Thank you so much for listening. The Next Best Picture Podcast is proud to be a part of the Evergreen Podcasts Network. You can subscribe to us anywhere you listen to podcasts or listen in the embedded player below. Please take a moment to review us on Apple Podcasts here. And if you’re feeling generous, you enjoy what you hear, and you want to hear more, please help support us on Patreon for as little as $1 a month, and you’ll receive some exclusive podcast content from us.

You can follow Matt, Nadia, Giovanni, Lauren & Megan and hear more of their thoughts on the Oscars and Film on X @NextBestPicture, @nadreviews, @TheGiovanniLago, @laurenlamango & @meganlachinski

The post The Next Best Picture Podcast: Episode 470 – Golden Globe & CDG Nominations, LAFCA Winners, Oscar Shortlists Preview, Sundance 2026 Lineup, “The Drama” & “Supergirl” Trailers appeared first on Next Best Picture.

​Best Film
Winner: ONE BATTLE AFTER ANOTHER
Runner-Up: THE SECRET AGENT

Best Film Not In The English Language
Winner: THE SECRET AGENT
Runner-Up: IT WAS JUST AN ACCIDENT

Best Director
Winner: Paul Thomas Anderson – ONE BATTLE AFTER ANOTHER
Runner-Up: Ryan Coogler – SINNERS

Best Documentary Film
Winner: MY UNDESIRABLE FRIENDS: PART I – LAST AIR IN MOSCOW
Runner-Up: THE PERFECT NEIGHBOR

Best Screenplay
Winner: Jafar Panahi – IT WAS JUST AN ACCIDENT
Runner-Up: Eva Victor – SORRY, BABY

Best Leading Performance
Winners: Rose Byrne – IF I HAD LEGS I’D KICK YOU & Ethan Hawke – BLUE MOON
Runners-Up: Timothée Chalamet – MARTY SUPREME & Wagner Moura – THE SECRET AGENT

Best Supporting Performer
Winners: Stellan Skarsgård – SENTIMENTAL VALUE & Teyana Taylor – ONE BATTLE AFTER ANOTHER
Runners-Up:Inga Ibsdotter Lilleaas – SENTIMENTAL VALUE & Andrew Scott – BLUE MOON

Best Animated Film
Winner: LITTLE AMÉLIE OR THE CHARACTER OF RAIN
Runner-Up: KPOP DEMON HUNTERS

Best Editing
Winner: Ronald Bronstein and Josh Safdie – MARTY SUPREME
​Runner-Up: Andy Jurgensen – ONE BATTLE AFTER ANOTHER

Best Production Design
Winner: Hannah Beachler – SINNERS
​Runner-Up: Tamara Deverell – FRANKENSTEIN

Best Music/Score
Winner: Kangding Ray – SIRĀT
Runner-Up: Ludwig Göransson – SINNERS

Best Cinematography
Winner: Adolpho Veloso – TRAIN DREAMS
Runner-Up: Autumn Durald Arkapaw – SINNERS

Special Award (for body of work)
Thom Andersen

Douglas Edwards Experimental Film
Albert Serra – AFTERNOONS OF SOLITUDE

New Generation Award
Eva Victor – SORRY, BABY

Career Achievement
Philip Kaufman

What do you think of the winners? Please let us know your thoughts on our X account. Click here for more upcoming awards season dates, here for the most recent tally of awards season winners, and here for our current Oscar predictions.

The post The 2025 Los Angeles Film Critics Association (LAFCA) Winners appeared first on Next Best Picture.

Thank you so much for listening. The Next Best Picture Podcast is proud to be a part of the Evergreen Podcasts Network. You can subscribe to us anywhere you listen to podcasts or listen in the embedded player below. Please take a moment to review us on Apple Podcasts here. And if you’re feeling generous, you enjoy what you hear, and you want to hear more, please help support us on Patreon for as little as $1 a month, and you’ll receive some exclusive podcast content from us.

You can follow Matt, Cody, Nadia & Giovanni and hear more of their thoughts on the Oscars and Film on X @NextBestPicture, @codymosnter91, @nadreviews & @TheGiovanniLago

The post The Next Best Picture Podcast: Episode 468 – Predicting Gotham, NYFCC, LAFCA, NBR Award Winners, AFI Top 10, CCA & Spirit Award Nominees, “How To Make A Killing” & “Goat” Trailers appeared first on Next Best Picture.

​Best Film
Winner: ANORA
Runner-Up: THE BRUTALIST

Best Film Not In The English Language
Winner: ALL WE IMAGINE AS LIGHT
Runner-Up: THE SEED OF THE SACRED FIG

Best Director
Winner: Mohammad Rasoulof – THE SEED OF THE SACRED FIG
Runner-Up: Sean Baker – ANORA

Best Documentary Film
Winner: NO OTHER LAND
Runner-Up: DAHOMEY

Best Screenplay
Winner: Jesse Eisenberg – A REAL PAIN
Runner-Up: Sean Baker – ANORA

Best Leading Performance
Winners: Marianne Jean-Baptiste – HARD TRUTHS & Mikey Madison – ANORA
Runners-Up: Demi Moore – THE SUBSTANCE & Fernanda Torres – I’M STILL HERE

Best Supporting Performer
Winners: Yura Borisov – ANORA & Kieran Culkin – A REAL PAIN
Runners-Up: Clarence Maclin – SING SING & Adam Pearson – A DIFFERENT MAN

Best Animated Film
Winner: FLOW
Runner-Up: CHICKEN FOR LINDA!

Best Editing
Winners: Nicholas Monsour – NICKEL BOYS & Hansjörg Weißbrich – SEPTEMBER 5 (TIE)

Best Production Design
Winner: Judy Becker – THE BRUTALIST
​Runner-Up: Adam Stockhausen – BLITZ

Best Music/Score
Winner: Trent Reznor & Atticus Ross – CHALLENGERS
Runner-Up: Eiko Ishibashi – EVIL DOES NOT EXIST

Best Cinematography
Winner: Jomo Fray – NICKEL BOYS
Runner-Up: Lol Crawley – THE BRUTALIST

New Generation
Vera Drew for THE PEOPLE’S JOKER

Douglas Edwards Experimental Film
THE HUMAN SURGE 3

What do you think of the winners? Please let us know your thoughts on our X account. Click here for more important upcoming dates this awards season and here for the most recent tally of awards season winners for the current year.

The post The 2024 Los Angeles Film Critics Association (LAFCA) Winners appeared first on Next Best Picture.

