The Best Picture Race: The 1920s


The Oscars started out as an afterthought.

When Louis B. Mayer first proposed setting up what would become the Academy of Motion Picture Arts and Sciences in 1927, he wasn’t really that interested in giving out awards. Instead, he saw the Academy as an organization that would mediate labor disputes between the studios and the unions. He also felt that the Academy could basically be used to improve the film industry’s image, which had taken a hit from the rape trial of Fatty Arbuckle, the overdose of Wallace Reid, and the murder of William Desmond Taylor. When he and the other 35 founders of the Academy met to draw up the organization’s charter, the idea of giving out awards was mentioned only in passing. A committee would be set up to give out yearly awards to honor the best that Hollywood had to offer.

The first Academy Awards ceremony was held in a hotel ballroom in 1928. It occurred at the end of a private dinner and the awards were handed out in 15 minutes. The 2nd ceremony was the first to be broadcast on the radio. It was only when the Academy got around to the third ceremony that the Oscars started to transform into the spectacle that we know today. It was only then that people started to really pay attention to what was and was not nominated for Best Picture.

Today, for Oscar Sunday, we’re taking a a decade-by-decade look at the Best Picture races of the past. We start with those first three ceremonies.

Wings (1927, dir by William Wellman)

1927–1928

Uniquely, the very first Academy Awards saw the presentation for two best picture trophies. Best Production went to the most entertaining film. Unique and Artistic Production went to the most artistic film.

Production

The Racket

Seventh Heaven

Wings

Unique and Artistic Production

Chang

The Crowd

Sunrise

Won: Wings and Sunrise

Should Have Won: The first time out, the Oscars got it right. People tend to be a bit dismissive of Wings but it has that one amazing tracking shot and it also features the wonderful Clara Bow. Sunrise, meanwhile, is a triumph in every way. Among the eligible films not nominated: Buster Keaton’s The General and Fritz Lang’s Metropolis.

Sunrise (1927, dir by F.W. Murnau) Won Best Unique and Artistic Picture

1928–1929

Uniquely, only the winners were announced for the 2nd awards ceremony. The “nominees” listed below are taken from a list of notes that were taken while the judges were discussing who and what to honor.

Alibi

The Broadway Melody

The Hollywood Revue of 1929

In Old Arizona

The Patriot

Won: The Broadway Melody

Should Have Won: The Broadway Melody was the first musical to win but it’s aged terribly. I actually prefer The Hollywood Revue of 1929, which has no plot but which does feature a bunch of MGM stars singing, dancing, and showing off that they were having no problem transitioning for silent cinema to sound films. Or, at least, that was the idea. Poor John Gilbert.

1929–1930

All Quiet On The Western Front

The Big House

Disraeli

The Divorcee

The Love Parade

Won: All Quiet On The Western Front

Should Have Won: All Quiet On The Western Front. Third time out, the Academy got it right.

Up next, the Stock Market crashes and we enter a scary new decade in American history. In about 30 minutes, we’ll be taking a look at the 1930s!

The Oscars Over The Years


Tonight will mark the 92nd year that the Oscars have been awarded.  The Academy Awards are now an American tradition and, just as America has changed over the past 10 decades, so have the Oscars.

Here are a few pictures from the past.

1930

1940

1950

1954

1960

1968

1970

1973

1980

1991

2000

2010

2014

2017

2021

2022

2022

2024

2025

 

6 Actresses Who I Hope Will Win An Oscar In The Next Ten Years


 

Scarlett Johansson

If Scarlett Johansson hadn’t spent several years appearing in Marvel films, she’d probably have an Oscar by now.  She was nominated twice in 2019, for JoJo Rabbit and Marriage Story.  I would argue that she also deserved nominations for Under The Skin and Lost in Translation as well.  Indeed, considering that Jonathan Lynn revealed himself to be a pretentious blowhard when he was accepting his Oscar for The Zone of Interest, it seems even more likely than before that the power of Under the Skin was totally due to Johansson’s performance.  This year, she’ll be appearing in Paper Tiger, James Gray’s latest movie about two brothers dealing with the Russian mafia.  (Seriously, how many times has Gray made this movie?)

