For the first time in nine years, the Critics’ Choice Awards were the first major precursor to be announced for the film awards season. Usually, the Golden Globes give us our first clues about which contenders have true passion. The Critics’ Choice Awards, meanwhile, are typically a barometer of which films and actors are perceived as top contenders. You rarely see a passion pick with no perceived chance at the Oscar upset here, though it does still happen; Jon M. Chu won Best Director for “Wicked” at CCA last year despite having already been snubbed for the Oscar. However, with the CCA going first this year, there are no trends to follow or sweeps to continue. We had a few more upsets than usual this year—though in all fairness, not as many as last year—and an acting quartet of bona fide passion picks. I’ll break down the key takeaways from Sunday.
Best Supporting Actor Remains Anyone’s Game
In the biggest upset of the night, Jacob Elordi won Besr Supporting Actor for his complete transformation into Frankenstein’s creature. A “One Battle After Another” man was expected to win here, whether it was Benicio del Toro for his likable, scene-stealing turn as Sensei Sergio Carlos or Sean Penn for his comically villainous performance as Col. Steven Lockjaw. Del Toro was leading with regional critics’ wins, while Penn had the much flashier role. The film ultimately won Best Picture at CCA, but that was not enough to prevent what appears to be vote-splitting between the two top contenders. We were all aware the actors could split support from “One Battle After Another” fans, but if that was the case, it was Stellan Skarsgård from “Sentimental Value” who seemed poised to benefit. The well-respected veteran actor had his fair share of regional critics’ wins and gave an emotional, anchoring performance in the widely beloved Norwegian film. Meanwhile, before Sunday night, Elordi seemed like he was in a good place to get nominated for “Frankenstein,” but nowhere near a lock. Though he is unanimously considered the standout of the film and a revelation for his portrayal of the creature’s tragic arc, I don’t think anyone seriously considered him a threat to the Oscar win before last night. This win alone does not make Elordi the frontrunner, but there is a clear path for him to win at any of the other major precursors. The Globes clearly loved “Frankenstein,” considering Guillermo del Toro’s nomination for Best Director, so a win there could be in the cards. They were also big fans of “One Battle After Another,” “Sentimental Value,“ and “Hamnet,“ so I wouldn’t pencil him in for a win just yet, but it is now a possibility. Elordi is already a BAFTA nominee for “Saltburn“ despite not receiving a nomination for the film virtually anywhere else, save for an AACTA nomination. Should he win at the Globes and emerge as a frontrunner, I think BAFTA voters may like him enough to give him the win there as well. And since the Actor Awards are prone to recognizing transformational performances, what bigger transformation is there than going from a classically handsome movie star to a pale, hulking “monster“ seeking any form of meaningful connection? Ultimately, I still think the Oscar is between Penn and del Toro, but Elordi’s win here proves that this race can be shaken up big time.
Timothée Chalamet Wins His First Award Of The Season For “Marty Supreme”
Timothée Chalamet has made it no secret how much winning an Oscar for “Marty Supreme” would mean to him. The 30-year-old has turned in no shortage of phenomenal performances, but what he does in Josh Safdie’s latest film is arguably his career-best. His turn as Marty Mauser is a transformation in its own right, with the actor accentuating his natural charisma to torment the audience with how driven, egotistical, yet undeniably compelling he is. Since the film’s surprise premiere at the New York Film Festival, “Marty Supreme” has been the film on everyone’s lips. Yet despite how buzzy Chalamet was in this role, this was far from a secure win for him. Leonardo DiCaprio is going for his second Oscar win for “One Battle After Another,” and he could easily have become part of that film’s win package at CCA but it was not meant to be. Ethan Hawke could have surprised and kicked off an overdue narrative of his own for “Blue Moon.” And Michael B. Jordan has been neck-and-neck with Chalamet in critics’ wins, I’m sure his dual performance in the immensely beloved “Sinners” nabbed him his fair share of votes. Chalamet triumphed regardless, and while I’m hesitant to say this race is over simply because of how intense his competition is, I am sure this will not be his last win of the season.
Jessie Buckley Kicks Off A Potential Sweep For “Hamnet”
Ever since “Hamnet” premiered at the Telluride Film Festival, Jessie Buckley was the clear frontrunner in Best Actress. Her devastating performance as a grieving mother emotionally resonated with critics and audiences alike, and the immediate assumption after the film’s first reactions came out was that she would sweep awards for this role. Following her CCA win, I think it is safe to say, for the time being, that this is increasingly likely. This was arguably the hardest awards body for her to win; despite Buckley being widely predicted to win the Oscar, Rose Byrne was neck-and-neck with her in regional critics’ wins and had her fair share of vocal supporters for her overwhelmed, anxiety-inducing performance in “If I Had Legs I’d Kick You.” But with CCA now under her belt, I honestly think she goes all the way taking the Golden Globe, Actor and BAFTA awards. With Buckley giving an emotionally moving performance in a top Oscar contender, I really cannot see anyone stopping her sweep.
