Almost There: Jessica Chastain in "Molly's Game"

by Cláudio Alves

Nicole Kidman just won the Golden Globe for Best Actress in a Drama for her work in Aaron Sorkin's third feature as a director, Being the Ricardos. In truth, most of the writer turned writer/director's projects have garnered awards attention, so this win shouldn't be surprising. The first two movies he directed Trial of the Chicago 7 and Molly's Game earned Sorkin Oscar nominations for writing. His 2017 directorial debut, Molly's Game has another connection to the current awards season. Since Zero Dark Thirty earned her a Best Actress nod, Jessica Chastain has tried to return to the Academy's good graces but it hasn't yet happened. This year, The Eyes of Tammy Faye could end her Oscar dry spell.

As we wait for nomination morning, let's look back at Chastain's performance in Sorkin's gambling drama as the real-life character, Molly Bloom…

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Aaron Sorkin at the Oscars

by Cláudio Alves

With The Trial of the Chicago 7 streaming on Netflix, one of the season's strongest awards contenders is now widely available. Even in times of pandemic and one of the weirdest Oscar races ever, it feels like a safe bet to rely on AMPAS to shower the movie with gold. The Academy is known to love an inspirational true story and Sorkin's sophomore directorial effort fits the bill. Some would argue it does this too emphatically, choosing formulaic drama over probing political critique and structuring the narrative around Tom Hayden's redemption to the detriment of the other historical figures.

Whatever faults the movie has, such matters are unlikely to undermine what already feels like a sterling awards narrative. This is a picture of political repression and revolutionary ideals that reflects and comments on our present time. Its themes are as urgent as ever. Furthermore, the Academy has long shown they are keen on Sorkin's brand of self-righteous garrulousness, and almost all of his movies have received Oscar nominations. With that in mind, let's reminisce about the filmography of Aaron Sorkin and its presence at the Academy Awards…

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Blueprints: The Nominees for Best Adapted Screenplay

Jorge continues to dive into the Oscar writing nominees.

Last week we dove into the nominees for Original Screenplay, which was an incredibly crowded category from the start, and there’s not a real frontrunner at the moment; more than one candidate has strong chances. The race was always very different with Adapted Screenplays. From the very start, only Call Me by Your Name truly felt like lock, and the four other slots were anyone's guess for months. Let’s take a look at each of the scripts, and see what was it that got them here...

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Poker with Molly & Wrestling with Brie -- onward to the Globes!

by Nathaniel R

A silly and serious Globes preamble. We won't be live-blogging the Globes tonight though we'll do as much as possible tomorrow for a recap so until then one serious thought and two silly ones. We're heading into an unusual season when Hollywood is in a very serious mood due to the sexual harassment scandals. Awards shows aren't all that well-equipped to be serious as their format is inherently celebratory and "fun". That comes partially from the practice of comedians as hosts but it's there in the basic DNA since each awards night is a long and glitzy  'you get a prize and you get a prize and you get a prize' parade of the rich and beautiful and famous. In times when Hollywood curtails the glamour to address a serious crisis (like a new war for example or the lack of gender parity in Hollywood) it can come across as merely glum. It's as if the entertainment industry has crises of identity whenever they think people don't want escapist diversions but direct addresses to their ills.

Our theory is that people actually want both (which is why we try to balance the fun and the serious here in film conversations) and the celebrities that are best equipped to actually deal with tonight's mood are probably the celebrities who are inherently "fun" but can also turn deadly serious without feeling like a buzzkill. Or, in other words: Meryl Streep. Rescue us Meryl.

One area we know will be atypical (at least) is the red carpet...

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Box Office: Jumanji, Tonya, and the Oscar waiting game

by Nathaniel R

Weekend Box Office (Jan 5th-7th)
W I D E 800+ screens	L I M I T E D excluding prev. wide
1. Jumanji: Welcome to the Jungle  $36 (cum. $244.3)	1.🔺 I Tonya $2.4 on 242 screens (cum. $5.2)  REVIEW | GLOBE SURPRISE?
2. 🔺  Insidious The Last Key $29.2 (cum. $212.1)	2.🔺 The Post $1.7 on 36 screens (cum. $3.8) REVIEW | OSCAR KICK-OFF PODCAST
3. The Last Jedi $23.5 (cum. $572.5) LYNN'S REVIEW | NATHANIEL'S TAKE	3. Call Me By... $758k on 117 screens (cum. $6) REVIEWISH | SCREENPLAY | SEX
4. The Greatest Showman $13.8 (cum. $75.9) REVIEW | ZAC ATTACK | ZENDAYA	4.🔺 Hostiles $310k on 46 screens (cum. $435k)
5. Pitch Perfect 3 $10.2 (cum. $85.9) REVIEW	5.🔺 Along with the Gods $280k on 35 screens ($1.1)

One thing that we're always forcefully reminded of each holiday season -- since we tend to forget -- is that the whole world is not, in point of fact, thinking about Oscar buzz. Each year countless films casually ring up rather large box office returns without generating any "heat" in award season and some not even being part of that game. Insidious for example had the weekend to itself in terms of new wide releases and was rewarded for it. The Greatest Showman, is another one that isn't really banking on Oscar love. The musical's global gross has already doubled its budget (though given the P&A expenditures it's probably got some ways to go before a profit still)...

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