Thank you so much for listening. The Next Best Picture Podcast is proud to be a part of the Evergreen Podcasts Network. You can subscribe to us anywhere you listen to podcasts or listen in the embedded player below. Please take a moment to review us on Apple Podcasts here. And if you’re feeling generous, you enjoy what you hear, and you want to hear more, please help support us on Patreon for as little as $1 a month, and you’ll receive some exclusive podcast content from us.

You can follow Matt, Nadia & Josh and hear more of their thoughts on the Oscars and Film on Twitter @NextBestPicture, @nadreviews & @JRParham

The post The Next Best Picture Podcast: Episode 419 – Gotham, NYFCC, NBR, LAFCA, AFI Top 10 Predictions & “Inheritance” Trailer appeared first on Next Best Picture.

Starting with NYFCC, since the Oscar Best Picture field expanded in 2009, 14 out of their 15 winners have gone on to be nominated for Best Picture (“First Cow” was the only exception in 2020), but with only two winning (“The Hurt Locker” and “The Artist“). I know for a fact “Nickel Boys” has a tremendous amount of love amongst many NYFCC members, and its highly distinct approach to Colson Whitehead’s acclaimed novel should make it an irresistible choice for many within the organization. It also helps that the film played at the New York Film Festival, which is usually a common theme amongst this group’s winners and you’ll see heavily reflected in the rest of my predictions.

9 of their 15 Best Actor winners went on to be Oscar-nominated, with three of them winning the Oscar (Colin Firth, Daniel Day-Lewis, and Casey Affleck). Adrien Brody seems like a good, albeit safe, pick for Best Actor here for his “monumental” performance in “The Brutalist” and the best place for this group to reward the film overall, let alone recognize an actor they previously have not before. However, I expect they will instead go for a performer who is being unjustly pushed to the sidelines this year after delivering two fantastic performances in “A Different Man” and “The Apprentice” (with more appreciation being shown to the former rather than the latter): Sebastian Stan.

10 of their 15 Best Actress winners went on to be Oscar-nominated, with Meryl Streep (“The Iron Lady“) and Cate Blanchett (“Blue Jasmine”) as the only two eventual Best Actress Oscar winners. Marianne Jean-Baptiste’s performance in Mike Leigh’s “Hard Truths” blew the roof off at the New York Film Festival and was a central talking point amongst critics at many parties I attended. A previous Oscar nominee for “Secrets And Lies,” this is an excellent opportunity for this group to recognize someone they have not before in a performance that could really use the boost as Bleecker Street is doing their best to mount a campaign for the English actress but needs all the help they can get.

11 of their 15 Best Supporting Actor winners went on to receive Oscar nominations with a much more impressive crossover of 6 eventual winners (Christoph Waltz for “Inglourious Basterds,” Jared Leto, J.K. Simmons, Mark Rylance, Mahershala Ali for “Moonlight,” and Ke Huy Quan). I currently have Kieran Culkin predicted to win the Oscar, and I feel there’s a chance he could have another successful awards season as some of the names mentioned above, plus the film is well-respected, played at NYFF, and Culkin is hot off the heels of an awards run for “Succession.” If they want to continue the love and appreciation being shown to the Emmy Award-winning star, this makes the most logical sense.

11 of their last 15 Best Supporting Actress winners also went on to receive Oscar nominations with 6 winners as well, including Mo’Nique, Melissa Leo, Patricia Arquette, Regina King, Laura Dern, and last year’s Da’Vine Joy Randolph. I’m going to go out on a limb for this one and say NYFCC surprises us with a well-deserved acknowledgment for native New Yorker Natasha Lyonne for her brilliant work in “His Three Daughters,” but also a good way to recognize that film, too.

For Best Director, 10 of their last 15 winners have gone on to be nominated for the Oscar, with Kathryn Bigelow (“The Hurt Locker”), Michel Hazanavicius, Alfonso Cuarón (“Roma“), Chloé Zhao, Jane Campion, and Christopher Nolan winning. I know for a fact certain members are high on Coralie Fargeat’s work in “The Substance,” and when you think back on the maximalist filmmaking of S.S. Rajamouli for “RRR” which won this category in 2022, such an idea doesn’t seem too far off for this group. However, they also might be inclined to go with Corbet’s staggering work on “The Brutalist,” which he made for less than $10 million.

And for Best Screenplay, 13 out of their last 15 winners were nominated for one of the screenplay categories at the Oscars (Sorry “Phantom Thread” and “Never Rarely Sometimes Always“), with “Manchester By The Sea” as the only one to go on and win the Oscar. This is where I think they will throw “Anora” a bone. It’s a film they clearly like, and they have rewarded Sean Baker before, giving him their Best Director prize in 2017 for “The Florida Project.” I would be shocked to see it not win something from them.

For Best Animated Film, all of their winners over the last 15 years went on to receive an Oscar nomination with the exception of “The Lego Movie” (and no award bestowed in 2011) with “Inside Out,” “Zootopia,” “Coco,” “Spider-Man: Into The Spider-Verse,” and last year’s “The Boy And The Heron” going on to win the Oscar. I think “The Wild Robot” is too cute and simple for them, so I’m going with them backing the dialogue-free Sideshow/Janus Films animated feature “Flow” instead. But watch out for “Memoir Of A Snail” here, as that is another one I could easily see taking with this group. It’s a tough call between those two, but I’ll give the slightest edge to “Flow.”

For Best Foreign Language Film, 9 of their last 15 winners went on to be nominated at the Oscars with “A Separation,” “Amour,” “Ida,” and “Parasite” winning the Oscar. This is one of the easier calls to make. If they don’t reward “All We Imagine As Light” for Best Film, you can bet it will be acknowledged here. However, if “All We Imagine As Light” wins Best Film, my alternative would be “The Seed Of The Sacred Fig.”

9 of their last 15 winners for Best Non-Fiction Film have gone on to be nominated for Best Documentary Feature with “Inside Job,” “Citizenfour,” and “O.J.: Made In America” winning the Oscar. This is another easy call. “No Other Land” has received tremendous acclaim and has been fighting to be seen due to its lack of U.S. distribution. I expect NYFCC members will put their stamp on this one to help push it further, not just during awards season but to shine a spotlight on the film itself and its subject matter.

