone.
Again, because the Golden Globes separates comedic and dramatic performances, both actresses won. But Stone won the Critics Choice Award, putting her in the frontrunner’s seat.
However, Gladstone recently won the all-important SAG Award, and again, since it’s basically the same group that votes for this category, I’d say she is now the frontrunner.
There has been some talk that Gladstone’s role is really a supporting performance, and that could hurt her chances of winning. But since Stone already has a Best Actress trophy for her work in ‘La La Land,’ I think Gladstone will end up being triumphant and that’s how the Academy will reward Scorsese’s movie.
Who Will Win: Lily Gladstone, ‘Killers of the Flower Moon’
Who Could Win: Emma Stone, ‘Poor Things’
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BEST SUPPORTING ACTOR
Robert Downey Jr is Lewis Strauss in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
This is an easy category to call, as this is clearly Robert Downey Jr.’s year too!
Having won the Golden Globe, Critics Choice and SAG Award, Downey has virtually no competition in this category and with ‘Oppenheimer’ poised to sweep most of its categories, Downey’s win is all but locked.
A surprise upset could possibly come from Ryan Gosling for his work in ‘Barbie,’ but it’s not very likely and it seems that Downey will be rewarded not only for ‘Oppenheimer’ but also for his famous career comeback and work creating the Marvel Cinematic Universe.
In another locked category, Da’Vine Joy Randolph should end up winning for her work in ‘The Holdovers.’
Randolph has been winning all season, taking home a Golden Globe, Critics Choice and SAG Award for her work. This is probably how the Academy will reward Alexander Payne’s ‘The Holdovers,’ especially if Murphy ends up beating Giamatti.
She could have some competition from Emily Blunt, especially if ‘Oppenheimer’ sweeps, but otherwise it’s safe to say that Randolph should be practicing her acceptance speech now.
Motion Picture Cast, ‘Oppenheimer.’ Photo: Stewart Cook/Shutterstock for SAG.
Preview:
‘Oppenheimer’ dominated the movie section of the 2024 SAG Awards.
In the TV categories, ‘The Bear’ and ‘Beef were predictable winners.
The show was carried by Netflix for the first time.
This year’s Screen Actors Guild Awards ceremony happened Saturday evening, and while they’re extremely limited in their Oscar prognostication (since this is all about acting), there were still few surprises, but shared love among a variety of movies and shows.
Perhaps the most unusual element was the venue –– not the location, but the fact that it is being carried live via Netflix after years on broadcast cable.
On the movie front, ‘Oppenheimer’ and ‘Barbie’ led the nominations, with the former taking Motion Picture Cast, Male Actor in a Leading Role for Cillian Murphy (does this point to him taking the Oscar instead of ‘The Holdovers’ Paul Giamatti?) and Male Actor in a Supporting Role for Robert Downey Jr. (who is a big Oscar favorite for playing Lewis Strauss in Christopher Nolan’s film). “Why me? Why now? Why do things seem to be going my way?,” RDJ quipped. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice….”
(L to R) Male Actor in a Leading Role – Motion Picture, Cillian Murphy, ‘Oppenheimer’ – with Robert Downey Jr. 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Photo by Christopher Polk/Shutterstock for SAG .
‘Killers of the Flower Moon’ only saw Lily Gladstone winning another award as Female Actor in a Lead Role, while ‘The Holdovers’ Da’Vine Joy Randolph added Female Actor in a Supporting Role to her considerable collection, pointing to her surely nabbing an Oscar next month.
TV-wise, there were even fewer shockers since the delayed Emmys and other shows had featured many of the same winners. So ‘The Bear’ duo Jeremy Allen White and Ayo Edebiri once again took the stage to collect trophies (both deserving winners, even though the debate remains as to whether the tension-filled show is truly a comedy), as well as being part of the series wining the Comedy ensemble award. ‘Succession’ meanwhile, nabbed the Drama Ensemble trophy.
A mild surprise given what has happened so far? Pedro Pascal took Male Actor in a Drama Series for ‘The Last of Us’, beating out ‘Succession’s Kieran Culkin. Pascal was typically charming, admitting he’d thought he was allowed to get a little drunk and concerned he was making a fool of himself.
Outstanding Performance by a Cast in a Motion Picture
Motion Picture Cast, ‘Oppenheimer’ 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Credit: Photo by Christopher Polk/Shutterstock for SAG.
Outstanding Performance by a Male Actor in a Leading Role
Male Actor in a Leading Role – Motion Picture, Cillian Murphy, ‘Oppenheimer’ 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Credit: Photo by Christopher Polk/Shutterstock for SAG.
Outstanding Performance by a Female Actor in a Leading Role
Female Actor in a Leading Role – Motion Picture, Lily Gladstone, ‘Killers of the Flower Moon’ 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Photo by Christopher Polk/Shutterstock for SAG.
Outstanding Performance by a Female Actor in a Comedy Series
Female Actor in a Comedy Series, Ayo Edebiri, ‘The Bear’ 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Credit: Photo by Christopher Polk/Shutterstock for SAG.