Kirsten Dunst

Kirsten finally received her first nomination for The Power of the Dog and she probably would have won if that film hadn’t been such a remote and chilly viewing experience.  Dunst is a Hollywood survivor, someone who has gone from appearing in cutesy film like Get Over It to becoming one of the best interpreters of depression out there.  Between Melancholia and Power of the Dog, there’s really no excuse for her not to have an Oscar already.

Carey Mulligan

Mulligan should have won an Oscar for An Education.  Along with An Education, she’s also been nominated for Promising Young Woman and Maestro.  She deserved a nomination for Shame as well.  Carey Mulligan is one of the most intelligent actresses of her generation and hopefully, she’ll get the award that she deserves soon.

Anya Taylor-Joy

Taylor-Joy has seemed like an eventual nominee ever since her role in The Witch.  This year, she’ll be playing Joni Mitchell in Cameron Crowe’s currently untitled biopic and appearing in Dune: Part Three.  It’ll be interesting to see if she follows the Timothee Chalamet route of getting nominated for playing an iconic singer.

Kate Hudson

A lot of people have been dismissive of Kate Hudson’s nomination for Song Sung Blue.  Well, I’ve actually seen the film and I hope she wins tonight.  She gave a great performance.  And if she does lose to Jessie Buckley or Rose Byrne tonight, I hope she’ll get a third nomination soon.

Amy Adams

A few years ago, Amy Adams seemed certain to win an Oscar at some point in the very near future.  Since 2005, she has received 6 Oscar nominations and her lack of a nomination for Arrival is often cited as one of Oscar’s more bizarre decisions.  And yet, it’s been 8 years since Adams was last nominated, for Adam McKay’s irksome “satire,” Vice.  Adams has continued to appear in major films.  In fact, many of her recent roles have been the type that seem to have Oscar nomination written all over them.  That may be a part of the problem.  Adams’s main strength as an actress has always been her natural authenticity.  With films like Hillbilly Elegy and Nightbitch, she almost seemed to be trying too hard to catch the attention of the Academy.  Her upcoming film, At The Sea, features her as a recovering addict and, again, it seems like the type of role that would get her nomination but the film itself was greeted with derision when it premiered at the Berlin Film Festival.  Oh well.  I remain hope that my fellow redhead will finally get the Oscar that she deserves.

 

 

 

 

 

6 Actors Who I Hope Will Win An Oscar In The Next Ten Years


Ethan Hawke

I should begin by saying that there’s a good chance that Ethan Hawke will win an Oscar later tonight.  He’s been nominated for Blue Moon.  When this Oscar season began, he was definitely the front runner.  As of late, the momentum seems to have shifted toward Michael B. Jordan or perhaps Timothee Chalamet but still, one should not totally discount Hawke’s chances.  If Hawke does lose tonight, I have no doubt that he will be nominated in the future and eventually, he will win.  It’ll be long overdue.  As you can probably guess by the picture at the start of this post, I’m one of those people who thinks that he definitely should have won for Boyhood.

Colin Farrell

Colin Farrell finally received his first Oscar nomination for The Banshees of Inisherin but he lost the award to Brendan Fraser.  Farrell is not an actor who has always gotten the respect that he deserves.  Especially early in his career, he was often miscast.  Much like Matthew McConaughey, he was often dismissed as just being a pretty boy until he met a director — in this case, Martin McDonagh — who truly understood how to best utilize Farrell’s screen presence.  As In Bruges, Banshees and The Penguin showed, Farrell is essentially a character actor in a leading man’s body.  My hope is that Farrell will win his first Oscar between now and 2036 and that he’ll give a memorable acceptance speech.