And finally, in the category for Best Cinematography, 10 of their last 15 winners received Oscar nominations, with “Roma” and “Oppenheimer” as their only crossover for winners at the Academy Awards. I’ll go with “Nickel Boys” here as I’m currently not expecting it to win the Oscar, but hopefully, this win will solidify its chances of getting nominated. The first-person switching perspectives seem very much in line with their previous winners. However, if there was an alternative, I would keep an eye on New York native and two-time NYFCC winner Ed Lachmann for his gorgeous work on “Maria.”

Best Film – Nickel Boys
Best Director – Coralie Fargeat (“The Substance“)
Best Actor – Sebastian Stan (“A Different Man” & “The Apprentice“)
Best Actress – Marianne Jean-Baptiste (“Hard Truths“)
Best Screenplay – Anora
Best Supporting Actor – Kieran Culkin (“A Real Pain“)
Best Supporting Actress – Natasha Lyonne (“His Three Daughters“)
Best Animated Film – Flow
Best Foreign Language Film – All We Imagine As Light
Best Non-Fiction Film – No Other Land
Best First Film – Good One
Best Cinematography – Nickel Boys

For the National Board Of Review, this is where things get a lot more challenging. Their taste can range all over the place and be quite tough to pin down. Looking at their Best Film winners, 13 of their last 15 winners went on to be nominated for Best Picture, with “A Most Violent Year” and “Da 5 Bloods” as the only outliers, but only one went on to win Best Picture (“Green Book“). So, you’re looking for something broad within the Oscar race. This could either be “Dune: Part Two” or “Wicked,” but I’m going to go with “Conclave” for this one as its ties to the presidential election this year will be at the top of many voting members’ minds.

For Best Director, 8 of their last 15 winners were nominated for the Oscar, but not a single one won. They tend to reward big-name directors with the past four winners, including Spike Lee, Paul Thomas Anderson, Steven Spielberg, and Martin Scorsese. There also was a strong Warner Bros. presence for a number of years, which hasn’t been as greatly felt recently but could come back in a significant way, which is my long way of saying I’ll go for Denis Villeneuve here to be recognized for completing his adaptation of Frank Herbert’s “Dune” novel with “Dune: Part Two.”

For Best Actor, 13 of their last 15 winners were nominated at the Oscars, with only Casey Affleck and Will Smith winning. I’m torn between Ralph Fiennes and Timothée Chalamet for this one, but I’ll go with the New York native who members saw utterly transform into Bob Dylan while learning how to play the guitar and harmonica.

10 of their last 15 Best Actress winners would go on to receive Oscar nominations, with Julianne Moore, Brie Larson, Renée Zellweger (“Judy“), and Michelle Yeoh winning. I do not have Madison winning at either NY or LA, so I’m just attempting to spread the love other to her a little bit here. They gave their win a few years ago to Rachel Zegler for “West Side Story,” so they clearly have no issues rewarding someone still young in their career.

For Best Supporting Actor, 13 of their last 15 winners were Oscar-nominated, with Christian Bale, Christopher Plummer, and Brad Pitt (“Once Upon A Time In Hollywood“) going on to win the Oscar. They tend to go with well-established and highly regarded actors in this category, so for me, it’s down to Denzel Washington for “Gladiator II” and Guy Pearce for “The Brutalist.” I’ll lean on the side of Pearce for this one, as I expect they’ll be more of an urge to recognize him this season for the first time, whereas, with Denzel, most awards bodies (except for the BAFTA’s) have already rewarded him to some degree or another.

In Supporting Actress, 10 of their last 15 winners were nominated for the Oscar, while only Regina King, Youn Yuh-jung, and previous year’s Da’Vine Joy Randolph went on to win the Oscar. I’m just going to default to Zoe Saldaña for “Emilia Pérez” here and see what happens. She’s currently the frontrunner to win the Oscar, and I don’t have her winning NY or LA at this time, so let’s just say this is where she picks up some hardware.

NBR breaks up their screenplay categories into Original and Adapted, so their track record is not as strong as NYFCC when predicting which of their winners will go on to be nominated for the Oscar, with only 6 of their last 15 winners for Original Screenplay going on to receive an Oscar nomination with only “Manchester By The Sea” winning the Oscar. However, 12 of their last 15 Adapted Screenplay winners went on to be nominated for the Oscar. Still, once again, the winner’s correlation wasn’t that strong, with only “The Social Network” and “The Descendants” winning the Oscar back-to-back fourteen years ago. Right now, I’ll go with “Conclave” in Adapted to compliment the Best Film win, while Original goes to Jesse Eisenberg for “A Real Pain,” a smartly written film that is a contender to be nominated for the Oscar but likely not win with many laughs contained within it as many of their winners tend to have (See “50/50,” “Inside Llewyn Davis,” “The Lego Movie,” “The Banshees of Inisherin” and last year’s “The Holdovers“).

For Best Animated Film, they have a perfect track record, with 15 of their last 15 winners going on to be nominated for the Oscar and 7 of them winning. This is where I expect “The Wild Robot” to finally get some love, but I wouldn’t be surprised to see them default to “Inside Out 2” here, either, as both of them are expected to be nominated for Best Animated Feature.

For Documentary Feature, 8 of their last 15 winners received Oscar nominations with “The Cove,” “Searching For Sugar Man,” “Amy,” “O.J.: Made In America,” and “Summer Of Soul,” all winning the Oscar. They tend to go more populist with wins for “Jane,” “RBG,” “Sr.” and last year’s “Still: A Michael J. Fox Movie,” leading me to believe this is where “Will & Harper” will pick up another victory alongside its recent CCDA win.

And for Best International Film, 9 of their last 15 winners received the Oscar nomination while 6 of them went on to win the Oscar (“A Separation,” “Amour,” “Son Of Saul,” “The Salesman,” and “Parasite“). It could be anything, really. It could go to “Emilia Pérez,” “The Seed Of The Sacred Fig,” or “All We Imagine As Light,” but looking at their recent list of winners, the one I feel most confident fits in line with them is Walter Salles’s “I’m Still Here.”

