Can “Okja” or ‘The Meyerowitz Stories’ break through for Netflix?
If either movie were at a true theatrical distributor or even Amazon Studios, the buzz out of Cannes would have been about how Dustin Hoffman and Adam Sandler are potential Oscar nominees for ‘Meyerowitz’ and that ‘Okja’ was, at a minimum, a below-the-line player. The reception for Netflix “films” by the industry has muted that response. The Netflix title card thomb! earned laughs and boos from screenings in Sundance and Cannes. You can argue that by December, Academy members will just want to reward the best work, but we still think that Netflix branding screams TV to them and not the Academy Awards. Time will tell, but we certainly have sympathy for the PR teams working on Netflix’s awards strategy for the foreseeable future.
Joaquin Phoenix seems close to a slam-dunk Oscar nominee for “You Were Never Really Here”
Phoenix was very surprised by his Best Actor win at Cannes, but the media and anyone who saw Lynne Ramsay’s latest were not. The three-time Oscar nominee is clearly at a creative peak in “You Were Never Really Here.” It’s a powerful performance that actors, in particular, will gush over. Ramsay’s dramatic thriller may not be a real contender in other categories (original screenplay, maybe), but Amazon Studios has something to promote the movie with in a Phoenix campaign.
Robert Pattinson fans need to breathe
Fans of the former tween superstar were over the moon over the possibility that Pattinson would win the Best Actor honor at Cannes for “Good Time.” It didn’t happen and the fact the film was completely snubbed was telling considering there were at least five (soon to be six if you count Maren Ade) Academy members on the jury. Moreover, Pattinson will earn even more critical notices for his work closer to the film’s release, but that early August release date puts him at a disadvantage for a Best Actor campaign. We’d just suggest fans look at his role in the Safdie Brothers’ thriller as a stepping stone to more prominent prestige fare down the road.
Cannes quickly forgot about Todd Haynes’ “Wonderstruck.” Will awards season voters?
Todd Haynes’ love letter to New York City, “Wonderstruck,” earned very good notices from critics with shout outs to Edward Lachman’s cinematography, Carter Burwell’s score, Sandy Powell’s costumes, the performance of youngster Millicent Simmonds and the indelible Julianne Moore. But as the festival wore on, the movie was rarely brought up again in any capacity. Clearly, Haynes’ direction is not on par with his work in “Carol,” but it’s still a heartwarming tale that – in theory – should at least foster an emotional reaction with Academy members. Amazon Studios needs to generate a massive amount of enthusiasm when it returns to the fall festival circuit, especially from a “you can book it” New York Film Festival gala.
“The Killing of a Sacred Deer”: How dark is too dark for the Academy?
If A24 has a moving and realistic tale of contemporary America with the “The Florida Project,” it has an equally moving (in a different way) and surreal tale of contemporary America in Yorgos Lanthimos’ “The Killing of a Sacred Deer.” As noted earlier, star Nicole Kidman has a shot at a nomination depending on what category she is submitted for, but her co-star, the fantastic Colin Farrell, also is in play for a Best Actor nod. Lanthimos has already earned the respect of the Writer’s branch after earning a nod in the Original Screenplay category for “The Lobster” this past January and could easily duplicate that feat this upcoming season for ‘Sacred Deer.’ Anything beyond that depends on how The Academy reacts to the film overall. “Sacred Deer” will continue to get strong critical notices, but it’s dark with a capital D. That hasn’t stopped the Academy recently from rewarding films such as “The Master,” “Foxcatcher” and “The Revenant,” but ‘Sacred Deer’ may cross the line.
Check out the rest of our coverage from the 2017 Cannes Film Festival by clicking here.
