Now that the awards for the best of 2025 have been handed out, it’s time to think about what might be nominated next year!
Below are my first set of Oscar predictions for 2026! What am I basing these predictions on? Nothing but instinct, wild guesses, and hopeful thinking. Take them with a grain of salt. If nothing else, we’ll look back on these a year from now and we’ll laugh. Or, we’ll be amazed at my cognitive abilities.
Today is Nicolas Cage’s 62nd birthday. Join me and celebrate by watching this incredible clip from my favorite film of 2021, PIG! It’s currently streaming on Netflix!
Ever since Werner Herzog’s Bad Lieutenant: Port of Call New Orleans was first released in 2009, people have debated the symbolism of the iguanas on the coffee table. Are they just a sign that Nicolas Cage’s bad lieutenant is totally high or do they have a deeper meaning? Myself, I’m not even going to try to guess. All I know is that the lieutenant eventually came to appreciate their presence.
2021’s Willy’s Wonderland takes place in an dilapidated restaurant.
Back in the day, Willy’s Wonderland was the ideal place to go if you were young and celebrating your birthday. The animatronic mascots would sing “Happy birthday” and maybe meet your parents. Willy Weasel, Arty Alligator, Cammy Chameleon, Ozzie Ostrich, Tito Turtle, Knighty Knight, Gus Gorilla, and Siren Sara promised fun and cheesy entertainment to anyone looking for a nice family meal!
Unfortunately, people stopped going to Willy’s once it was discovered that the owner was a serial killer. Jerry Robert Willis (Grant Cramer) and his seven friends were cannibals who regularly sacrificed families. Eventually, the police caught up to him but, even under new ownership, no one wanted to eat at Willy’s. There were rumors that Willis and his friends had transferred their souls into the animatronic figures but surely, that could not have been true!
Right?
Nicolas Cage plays a man with no name. When his car breaks down, the local mechanic agrees to fix the car if the man agrees to spend the night as the janitor at Willy’s. Apparently, it’s been a struggle to keep a night janitor at the place. People find the location to be creepy and, of course, the animatronic mascots keep killing anyone dumb enough to try to mop the floors. Cage’s man with no name silently agrees. Everything that Cage does, he does without a word. This is one of the rare films where Nicolas Cage, usually a champion talker, says absolutely nothing.
Now, I should mention that there actually is a plot to Willy’s Wonderland. Liv (Emily Tosta) and her friends are trying to burn the place down because, years ago, Liv’s parents were murdered by the mascots. Unfortunately, Liv and her friends aren’t that smart and they end up trapped in Willy’s Wonderland. The majority of them quickly fall victim to the mascots. The deaths are appropriately gruesome, though tinged with the dark humor that would come from essentially being killed by a knock-off version of Chuck E. Cheese.
But really, the plot isn’t important. This film is entirely about Nicolas Cage, playing a man with no name. Cage takes the janitorial job and, over the course of the night, he battles the mascots. At the same time, he also makes it a point to continue to do his job. Besieged or not, he agreed to clean the place up. He takes his breaks and plays pinball exactly as scheduled, even if that means abandoning Liv and her friends. Normally, you might think that this would be bad behavior on the part of Cage’s character. Abandoning someone in the middle of a battle is not usually encouraged. But Liv and her friends are very annoying. Cage is ultimately the hero by default. Yes, he’s fighting and killing the mascots but he’s really only doing it because they’re getting in his way while he’s trying to do his job. The fact that he helps out Liv is largely coincidental.
Willy’s Wonderland proves that Cage doesn’t need a lot of lines to be the center of a film. Even without speaking, he’s such a wonderfully eccentric presence that you can’t help but watch him and cheer him on. Admittedly, Willy’s Wonderland is never that scary, though the “Happy Birthday” song is definitely creepy. The mascots are a bit too cartoonish to be truly frightening. But, if the film doesn’t really work as a horror film, it does work as an adrenaline-fueled Cage match. And that’s nearly as good.
Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. We’re actually hitting a 3-year milestone with #MondayMuggers, which had its premiere on July 11th, 2022. Tonight, Monday, July 14th, we’re excited to present WILLY’S WONDERLAND (2021), starring Nicolas Cage, Emily Tosta, Beth Grant, and Ric Reitz.
The plot:A quiet drifter is tricked into a janitorial job at the now condemned Willy’s Wonderland. The mundane tasks suddenly become an all-out fight for survival against wave after wave of demonic animatronics. Fists fly, kicks land, titans clash — and only one side will make it out alive.
So, if you think you might enjoy watching Nicolas Cage take on “demonic animatronics,” then there’s a good chance you’ll enjoy this movie. Join us for the 3-year anniversary celebration of #MondayMuggers and watch WILLY’S WONDERLAND. It’s on Amazon Prime! I’ve included the trailer below:
Alessandro Nivola has some good credits in movies like MANSFIELD PARK (1999), AMERICAN HUSTLE (2013), and THE BRUTALIST (2024), but he’ll always be special to me as Pollux Troy, the younger brother of Nicolas Cage’s Castor Troy, in John Woo’s most awesome American film FACE/OFF!
In celebration of Nivola’s 53rd birthday, enjoy this little taste of late-90’s coolness (the link can only be watched on YOUTUBE, and it’s worth it):
The Surfer (Nicolas Cage) is an American who has returned to the Australian beach where his dad used to surf. He wants to buy a home overlooking the ocean. Even more importantly, he wants to surf with his teenage son (Finn Little). As the Surfer and his son walk towards the water, they are confronted by three men. The leader of the men goes by the name of Pitbull (Alexander Bertrand).
“Don’t live here,” Pitbull says, “don’t surf here.”
The Surfer assures Pitbull that his son is an amazing surfer. (The Surfer’s son looks embarrassed.)
“Don’t live here, don’t surf here,” Pitbull replies.
Pitbull is a member of a cult of local surfers, all of whom follow Scally (Julian McMahon), a self-appointed guru who recites his rules with a ruthless but charismatic intensity. Scally brands his followers, burning their flesh in a ritual to announce that they are now a part of his family. “Before you can surf, you must suffer,” Scally says.
Now, to be honest, I would just go to a different beach. I’m not a surfer. I’m not even that much of a swimmer. I do, however, enjoy laying out on a nice beach or by a big swimming pool. One thing that I’ve learned is that, when the cult arrives, you leave. Seriously, there’s always somewhere better to go. Any place that does not have a cult will be infinitely better than a place that does.
The Surfer’s son agrees with me and suggests just going to another beach but that’s not an option for the Surfer. The Surfer is obsessed with Scally’s beach and he’s determined to surf it. It was on that beach where the Surfer made his best childhood memories. It was on that beach where his father died. The Surfer sends his son back home and then the Surfer literally moves into his Lexus. He sleeps in the parking lot and he keeps an obsessive eye on the beach.
People come and go. The Surfer meets the Bum (Nic Cassim), who claims that Scally is responsible for the death of both his dog and his son. A local cop comes by and is quickly revealed to be a member of Scally’s cult. The Surfer become more and more disheveled. He loses his money. He loses his car. He runs into his real estate agent (Rahel Romahn) but the agent says that he’s never seen the Surfer before. The Surfer starts to hallucinate and can no longer keep straight who is who. What at first seemed like an intense midlife crisis and a desire to reclaim one’s youth starts to seem like something much more troubling and potentially psychotic. Everyone tells The Surfer to leave. Everyone tells him that he’s never going to get his house and he’s never going to surfer the beach. But, like the Bum, the Surfer is a man obsessed.