10 Best Films – Conclave (Winner), Challengers, A Complete Unknown, Dune: Part Two, Emilia Pérez, Gladiator II, Juror #2, The Substance, Wicked & The Wild Robot
10 Indie Films – Anora, The Brutalist, Didi, A Different Man, Ghostlight, His Three Daughters, Hundreds Of Beavers, Nickel Boys, A Real Pain & Sing Sing
Best Director – Denis Villeneuve (“Dune: Part Two“)
Best Actor – Timothée Chalamet (“A Complete Unknown“)
Best Actress – Mikey Madison (“Anora“)
Best Supporting Actor – Guy Pearce (“The Brutalist“)
Best Supporting Actress – Zoe Saldaña (“Emilia Pérez“)
Best Adapted Screenplay – Conclave
Best Original Screenplay – A Real Pain
Best Animated Feature – The Wild Robot
Best Documentary Feature – Will & Harper
Best International Feature – I’m Still Here
Best Acting by an Ensemble – The Piano Lesson
Best Breakthrough Performance – Clarence Maclin (“Sing Sing“)
Best Directorial Debut – The Fire Inside

For the AFI Top 10, 7 out of their ten selections usually get into Best Picture, so for this year, I’m going to go with the following ten films:

Anora
The Brutalist
Challengers
Conclave
Dune: Part Two
Nickel Boys
Saturday Night
September 5
Wicked
The Wild Robot

Special Mention: Emilia Pérez

Now we finally come to LAFCA, where, since 2009, all of their winners for Best Film (including their ties) went on to be nominated for Best Picture except for one, “Small Axe” in 2020. Of all those films, only “The Hurt Locker,” “Spotlight,” “Moonlight,” “Parasite,” and “Everything Everywhere All At Once” won the Oscar. I’m torn on whether they’ll go with “Anora” or “The Brutalist.” It’s hard for me to see them going with something else, although after back-to-back A24 wins the past two years, I will say they break away this time and go over to the Palme d’Or winner, “Anora.” Previous LAFCA Palme d’Or winners include “Pulp Fiction,” “Secrets And Lies,” “Amour,” and “Parasite.”

For Best Director, 13 of their last 15 winners went on to receive Oscar nominations, with Kathryn Bigelow (“The Hurt Locker”), Alfonso Cuarón (“Gravity“), Guillermo del Toro, Bong Joon-ho, Chloé Zhao, and Jane Campion going on to win the Oscar. I’m going to split the difference and say this is where Corbet picks up a win after not winning at NYFCC or NBR.

For Best Lead Performance, all four of their winners have gone on to receive Oscar nominations, with Emma Stone winning the Oscar last year for “Poor Things.” For Best Supporting Performance, 2 of their 4 winners have gone on to receive Oscar nominations, but those two winners also won, and that was Ke Huy Quan and Da’Vine Joy Randolph. For Best Screenplay, an impressive 14 of their last 15 winners have gone on to receive Oscar nominations, with only last year’s winner “All of Us Strangers” missing out. There’s really no good way to do this other than to pick one male and female lead and one male and female supporting performance and hope for the best. LAFCA never has any issues recognizing foreign language performances, so I predict they will go with Fernanda Torres for “I’m Still Here,” while Adrien Brody will start his sweep of most of the precursors here.

For Supporting, they came very close to recognizing Ryan Gosling for “Barbie” last year, so who is to say Ariana Grande isn’t in contention for her work as Glinda in “Wicked?” And for Best Supporting Actor, they tend to be very adventurous in their choices. This could range from Adam Pearson in “A Different Man” to Chris Hemsworth in “Furiosa: A Mad Max Saga,” so it’s tough to say. They could go with a strong utility player like Karren Karagulian or Yura Borisov in “Anora,” but I’m going to say they look to anointing a new star and pick Clarence Maclin for “Sing Sing.”

Of those 14, only 5 of them went on to win the Oscar for either Adapted or Original Screenplay. I could see “Anora” or “The Seed Of The Sacred Fig” winning here so I’ll just go with the Best Picture frontrunner and the film I think overall will be more widely embraced by the LA group and that is Sean Baker’s film.

For Best Animated Film, 14 of the last 15 winners received Oscar nominations, with only “Your Name” in 2016 missing from the Academy. Of those 14, 5 went on to win the Oscar. I really want to go with “Chicken For Linda!” here, but I’m unsure if enough members have seen it. I’ll go with them selecting Adam Elliot for “Memoir Of A Snail,” but watch out for them to do something funky here.

10 of their last 15 winners for Best Documentary Feature went on to receive Oscar nominations, with 5 of them winning the Oscar. “Sugarcane” makes sense here, but I’m going with the blazingly edited, mammoth historical documentary “Soundtrack to a Coup d’Etat” (watch out for this to win Best Editing, too possibly).

In the category of Best Foreign Language Film, 6 of their last 15 winners went on to be nominated at the Oscars, with only “Ida” and “Son Of Saul” winning. I’m not going to break away from the trend here. They will likely go with “All We Imagine As Light,” and maybe, just maybe, India will be made to feel bad for passing this over as their official selection for Best International Feature Film.

LAFCA has more craft categories than NYFCC, but they both have a Best Cinematography category. 12 of the last 15 LAFCA winners went on to be Oscar-nominated with “Gravity,” “Birdman,” and “Roma,” repeating their wins at the Academy Awards. They could do the same as NY and go with “Nickel Boys,” but their love for rewarding foreign language films in this category makes me think they’ll go with recent Camerimage winner “The Girl With The Needle” instead.

In Best Editing, they’ve only been handing out the award since 2012, but 7 of their 12 winners received an Oscar nomination, with only “Gravity” and “Dunkirk” winning. They tend to favor experimental editing and are not afraid to reward documentaries here, so I’ll go with “Nickel Boys” on this one, but with “Soundtrack to a Coup d’Etat” as a runner-up.

For Best Production Design, 10 of their last 15 winners went on to be nominated for the Oscar, with “Inception,” “Hugo,” “The Grand Budapest Hotel,” “Mad Max: Fury Road,” “Black Panther,” and “Once Upon A Time In Hollywood” all winning. This makes the most sense for “Wicked,” but if they hate how those sets were lit, maybe they’ll want to recognize the “Dune” franchise here since they didn’t give it the win in this category back in 2021. They’re not allergic to recognizing big-budget films in this category, as evidenced by some of the winners listed above, including “Avatar: The Way Of Water” and last year’s “Barbie.”

And then finally, for Best Music, this category is difficult to predict as this tends to reward both original music made for the film but can also be used to honor a movie with featured songs they liked, so it’s tough to say if we should correlate this to Best Original Song (As wins for “Crazy Heart” “Inside Llewyn Davis” and “RRR” seem to suggest) or Best Original Score. So, while I’ll make an official prediction for it to go to “Queer,” don’t expect to see this go to what you consider to be the best film score of the year.

