OK cats and kitties it’s OSCAR DAY! Feel the excitement!
I've been making Oscar predictions for years, peppered with what I used to call “sucker bets” until I realized I was using that term incorrectly. What I meant was, I sometimes get so sure that one specific nominee is perfectly suited to winning that I convince myself this feeling for the justice of their claim is actually a premonition of victory. That is, I play hunches.
That has worked out for me a few times, most spectacularly with Green Book in 2019*. My strong hunch was that Roma was too much more like a museum installation than a movie (at the time, that is -- by 2021, the similarly offbeat Nomadland was able to win) and Green Book was the kind of slop the dopes like (see also CODA).
But usually my long shots don’t work out. In Oscar as in baseball, the sabermetricians have won out -- when I look at the vast resources employed by GoldDerby or other such award handicapping sites, and how influenced they are by the Bill James method and, of course, the crunches of Kalshi and Polymarket, I feel like some old sweaty, suspenders-wearing gump out of Damon Runyon at the sports desk saying a team is “due” and “has heart” while the crisp sabermetricians run their algos and put bets in DraftKings.
This year I’m leaning in the direction of conventional wisdom, mainly based on GoldDerby and such like. But you know what? I am more an antique Runyon than a James. If it’s not fun and a little fanciful, I don’t see the point. So I do have a few, let us say, outside choices, marked here with a 🍭 icon. Keep that in mind and remember: For entertainment purposes only!
(My reviews of the ten Best Picture nominees: Bugonia, F1, Frankenstein, Hamnet, Marty Supreme, One Battle After Another, The Secret Agent, Sentimental Value, Sinners, and Train Dreams.)
* year award was presented, not when movie debuted
🍭 BEST PICTURE: Sinners. I buy the theory that it’s between this and One Battle After Another. Best reason to lean Sinners’ way is the magic of the premise. That other recent black visionary film Get Out had it too, but eight years ago the voters weren’t ready (plus Peele’s application of the magic tends creepy-negative, something else voters usually avoid). This year they’re ready.
BEST ACTOR: Michael B. Jordan, Sinners. God did I want to put Ethan Hawke here! I still have a strong feeling that he may upset and I may put down a side bet on him. But the odds are too great. Aside from Hawke, the contenders here are subtle -- that is, the performances of Moura and DiCaprio are vivid but not showy, and while Chalamet is energetic let’s just say he doesn’t show a lot of range (except from his previous more languid characterizations). Jordan’s twins are distinct in the way Jeremy Irons’ were in Dead Ringers; no giving one of them a higher voice or anything like that, just different responses to the same trauma. And he makes the sale.
BEST ACTRESS: Jessie Buckley, Hamnet. I have no Ethan Hawke premonitions for Rose Byrne, though her performance in If I Had Legs I’d Kick You had not only sensitivity and full character immersion but also nerve -- showing that woman’s collapse without flashy thespic signposts, just letting us see what she would do, was bold and paid off. But Buckley was excellent and she got the tears. I missed Kate Hudson, to my shame; Reinsve and Stone were excellent. But this isn’t their year.
🍭 BEST SUPPORTING ACTOR: Delroy Lindo, Sinners. From the moment Stack, Smoke, and Sammie came upon Delta Slim with his harmonica I reveled in this old pro’s performance and I know I’m not the only one. As I mentioned in my Sinners review, the story he tells after he and the guys drive through a chain gang containing some old friends is, beat by beat, an acting lesson. All honor to the other nominees, including Sean Penn -- who is favored here, but whose expressionistic performance, while well-suited to the movie, seems to me like the kind of thing that would turns some voters off.
🍭 BEST SUPPORTING ACTRESS: Teyana Taylor, One Battle After Another. Sort of a long shot; she was favored until Amy Madigan moved up, and was possibly pushed down by some controversy over the character’s allegedly stereotypical roots. Me? I think that’s like saying Aunt Gladys relies on stereotypes of Wiccans. Until this moment I was predicting Madigan -- yeah, I know what I just said about Sean Penn, but from what little I saw of Weapons (sorry I hate child-peril movies) Aunt Gladys doesn’t seem that out of key with the other characters -- just more interesting. All the other nominees are great but subtle, but Madigan and Taylor punched through the screen and I think Taylor’s presence in a top nominee film gets the win.
