Contenders

Read More – Our Latest Contenders Posts:

• 
  The Contenders: October Retrospective/December Forecast
• 
  Contenders 24: November Update
• 
  Contender: September 5 (2024)

For years, prognosticators have used their knowledge of film history, Oscar history, and other tools to determine whether a film is going to be a major Oscar threat, a minor competitor, or have no impact at all. While I’m not a statistician, I’ve always looked more empirically at precursors and other factors when making assessments. What the Contender series is intended to do is quantify as much of that as possible. While numbers may need to be tweaked over time, this first year will be a fascinating exploration of the system, putting it to use and seeing how things shake out.

What does it take to qualify for this list? There are five criteria that determine a film’s eligibility for consideration in this series.

• $100 Million+ Box Office
• 80+ MetaCritic
• Festival Award
• Our Prediction Citation
• General Buzz

That last category is a catch-all to try to collect films that might not otherwise be considered. It’s also useful for including films that add some pep and diversity to the rolls. Of these, only the festival award category requires a scheduled 2023 release. With well over a hundred major festival awards to consider, the list would become unwieldy if including them all.

Before getting into the details of the categories and how they are calculated, let’s look at the reasons these five are included.

The box office criteria is the weakest, having diminished over the last few decades. Today, a film like Driving Miss Daisy can’t cross $100 million, but back in 1989 it certainly did, though it did so bolstered by its Oscar nominations. This breakpoint is intended to get the big summer blockbusters that will contend in craft categories into the list and for no other real reason. Our rating based on box office is much more nuanced.

Why MetaCritic? Rotten Tomatoes also aggregates reviews. Not to put too fine a point on it, MC is more selective. While RT does have some appointment criteria for critics and have gotten more selective in recent years, they are more keen on signing up bloggers as well as full-time film critics (no matter how few of them are still out there). I use both in the metrics since RT is much more likely to reflect pervasive positive opinions about a film.

Festival awards have varying impact. If a film plays a festival and wins an award, it’s the kind of movie many will consider supporting. If it doesn’t win anything, it might not have much to go on, so we use a victory as a sign of that support. The reason this is the category we limit to confirmed current-year releases only is because of the tendency for festival winners to lag behind in their U.S. theatrical releases and wait a year to gain traction.

Finally, our predictions. Pete, Tripp, Thomas, and I have plenty of experience in making forecasts and while we aren’t perfect, if it makes our list, it has some measure of buzz to it and so it’s an instant-inclusion.

So, let’s dig into the numbers we’re using and how the information will be laid out on each contender’s page. The overarching Contender Factor is highlighted at the top of the page with individual categories listing information below that. It is broken into six areas as outlined and explained below. Additionally, the weight each area is given is specified as a portion of the Contender Factor at the top. The listed ratings will be added together with four of the six areas having their values doubled.

The Contender Factor base value changes depending on what stage the contender is in. A film that has not yet released will be in either Stage 1 (Pedigree only) or Stage 2 (Pedigree and Content). A film that’s released by has not closed at the box office will be in Stage 3 or Stage 4. Stage 6, which is after the precursors announce, will be the last stage for any film to complete. Stage 1 means the film is on a scale of 0 to 20, Stage 2 is 0 to 30, and so on. The Contender Factor section will state the current tally and what stage the film is in.

For 2024, we’ve broken down the contenders into seven categories as outlined below. Each category has individual factors for each of the different stages since an effects film is going to rely more heavily on box office than a broad contender while a narrow contender will favor critics perception of audience perception. Beyond this, there have been no additional changes. Each category below also features two examples from 2023 and 2024.

Broad: These films are contending in nearly every Oscar category at once. They are technical marvels with exceptional above-the-line representation. Killers of the Flower Moon and Oppenheimer would fall into this category. For this year, the likes of Dune: Part Two and The Nightingale will go here.

Narrow: When you have a strong film but it’s not a period or sci-fi spectacle, this is the category you would fit into. While they will compete in categories like Film Editing, Original Score, and Cinematography, the rest of the craft categories are unlikely. The Holdovers and Past Lives would fit here. The Bikeriders and Hit Man might also contend.

Acting: Films with middling critical approval but which have great performances at their cores would find a home in this category. Movies like Rustin and Nyad didn’t do great with critics but their central performances were nominated anyway. For this year, we have Shirley and Bob Marley: One Love as possible entrants.

Craft: These are films that are technically marvelous but aren’t particularly well liked by critics or audiences, yet their design styles are strong enough to earn them Oscar nominations. Indiana Jones and the Dial of Destiny, Napoleon, and Golda are examples of this. El Conde, which was well respected by critics, would also fall into this category, but its critical acclaim was not its reason for getting nominated. This year, we’ll have Beetlejuice Beetlejuice and Furiosa: A Mad Max Saga on this list.

Effects: The vast majority of summer blockbusters (or all-year blockbusters these days) would be placed into this category. The Creator and Mission: Impossible – Dead Reckoning Part One were examples of this and each was differently felt by critics with the former receiving mediocre reviews and the latter getting terrific ones. Kingdom of the Planet of the Apes and Ghostbusters: Frozen Empire are examples here.

Animation: This one is self-explanatory. Animated films fit into this category. While they often have a chance in the Original Score, Original Song, and rarely Best Picture and screenwriting categories, they would still fall into this category regardless. The Boy and the Heron and Spider-Man: Across the Spider-Verse are both fitting examples as they would also have qualified for Original Score if the Academy were less traditional in its selections. Spider-Man: Beyond the Spider-Verse and The Wild Robot are this year’s most obvious in this category.

International: Lastly are the international films. Not the ones that will contend for the Best International Feature Oscar but films that have the potential to cross over due to a same-year release as their International Feature candidacy. Anatomy of a Fall and The Zone of Interest are easily identified figures in this kind of category. So far, the international contingent is murky. We’ll probably see a few pop up at Cannes.