Awards season is a time of anticipation, excitement, and, let's be honest, a lot of awkward silences. It's a period where the film industry comes together to celebrate the best of the best, but it's also a time when the cracks in the system become more apparent. This year, the awards season has been a rollercoaster of highs and lows, with some memorable moments and others that left us scratching our heads. Let's dive into the highlights and lowlights of this year's awards season, with a healthy dose of personal commentary and analysis.
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 trend of standing ovations is a fascinating phenomenon. It raises a deeper question: Are audiences becoming more critical, or are they simply more engaged and invested in the films they're watching? What makes this particularly fascinating is the contrast between the standing ovations and the actual awards. While the applause is heartfelt, it doesn't necessarily translate into actual wins. This raises a deeper question: Are awards season and the films that win them becoming more disconnected from the audience's expectations and desires?
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, Nikki Glaser is a breath of fresh air in an otherwise stale awards season. Her unapologetic humor and sharp wit brought a much-needed dose of levity to the proceedings. What many people don't realize is that her presence is a testament to the power of diversity and inclusivity in the film industry. She's a reminder that awards season can be both entertaining and thought-provoking, all at the same time.
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, Paul Thomas Anderson's avoidance of political discussion is a missed opportunity. What this really suggests is that the film industry is still grappling with the idea of political commentary in cinema. It raises a deeper question: Are filmmakers afraid to tackle political issues, or are they simply not interested in doing so? Personally, I think there's a place for political commentary in cinema, but it needs to be done in a way that's both thought-provoking and engaging.
Trend That Needs to Rip: Dead Children
Granted, only one movie hinged on a kiddo kicking the bucket - let's pour 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. One thing that immediately stands out is the prevalence of 'dead children' as a narrative device. While it's a powerful and emotional trope, it's also a bit tired. What this really suggests is that the film industry is still struggling with the idea of trauma in cinema. It raises a deeper question: Are filmmakers relying on familiar tropes because they're afraid to take risks? Personally, I think it's time for a new approach to trauma in cinema. We need to move beyond the 'dead children' trope and explore new and innovative ways of dealing with emotional and psychological issues.
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, Timothée Chalamet is a shining example of the power of marketing and branding in the film industry. His ability to sell himself and his films is truly remarkable. What makes this particularly fascinating is the contrast between his performances in 'Marty Supreme' and 'Barbie.' While 'Marty Supreme' is a thought-provoking and engaging film, 'Barbie' is a lighthearted and entertaining film. This raises a deeper question: Are audiences becoming more divided, or are they simply more discerning about the films they watch? Personally, I think it's a reminder that the film industry needs to find a balance between artistic integrity and commercial success.
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. Sydney Sweeney's journey from 'Christy' to 'The Housemaid' is a fascinating case study in the power of marketing and word-of-mouth. It raises a deeper question: Are awards season and the films that win them becoming more disconnected from the audience's expectations and desires? Personally, I think it's a reminder that the film industry needs to find a way to bridge the gap between critical acclaim and commercial success.
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. In my opinion, the Warner Bros. vs. Warner Bros. situation is a fascinating case study in the power of branding and marketing. It raises a deeper question: Are we becoming more divided as an audience, or are we simply more discerning about the films we watch? Personally, I think it's a reminder that the film industry needs to find a way to cater to a wider range of tastes and preferences.
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 is a shining example of the power of tradition and convention in the film industry. It raises a deeper question: Are we becoming more resistant to change, or are we simply more discerning about the films we watch? Personally, I think it's a reminder that the film industry needs to find a way to embrace innovation and creativity while still respecting tradition and convention.