BEST DIRECTOR: Paul Thomas Anderson, One Battle After Another.
BEST ORIGINAL SCREENPLAY: Ryan Coogler, Sinners.
BEST ADAPTED SCREENPLAY: Paul Thomas Anderson, One Battle After Another.
No need to make this complicated. Ryan Coogler will be around a long time.
🍭 BEST CASTING: Jennifer Venditti, Marty Supreme. Fun new category! Sinners is favored but of all these nominees I was most captivated by the widely varied human beings who turned up in The Secret Agent -- it was like Jodorowsky meets Costa-Gavras. But the Academy voters probably know about and approve of the real-life non-actor machers Safdie seamlessly fit into his movie.
🍭BEST CINEMATOGRAPHY: Autumn Durald Arkapaw, Sinners. Cotton fields, rickety main street, deep dark woods, smoky club, all o’ercast with magic. The favored OBAA image-making is pretty cool, too, but with a brighter, flatter California palate, and I think Arkapaw has the edge in lushness.
🍭 BEST EDITING: Ronald Bronstein and Josh Safdie, Marty Supreme. Car go fast means = good editing? Bullitt/F1! Tricky storytelling = good editing? The Social Network/OBBA! But as with winners like Whiplash and Dunkirk, voters dig cutting that really feels kinetic.
BEST SCORE: Ludwig Goransson, Sinners. Category is stacked, but the scene in which Annie and Smoke meet after years and renegotiate their union, with the blues sounds turning into something more like symphonic, did it for me. (Don’t be surprised if Max Richter’s Hamnet score leaps in, though; maybe people will attribute their tears to it.)
BEST PRODUCTION DESIGN: Tamara Deverell and Shane Vieau, Frankenstein.
BEST COSTUME DESIGN: Kate Hawley, Frankenstein.
BEST MAKEUP AND HAIRSTYLING: Mike Hill, Jordan Samuel, and Cliona Furey, Frankenstein
Outside chance for another win for Ruth E. Carter, the Edith Head of black cinema. But del Toro movies sure look designed.
BEST SONG: “Golden,” KPop Demon Hunters. Duh.
🍭 BEST SOUND: Amanda Villavieja, Laia Casanovas and Yasmina Praderas, Sirat. I have an explanation! Everyone says F1 and maybe in the theater the cars sounded great but at home I didn’t feel it; plus I couldn’t make out what Javier Bardem was saying half the time and I know that was not me. As with Sound of Metal in 2019, part of idea of Sirat (I am told) is the sound. Voters love when they can recognize that.
BEST INTERNATIONAL FILM: Sentimental Value. Nearly always, a Best Picture nomination plus a Best Director nomination makes this inevitable.
BEST ANIMATED SHORT FILM: Florence Miailhe and Ron Dyens, Butterfly.
BEST LIVE ACTION SHORT FILM: Lee Knight and James Dean, A Friend of Dorothy.
BEST DOCUMENTARY SHORT FILM: Joshua Seftel and Conall Jones, All the Empty Rooms.
I’ve actually seen 13 of these 15 nominees, which is probably the most dangerous ground on which to predict. They're all good! I wavered on a few: Two People Exchanging Saliva is very much in the mode of the 2024 Live Short winner I Am Not a Robot (this category is very rich this year), and I loved The Girl Who Cried Pearls. But I agree with the oddsmakers on these. And maybe they'll bring cuddly old Miriam Margolyes out on stage for it. (BTW, see Perfectly a Strangeness if you can. Such an eerie little thing.)
BEST VISUAL EFFECTS: Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett, Avatar: Fire and Ash. Love them 3-D living cartoon cat people!
BEST DOCUMENTARY FEATURE: Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee, The Perfect Neighbor. Haven’t seen a one, but my wife loved it.
There you go, folks! Don’t lose all your money!