Best Film – Anora (Alt. The Brutalist)
Best Director – Brady Corbet for “The Brutalist” (Alt. Sean Baker for “Anora“)
Best Lead Performance – Fernanda Torres for “I’m Still Here“ / Adrien Brody for “The Brutalist“ (Alt. Mikey Madison for “Anora” and Daniel Craig for “Queer“)
Best Supporting Performance – Ariana Grande for “Wicked“ / Clarence Maclin for “Sing Sing” (Alt. Joan Chen for “Didi” and Yura Borisov for “Anora“)
Best Screenplay – Anora (Alt. The Seed Of The Sacred Fig)
Best Animated Film – Memoir Of A Snail (Alt. Chicken For Linda!)
Best Documentary Film – Soundtrack to a Coup d’Etat (Alt. Sugarcane)
Best Foreign Language Film – All We Imagine As Light (Alt. The Seed Of The Sacred Fig)
Best Cinematography – The Girl With The Needle (Alt. Nickel Boys)
Best Editing – Challengers (Alt. Soundtrack to a Coup d’Etat)
Best Production Design – Wicked (Alt. Dune: Part Two)
Best Music – Queer (Alt. Wicked)

And that’s it. What do you think will get recognized over the next week as the major precursors start to announce their winners? Please let us know in the comments below or on Next Best Picture’s X account, and be sure to check out Next Best Picture’s latest Oscar predictions here and see the team’s Gotham Winner predictions in a previous post here.

The post My 2024 NYFCC, NBR, LAFCA, And AFI Top 10 Predictions appeared first on Next Best Picture.

Every year since 2017, one film has won the most critic awards by a rather wide margin—whether it’s “Roma” in 2018, “Parasite” in 2019, “Nomadland” in 2020, “The Power of the Dog” in 2021, “Everything Everywhere All at Once” in 2022, or “Oppenheimer” in 2023. But so far this season, two films have had the kind of acclaim and scores needed from critics (with important awards season narratives) to compete for Best Picture, in both “Anora” and “The Brutalist.” Maybe this could mean we’re in for a year like 2016, where virtually every critics’ prize was split between “Moonlight” and “La La Land,” with only a couple of scraps left over for “Manchester by the Sea.” That unparalleled two-film race during precursors signaled the two-film race between them to come at Oscar time, which literally didn’t end until the final envelope was held up on camera.

That ceremony took place a few months after the first Trump administration began and pitted a sweeping, intimate, socially conscious drama against a wilder, more comedic, and yet still heartbreaking film starring a young breakout female lead turned Best Actress winner. Now, in March 2025 – a few months after the second Trump administration begins – there could be another showdown between a sweeping socially conscious drama and a wilder, comedic turned heartbreaking film starring a young breakout female lead turned Best Actress favorite. But first, both “Anora” and “The Brutalist” must prove themselves in critics/precursor season and establish who will be the favorite by Oscar voting time.

Will they do it in a “Moonlight” vs “La La Land” fashion and divide every pre-Oscar award by themselves? Or will one film pull away from the other and the rest of the field like almost every year since? At the moment, it may look like a tossup since both “Anora” and “The Brutalist” have nearly identical scores on Rotten Tomatoes and Metacritic that dwarf almost every other contender. However, “Anora” has actually opened wider already and has passed its first tests with audiences and non-film-festival critics, while “The Brutalist” must wait until the holidays for those tests – yet perhaps it will already have significant precursor wins to brag about by then.

When “Moonlight” and “La La Land” squared off in 2016, the only other film that matched its acclaim and Oscar possibilities was “Manchester by the Sea,” and even that barely won any Best Picture critics prizes. This year, there are films like “Conclave,” “Sing Sing,” “Nickel Boys,” and “A Real Pain” that have wide acclaim and their own Oscar hopes, if not on an “Anora” or “The Brutalist” level yet. Still, between “Conclave’s” sleeper hit performance in theaters, the potential for “Sing Sing’s” future resurgence, and “Nickel Boys” “The Seed Of The Sacred Fig,” and “All We Imagine As Light,”banking on surges from major critic voters in New York, Los Angeles, and elsewhere, there remains a chance “Anora” and “The Brutalist” won’t win everything in their path over the next few weeks. However, post-2016 history shows that two films aren’t usually winning everything but one. And most of the time, that has proven to be a bellwether at Oscar time—with a couple of major exceptions.

No film really separated itself during the critics’ season in 2017, when “The Shape of Water” won Best Picture after only eight precursor wins, and critics champion “Get Out” had a mere fifteen wins. Yet “Roma” blew the field out among critics in 2018, although it was not enough to stop “Green Book” from stealing industry voters’ hearts at Oscar time. But in the next two years, critics sweeps by “Parasite” and “Nomadland” pointed the way to their eventual Best Picture wins, although “The Power of the Dog” ended up more like “Roma” in 2021 thanks to the late surge of “CODA.”

Nonetheless, the critics and Oscar sweeps of “Everything Everywhere All at Once” and “Oppenheimer” in 2022 and 2023 kept the pattern going. If this three-year cycle continues in 2024, then either “Anora” or “The Brutalist” will separate themselves as the prominent critics’ winner and pre-Oscar favorite until an entirely different film with considerably less critical support pulls an Oscar upset. And if it’s a film like “CODA” or “Green Book,” it will barely have any wins or support in critic’s season, aside from Best Picture nominations and critical favorites in other major categories.

Neither “Conclave,” “Sing Sing,” or “Nickel Boys” would be a” CODA” or “Green Book” kind of winner, even if they don’t have many Best Picture wins before Oscar voting – since unlike those two films, these three have far better critics scores and far less online backlash to date. In particular, “Sing Sing” was the most critically acclaimed movie of the year until fall festival season started, and surely has critics ready to push it again when it re-releases near Oscar nomination time – though they could still help it a great deal in precursor season first. Otherwise, any late surging industry choice would likely be “Emilia Pérez” or “Wicked,” two musicals that have Best Supporting Actress favorites, potential Best Actress nominees, and considerable below-the-line support but will be lucky to get a mere handful of critic group wins for Best Picture.

2018 and 2021 had a very wide divide between the tastes of critics and Oscar voters – and not just in Best Picture – until they wound up in agreement again the following two years. Over the next month, critics will have a chance to establish their early season favorites until the industry decides whether it goes in a very different direction. However, its voting turns out it may still be the same old story one way or another in critics’ voting season, where before long, one film wins regional after regional with almost no variety by the end.

