The Critics Choice Awards (February 7 on the The CW) were all over the place. When it comes to reading the Oscar tea leaves, these 600 film and TV writers from all over the world are often predictive. But this year’s delayed show spread the love around a wide group of films. And, more importantly, the journalists voted back in December, before Netflix’s “Emilia Pérez” revelations changed some viewers’ perception of the film.
Looking at the CCAs, as well as the upcoming DGA and PGA Awards, is like peering into a time machine. That’s how swiftly things can change at the Oscars.
Critics groups add momentum to the winners more than anything else. Not winning isn’t harmful, it just doesn’t give a contender like “A Complete Unknown” a boost. “Anora” (Neon) won just one prize, but it was the one you want: Best Film, and writer-director Sean Baker made a plea for independent movies shown in movie theaters. “Independent film, we have to go for it to stay on the big screen,” he said.
Also flying the indie flag was Best Actor Adrien Brody, who reminded how hard it was for a “small epic” like “The Brutalist” (A24) to get made.
Also coming out ahead: “Wicked” (Universal) which took home two craft awards for Production and Costume Design as well as a surprise win for Best Director Jon M. Chu, who isn’t nominated at the DGAs or the Oscars. (Neither are writers Winnie Holzman and Dana Fox. The last time a movie won Best Picture without a writing or directing nomination was “Grand Hotel,” in 1932.) “Wicked” got almost as much enthusiastic applause whenever the name came up as the L.A. firefighters in the room.
Host Chelsea Handler and many of the winners, including Colin Farrell (HBO’s “The Penguin”) and “Shogun” (FX/Hulu) Drama Series Best Actor Hiroyuki Sanada, thanked the firefighters. “You are my heroes,” he said. Other CCA winners brought up politics, from “trans lives matter” to the climate crisis.
Universal had a good night. Along with three wins for “Wicked,” it added two more for “Conclave” (Focus), which took Acting Ensemble (which it could win at SAG), which was accepted by Best Actor nominee Ralph Fiennes (“We all enjoyed being in our red skirts together,” he said) and Best Adapted Screenplay for Golden Globe winner Peter Straughan, plus one for Animated Feature “The Wild Robot.”
Also winning three awards was body horror film “The Substance” (Mubi). All three wins could repeat at the Oscars: Best Actress Demi Moore, Makeup and Hair, and French auteur Coralie Fargeat for Original Screenplay (who is also nominated for the Best Director Oscar). Moore thanked the critics for listening to the film’s feminist message: “The very recognition, not just for me, but for what this film is about, what it’s trying to convey, your acknowledgement is almost like the elixir. It is the healing bond to the very issue which it brings forward.”
“This script is very, very personal,” said Fargeat. “I decided to trust myself and to really express who I was.”
Also winning three awards was “Emilia Pérez” (Netflix), for Supporting Actress Zoe Saldaña, who gave a teary speech, International Feature, and Song “El Mal.” All three could win on Oscar night, although “I’m Still Here” (Sony Pictures Classics), also nominated for Best Picture and Actress, is moving up fast. It was a good night for the French.
Another likely sweep across awards shows is Supporting Actor Kieran Culkin for “A Real Pain” (Searchlight). The actor is in rehearsals for “Glengarry Glen Ross” on Broadway and couldn’t attend.
Winning VFX was Denis Villeneuve’s sci-fi epic “Dune: Part Two.” That too could repeat on Oscar night, as voters could hold off on other awards until they see the conclusion of the trilogy, “Dune: Messiah,” (Legendary/Warner Bros.) which starts production in Budapest and Iceland this summer with a returning Timothée Chalamet and Zendaya. It’s a continuation of the series, but jumps ahead 12 years. A 2026 release date seems likely.
See all the winners here.
