Awards season is a time of anticipation, excitement, and, let's be honest, a fair bit of drama. It's a time when the film industry comes together to celebrate the best of the best, but it's also a time when opinions run high and egos are on full display. This year's awards season has been no exception, with a mix of surprises, disappointments, and, well, some real head-scratchers. So, let's dive into the highlights and lowlights, and, of course, my personal take on it all.
The Long-Standing Ovations
Are European theater seats just that uncomfortable? Because each year, festival standing ovations get longer. At Venice, record applause for The Smashing Machine and The Testament of Ann Lee had guests leaving with numb palms and others with outsized expectations. Ovation-induced buzz helped make respective stars Dwayne Johnson and Amanda Seyfried early favorites, but they end this season empty-handed. Personally, I think this speaks to the power of a standing ovation. It's not just about the film; it's about the experience. And in this case, the experience was one of anticipation and excitement, which is why the ovations were so long. But it also raises a deeper question: are these standing ovations a sign of a film's success, or are they just a sign of a comfortable seat?
Miss Uncongeniality: Nikki Glaser
Glaser’s expert emcee work during the most recent two Golden Globes telecasts was like a pair of defibrillator paddles that hilariously resurrected a show most of us were fine to let die on the table. Hopefully, the delay in confirming her 2027 return was because the Brink’s truck was stuck in traffic. She’s worth every discontinued penny. In my opinion, Glaser's performance was a masterclass in how to revive a dying show. Her energy and humor were infectious, and she brought a much-needed spark to the telecasts. But what makes this particularly fascinating is the contrast between her performance and the show itself. The Golden Globes have long been a bit of a wet blanket, but Glaser's presence brought a new life to it. It raises a deeper question: can a show be revived by a single performer?
Hedge Lord: Paul Thomas Anderson
After releasing his celebrated sendup of police states, immigration raids and white supremacy in an America confronting all three, the One Battle After Another filmmaker deftly avoided discussing … any of that. But after nearly five press-shy months, when the frontrunner was finally cornered at BAFTA, the best he could muster was, “I’m not a politician, but I’m a filmmaker.” You’re also a writer, PTA, and we know you can do better than that. From my perspective, Anderson's avoidance of political discussion is a missed opportunity. His films are often thought-provoking and thought-provoking, but they can also be a bit self-indulgent. What many people don't realize is that his films are not just about the topics he chooses to discuss, but also about the way he chooses to discuss them. This raises a deeper question: can a filmmaker's art be separated from their personal beliefs?
Trend That Needs to Rip: Dead Children
Granted, only one movie hinged on a kiddo kicking the bucket — let’s poureth out a mug of ale for Hamnet, shalt we? — but some of these filmmakers are clearly working through stuff. From The Testament of Ann Lee and Train Dreams to If I Had Legs I’d Kick You and Sirat, dead, dying and jeopardized offspring were unavoidable this year. It’s time for a new trauma trope. Anything but dogs. Personally, I think this trend is a bit tired. While it's important to explore difficult topics, the constant reliance on dead children as a narrative device is becoming a bit predictable. What this really suggests is that filmmakers need to find new ways to explore trauma and loss. This raises a deeper question: can we find new ways to tell stories about difficult topics without relying on tired tropes?
Brightest Future in Another Line of Work: Timothée Chalamet
Does CMO stand for Chalamet Marketing Offensive? Because our guy’s Marty Supreme performance is only eclipsed by his turn as pitchman. The 18-minute fake pitch meeting! The blimp! The Wheaties box! He made an art house film about a jerk who plays ping-pong the cinema event of the holidays. No star has worked harder to put butts in seats since Barbie. In my opinion, Chalamet's performance in Marty Supreme was a tour de force. His ability to sell a product while still maintaining his artistic integrity is a testament to his talent. But what makes this particularly fascinating is the contrast between his performance and the film itself. The film is a bit of a mess, but Chalamet's performance is a highlight. This raises a deeper question: can a film's success be separated from its marketing?
Quickest Oscar Hopeful KO: Sydney Sweeney
After a summer spent airing out the stench of her weird denim campaign, her year was supposed to turn around with Christy — a gritty boxing biopic with all the trappings of a prestige play (read: a bad haircut). When the film was DOA, her awards campaign evaporated. But then The Housemaid nabbed nearly $400 million and got the producer-star a sequel. So, weep not for Sweeney. Personally, I think Sweeney's performance in The Housemaid was a revelation. Her ability to bring depth and nuance to a role that could have been a one-dimensional character is a testament to her talent. But what makes this particularly fascinating is the contrast between her performance and the film itself. The film is a bit of a mess, but Sweeney's performance is a highlight. This raises a deeper question: can a film's failure be separated from its star's performance?
Sophie’s Choice Remake We Didn’t See Coming: WBD vs. WBD
Call it an embarrassment of riches, but whew, boy, I do not envy Warner Bros. Motion Pictures chairs Mike De Luca and Pam Abdy. Best picture is all but guaranteed to go to One Battle After Another or Sinners, and they have to prep congratulatory remarks and pep talks for both Paul Thomas Anderson and Ryan Coogler. This must have been how Richard Williams felt watching Serena and Venus play each other. Personally, I think this is a fascinating dynamic. The contrast between the two films is striking, and it raises a deeper question: can two films with very different approaches to storytelling be considered for the same award?
The AARP Honor for Tired Taste: The Academy’s Music Branch
This group’s conservative taste in the best original score race has gone from conspicuous to offensive. Nothing electronic has gotten the top prize since The Social Network. (And, no, Soul doesn’t count.) Last year’s Challengers omission was a faux pas, but Daniel Lopatin’s snub for Marty Supreme should be a debated at The Hague. Personally, I think the Academy’s Music Branch has a lot to answer for. Their conservative taste in the best original score race is becoming a bit tiresome, and their snubs are becoming a bit offensive. But what makes this particularly fascinating is the contrast between their taste and the rest of the industry. This raises a deeper question: can the Academy’s Music Branch be trusted to judge the best original score?
In conclusion, awards season is a time of anticipation, excitement, and, let's be honest, a fair bit of drama. It's a time when the film industry comes together to celebrate the best of the best, but it's also a time when opinions run high and egos are on full display. Personally, I think this year's awards season has been a fascinating mix of surprises, disappointments, and, well, some real head-scratchers. But what makes it particularly fascinating is the way it reflects the broader trends and dynamics of the film industry. This raises a deeper question: can we find new ways to tell stories about difficult topics without relying on tired tropes?
