Frankenstein

My Predictions For The 98th Academy Awards

Jon The BlogcentricLeave a comment

The 2025 Academy Awards are taking place later on this year: March 15th. My assumption is the broadcast of the Winter Olympic Games is what is holding it up this year. It has been done before that the Oscars would move to a later time to make room for the Winter Olympics. Conan O’Brien is back as host. He did such a good job last year, they made him host again this year. Makes sense that they have a comedian or the host of a late night show do the hosting. They’re normally the best at working it.

So now I finally have my predictions for all the categories. This year, I was able to see enough films to make up 100 of this year’s nominations. Many times, I felt I could have seen more. Still an impressive lot. So without wasting any more time, here are my predictions to win and even a few Should Win picks:

BEST PICTURE

Once again, kudos to Olly Gibbs for delivering another excellent Best Picture nominees poster. He knows how to do it! This year, the ten Best Picture nominees have the biggest monopoly of the nominations I’ve seen in years. Eighty of the 125 nomination! That’s more than 60% right there! Sinners and their record-setting total of nominations has what averages out to be one of every eight nominations. Interestingly enough, the second-most nominated film One Battle After Another amassed thirteen nominations: one short of the old record! For acting nominations, Sinners, One Battle After Another and Sentimental Value combined have eleven of the twenty acting nominations and the rest is nine nominations among nine films! Despite all this dominating of nominations, they’re quite well-spread out. None of the Best Picture nominees has less than four nominations. For the Best Picture race, the year looks to be the race between the strong summer sleeper contender and the winter surprise hit, but that will be decided on the 15th. So here are my short reviews and my prediction for Best Picture:

Bugonia- It’s something that of the three films by Yorgos Lanthimos that have been nominated for Best Picture, Emma Stone has acted in all three! This film has less buzz than the other two: The Favourite and Poor Things. The other two were better as they mixed bizarre humor with the scenarios. This also mixes humor but having a present setting seems odd for a Lanthimos film. It’s lack of buzz is why I feel it won’t win.

F1- I don’t know if you feel the same way but I like seeing a summer movie get nominated for Best Picture. The story and the acting were way better than most summer movies. It’s not just any movie about auto racing. It’s a movie the auto racing federation fully endorsed and includes actual F1 racers including some of the best. As for a contender for Best Picture, its only other three nominations are in the technical categories. It’s chances of winning this category are slim to none.

Frankenstein- If there’s one director who you can trust to do an excellent new adaptation to the Frankenstein story, it’s Guillermo del Toro. It’s an excellent thriller to watch and you will get caught up in the drama. This film has enough qualities to deserve its Best Picture nomination but this year, the Academy is not up for thrillers such as these. On top of it, there have been other thrillers that can compete with this.

Hamnet- Is it possible to have a story about the death of a child have a happy ending? Hamnet proves it’s so. This is an excellent film and an excellent story of love, happiness, loss, tragedy and healing. The film is less a historical docudrama and more of a story of how one woman deals with the heartbreak of loss and how she finds healing in the play her husband creates. This film does have a lot of qualities worthy for it to win Best Picture, but this is a tough year for films like these to contend.

Marty Supreme- At first, you wouldn’t think a film about ping-pong in the 1950’s would make for a hit movie but Marty Supreme does it! A lot of it is the underdog story of a ping pong player who constantly gets himself into trouble and embarrassment to beat the odds. A lot of it is also Timothee Chalamet’s performance. The direction from Josh Safdie definitely helps a lot. It is a good contender for the Best Picture win but there are other films with bigger chances.

One Battle After Another- This year, there doesn’t seem to be as many political films. This film has to be the most political. A mixed-race girl whose white supremacist father wants her dead. A former renegade who’s trying to protect her in the name of her mother and his girlfriend. Definitely a dramatic comedy that will keep you intrigued. It’s the story and Paul Thomas Anderson’s know-how in working a story like this that I make it my Will Win pick.

The Secret Agent- It’s something that this is the second straight year a Brazilian film is nominated for Best Picture! It’s deserving as it mixes humor with the story and keeps the drama without dropping the sincerity of the film’s ending. However for a foreign language film to win Best Picture, it has to really stand out in the competition and this film is missing that quality.

