It’s beginning to look a lot like … awards season, with contenders and wannabes heading into movie theaters in the weeks ahead.
Trouble is, it’s almost impossible to watch them all. But we’re here to help, with a guide to the legitimate Oscar hopefuls that have landed or are headed to Bay Area screens through the end of 2018. All opening dates, of course, are subject to change.
So get cozy and place your bets.
“Widows”: Could Viola Davis snag another Oscar nomination, even another win in 2019? Possibly. The “Fences” best supporting actress is said to be dynamite in Steve McQueen’s clever heist flick penned by twist specialist Gillian Flynn of “Gone Girl” fame. It’s about cash-strapped wives teaming up to clear the debts dubiously rung up by their dead hubbies. Don’t be surprised if the film steals a best picture nom, too. Opened Nov. 16.
“The Favourite”: Yorgos Lanthimos’ quirky, accomplished body of work (watch “The Lobster,” then we’ll talk) veers far from conventional tastes, but this historical epic about the clash between two determined status seekers vying for the attention/affection of an addled queen is his most accessible, and his finest feat. Don’t worry diehard fans, the Greek auteur has hardly gone softball. Olivia Colman, Emma Stone and Rachel Weisz deliver a trifecta of perfect performances in one of the boldest dramas about royalty you’ll ever see. Opens Nov. 30.
“Mary Queen of Scots”: For those seeking another tug-of-war about female royalty, pivot to stage director Josie Rourke’s cinematic take on the legendary smackdown between Mary Stuart (Saoirse Ronan) and Elizabeth I (Margot Robbie). Acting fireworks are guaranteed to go off. Opens Dec. 14.
“If Beale Street Could Talk”: What’s the best way to follow up a previous best picture winner? If you’re Barry Jenkins, you come up with another best picture nominee. His powerful adaptation of a James Baldwin novel is pure literary grace — in cinematic form. Newcomer KiKi Layne and Stephan James play soulmates who get cruelly pulled apart. Both are revelations and should be in the acting-awards conversation. Opens Nov. 30.
“Roma”: Another must-see, particularly on the big screen, is Oscar winner Alfonso Cuaron’s black-and-white Netflix wonder, a gorgeous work that recalls the style and vision of classic films such as “The Bicycle Thieves.” It’s a telling portrait of a young woman (Yalitza Aparicio) working for a wealthy family in Mexico City, and exquisitely conveys her uncertain reality to heartrending effect. Opens Nov. 29 in Bay Area theaters, begins streaming Dec. 14 on Netflix.
“Green Book”: Peter Farrelly’s potent crowd-pleaser of a road picture chronicles the bond between a praised African-American pianist (Oakland native Mahershala Ali, a 2016 supporting actor Oscar winner for “Moonlight” ) and a gabby Italian (Viggo Mortensen) hired to drive him on a tour through the unwelcoming ‘60s South. It’s a film both audiences and critics are embracing; Oscar will too. Playing in San Francisco, opens wide Nov. 21.
“The Mule”: Clint Eastwood delivered a dud with “The 15:17 to Paris” early this year, but he looks to be back in fighting form with this intense drama, based on a true story. Eastwood, 88, directs and stars in this film about an unlikely drug runner wrangling with his past. “Gran Torino” screenwriter Nick Schenk presents Eastwood with another meaty role. And wouldn’t it be something if 82-year-old Robert Redford (“The Old Man & the Gun”) Eastwood both earned acting nominations? Opens Dec. 14.
“Mary Poppins Returns”: OK, this is a probably long shot. But if there has ever been a time when the nation needs a “Spoonful of Sugar” and a dose of “Chim Chim Cheree,” it is now. Emily Blunt looks to be delightful in a role Julie Andrews made iconic, while multi-talented powerhouse Lin-Manuel Miranda is guaranteed to charm ever so brightly as her lamplighter chum. Rob Marshall is the director, and he toe-tapped his “Chicago” to a surprise 2003 Oscar win so … maybe? Opens Dec. 19.
“Vice”: Never underestimate the power of director Adam McKay. His irreverent big-bank slapdown “The Big Short” scored him a screenwriting trophy at the 2106 Oscars. He’s back to his feisty ways with this look at how Vice President Dick Cheney (Christian Bale) maneuvered in George W. Bush’s (Sam Rockwell) White House. Expect multiple noms, particularly in the acting categories. Opens Dec. 21.
Honorable mentions
Other performances that might lead to an Oscar nomination: Hugh Jackman playing disgraced presidential hopeful Gary Hart in “The Front Runner” (in theaters now); Willem Dafoe showing the agony and ecstasy of Vincent Van Gogh in “At Eternity’s Gate” (Nov. 21); Julia Roberts and Lucas Hedges as a mother and son thrust into a Christmas nightmare in “Ben Is Back” (Dec. 14); Felicity Jones as pre-Supreme Court Justice Ruth Bader Ginsberg and Armie Hammer as her husband Marty, both working on a groundbreaking case in “On the Basis of Sex” (Dec. 25); Natalie Portman getting all pop diva on us in “Vox Lux” (Dec. 7); Steve Carell as a man finding solace in a magical world of miniatures in “Welcome to Marwen” (Dec. 21).
And don’t forget ….
Academy Awards voters tend to have short-term memory loss, let’s hope they don’t forget these deserving films released earlier in the year
“Black Panther”: Sorry “Avengers: Infinity War,” Oakland superhero Ryan Coogler delivered the best Marvel adaptation of not only this year but of recent years.
“A Star is Born”: Lady Gaga and Bradley Cooper set off sexy fireworks and the tragic romance in this remake hit high notes like few others in 2018.
“Can You Ever Forgive Me?”: After a string of failures, Melissa McCarthy surprised in this compelling drama. But it’s actually Richard E. Grant who stole this film.
“First Man”: It didn’t send me into orbit, but it’s one of the finest technical accomplishments of 2018, making us experience how the stoic Neil Armstrong felt on that brazen U.S. mission to the moon.
“BlacKKlansman”: An outraged Spike Lee makes great films, evidenced by this mad-as-hell adaptation of a true story about a black detective infiltrating the KKK.
“Wildlife”: Paul Dano’s accomplished drama about a imploding marriage as seen through a young son’s eyes is one of the greatest directing feats of 2018. As a restless and thoroughly unfulfilled suburban housewife, Carey Mulligan gives one of the most best performances of the year.