From Jay Kelly to Wicked 2: The Oscar-Primed Films That Fizzled This Season
This year's Oscars narrative has shifted dramatically from last season's focus on smaller, indie darlings like The Brutalist and Anora. Instead, blockbuster productions such as Sinners, One Battle After Another, and Frankenstein have dominated the awards conversation. Sinners made history by securing an unprecedented 16 Oscar nominations, setting a new benchmark for cinematic achievement.
Yet, amidst this celebration of big-budget success, several high-profile films featuring Hollywood's biggest stars have surprisingly faltered. From George Clooney and Julia Roberts to Dwayne Johnson and Emily Blunt, many anticipated contenders found themselves sidelined in the race for Academy recognition. Here's a closer look at the major films that failed to live up to their Oscar potential this season.
The Smashing Machine
Directed by Benny Safdie, The Smashing Machine seemed poised for awards glory with Dwayne Johnson undergoing a serious, transformative role that typically appeals to Academy voters. Supported by Oscar nominee Emily Blunt, the film premiered at the Venice Film Festival to a 15-minute standing ovation, with Johnson moved to tears. However, the sports biopic proved too niche, described as inside baseball, and struggled to connect with both critics and general audiences. It grossed a modest $21 million globally and was overshadowed by Josh Safdie's more accessible Marty Supreme.
After the Hunt
Luca Guadagnino's campus-set #MeToo drama After the Hunt featured Oscar winner Julia Roberts, Andrew Garfield, and awards favourite Ayo Edebiri. Despite a provocative premise and Venice premiere, the film failed to generate the expected passionate debate. Instead, it was met with confusion and disinterest, earning less than $10 million worldwide against an $80 million budget. Roberts received a Golden Globe nod, but the film quickly exited the Oscar race, leaving Guadagnino's Academy prospects cold.
A House of Dynamite
Kathryn Bigelow's nuclear thriller A House of Dynamite initially received glowing reviews at Venice, positioning it as Netflix's prime awards contender. However, its New York Film Festival press screening was met with laughter and groans, diminishing its Oscar chances. Upon its Netflix release, the film baffled viewers, leading the streamer to deprioritise it in their campaign. Ultimately, it received zero nominations, a stark contrast to Bigelow's previous Oscar successes.
Deliver Me from Nowhere
This Bruce Springsteen biopic, retitled Springsteen: Deliver Me from Nowhere, appeared to be a surefire awards player. Directed by Scott Cooper, who previously guided Jeff Bridges to an Oscar win, and starring Jeremy Allen White, it had all the ingredients for success. Yet, polite reviews at its Telluride premiere weren't enough to sustain momentum. The film grossed only $22 million in the US, over $50 million less than the comparable Dylan biopic A Complete Unknown, and failed to break from predictable formula.
Christy
Sydney Sweeney's awards vehicle Christy checked multiple boxes: a true story, de-glam transformation, and boxing theme. Premiering at Toronto, it entered a best actress category lacking clear frontrunners. However, the film became a historic box office disaster and received middling reviews. Sweeney couldn't secure even a Golden Globe nomination, and as the best actress race intensified, she faded from contention.
Jay Kelly
Noah Baumbach's Jay Kelly, starring George Clooney and Adam Sandler, aimed to capitalise on Baumbach's recent Oscar momentum from Marriage Story and Barbie. With a film industry plot and Venice premiere, it seemed poised for success. However, mixed to scathing reviews, including a one-star rating from The Guardian, undermined its chances. The film's old-fashioned sentimentality failed to resonate with the Academy's increasingly international voting body, halting Clooney's comeback narrative.
Wicked: For Good
Following Wicked's 10 Oscar nominations and two wins, its sequel Wicked: For Good was expected to perform similarly. Despite less enthusiastic reviews, experts predicted nominations for Ariana Grande and craft categories. Shockingly, the film was entirely shut out, with box office dropping $250 million globally from the original. This rejection suggested voters are unwilling to automatically reward lesser sequels, allowing for more unconventional choices instead.
The Ballad of a Small Player
After Edward Berger's back-to-back successes with All Quiet on the Western Front and Conclave, his adaptation The Ballad of a Small Player seemed promising with Colin Farrell and Tilda Swinton. Yet, the film was criticised as too flashy, loud, and messy, failing to connect with audiences or awards bodies. It quickly became a low priority for Netflix and voters, ending Berger's winning streak.
Is This Thing On?
Bradley Cooper's third directorial effort, the divorce comedy-drama Is This Thing On?, premiered at the New York Film Festival but failed to gain traction. Despite Cooper's 12 Oscar nominations and previous hits, the film was lost in the crowded fall festival circuit and December release rush. It marked another disappointment for Searchlight Pictures, which also struggled with other awards hopefuls.
Rental Family
Brendan Fraser's follow-up to his Oscar-winning role in The Whale, Rental Family, premiered at Toronto to better reviews. However, in an increasingly competitive best actor category, Fraser couldn't replicate his previous success. Like Clooney, Johnson, and others, he became another well-known name deemed non-essential to the awards race, highlighting the unpredictable nature of Oscar seasons.