It happened with “Oppenheimer” and “Everything Everywhere All at Once” the last two years before they did the same at the Oscars, with “The Power of the Dog” and “Roma” before their winning streaks came to a crashing halt, and with “Parasite” and “Nomadland” in between them before their Oscar victories. Even those who loved and rooted for those movies probably got a little sick of them winning most critics’ prizes, if only because other movies they loved were being forgotten. Suppose either “Anora,” “The Brutalist,” or both start sweeping with critic groups. In that case, even their supporters may start grumbling about a lack of variety and about critics being unable or unwilling to spread their love. Though, of course, that might not mean they’ll be eager or happy if the Academy goes a different way instead. Either way, we haven’t had a year where critics showed that kind of variety since 2017, if not 2016, where two movies instead of just one won everything.

Could “Anora” and “The Brutalist” become the next “Moonlight” and “La La Land” and take us back to 2016 in more ways than one? Or could films like “Sing Sing,” “Nickel Boys,” and “Conclave” also surge and take us back to 2017 instead, when there really was true parity in critics’ season? Or will this be the same old pattern of the last six years, where the only suspense is whether “Anora” or “The Brutalist” will eventually sweep almost every group? Given how “Everything Everywhere All at Once” and “Oppenheimer” didn’t sweep the first few big awards of 2022 and 2023, films other than “Anora” and “The Brutalist” winning at New York, LA and NBR in the next several days probably wouldn’t be a serious sign. But by mid-December or Christmas time, when more regional groups weigh in, we will have a better idea of what precursor season will turn into – whether it’s a one-sided outcome or not and whether or not the industry turns it all upside down right on cue later.

So what do you think? Which films do you think will do the best during the precursor stage of the season? Please let us know in the comments below or on Next Best Picture’s X account, and be sure to check out Next Best Picture’s latest Oscar predictions here.

You can follow Robert and hear more of his thoughts on the Oscars & Film on X @Robertdoc1984

The post Which Film Will Dominate The Critics’ Awards As The 2024 Precursors Begin? appeared first on Next Best Picture.

​Best Film
Winner: THE ZONE OF INTEREST
Runner-Up: OPPENHEIMER

Best Foreign Film
Winner: ANATOMY OF A FALL
Runner-Up: TOTEM

Best Director
Winner: Jonathan Glazer – THE ZONE OF INTEREST
Runner-Up: Yorgos Lanthimos – POOR THINGS

Best Documentary Film
Winner: MENUS-PLAISIRS — LES TROISGROS
Runner-Up: THE ETERNAL MEMORY

Best Screenplay
Winner: Andrew Haigh – ALL OF US STRANGERS
Runner-Up: Samy Burch – MAY DECEMBER

Best Leading Performance
Winners: Sandra Hüller – ANATOMY OF A FALL & THE ZONE OF INTEREST & Emma Stone – POOR THINGS
Runners-Up: Andrew Scott – ALL OF US STRANGERS & Jeffrey Wright – AMERICAN FICTION

Best Supporting Performer
Winners: Rachel McAdams – ARE YOU THERE GOD? IT’S ME, MARGARET. & Da’Vine Joy Randolph – THE HOLDOVERS
Runners-Up: Lily Gladstone – KILLERS OF THE FLOWER MOON & Ryan Gosling – BARBIE

Best Animated Film
Winner: THE BOY AND THE HERON
Runner-Up: ROBOT DREAMS

Best Editing
Winner: Laurent Sénéchal – ANATOMY OF A FALL
Runner-Up: Jonathan Alberts – ALL OF US STRANGERS

Best Production Design
Winner: Sarah Greenwood – BARBIE
​Runner-Up: Shona Heath & James Price – POOR THINGS

Best Music/Score
Winner: Mica Levi – THE ZONE OF INTEREST (With special recognition of the contribution of sound designer Johnnie Burn)
Runner-Up: Mark Ronson & Andrew Wyatt – BARBIE

Best Cinematography
Winner: Robbie Ryan – POOR THINGS
Runner-Up: Rodrigo Prieto – BARBIE & KILLERS OF THE FLOWER MOON

New Generation
Celine Song – PAST LIVES

Douglas Edwards Experimental Film
Wang Bing – YOUTH (SPRING)

What do you think of the winners? Please let us know your thoughts on our Twitter account. Click here for more important upcoming dates this awards season and here for the most recent tally of awards season winners for the current year.

The post The 2023 Los Angeles Film Critics Association (LAFCA) Winners appeared first on Next Best Picture.

As it stands, four of the most critically acclaimed films of the year look like the most ideal candidates. However, the same critics who raved about them will now need to award them outright over these next several weeks if they hope to separate themselves and make a statement to industry voters. Until then, these four movies start the next stage of Oscar season, all bunched together in the same bubble, looking to gain steam and pull ahead of the other and land one of those coveted spots in the Best Picture lineup.

“Past Lives” – 97% Tomatometer and 9.2 average on Rotten Tomatoes, 94 on MetacriticUnder most circumstances, something like “Past Lives” would be a mortal lock to get in. Before the likes of “Oppenheimer,” “Barbie,” and “Spider-Man: Across the Spider-Verse” came out in the summer, “Past Lives” was virtually all critics could rave about for the first five-plus months of 2023. Between that and being backed by reigning Oscar champion A24 – which knows how to keep an early release in the Oscar conversation all year – there should be no doubt that it has a Best Picture-like resume.

Like “Everything Everywhere All at Once,” “Past Lives” was thought to be fading from people’s memory, and then it won the Gotham Award last night for Best Feature, which is what the Daniels’ film did last year before it went on one of the most historic awards runs of any film ever. Between stars Greta Lee, Teo Yoo, and John Magaro hanging on to stay onto their respective acting bubbles, Celine Song teetering on the Best Director bubble, and a now precarious frontrunner status for Best Original Screenplay, it needed a major new injection of support, and it got it last night. Now, let’s see if critics can maintain that momentum over the next month.

“Everything Everywhere All at Once” swept last critics’ season as an A24 early-year release, yet “Past Lives” likely won’t be that decorated this year. But with enough major nominations, the recent Gotham win, a few significant wins in some Best Picture regionals, and perhaps enough early Screenplay wins over “The Holdovers” and “Barbie,” it can once again start looking like the lock it supposedly was months ago.

“Anatomy of a Fall” – 96% Tomatometer and 8.5 average on Rotten Tomatoes, 86 on MetacriticJust as “Past Lives” is seeking to repeat some very recent awards season history, so too is “Anatomy of a Fall.” Like “Triangle of Sadness” and “Parasite” before it, “Anatomy of a Fall” looks to be a Cannes Palme d’Or winner from NEON that leaps into the Best Picture field months later. Between Sandra Hüller’s own Best Actress campaign and Justine Triet seeking nominations as both a director and co-writer, there would seem to be a lot that can back up an easy Best Picture nomination.