Outstanding Performance by a Male Actor in a Comedy Series
Male Actor in a Comedy Series, Jeremy Allen White, ‘The Bear’ 30th Screen Actors Guild Awards, Show, Shrine Auditorium, Los Angeles, California, USA – 24 Feb 2024. Credit: Photo by Christopher Polk/Shutterstock for SAG.
It will officially begin on January 23rd when the Academy of Motion Picture Arts and Sciences announce the Oscar nominees, with the 96th Oscars Ceremony scheduled for March 10th.
Moviefone is making its Oscar nomination predictions for the major categories including Best Picture, Best Director, Best Actor, Best Actress, Best Supporting Actor and Best Supporting Actress, ahead of the nominee announcements on January 23rd.
Let’s begin!
BEST PICTURE
Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
2024 was supposed to be the year that the Golden Globes moved on. Detached from the old Hollywood Foreign Press Association (yet now run by possibly an even shadier for-profit corporation), it was designed to make up for a tarnished history that saw the awards get dumped by previous network NBC and chart a bright new future.
Yet on the evidence of the ceremony itself, it couldn’t recover past glories (even if those were mostly the results of the previous organization’s star-happy focus). There was the requisite assortment of big names (your Leonardo DiCaprio, your Martin Scorsese, your Christopher Nolan) but the whole thing came across as less Golden than bronze.
Comedian Jo Koy (who film fans might know outside of his stand-up career for last year’s ‘Easter Sunday’) stumbled out of the gate by quipping that he only got the gig a few days ago (it’s true that a number of more recognizable names passed) and blaming his writers for any unfunny jokes. Not a good look.
A dig at Taylor Swift’s new NFL relationship didn’t go over well either –– with the singing superstar visibly unimpressed when the camera cut to her.
He went on to offer some more visibly uninspired cracks at Barry Keoghan’s genitals in ‘Saltburn’ and Barbie’s breasts, which mostly had the audience cringing. We don’t expect him to be invited back.
“I had fun. It was a moment that I’ll always remember. It’s a tough room. It was a hard job, I’m not going to lie…I’d be lying if [I said] it doesn’t hurt. I hit a moment there where I was like, ‘Ah.’ Hosting is just a tough gig. Yes, I’m a stand-up comic but that hosting position it’s a different style. I kind of went in and did the writer’s thing. We had 10 days to write this monologue. It was a crash course. I feel bad, but I got to still say I loved what I did. The Taylor [Swift] one was just a little flat…It was a weird joke, I guess. But it was more on the NFL, I was trying to make fun of the NFL using cutaways and how the Globes didn’t have to do that. So it was more of a jab toward the NFL. But it just didn’t come out that way.”
One of the more viral –– and genuinely funny –– moments came as ‘Succession’ began to win the majority of the TV awards (that series and ‘The Bear’s near-dominance one of the entirely un-shocking elements of the ceremony). Kieran Culkin, who took the stage after winning Male Actor in a Drama Series, also took the occasion to throw a good-hearted jab the way of Pedro Pascal, who was nominated in the same category.
After a heartfelt celebration of finally nabbing the award, Culkin went full Roman Roy for a moment: “Suck it, Pedro…”
Pascal’s reaction –– a comedic combo that went from laughing to fake tears, is already a meme.
Pedro Pascal reacts perfectly to Kieran Culkin's Golden Globes speech burn https://t.co/DFP2zIXm1g
Award shows are rarely known for sparkling words when it comes to presenters. Celebrities show up on the stage, read some boring copy celebrating the creativity of whoever and then throw it to a clip package of nominees.
This year’s Globes were no exception, with largely perfunctory pre-announcement banter that barely rose to the level of competence.
Jennifer Lawrence, who has been a reliably funny awards presence in the past, offered another this time. When she was shown during the nominees section for Best Actress, Motion Picture Comedy or Musical, she mouthed, “if I don’t win, I’m leaving!”
Possibly the biggest mistake even before the show was the blatant attempt to have Taylor Swift attend by nominating her ‘Eras Tour’ concert film in the new Cinematic and Box Office Achievement category.
It worked in that she showed (only to seem insulted, see above) and then box office behemoth ‘Barbie’ scored the award anyway, one of only a couple it took home on the night.
If there were true highlights, it was in terms of representation –– Lily Gladstone won for her role in ‘Killers of the Flower Moon’ and celebrated the victory for Native Americans while also offering a sweet shout-out to her mother, who had accompanied her to the event.
Likewise, Ali Wong became the first Asian woman to win Best Actress In A Limited Series or TV Movie (which feels a little bit forced, but is progress nonetheless) for ‘Beef’, which also saw her co-star Steven Yeun win alongside the show.
And Christopher Nolan appeared genuinely touched to have won his first directing Globe for ‘Oppenheimer’ (one of a parade the movie scored in an unsurprising run).
The ceremony itself at least scored on the ratings front –– its airing on CBS and Paramount+ saw the numbers jump from last year’s NBC/Peacock appearance –– and it counts as the most-watched Globes since 2020. But even that seems a useless metric, since the 2021 event was banished to YouTube and doesn’t even really count for ratings.
Can the Globes become relevant again? That’s the big question for now. On the evidence of last night, the answer is a big old “maybe”.
