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Oscars Night: Five Things to Watch

Oscars statue cutouts rest on a table along the red carpet ahead of the 96th Academy Awards Friday, March 8, 2024, in Los Angeles. (AP)
Oscars statue cutouts rest on a table along the red carpet ahead of the 96th Academy Awards Friday, March 8, 2024, in Los Angeles. (AP)
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Oscars Night: Five Things to Watch

Oscars statue cutouts rest on a table along the red carpet ahead of the 96th Academy Awards Friday, March 8, 2024, in Los Angeles. (AP)
Oscars statue cutouts rest on a table along the red carpet ahead of the 96th Academy Awards Friday, March 8, 2024, in Los Angeles. (AP)

Will "Oppenheimer" make Oscars history? Who will win the closely contested best actress race? And could Martin Scorsese go home empty-handed again?

Variety awards editor Clayton Davis suggests five things to watch out for this Sunday at the 96th Academy Awards:

'Oppenheimer' record-breaker?

There is no doubt Christopher Nolan's atomic blockbuster "Oppenheimer" will win multiple Oscars. But how many?

Even a "really conservative" eight would be the most for a film since "Slumdog Millionaire" in 2009, explained Davis.

The record of 11 is probably just out of reach. But 10 -- achievable if it wins close races like best actor and best adapted screenplay -- would put it tied with "West Side Story" (1961).

After years of small, indie hits taking best picture, "Oppenheimer" would be the highest-grossing winner since "Lord of the Rings: The Return of the King" in 2004, and the third-highest of all time (also behind "Titanic").

It seems certain to be the top grossing film in history to win Oscars for its actors, in Robert Downey Jr and -- potentially -- Cillian Murphy.

And it would be only the second film to win best picture produced by a married couple -- Nolan and his wife Emma Thomas -- after "Driving Miss Daisy."

'Barbie' avalanche

While not likely to win more than a couple of Oscars, "Barbie" will be omnipresent throughout Sunday's gala.

Both Billie Eilish and Ryan Gosling are set to perform Oscar-nominated songs from the movie, and host Jimmy Kimmel is certain to pepper his opening monologue with jokes about the smash hit comedy.

"I can't imagine an entire evening that doesn't reference 'Barbie' multiple, if not hundreds of times," joked Davis.

Expect quips about the so-called "snubs" for Greta Gerwig and Margot Robbie, who were not nominated for directing and starring in the year's highest-grossing film, and many references to all things pink.

"It's going to be an avalanche of Barbie content. That might annoy a couple people," said Davis.

Best actress nail-biter

No major race is harder to predict than best actress, where Lily Gladstone and Emma Stone are neck-and-neck among the pundits' picks.

Davis is calling it for "Killers of the Flower Moon" star Gladstone, but admits his answer changes "at different moments."

As the first Native American actor to win, Gladstone would provide the gala with a historic moment, though some voters don't see her as the true "lead" of a film in which Leonardo DiCaprio dominates the three-and-a-half hours of screen time.

Stone's performance in Greek auteur Yorgos Lanthimos's "Poor Things" is popular among the Academy's "international vote" -- but could suffer if some of that bloc splinters off for Sandra Hueller, of French courtroom drama "Anatomy of a Fall."

"This is where it comes down to math," said Davis.

Scorsese's losses

Martin Scorsese, one of the greatest living directors, is hardly short of accolades.

But if Gladstone loses, "Killers" will likely become the third of Scorsese's movies to enter an Oscars with a whopping 10 nominations, and yet leave empty-handed.

Scorsese suffered the same with "The Irishman" and "Gangs of New York."

"It's like 'first world problems,' to have 30 Oscar nominations and you didn't win any of them," joked Davis. "But that is a lot."

America, America

As usual, the list of Oscars presenters is a who's who of Hollywood.

At a press conference this week, organizers revealed that five previous winners of each acting category will take to the stage to introduce the five nominees this year.

That could mean Jennifer Lawrence introducing Emma Stone, Matthew McConaughey announcing Paul Giamatti, and Tim Robbins praising Robert Downey Jr.

It is an approach borrowed from the 2009 Oscars, and brings a "lovely connection and that human interaction," said this year's showrunner Raj Kapoor.

The combination Davis is most hoping for?

"Rita Moreno is a presenter. And putting two and two together, there's no reason why she doesn't introduce America Ferrera's nomination for 'Barbie' and say 'America, America!'"

"I'm gonna cry. I'm gonna be in tears. And I can't wait."

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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.