Sentimental Value- The increase in the number of foreign-language films nominated for Best Picture is easy to understand if you see the film. This film is excellent for its storytelling and its acting. It’s a drama of a theme many can relate to and mixes the theme of art in family conflict. It’s an excellent drama but for Best Picture, it is up against tougher competition.

Sinners- If there’s one film of 2025 that deserves to be called a masterpiece, this is it. A horror story that blends music, folk legends, the supernatural, demon spirits, and the theme of racism and Jim Crow laws. Definitely a story that’s unforgettable and grabs your attention from start to finish. That’s why I declare this film my Should Win pick and my pick for most likely to upset.

Train Dreams- The film feels like a nice piece of Americana. Just as much as the novel it’s based on feels like a piece of Americana. It does a great job of giving the audience the feel of the area it’s set in as it tells the story. As for its Best Picture chances, it doesn’t have a good shot as there is tougher competition.

BEST DIRECTOR

Should Win: Ryan Coogler – Sinners
Will Win: Paul Thomas Anderson – One Battle After Another

The Best Director category is one contest where it is too tough to call. Two great directors directing the two most lauded films of 2025. One is set in the past while another is an adapted story set to the present. Both of them mix politics into their stories. Both of them have something to say. It’s a tough call but I think Paul Thomas Anderson will take it. It’s a career of almost 30 years that started with his 1996 debut Hard Eight. He first caught the Academy’s eye with 1997’s Boogie Nights where he got his first Oscar nomination for screenplay. He got his first Best Director nomination for 2007’s There Will Be Blood. Further acclaim would grow with Inherent Vice, Phantom Thread and Licorice Pizza. Many cinephiles look to One Battle After Another to finally be his time.

BEST ACTOR

Should Win and Will Win: Michael B. Jordan – Sinners

The Academy has some interesting factoids about how picky and choosy they are about awarding certain Oscars. One out of every three Best Actress Oscar wins have gone to actresses before their 30th birthday. The most recent, Mikey Madison, was last year. As of today, only one Best Actor Oscar win went to an actor before his 30th birthday. The most recent, Adrien Brody, is that actor but he won for The Pianist in 2003. Last year, Timothy Chalamet had a chance to break that record with A Complete Unknown. Although he can’t break that record as he just turned 30 in December, his performance is Marty Supreme looks poised to do that. The only thing is there was surprise at SAG’s Actor awards with Michael B. Jordan winning for Sinners.

Not only has Jordan’s win been seen as a big boost, but lately Chalamet’s talk has been making headlines for negative reasons. It wasn’t just his comments on ballet and opera. Some time ago, he said Hollywood stars should stop being pretentious. That can boost Jordan’s chances of winning. Even without the eyebrow-raising talk of Chalamet, Michael’s performance as two twin brothers of differing personalities and one being possessed by the spirit is excellent work deserving of the Oscar. Chalamet still remains as my pick for the one most likely to upset.

BEST ACTRESS

Should Win and Will Win: Jessie Buckley – Hamnet

I am going to make my write-up here short because I’m that confident about here win. She’s that clear of a favorite because this happens to be the best actress performance of the year. In a film about a play inspired by a tragedy to William Shakespeare, it’s the performance of the actress playing his wife is what makes the film. Jessie’s performance of Agnes Shakespeare is loaded with dimension and will touch you. Her performance sets the mood of the film and gives character to a famous playwright’s wife whom few know much of. Her performance of going from having the joy of life to hurting from tragedy to a triumph of healing at the end is just completely remarkable.

BEST SUPPORTING ACTOR

Should Win: Delroy Lindo – Sinners
Will Win: Stellan Skarsgård – Sentimental Value

It’s often the case that one of the toughest categories to predict the winner is in the supporting acting categories. And understandably so. It’s a question of which supporting performance stole the show? Which performance qualifies as lead? Which performance brought the most during its short time? It’s hard to decide. This year’s contenders don’t make it any easier. Despite winning the SAG Actor award, I have a feeling Sean Penn won’t win. He’s won two Oscars before. I also feel his One Battle After Another co-star Benicio del Toro won’t win because he won back in 2000 for Traffic.