Brendan Gleeson

Speaking of The Banshees of Inisherin, how does Brandan Gleeson only have one Oscar nomination to his name?  Now, to be clear, I don’t begrudge the fact that Gleeson lost to Ke Huy Quan.  Quan had a wonderful personal story, gave the best performance in the overrated mess that was Everything Everywhere All At Once, and his acceptance speech was truly touching.  That said, my sincere hope is that the Academy understands that Gleeson is long overdue an Oscar.  Hopefully, that will be corrected soon.

Kurt Russell

Kurt Russell is one of those actors who I just can’t believe has never been nominated.  In a few days, Kurt Russell will be turning 75.  He’s been a popular actor for most of his life but he’s not getting any younger.  So, get with it, Academy!  I don’t care what his next film is.  I don’t care how big the role is.  Give Kurt Russell his Oscar!

Tom Cruise

Tom Cruise has had an interesting career.  He went from being a teen idol to a character actor to a somewhat disreputable celebrity to finally reemerging with the Mission Impossible films as one of our last true movie stars.  One need only watch Top Gun: Maverick to see the type of charisma that we’re going to miss once it’s gone.  Later this year, Cruise will be starring in Digger.

Sylvester Stallone

Seriously, how many times does this man have to play Rocky and Rambo before the Academy finally gives him the award that everyone secretly wants him to win?  Give Stallone his Oscar!

6 Directors Who I Hope Will Win An Oscar In The Next Ten Years


David Lynch died without ever having won a competitive Oscar.  He was nominated three times, once for a movie that was also nominated for Best Picture.  He was given an honorary award before he died.  But he never won the Oscar for Best Director.

When it comes to the Oscars, we always talk about artists who are “overdue” and we often suggest that they’ll win with their next major release.  But life and art are both unpredictable.  Indeed, even when a past due director does win an Oscar, it’s often for a lesser film.  George Cukor directed many charming films but he only won one Oscar and that was for the leaden My Fair Lady.

Here are my picks for six directors who I hope will win an Oscar in the next ten years.  Some are overdue.  Some are just underrated.  All of them are deserving.

Richard Linklater

Richard Linklater had a great 2025.  Blue Moon resulted in an Oscar nomination for Ethan Hawke.  Nouvelle Vague swept the Cesars.  He’s widely viewed as one America’s best and most independently-minded directors.  And yet, he’s only once been nominated for Best Director, for Boyhood.  That Linklater lost that Oscar to Alejandro Gonzales Inarritu is a true injustice.  Linklater is one of those directors who vision may be too idiosyncratic for the Academy but I remain hopeful that he will get his Oscar.  He’s currently directing Merrily We Roll Again, with filming set to wrap up in 2040.  That’s a long wait but I look forward to reviewing it.

Joseph Kosinski

With Top Gun: Maverick and F1Kosinski has emerged as one of the best directors of action around.  Both Top Gun: Maverick and F1 were satisfying films that were not ashamed of being works of adrenaline-pumping excitement.  Both were nominated for Best Picture but Kosinski has yet to receive a Best Director nomination.  I hope that changes soon.

David Fincher

It’s amazing to realize that David Fincher still doesn’t have an Oscar.  He’s one of the most influential directors around.  Much as with David Lynch, a lot of aspiring filmmakers have tried to imitate Fincher but David Fincher really is the only one who can do what he does.  2026 will see the release of The Adventures of Cliff Booth and it will be interesting to see how Fincher continues the story started by Quentin Tarantino in Once Upon A Time In Hollywood.

Quentin Tarantino

To be honest, I suspect that Quentin Tarantino is never going to win a Best Director Oscar.  He’s talented, he’s beloved by a large number of film fans, and he also has a real talent for burning bridges and ticking people off.  If you’re a director who happens to be a friend of Paul Dano’s, you’re probably never going to vote for Tarantino.  That said, I have my doubts as to whether or not Tarantino really cares about the Oscars.  His favorite films are the ones that don’t win Oscars.  I personally would enjoy hearing his acceptance speech.

Andrea Arnold

I have been a fan of Andrea Arnold’s ever since I saw Fish Tank at the Dallas Angelika in 2010.  This British director has only directed five feature films since 2006 but she’s still one of the best filmmakers out there, capturing life on society’s fringes with an empathy that never feels condescending.

