What a difference four months, and some good campaigning, makes.
When "Nightcrawler" and "Cake" premiered at the Toronto Film Festival back in September, the former movie seemed too dark and creepy and the latter too small to figure in the Oscar race. But as PricewaterhouseCoopers reps prepare to unveil this year's nominations to the Academy staff on Wednesday night and to the entire world on Thursday morning, both of those films have found themselves in the thick of the race, as two of the unlikeliest potential success stories of this year.
Although I thought they were both near-prohibitive longshots only a few months ago, Jake Gyllenhaal of "Nightcrawler" and Jennifer Aniston of "Cake" have both made my list of predicted nominees, and I expect to see the former film in several other categories as well.
It's a strange year, with an unusual best-picture frontrunner ("Boyhood") that has rarely appeared to be comfortable as a frontrunner. Some races seem relatively clear (Patricia Arquette and J.K. Simmons will likely win supporting Oscars, while Best Actor will probably come down to Eddie Redmayne v. Michael Keaton), but others are wide open and confusing.
With that in mind, here are my best guesses as to what we'll hear on Thursday morning in 11 of the key Oscar categories. (My predictions in most other categories can be found at GoldDerby.com.)
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Since mid November, the clear top five has been "Boyhood," "Birdman," "The Imitation Game," "The Theory of Everything" and "Selma" – though the rise of "The Grand Budapest Hotel" as the film most nominated by the guilds, and the failure of the late-breaking "Selma" to honored by most of them, has changed the picture somewhat.
Since the Oscars expanded the best-picture slate in 2009, only "The Tree of Life," "Extremely Loud & Incredibly Close" and "Amour" have made the cut without a single nomination from the four major guilds (the DGA, PGA, WGA and SAG). But I expect "Selma," which sent screeners to the Academy but not the guilds, to become the fourth film to do so, in the process finding a measure of redemption at the hands of Oscar voters.