I feel the win will go to the Golden Globe winner, Stellan Skarsgård. Skarsgård could arguably qualify to make a running for lead actor. His performance as the father trying to make amends with his relationships with his daughters and his film work is both intense and touching. He really magnifies someone who’s both flawed and troubled, but seeks to make things right, despite his shortcomings. I feel he should win it.

Should Win and Will Win: Amy Madigan – Weapons

It’s interesting in this category. A mixed bag of winners throughout this season. Wunmi taking the BAFTA, Teyana taking the Golden Globe, and Amy taking the SAG and Critics Choice. I have to go with Amy. It’s easy to think that she, not Julia Garner, is the lead actress. She does a great job of playing a villain who’s both manipulative and threatening. She does a convincing job of playing a villain who knows how to instill fear in a child and mess with adults. Her performance has a lot to do with why Weapons is a box office hit.

BEST ADAPTED SCREENPLAY

Should Win and Will Win: Paul Thomas Anderson – One Battle After Another

I’m sure most of you have not read the Thomas Pynchon novel Vineland. If you haven’t, it shouldn’t make much of a difference in terms of watching the film. Still worth reading. Nevertheless the theme of ‘fascist Nixonian repression’ that is present in the novel appears very similar to what the United States is going through now. It makes great sense for Paul Thomas Anderson to adapt the story into a scenario fit for the present and with themes of extremism between the left and the right and physical clashes between them that mirror what’s happening today. It also succeeds in adding comedic elements to the film. This is nothing short of an accomplishment.

BEST ORIGINAL SCREENPLAY

Should Win and Will Win: Ryan Coogler – Sinners

I have to say the 2020’s is the decade the horror movie genre is finally getting its overdue respect. One film of this year to add to its respect is Sinners. It’s more than just vampires and evil spirits. It’s folk legends, music, vampirism and the theme of racism that’s mixed into this story that makes this film a masterpiece. Usually film companies save the films with the best Oscar chances for December. This past summer delivered one for this history books!

ADDITIONAL CATEGORIES:

This year, the favorites to win the Oscars appears to be more solid than most years. Also this year, it’s an even balance in both the major categories and the technical categories of solid favorites and potential upsetters. They’re still worth predicting. Once again, there will be only a few categories where you’ll see a Should Win prediction from me. Only if I feel confident enough.

BEST ANIMATED FEATURE

Should Win and Will Win: KPop Demon Hunters

How about that? In a category Disney or Pixar win most of the time, they’ve only won once in the 2020’s. This decade has seen a lot of film studios deliver an Oscar-winning film. This year, it looks to be Sony Pictures Animation in cooperation with Netflix. A movie about a K-pop trio who has what it takes to slay demons is the most winning animated film this year. Its wins at this year’s Annie Awards was even ten-for-ten! Hard to see any rivalry in this category.

BEST CASTING

Should Win And Will Win: Francine Maisler – Sinners

This is the newest Oscar category. The Oscar gets awarded to the casting director and this award is boosted by having the Casting Director branch of the Academy that opened in 2013 and now totals 160 in 2026 and can now finally choose the nominees fort this category. With this being the debut year for this Oscar category, there are only a few awards shows that give out this award. There’s the Critics Choice, the BAFTAs, the Astras, there’s the SAG Award for Best Acting Ensemble which can have some impact and the profession’s guild, the Casting Society of America, has their Artios Awards. Maybe there will be more next year. Most of these awards have given the win to Sinners. It would not surprise me if Francine Maisler makes history in this category.

BEST CINEMATOGRAPHY

Will Win: Michael Bauman – One Battle After Another

BEST COSTUME DESIGN

Will Win:  Kate Hawley – Frankenstein

BEST DOCUMENTARY FEATURE

Will Win:  The Perfect Neighbor

BEST FILM EDITING

Will Win: Andy Jurgensen – One Battle After Another

BEST INTERNATIONAL FEATURE FILM

Will Win: The Secret Agent (Brazil)

BEST MAKEUP and HAIRSTYLING

Will Win: Frankenstein

BEST ORIGINAL SCORE

Should Win and Will Win: Ludwig Goransson – Sinners

BEST ORIGINAL SONG

Will Win:  “Golden” – KPop Demon Hunters

BEST PRODUCTION DESIGN

Will Win: Tamara Deverell and Shane Vieau – Frankenstein

BEST SOUND

Will Win: F1: The Movie

BEST VISUAL EFFECTS

Will Win: Avatar: Fire and Ash

BEST ANIMATED SHORT FILM

Click here for reviews and predictions in this category.