Sofia Coppola

Sofia is a perennial on these lists and I’ll keep including her until she finally wins her Oscar. No one captures the beauty of ennui with quite the skill and visual flair of Sofia Coppola.

 

My Oscar Predictions


 

Okay, let’s do this!  Here are my predictions of what will win at the big show tonight!

Best Picture — Sinners

Best Directing — Ryan Coogler, Sinners

Best Actor — Michael B. Jordan, Sinners

Best Actress — Jessie Buckley, Hamnet

Best Supporting Actor — Delroy Lindo, Sinners

Best Supporting Actress — Wunmi Mosaku, Sinners

Best Original Screenplay — Sinners

Best Adapted Screenplay — One Battle After Another

Best Animated Feature — Zootopia 2

Best Casting — Sinners

Best Production Design — Frankenstein

Best Cinematography — Train Dreams

Best Costume Design — Frankenstein

Best Film Editing — Sinners

Best Makeup and Hairstyling — Frankenstein

Best Sound — F1

Best Visual Effects — F1

Best Original Score — Sinners

Best Original Song — Golden from KPop Demon Hunters

Best Documentary Feature — The Perfect Neighbor

Best International Feature — The Secret Agent

Best Animated Short — The Retirement Plan

Best Documentary Short — Armed Only with a Camera: The Life and Death of Brent Renaud

Best Live Action Short —  Jane Austen’s Period Drama

Welcome To Oscar Sunday!


Audrey Hepburn and her Oscar, in happier times

Welcome to Oscar Sunday!

Today is practically a holiday for me.  As someone who loves movies and who also loves award shows, the Oscar Ceremony is an important annual event.  I really don’t feel like the previous year is over until the Oscars have been handed out.  For me, I won’t truly be able to move on from 2025 and really plunge into 2026 until the award for Best Picture is handed out.

We’ll be here, the TSL crew, watching the show and rooting for our favorite films!  We’ll be posting all the winners, maybe a few reviews, and I’ll be tossing out some Oscar thoughts throughout the day.

Enjoy Oscar Sunday!  May we all be as happy as Audrey Hepburn was when she won her Oscar for Roman Holiday!

Sinners Wins At The Actor Awards


 

It was a good night for Sinners.  Victories at both the Actor Awards and the Eddie Awards would seem to indicate that the film has a shot at pulling off an upset.  Still, One Battle After Another won with both the DGA and PGA and it probably still has to be considered front runner.

Here are the winners, listed in bold.  I slept through the ceremony because I took some pain killers for my ankle.

OUTSTANDING PERFORMANCE BY A CAST IN A MOTION PICTURE
Frankenstein
Hamnet
Marty Supreme
One Battle After Another
Sinners

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A LEADING ROLE
Timothée Chalamet – Marty Supreme
Leonardo DiCaprio – One Battle After Another
Ethan Hawke – Blue Moon
Michael B. Jordan – Sinners
Jesse Plemons – Bugonia

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A LEADING ROLE
Jessie Buckley – Hamnet
Rose Byrne – If I Had Legs I’d Kick You
Kate Hudson – Song Sung Blue
Chase Infiniti – One Battle After Another
Emma Stone – Bugonia

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE
Odessa A’zion – Marty Supreme
Ariana Grande – Wicked: For Good
Amy Madigan – Weapons
Wunmi Mosaku – Sinners
Teyana Taylor – One Battle After Another

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE
Miles Caton – Sinners
Benicio del Toro – One Battle After Another
Jacob Elordi – Frankenstein
Paul Mescal – Hamnet
Sean Penn – One Battle After Another

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A DRAMA SERIES
The Diplomat
Landman
The Pitt
Severance
The White Lotus

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES
Jason Bateman – Black Rabbit
Owen Cooper – Adolescence
Stephen Graham- Adolescence
Charlie Hunnam – Monster: The Ed Gein Story
Matthew Rhys – The Beast In Me

