Oscar 2018 Predictions & Snubs- Best Supporting Actor/Actress
by Jonah Reilly
The season of golden statues and obscure films that a handful of people have seen has come again. As we all know, only losers and low-lifes watch all of the movies, and only bigger losers and lower-lifes write articles about them. So, once I finished watching the extensive list of movies that earned a nod, and prepared to write my third annual Oscar nomination story, I was perplexed. The past few years of seeing all of the recognized films, I had a big stand-out that I wholeheartedly rooted for, and critics usually united towards one singular deserving film. Whether or not I agreed with the aforementioned critics is a different story, but this has been consistent throughout the years. However, this year is a neck-in-neck race, and both myself and critics are confused as to who to throw their dice for. So, leading up to the Academy Awards, nomination speculations will be posted periodically. Make sure to check out the recently-posted Best Adapted/Original Screenplay predictions if you missed it.
Best Supporting Actress-
Will win, and should win: Laurie Metcalf, “Lady Bird”
Should’ve been nominated: Zoe Kazan, “The Big Sick”
& Allison Williams, “Get Out”
I’ll avoid spoilers, but just try and watch Metcalf’s powerhouse acting scene when she’s alone in the car and try not to get misty-eyed. Of course, Allison Janney’s performance in ‘I, Tonya” brings the gasps and the laughs, and she is neck-and-neck with Metcalf for the gold. However, Metcalf brings more layers to her character, and an arc that Janney simply doesn’t contain in her performance. It isn’t at the fault of Janney, of course, it’s just how their individual characters are. Janney’s sternly, and hilariously, intense maternal figure is far more one-note than Metcalf’s developed, far more organic, performance as doting and worried maternal figure, which is why Metcalf is in the lead in terms of critical attention, and rightfully so.
In consideration of the snubs, personally, Zoe Kazan stands out. To be fair, it’s possible that Zoe Kazan’s performance was ignored in favor of that of Holly Hunter’s, but even she wasn’t nominated. Kazan’s performance was organic, realistic, but powerful and emotional when it counted. Of course, she is asleep for a large portion of the movie, but she still gathers a satisfactory amount of screen-time, every second of which she milks and makes the most of.
It’s mind-blowing to me that no one is talking about Allison Williams’ astounding performance in “Get Out”. I can’t possibly avoid spoilers when discussing her performance, so skip this paragraph if you haven’t seen “Get Out”. Also, if you haven’t seen “Get Out”, go see “Get Out”. Anyways, Williams’ performance in this was absolutely chilling. It takes an unappreciated amount of bravery to take on the role of psychopath racist. I’m not angry that her performance is being overlooked, I’m mostly confused. I don’t understand how someone could watch the snap in her character in the moment she takes the keys out of the purse. When she slyly informs Chris that she can’t give him the keys, every inch of me was absolutely shaken. The immediate change in her character was dreadfully impressive in all the best ways. My heart stopped. It isn’t easy to stop a heart. Also, the scene where she’s talking to Chris’ TSA agent friend on the phone, and her voice is pleading and frantic, but her face is completely monotone was chilling to the bone. The smugly suppressed insanity that Williams dons is magnificent, and needs more recognition.
Best Supporting Actor-
Will win: Willem Defoe, “The Florida Project”
Should win: Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
Should’ve been nominated: Michael Stuhlbarg, “Call Me by Your Name”
Defoe’s performance has gotten more than its fair share of praise from critics and fans, and “The Florida Project” is an an absolutely stunning film, with an amazing performance from Defoe. However, it’s arguable that Rockwell had a tougher character to fulfill than that of the familiar reluctant father figure that Defoe dons. Especially in a film that so heavily relies on it’s performances, such as “Three Billboards” does. “The Florida Project” has so many fresh, moving parts that build up it’s sparkling story. “Three Billboards”, on the other hand, has to make up for it’s lazy story and particular cheesiness with its inspired performances, but more on that later.
It’s easy to lose Michael Stuhlbarg in the overflowing-with-brilliancy, and slightly shocking “Call Me by Your Name”. With such intimacy and delicacy in every aspect of the film, especially between the leading men, singling out the father role can take a certain precise eye. However, once you shine a light on his pragmatic and subtly emotional performance, you can realize how excellent it is. The monologue he has towards the end of the film, though I won’t give any spoilers, is yet another heart-wrenching moment in a film that’s full of said moments.