BEST DOCUMENTARY SHORT SUBJECT

Will Win: All The Empty Rooms

BEST LIVE-ACTION SHORT FILM

Click here for reviews and predictions in this category.

JUST ONE MORE – MOST LIKELY OSCAR UPSETTERS

This year looks like there will be some shockers but mostly clear favorites. Nevertheless it’s the way every year that the Oscars are not immune to upsets. For this section, I will only limit myself to five potential shockers for Sunday night

  • Sean Penn from One Battle After Another winning Best Supporting Actor.
  • Autumn Durald Arkapaw winning Best Cinematography for Sinners.
  • Mr. Nobody Against Putin winning Best Documentary.
  • Sentimental Value (Norway) winning Best International Feature Film (Also my Should Win pick).
  • “I Lied To You” from Sinners winning Best Original Song.

And there you have it. Those are my predictions for the 98th Academy Awards. It may have come late in the year, but it’s a good thing as you’ll have warmer weather for your Oscar parties.

Oscars 2025 Best Picture Reviews: Part Two

Jon The Blogcentric1 Comment

It’s interesting for my next blog of Best Picture nominees. One film is a remake of one of the most captivating monster stories ever and the other film tells the story of the tragedy that produced one of the most legendary plays ever. They’re both unique in their own way.

Frankenstein

Ever since Mary Shelley has published her book titled Frankenstein; or, The Modern Prometheus back in 1818, the story and the monster have captured the imagination of the world. The monster definitely more often than the story. The Frankenstein monster has been featured and parodied frequently to the point people have created their own versions of Frankenstein on both the character and the physical appearance. People on Halloween especially have a field day with Frankenstein costumes and their own Frankenstein stories. Crazy thing is most of these stories stray greatly away from the original story of Mary Shelley. They may get the basics like a mad scientist creates a living person from the body parts of deceased people but they are too loosely based. The very first Frankenstein film, a silent film from Edison Studios released in 1910, was a film the director intended to be ‘broadly based’ on Shelley’s story or call itself a ‘liberal adaptation.’ The most famous film adaptation has to be the 1931 film which was an adaptation of a stage play. Frankenstein’s monster in that film, played by Boris Karloff, has the most iconic image of the Frankenstein monster with the rectangular forehead and green skin. That film also includes the memorable line: “It’s alive! It’s alive!”

This film is Guillermo del Toro’s adaptation of the story that is still off the original in some amount but is closer to Shelley’s story. The film is set in 1857 and a Danish ship of the Royal Navy is stuck in ice. The ship becomes like a hospice for a gravely injured Victor Frankenstein who was hurt from the wave of an explosion. The ship is then attacked by a fur-laden humanoid creature that appears indestructible. As Victor notices that’s the creature he created, he tells his story, which becomes Part I: Victor’s Tale. After Victor tells his story, the creature tells his story in Part II: The Creature’s Tale. This layout of the story sets up for the finale where the creature finally makes peace with Victor and Victor apologises for being too cruel to the creature. It’s after Victor’s death that the creature departs, but not until he frees the ship from being stuck in the ice.

Some of the most noticeable differences are in the novel, Victor’s mother dies of scarlet fever. In this film, she dies of childbirth giving birth to William. While the novel shows Victor discovering the possibility of creating new life through his studies, the film shows him actually conducting his proven findings in front of professors and being expelled. In the novel, Victor is shocked and repelled by the creature he created and abandons it in the cold snows. In the film, he’s proud of his creation but enslaves him. In the film, Victor wins the love of a woman named Elizabeth. In the film, it’s William who courts Elizabeth and Victor tries to win her, but his mad science and arrogance prevent her. Victor even kills Elizabeth and William. Also in the film, Elizabeth embraces the creature when he rushes back to Victor to demand a female creation for him. It turns out Elizabeth has more feelings for the creature than for Victor. The creature in the novel becomes lost in the wilderness and has both seen the best and ugliest of humanity. In the film, he is given refuge to a farming family whom the blind man treats him well. The other family think he killed the blind man when they return and try to shoot him. There is the reconciling of the two on the ship but the creature remains on the ship at the end of the novel while the creature leaves the ship but is powerful enough to push the ship free of the ice.

