A week ago Awards Circuit editor Clayton Davis posted a 2018 Best Picture spitball chart.
Reps for director Martin Scorsese have insisted that The Irishman won’t open later this year due to extra time being needed to digitally de-age Robert De Niro and others in the cast. “Scorsese and Netflix may or may not be back in the fray with The Irishman,” Davis allows. “The IMDB has it listed for 2019 but [many] believe that if the quality is there and competition is thinning, Netflix will go for its first Best Picture nomination after missing out with Mudbound last year.”
If — I say “if” — The Irishman decides to jump in at the last minute it immediately becomes the Big Kahuna of Best Picture contenders. The Scorsese stamp, the super-sized budget and the old-guy star power (DeNiro, Pacino, Pesci) will immediately establish dominance.
I said the other day that competing heavy-hitters will include Barry Jenkins‘ If Beale Street Could Talk, Adam McKay‘s Backseat, Spike Lee‘s Black Klansman, Josie Rourke‘s Mary, Queen of Scots, Damien Chazelle‘s First Man, Steve McQueen‘s Widows, Bryan Singer and whatsisname‘s Bohemian Rhapsody, David Lowery‘s The Old Man and the Gun, Richard Linklater‘s Where’d You Go, Bernadette?, Mimi Leder‘s On The Basis of Sex, Bjorn Runge‘s The Wife and Jason Reitman‘s The Front Runner.
A very strong voice within is saying “no, no, a thousand times no” to Bradley Cooper‘s A Star Is Born (Warner Bros., 10.5), sight unseen for obvious reasons. Yes, the combination of New Academy Kidz and Lady Gaga fans could turn it into a contender and yes, Sean Penn says he loves it, but my God, the prospect of sitting through this film gives me the willies. To Boy Erased I say “really?”, and to Beautiful Boy I say “meth addiction?”