But its own home country of France struck a big blow against it when it selected “The Taste of Things” as its Best International Film selection. Without that safety net to fall back on, it will be much harder to gain traction with industry voters, especially if Hüller falls off a crowded Best Actress bubble. As such, critics will need to do their part in keeping it on the industry’s minds.

“Anatomy of a Fall” needs critics’ wins and nominations to keep it secure as a Best Original Screenplay nominee after last night’s Gotham Award win. Hüller needs to make a big mark in Best Actress races most of all, as she might not wind up the year’s big critical winner, but having the second or third most wins can be a victory in itself. Of course, the likes of Ethan Hawke and Lupita Nyong’o were still snubbed in recent years despite dozens of critical wins, yet they would give Hüller a better chance than coming up nearly empty.

Would surges for Hüller and the script be enough to make “Anatomy of a Fall” NEON’s latest Cannes to Best Picture success story? Ironically enough, it may partly depend on what becomes of Hüller’s other 2023 Cannes premiere.

“The Zone of Interest” – 92% Tomatometer and 8.7 average on Rotten Tomatoes, 95 on MetacriticA24 has not one but two critically worshipped movies from early-season film festivals to juggle this season. Yet “The Zone of Interest” is decidedly less romantic and void of almost any emotion besides hopeless terror at the banality of evil.

Though it didn’t win the Palme d’Or, there’s a chance that “The Zone of Interest” can take the exact path of last year’s Palme winner. Like “Triangle of Sadness,” all it might need is a Best Director nomination and the final spot in Best Adapted Screenplay to get into Best Picture, both of which critics can help with. But unlike “Triangle of Sadness” and especially unlike “Anatomy of a Fall,” “The Zone of Interest” is eligible for a Best International Feature Film nomination and win that can put it over the top for certain. Nonetheless, the same big question that has hung over “The Zone of Interest” since Cannes is more vital than ever.

Despite how critics have fallen over themselves to praise Jonathan Glazer’s vision of the Holocaust – or rather, his vision of a family right next door who closed their eyes to it – it may be the ultimate “hard to watch” movie for certain Academy demographics. And now, due to certain real-world events and wars, “The Zone of Interest” could either be seen as more vitally important than ever or too much of a hot-button movie and subject for the Academy to touch. Yet that would primarily be an industry voter issue – and one critics could give them no choice but to work through with enough recognition.

Either way, if A24 didn’t get two movies into Best Picture last year, it certainly won’t this year – so either “The Zone of Interest” or “Past Lives” will have to fall by the wayside in the end, if not both of them. As such, critic awards season results can help A24 decide which one to put all their chips into finally.

“All of Us Strangers” – 97% Tomatometer and 8.5 average on Rotten Tomatoes, 91 on MetacriticA24 may not have a track record of getting two Best Picture nominees in one year, but Searchlight Pictures does. Therefore, although Searchlight already has “Poor Things” as a Best Picture frontrunner, it could find room to push “All of Us Strangers” into the field too if it has enough backing.

Aside from keeping it on the Best Picture bubble, critics can also boost Andrew Scott as a potential Best Actor nominee spoiler. They might also get supporting cast members on the radar like Jamie Bell, Claire Foy, and Paul Mescal – who critics pushed into Best Actor for “Aftersun” just last year. But most of all, they can create some separation between “All of Us Strangers” and “The Zone of Interest” in their battle for the last Adapted Screenplay nomination.

Perhaps that would just make “All of Us Strangers” favored to be the annual Screenplay nominee with no other nominations. Yet if Searchlight isn’t too distracted by “Poor Things,” and if audiences aren’t too distracted by other late December releases, an LGBTQ+/family themed tearjerker like “All of Us Strangers” may hit a real sweet spot with the industry – if critics help keep it on their radar.

By their raves alone, one would think “All of Us Strangers,” “The Zone of Interest,” “Anatomy of a Fall,” and “Past Lives” would all be shoo-ins for Best Picture consideration. Yet thanks to all the other acclaimed frontrunners and likely hits in the mix, and thanks to an Academy voting body that doesn’t always listen to critics unless they’re really loud – and sometimes not even then – it could wind up a minor miracle if just two of these four films squeeze into the field of ten.

Logically, the final two Best Picture nominees are more likely than not to be from this group of four. But if that’s not the case, there are still other films ready to pounce with the right critic and/or industry boost – like additional A24 prospective contender “The Iron Claw,” Amazon’s spring crowd-pleaser “Air,” Netflix films such as “May December” and “Society of the Snow,” or France’s own International nominee “The Taste of Things” as a potential spoiler again.

Those films might not need a big splash with critic awards groups if they have the proper industry backing. Nonetheless, their road will still be more challenging if critics throw a bunch of awards at “Past Lives,” “Anatomy of a Fall,” “The Zone of Interest,” and “All of Us Strangers” this next month. If they do, perhaps that group really will be the Final Four, fighting all the way until the end to be the Best Picture final two – or even three with extra luck.

Which films do you think will receive a boost in the Oscar race for Best Picture from the critics groups? What do you think will win Best Film at NYFCC this week? Please let us know in the comments section below or on Next Best Picture’s Twitter account and check out their latest Oscar predictions here.

You can follow Robert and hear more of his thoughts on the Oscars & Film on Twitter at @Robertdoc1984

The post Unpacking The Best Picture Nomination Chances For “Past Lives,” “Anatomy Of A Fall,” “All Of Us Strangers,” & “The Zone Of Interest” appeared first on Next Best Picture.

This year, there is no shortage of actors who could use the NBR, NYFCC, and LAFCA’s launching pad in these early stages. Below are ten such examples of contenders who can see their campaigns spring to life or just have their Oscar nomination chances revived in the nick of time with one big win among these three important voting groups.

Greta Lee, Teo Yoo and John Magaro – “Past Lives”
In general, “Past Lives” needs critics on its side now more than ever, after they spent the first six months of the year hailing it as the year’s best movie. But while it is now merely on the Best Picture bubble, it would really help its resume if Lee had a more secure place on the Best Actress bubble and if Yoo and Magaro found their way back on the Best Actor and Best Supporting Actor bubble.