This adaptation that is both written and directed by Guillermo del Toro is a story that is more faithful to the book than most stories. Del Toro already knows how to do an excellent job of stories involving monsters like Pan’s Labyrinth and The Shape Of Water. Here, he shows off his expertise again with an excellent adaptation of the story. Making it two stories, of Victor’s story and The Creature’s story, is done quite well without deviating too much from the original. The two stories do a good job of playing themselves out leading to its eventual connection in the end. The result is not only an adaptation well done but an adaptation that will capture your attention and get you caught up in the story and the drama as it unfolds. The story will also get you feeling for The Creature as well as it showcases he’s not only a human in flesh but he’s a human in feeling. If you see the story, you will agree that the creature has more heart than Victor. Del Toro masters the story and the drama.

Oscar Isaac does a great job in making Victor Frankenstein into a doctor that isn’t completely heartless but full of personal flaws. His eccentricities interfere with his ability to relate with others, have any kind of heart to his creation or even love Elizabeth enough to win her love. Surprisingly, Isaac does succeed in making you feel sympathy to Victor and even forgive him for all he’s done. The dimension Isaac bring is excellent to the role. Jacob Elordi steals the film as the creature. Creating a character of a created human with the common sensitivities of people, even having feelings of love and heartbreak, gives the film its heart and soul within the spectacular drama. Many times, you’re tempted to think Elordi is the lead. Mia Goth is also very good in her role as Elizabeth, but the role could have been given more dimension in the story. Other good supporting acting performances come from Christian Convery as the young Victor, Felix Kammerer as William Frankenstein, and Lars Mikkelsen as the Captain Andersen.

For a film like this, you can bet this has a lot of excellent technical achievements. The cinematography from Dan Lautsen captures the story very well. The costuming from Kate Hawley, the production design from Tamara Deverell, and the hair and makeup team do a great job in taking the audience back to the past and recreating scenes of the times. Alexandre Desplat knows how to deliver a score for a film and he does it again here with a score that fits the drama of the story very well. The sound team and the visual effects team all deliver the right stuff to deliver the excitement of the film.

Frankenstein is not just another adaptation of the story. It’s one Guillermo del Toro does his own telling of the story mixing his own take and trying to stay faithful to the story. It succeeds in a very thrilling way!

Hamnet

There have been many semiautobiographical films of William Shakespeare many times before but you hardly see any films, plays or literature about his children. Among possibly the least known is his only son Hamnet Shakespeare. Little is known or documented about him or what he was like. It was known that he died at the age of 11. The play Hamlet premiered three or four years after his death and scholars have frequently debated Hamnet’s young death and how much inspiration it bored on Hamlet. It is known that before Hamnet’s death, Shakespeare mostly wrote comedies and Hamlet was a significant turning point. The film makes the case in point that it was very inspirational to the creation of Hamlet. You could tell in rehearsals Shakespeare was a perfectionist and was very demanding on his lead actor. It’s possible he wanted the actor to create the spirit of Hamnet in Hamlet.