TheSurfer is an intriguing film. At first, it seems like it’s going to be another Nicolas Cage revenge film. Then, it becomes a surreal head trip, one that leaves you wondering just who exactly Cage’s surfer actually is. Unfortunately, the film loses it’s way during its final third and instead becomes a rather mundane thriller. That said, the cinematography is gorgeous and, if you’re a fan of Cage’s unique style (as I am), this film allows him a chance to get totally unhinged. I wish the film had stuck with its surreal implications rather than chickening out during the final third but still, TheSurfer and Nicolas Cage held my interest.
The South American drug cartels have been getting too aggressive so the American government decides to take them out with Apache helicopters. Missions leaders Tommy Lee Jones and Dale Dye know that these helicopters are the ultimate weapons of death and that things could go terribly wrong if they recruit the wrong pilots.
So, of course, they get Nicholas Cage and Sean Young to fly them.
FireBirds was an attempt to redo TopGun with helicopters. It does actually improve on Top Gun in that it gives the pilots an actual villain to fight. The drug cartels and the German mercenary (Bert Rhine) that they hire are good B-movie villains and an improvement on the faceless and apparently nationless bad guys who showed up at the end of TopGun. What FireBirds cannot improve on are the flying sequences because fighter planes are just more exciting than to watch than helicopters.
The best thing about the movie is that it brought Nicolas Cage and Tommy Lee Jones together and their acting styles mesh far better than I think anyone would expect. Sean Young is about as believable as a helicopter pilot as you would expect her to be, which is to say not at all. There’s a reason why Young’s best performance was as a robot.
“I. Am. The. Greatest!” Nicolas Cage says in the movie and he sounds convinced. Fire Birds makes the case that Cage is the greatest when it comes to making something bad watchable. This movie would be thoroughly forgettable if not for his presence and the same can be said about a lot of other movies as well. But, Tommy Lee Jones can lay claim to the “Greatest” title as well. Five years after FireBirds, Tommy Lee Jones would tell Jim Carrey, “I cannot sanction your buffoonery,” and the passage of time has shown that Jones knew what he was talking about. Nicolas Cage and Tommy Lee Jones should make more movies together.
I couldn’t let today go by without recognizing John Travolta. I’ve enjoyed so many of his films over the years, especially movies like GREASE, BLOW OUT, PULP FICTION, and GET SHORTY. But the movie I probably love the most is FACE/OFF. I remember watching it at the movie theater back in 1997 and thinking it was the best movie ever. It came out at a perfect time when I was obsessed with John Woo, and I was still enjoying Travolta’s mid-90’s comeback. I still watch FACE/OFF at least once every year.
Enjoy this excellent scene from John Woo’s FACE/OFF!
It was around 1986 or 1987, and I was around 13 years old. I had never heard of David Lynch, but I was at this video store at the Park Plaza mall in Little Rock when I came across a VHS tape of BLUE VELVET on sale for $1.99. The description looked very interesting, and it had Dennis Hopper in it. I recognized Hopper because he was in one of my favorite movies at the time, HOOSIERS. My dad was a high school basketball coach, so basketball was my life up until I graduated high school. Somehow, I was able to talk my mom into buying it for me. BLUE VELVET was probably the strangest film I had seen up to that point in my life, and there was no doubt that I didn’t understand what was going on in some parts of the film, but I was still mesmerized by it. I became an immediate fan of Lynch.
For the next decade or so, I was on the lookout for anything new from David Lynch, whether it be the TWIN PEAKS T.V. series, or even more importantly to me, WILD AT HEART, with Nicolas Cage, Laura Dern and Willem Dafoe. I’d watch the man’s work all by myself in my home in Toad Suck, Arkansas. It felt like I was in a gang of 1, as I’m not sure there was another person in my community who had any clue who David Lynch was, or who appreciated his work. But that was okay. I enjoyed his films and that’s all that matters.
I haven’t kept up with David Lynch that much over the last few years, but I’ve always recognized what a unique talent he was. Rest in peace, sir, and congratulations on a life well lived!