The NBR is more likely to go for splashier performances in bigger movies, yet the NYFCC or LAFCA may be more inclined to dig deeper for someone like Lee or Yoo and Magaro. Now that the LAFCA has two winners and two runners-up for Best Leading and Best Supporting Performance, there could be enough of a springboard since five out of the eight Leading and Supporting actors cited by the LAFCA were Oscar-nominated last year.

Koji Yakusho – “Perfect Days”
Someone else who made a big early splash in the first half of 2023 was Koji Yakusho, who won Cannes’ Best Actor way back in May for his performance in Wim Wenders’ “Perfect Days.” Given that the Best Actor Oscar field has filled up since then, Yakusho could use another boost pretty soon. Yet since there are only eight or nine actors realistically fighting for five spots right now, one more noteworthy win from the NBR, New York, or Los Angeles may be exactly what Yakusho needs to stay in for the long haul.

Trace Lysette – “Monica”
After Andrea Riseborough’s out-of-nowhere nomination for “To Leslie” last year, everyone is searching for the next performer from a very small movie that could be pushed all the way – or waiting for Riseborough’s big-name supporters to show their hypocrisy in not boosting someone completely different this year.

If anyone can pull a Riseborough in the Best Actress field this year, it might be either Teyana Taylor for “A Thousand and One” or groundbreaking trans lead Lysette for “Monica.” But since Taylor already got recognized with a Gotham Award nomination and Lysette didn’t, it likely puts her ahead for a Riseborough-like surge from critics. However, that can change or at least expand if the NBR, NYFCC, or LAFCA recognize Lysette in a way the Gothams couldn’t.

Margot Robbie – “Barbie”
It is now a trademark for the NYFCC to choose one seemingly wacky, or at least eyebrow-raising, winner in an actress category – be it Keke Palmer for “Nope” last year, Lady Gaga for “House of Gucci” in 2021, Maria Bakalova for “Borat Subsequent Moviefilm” in 2020, Lupita Nyong’o’s first critics win for “Us” in 2019, Regina Hall for “Support the Girls” in 2018, or Tiffany Haddish for “Girls Trip” in 2017.

If that tradition continues, there might be no better choice than Robbie and no bigger sign that “Barbie” is indeed something to take very seriously. Its billion-dollar gross alone will keep Robbie as a distinct Best Actress nominee possibility, just like how last summer’s champion “Top Gun: Maverick” kept Tom Cruise on the bubble for a long time before it popped. Yet if Robbie can get the prominent critics’ group win that Cruise never did, her bubble may be made of far stronger stuff.

Milo Machado-Graner – “Anatomy Of A Fall”
Sandra Hüller is “Anatomy of a Fall’s” major acting contender, whose Best Actress campaign might help determine if the film itself makes the Best Picture cut. Yet as acclaimed as Hüller has been, her young on-screen son has often been cited as the film’s real secret weapon and the center of its deepest themes about personal narratives and truths.

Machado-Graner may be a longshot for Best Supporting Actor Oscar recognition, yet critics groups are not the industry. Still, no one as young as Machado-Graner has won with the LAFCA since Anna Paquin tied for Best Supporting Actress in 1993, though the NYFCC did give recent Best Actress wins to Saoirse Ronan and Sidney Flanigan when they were in their early 20s. If New York, Los Angeles, or the NBR makes history with Machado-Graner, “Anatomy of a Fall” as a whole can make the early statement it needs to with the Academy.

Dominic Sessa – “The Holdovers”
An older but still relatively young breakout Supporting Actor from a Best Picture challenger is Sessa for “The Holdovers.” Like Machado-Graner, he may be in the shadow of older co-stars seeking their own Oscar nominations, in this case Paul Giamatti and Da’Vine Joy Randolph. But by the end, he, too, is at the center of his film’s most moving moments and crystalizes its most meaningful themes.

If Giamatti and Randolph both get nominated, it would be more glaring and off-putting if Sessa didn’t join them to round out the trio. Yet since many see Robert Downey Jr, Ryan Gosling, Robert De Niro, Mark Ruffalo, and Willem Dafoe as the Best Supporting Actor five, it looks fairly daunting for anyone to break that logjam. But a statement win for Sessa from the NBR, NYFCC, or LAFCA can go a long way towards breaking that stranglehold – or at least put him ahead of everyone else trying to do so. 

Sandra Hüller – “The Zone Of Interest”
Hüller may be the star of “Anatomy of a Fall” – Machado-Graner and a blind dog aside – yet it isn’t her only performance in a potential Best Picture nominee that started at Cannes. Still, her mere supporting performance in “The Zone of Interest” is a bigger longshot for Oscar consideration, whether or not it would make her a double nominee.

Nonetheless, at least a few critics groups will likely give Hüller a collective award for both movies. But an individual win in one of the big groups for “The Zone of Interest” alone can make a larger statement, especially in a Best Supporting Actress field that looks to be more fluid than Best Actress. For that matter, a movie as bleak and horrifying as “The Zone of Interest” will need any extra edge it can get amongst traditional industry voters – and Hüller may be the biggest x-factor it has to lean on.

Rachel McAdams – “Are You There, God? It’s Me, Margaret.”
If the NYFCC doesn’t go with Robbie as an eye-opening winner from a female-driven, coming-of-age movie based on decades-old intellectual property, McAdams can fit the bill instead in Best Supporting Actress.

While “Are You There God? It’s Me, Margaret” was far less of a box office behemoth before summer, it received even higher rave reviews for its own take on the growing pains of womanhood in all ages. Part of that was due to McAdams, in perhaps her most acclaimed part since her Oscar nomination for “Spotlight” in 2015. A surprise win at New York, or maybe even recognition from Los Angeles or the NBR, can put McAdams squarely on a fairly wide-open bubble for the last Supporting Actress spots.

Depending on how dozens of other critics groups weigh in these next several weeks, the bubble for all the acting fields could get too crowded or locked in very quickly. But this is the most fluid part of Oscar season, where critics have their best chance to make a major statement for industry voters to consider later. However, the NBR, NYFCC, and LAFCA members now have the opportunity to make an impact for their fellow critical voters to consider later.

Who do you think will receive a boost in the Oscar race from wins at NYFCC, NBR and LAFCA? Any other predictions you have for those critics groups you’d like to share? Please let us know in the comments section below or on Next Best Picture’s Twitter account and check out their latest Oscar predictions here.

You can follow Robert and hear more of his thoughts on the Oscars & Film on Twitter at @Robertdoc1984

The post Ten Actors Who Could Use A Boost From NYFCC, NBR & LAFCA In The Oscar Race appeared first on Next Best Picture.