Amy Madigan Proves The Awards Hype For Aunt Gladys Is Real
After Demi Moore’s stunning awards run for the hilarious body horror “The Substance,” where she won the CCA, the Golden Globe, and the Actor Award, pundits have been wondering if the same could happen for Amy Madigan in Zach Cregger’s “Weapons.” Madigan portrays the now iconic Aunt Gladys in Zach Cregger’s newest horror film, an unhinged woman trying to regain her youth with witchcraft that we all couldn’t help but become obsessed with. Her leading critics’ groups were a good sign, but plenty of actors have done that without ever truly being in contention for the win. Yet with her CCA win over the likes of women in much stronger Best Picture contenders like Teyana Taylor and Inga Ibsdotter, Lilleaas feels significant. Could she go all the way, winning for a phenomenal horror performance even though Moore fell short a year before? It is a very split field, so it truly depends, but a CCA win is undoubtedly a step in the right direction.
“KPop Demon Hunters'” Oscar Chances Are Golden
“KPop Demon Hunters“ went into CCA night as the clear frontrunner in Best Animated Feature and a possible threat in Best Original Song. The Netflix sensation’s win in the former category was widely expected; no animated film this year has had more of a cultural impact. But “Golden“ beating “I Lied to You“ at an awards body that clearly loved “Sinners“ is a clear sign of its strength. Yes, CCA tends to go for fun choices in songs—see “I’m Just Ken“ beat the eventual Oscar winner “What Was I Made For?”. However, “Golden“ is more than just a poppy earworm; it is inarguably the biggest song of 2025, with its message about self-acceptance clearly resonating with adults and kids alike. “I Lied to You“ is the cornerstone of the single best moment of “Sinners,” a glorious one-take that emphasizes how music connects us with our culture and how culture ties us all together. As long as it wins the Globe, I will still feel somewhat comfortable predicting it. But make no mistake, “KPop Demon Hunters“ looks all but guaranteed to win at least one Oscar and could very easily win two.
Despite Not Sweeping, “One Battle After Another” Remains The Frontrunner
“One Battle After Another” did not win the most awards at CCA. Considering its incredibly dominant performance at critics’ groups, this came as a fairly big surprise. For instance, even though it led wins for Best Editing and Best Supporting Actor, it lost both. With how strong a lead the film seemed to have in the Best Picture race, I honestly half-expected it to sweep. However, this was nowhere near a bad night for “One Battle After Another.” How could it be, when it won Best Adapted Screenplay, Best Director, and Best Picture? Truly, it is a sign of its strength so far that winning three above-the-line awards is an underperformance. It might be unstoppable in those three categories, but the caliber of performances and films this year makes an outright sweep difficult.
Like “One Battle After Another,” “Sinners” Had A Good But Not Great Night
“Sinners” did win the most awards at CCA, tied with “Frankenstein.” With four wins—Best Original Screenplay, Best Casting or Ensemble, Best Score, and Best Young Actor—it won everything it needed to in order to maintain the momentum it has steadily built since its critics’ group wins. Best Original Screenplay and Best Casting or Ensemble are important wins in particular, since Original Screenplay is the above-the-line Oscar, and SAG Ensemble is the major precursor. “Sinners” stands the best chance at winning. Yet like its main competition in Best Picture, it did not max out here. The losses for Best Cinematography and Best Song came as major surprises since CCA seemed to otherwise love “Sinners.” The passion for “Train Dreams” and “KPop Demon Hunters” centered on their cinematography and the chart-topping smash song, respectively. The love for “Sinners” did not result in outright defaulting to it in every category where it showed strength, but it still had a solid haul at the CCAs. I am curious to see how it fares at the Globes in categories without “One Battle After Another,” as a win in Best Film – Drama would prove it is still in the hunt for Best Picture.
“F1” Wins Two Awards, Including Best Editing
“F1” was obviously winning Best Sound at the Critics’ Choice Awards. Who could deny the revving of the car engines or the squealing of tires during those intense races? The shock, however, came when “One Battle After Another” and “Sinners” also won Best Editing. On the film’s own merit, the win makes perfect sense, as crafting those race sequences to feel as invigorating and immersive as they do is a skill. But the assumed top two in Best Picture have flashy editing showcases of their own, so the fact that their strength as films was not enough to overcome “F1” is fascinating. The film is in an excellent position for an editing nomination now, but we’ll have to wait for BAFTA and ACE to see if it continues its domination.
“The Secret Agent” Continues To Win Best International Feature Prizes
Right before the CCAs, “The Secret Agent” completed a sweep of the critics’ trifecta of NYFCC, LAFCA, and NSFC in Best International Feature. At CCA, both “It Was Just an Accident” and “No Other Choice” were upset by “Winning Yet Another Prize for Best International Feature.” To me, this triumph does not mean “The Secret Agent” is a threat to win that category at the Oscars, especially when “Sentimental Value” was not even eligible due to its Best Picture mention here. “It Was Just an Accident” has been leading critics’ groups overall, while it and “Sentimental Value” are stronger Oscar contenders above the line. This triumph means that “The Secret Agent” continues to have passionate critics who make its case in Best Picture all the stronger.
What did you think of the Critics Choice Awards? Did your favorites win? Do you feel any shifts in momentum in the Oscar race? 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.
