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Those two months have seen the release of the past seven Best Picture winners - which is a notable change from the traditional, if not totally scientific, definition of prime Oscar movie season as a Christmastime affair. The other big-category nominees, from Get Out to Dunkirk, received earlier releases in the 2017 calendar, and many, like Three Billboards Outside of Ebbing, Missouri, emerged in the recent sweet spot of October or November. And while Paul Thomas Anderson’s latest film has a chance at Best Score and is the favorite in Best Costume Design, it is a distant contender in the more prestigious categories, including Best Director, where Anderson, like Streep, is the biggest underdog with 80-to-1 odds. Along with The Post, Phantom Thread is the only other late-December film that has a chance at one of the four biggest awards: Best Picture, Director, Actor, and Actress. Over the past decade, studios have been most successful releasing their most promising Oscar fare a bit earlier in the year, rather than saving it for Christmas.
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There’s a historical basis to suggest The Post isn’t an anomaly in that respect. When the Oscar nominations were announced, Vox noted that The Post opened “so late in the calendar year that it struggled to woo voters for the various industry guild awards (the Screen Actors Guild, the Directors Guild, etc.) to even see the film” this meant that it “fell off the map” and never was able to gain momentum. (Which is ironic - The Post, of all movies, should know the importance of a deadline.)Ĭheck out all of The Ringer ’s coverage of the 90th Academy AwardsĪn Oscar contender requires a strong plot, moving performances, and a robust marketing campaign, but the calendar matters, too.
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But the movie’s likely ceremonial shut-out is as much a matter of timing. The Post is old-fashioned Oscars material for a new-age Academy it’s not as strong a movie as other classic journalistic fare like All the President’s Men or 2016 Best Picture winner Spotlight it’s received criticism for historical inaccuracies, particularly from The New York Times. There are a number of possible explanations for this apparent disappointment. Neither Spielberg nor Hanks received an individual nomination at all. Per GoldDerby’s prognostications, The Post is tied with the lowest odds in the Best Picture race, at 100-to-1, while Streep is the biggest underdog in the Best Actress category, at 80-to-1.
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The Post received just two nominations for Sunday’s Oscars and is unlikely to win in either category. Austin Collins deemed it another Spielberg “master class.” And yet, as awards season has swelled the profiles of a number of 2017’s more esoteric films, the year’s most obvious trophy bait is dying in darkness. The film, which depicts The Washington Post’s coverage of the Pentagon Papers in the face of potential legal ruin, received a warm critical response (88 percent on Rotten Tomatoes) and a decent box-office return (over $79 million domestically at the time of publishing). Steven Spielberg directing a historical piece with modern-day political resonance starring Meryl Streep and Tom Hanks sounds like a Mad Libs movie pitch - yet on Christmas weekend 2017, there The Post was in limited release. By its IMDb page alone, The Post should have been an Oscars juggernaut.