There are two things that stand out the most from this film. The first is that it is based on a novel that is historical fiction. There are many details in the film that are fact with Shakespeare’s life, but there are also a lot of myths and imagined fiction. Very little is documented about Hamnet so in her novel Hamnet, Maggie O’Donnell gave him a personality and in writing of Hamnet’s death, O’Donnell used some of her own experience when her daughter was suffering from a potentially fatal illness. The second thing that stands out is that the film is mostly focused on Shakespeare’s wife: Agnes Shakespeare. The film is more Agnes’s story as it shows her an herbalist who’s a lover of nature. She finds herself attracted to this playwright whom her family does not approve of. They fall in love, develop a family and marry. William frequently makes trips to London for his plays while Agnes does mostly motherly duties. Agnes is the one who has to deal with her twin children, their teachings and eventually their illnesses. She is the one who has to witness Hamnet’s death. No doubt she’s angry with William being away in London during that time. Years later, she learns of his plays Hamlet. She’s there at the opening. She fears the play could upset her. Instead she is touched by the play, by the actor, and by the character. It gives one the sense in seeing Hamlet played on stage, she senses Hamnet’s spirit living in him and shared with all.

The film itself doesn’t try to be a historical docudrama. It does keep many actual facts of history but it does its own storytelling. It does maintain situations that many would commonly relate to. It reminds people that Shakespeare’s choice to pursue arts or teaching was not well-regarded in his working class family. It shows William and Agnes married because she was pregnant and she didn’t want her daughter Susanna to be born a ‘bastard.’ It’s known that in between the death of Hamnet and the premiere of Hamlet, there was a period for Shakespeare known as the ‘lost years.’ What it does is it tells its story. As I mentioned earlier, the film is based on a book that is loosely based on the lives of the Shakespeares. It’s a story that connects with common situations in ones life like not being accepted into a family, loving someone their family doesn’t approve of, the loss of a child, trying to live life again and of how art connects with the human spirit. The latter, I think that’s the theme of the film. How art reflects humanity and can even be a method of healing. The film does an excellent job in having its story connect with the viewer while also maintaining intrigue towards the family of a legend. That’s its biggest quality.

This film is another excellent accomplishment for Chloe Zhao. When she agreed to do the story, she also hired Maggie O’Donnell, the author of the novel Hamnet, to help with the scriptwriting. Human connection is a common theme of Zhao’s films and Chloe does an excellent job in directing a story of an artist’s method of healing and how he shares it with the world. There have often been films that show how art connects with the human spirit. This film also succeeds in displaying that theme and Zhao creates an excellent work in delivering that message.

The performance of the film definitely belongs to Jessie Buckley. The film is mostly about Agnes and Jessie does an excellent job of taking charge of her role and owning the movie. She shows many dimensions of Agnes Shakespeare: falconer, herbalist, teacher, daughter, wife, mother and griever. She showcases both the triumphs and the struggles Agnes goes through and delivers a performance that’s an achievement in itself. Paul Mescal is also great as William Shakespeare but he does not deliver the performance of Shakespeare one would expect. Here, he’s seen as a son with a stormy relationship with his father, husband of Agnes, a playwright who’s away from the family for a long period of time and one who grieves the loss of his son. His performance in making William Shakespeare a three-dimensional common person instead of the icon we all know makes for the excellence of the film.

The film also has a lot of good supporting performances. The one that most stands out is Jacobi Jupe as Hamnet Shakespeare. While O’Donnell creates a character in the son of Shakespeare we never knew, Jupe adds an appeal to him and portrays Hamnet to be just as much of a dreamer as his father. Jupe is also good at portraying Hamnet as a twin brother willing to give his life for his ailing twin sister. Jupe really catches the spirit in both senses. Also good is Noah Jupe, Jacobi’s older brother. I think there was a sense of purpose in the film of having Jacobi cast as Hamnet and Noah cast as the actor who plays Hamlet. Noah is great in having the actor capture the spirit of Hamnet in his acting and be able to connect with Agnes. Other good supporting performances in the film are Emily Watson as Shakespeare’s mother and David Wilmot as John Shakespeare who was frequently at odds with his son.

The film also has a lot of excellent technical aspects. The cinematography from Lukasz Zal fits the film excellently. The set design by Fiona Crombie and Alice Felton excellently takes the film back to the past and the costuming by Malgosia Turganska fits the times perfectly. The score from Max Richter does an excellent job in capturing the drama of the story and the artistic triumph at the end.

Hamnet is more than just another Shakespeare story. It’s a story that connects with people and it shows how the arts are the way to the soul. It’s a story of joy, of love, of tragedy and of the eventual triumph.

That completes my second look at the Best Picture contenders for this year. Six more films left to review.