OUTSTANDING PERFORMANCE BY AN ENSEMBLE IN A COMEDY SERIES
Abbott Elementary
The Bear
Hacks
Only Murders in the Building
The Studio

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A DRAMA SERIES
Sterling K. Brown – Paradise
Billy Crudup – The Morning Show
Walton Goggins – The White Lotus
Gary Oldman – Slow Horses
Noah Wyle – The Pitt

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A COMEDY SERIES
Kathryn Hahn – The Studio
Catherine O’Hara – The Studio
Jenna Ortega – Wednesday 
Jean Smart – Hacks
Kristen Wiig – Palm Royale

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A TELEVISION MOVIE OR LIMITED SERIES
Claire Danes – The Beast In Me
Erin Doherty – Adolescence
Sarah Snook – All Her Fault
Christine Tremarco – Adolescence
Michelle Williams – Dying For Sex

OUTSTANDING PERFORMANCE BY A MALE ACTOR IN A COMEDY SERIES
Ike Barinholtz – The Studio
Adam Brody – Nobody Wants This
Ted Danson – A Man On The Inside
Seth Rogen – The Studio
Martin Short – Only Murders in the Building

OUTSTANDING PERFORMANCE BY A FEMALE ACTOR IN A DRAMA SERIES
Britt Lower – Severance
Parker Posey – The White Lotus
Keri Russell – The Diplomat
Rhea Seehorn – Pluribus
Aimee Lou Wood – The White Lotus

OUTSTANDING STUNT ENSEMBLE IN A MOTION PICTURE
F1
Frankenstein
Mission: Impossible — The Final Reckoning
One Battle After Another
Sinners

OUTSTANDING STUNT ENSEMBLE IN A TELEVISION SERIES
Andor
Landman
The Last of Us
Squid Game
Stranger Things

Weapons (w & dir: Zach Cregger), Film Review by Case Wright – No Spoilers


I should get an academy award for reviewing this film without spoiling it. It is so hard. I won’t post a spoiler review, until the Shattered Lens staff tells me that they’ve seen it.

I know, I know… Case, Weapons came out a while ago! What gives?! In my defense, it’s Oscar nominated; so, I’m not late until April. Take that!

Zach Cregger presents his story through six different perspectives: Justine a teacher/alcoholic, Archer a self-loathing father, Paul an alcholic/cheater cop, James a drug addict, Marcus the school principal who wants to be good, and Alex the crux of the plot. Cregger uses these different perspectives to force you to pay close attention to discern the subtle plot points. One thing that stood out to me was that he told the story through cinematography (showing not telling) to such a degree that the scenes with dialogue could be counted.

The film is clearly rooted in the storytelling of Fulci. There is plot and dialogue, but the vast majority of the story is told visually with unique Americana. Just as The Beyond had to be filmed in New Orleans, Weapons had to be filmed in summertime Suburbia. The setting succeeded in bringing additional tension to the story where the visuals were the storyteller.

He filmed it so that the suburban setting is a character itself. There are scenes where characters are quickly isolated by going from a backyard into the woods. I am certain that this was intentional to show that all normal civilized society is immediately adjacent to an untamed wild forest that can consume us whole. The theme of line crossing both physical and metaphorical is woven throughout the entire story. Lines are crossed that are professional, societal, relationship-based, and actual physical lines. The line crossing is another element that induces a cringe-suspense that ratchets the tension continually.

The score shares the circulatory system with the setting and story so that it is used as a stand-in for dialogue. There are entire scenes without a single word spoken; so, the music and cinematography fill that vacuum, which pulls us in deeper and deeper into Zach Cregger’s world. What makes the story more challenging is that it is a world we know: the suburbs. The music is both congruous and incongruous depending on what part of the story is told.

I believe that I have succeeded in reviewed this film without spoiling it. Normally, I DO NOT CARE, but this film is so well done and rooted in the Fulci storytelling that I can’t do that to the staff and especially not Lisa. I hope that you all watch it soon or we schedule a watch party.