An Oscar Race That Looked Like a Runaway May Be a Close Call, After All

Timothée Chalamet attends the 32nd Annual Actor Awards at Shrine Auditorium and Expo Hall on March 01, 2026 in Los Angeles, California. (Getty Images/AFP)
Timothée Chalamet attends the 32nd Annual Actor Awards at Shrine Auditorium and Expo Hall on March 01, 2026 in Los Angeles, California. (Getty Images/AFP)
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An Oscar Race That Looked Like a Runaway May Be a Close Call, After All

Timothée Chalamet attends the 32nd Annual Actor Awards at Shrine Auditorium and Expo Hall on March 01, 2026 in Los Angeles, California. (Getty Images/AFP)
Timothée Chalamet attends the 32nd Annual Actor Awards at Shrine Auditorium and Expo Hall on March 01, 2026 in Los Angeles, California. (Getty Images/AFP)

Who says to beware the Ides of March?

A March 15 Academy Awards may feel late. By then, it will be almost a year since “Sinners” sunk its teeth into moviegoers last April. Some nominees have been on the campaign trail since the Cannes Film Festival in May.

But the upside of a prolonged Oscar race has meant some unexpected late drama. Think about the same movies long enough, and minds can change. For months, Paul Thomas Anderson's “One Battle After Another” sailed through awards season, picking up prize after prize. But the wins for “Sinners” and Michael B. Jordan at Sunday's Actor Awards — along with some other recent developments — have given the Oscar race what Smoke or Stack might call fresh blood.

An Academy Awards that had looked like a runaway might be a close call, after all. With Oscar voting ending Thursday, let's survey the top categories

Best Picture

WHERE THINGS STAND

“One Battle After Another” has won at the Golden Globes, the BAFTAs, the Producers Guild and the Directors Guild. But its nearly unblemished record was shaken up at Sunday's Actor Awards (formerly the SAG Awards), where “Sinners” took the top prize. You'd have to have quite a few rounds at the “Sinners” juke joint to convince yourself that anything else has much of a chance.

WHAT HAS THE EDGE

The tea leaves are strongest for Anderson's “One Battle After Another.” The Producers Guild, which uses a preferential ballot like the Academy of Motion Picture Arts and Sciences does, is among the most predictive of bellwethers. Their winners have matched the last five years and in eight of the last 10 years.

The actors guild best ensemble prize, on the other hand, has a shaky track record. In the last 31 years, the SAG winner has matched the Oscar champ only 15 times. The win for “Sinners,” though, came right in the midst of Oscar voting. It was a good time to show out. So this race feels close to a coin flip, with a Warner Bros. movie on both sides. The awards season resume makes “One Battle After Another” the front-runner. But “Sinners,” even with a record-setting 16 Oscar nominations, gets to play the underdog.

Best Actor

WHERE THINGS STAND

This has been one of the most competitive and hard-to-call races of the season. Look at Leonardo DiCaprio. He gives one of the best performances of his career, in the best picture favorite, and he's still a long shot. Instead, Timothée Chalamet was widely perceived as in the lead after early wins at the Globes and the Critics Choice Awards for his frenetic performance in “Marty Supreme.” But the BAFTAs muddied the waters (Robert Aramayo, not in the Oscar mix, was the unexpected winner). And “Sinners” star Michael B. Jordan, much to his surprise, won at the Actor Awards.

WHO HAS THE EDGE

Chalamet's maybe meta campaign, full of swagger and braggadocio, rubbed some voters the wrong way. At the same time, many in the academy felt the 30-year-old should have won last year, for his Bob Dylan in “A Complete Unknown” — a year when he won with the actors guild but lost to Adrien Brody (“The Brutalist”) at the Oscars. Chalamet will hope the reverse happens this year. But the academy is notoriously resistant to rewarding young stars. Jordan, 39, isn't much older. But it now suddenly feels like his moment.

Best Actress

WHERE THINGS STAND

Since the fall festival launch of “Hamnet,” Jessie Buckley has been the favorite. She's won at the Globes, the BAFTAs and the Actor Awards. Her closest competition is probably Rose Byrne, who won at the Globes in the comedy/musical category for “If I Had Legs I'd Kick You.”

WHO HAS THE EDGE

This one’s easy. Fortunes have fluctuated in most of the top categories, but Buckley has been entrenched as the front-runner for months.

Best Supporting Actor

WHERE THINGS STAND

Sean Penn, a two-time Oscar winner, has done nearly no campaigning, yet he finds himself the favorite after winning at the Actor Awards and the BAFTAs. But several other nominees remain in the mix. Stellan Skarsgård (“Sentimental Value”) won at the Globes and is the kind of widely-liked veteran actor the academy likes to reward. But so is Delroy Lindo (“Sinners”), who was a surprise Oscar nominee. In the eyes of many, Lindo has quickly joined the contenders.

WHO HAS THE EDGE

Penn's recent wins put him clearly in the lead, and he might stay there. But this remains a category rife with possibilities. The academy's strong international leanings should help Skarsgård. And it wasn't an accident that when “Sinners” won best ensemble at the Actor Awards, Lindo gave the acceptance speech.

Best Supporting Actress

WHERE THINGS STAND

This category has been all over the map. Teyana Taylor (“One Battle After Another”) won at the Globes. Wunmi Mosaku (“Sinners”) won at the BAFTAs. And Amy Madigan (“Weapons”) won at both the Actor Awards and the Critics Choice Awards.

WHO HAS THE EDGE

Any of those three could win. Two of them — Taylor and Mosaku — have the benefit of co-starring in films the academy obviously loves. “Sinners” and “One Battle After Another” have 29 nominations between them, while “Weapons” has only the one. Yet the 75-year-old Madigan, another celebrated character actor who's been great for decades, has the momentum thanks to her charming Actors Award speech.



Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
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Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)

At the end of the block in David Robert Mitchell’s “The End of Oak Street,” is a cul-de-sac with a telephone pole in the middle and wires radiating out like the cables of a big top. It’s a fitting touch for a breakneck, carnivalesque movie made with throwback showmanship.

Summer movies, of course, are not known for lacking in circus-like mayhem. But much of the pastiche delight of the 1980s-set “The End of Oak Street,” a mid-August surprise, is how it absorbs an Amblin-style blockbuster spirit and conjures, without winking irony or belabored homage, a summer thrill ride seemingly designed for the drive-in.

Mitchell’s breakthrough was the nifty 2014 horror “It Follows,” which he followed up with an admirably ambitious but shaggily self-indulgent Los Angeles neo noir, “Under the Silver Lake.” But any indulgences in “The End of Oak Street,” about a 1980s suburban family whose neighborhood is transported through time, are for the audience. “The End of Oak Street” is a bonkers blast.

It’s best going in not knowing anything about the movie’s twists, so tread carefully on the rest of this review. That’s not to say that an enormous amount of “The End of Oak Street” isn’t immediately familiar, starting with the central family.

The Platts live in what looks like a San Fernando Valley neighborhood full of split levels and tidy little streets. Denise (Anne Hathaway) and Greg (Ewan McGregor) have two kids and a dog named Starbuck. Audrey (Maisy Stella) is a teenager and Brian (Christian Convery) is her younger brother.

But from the moment we meet them, during a neighborhood fair, there are obvious cracks in their all-American life. Greg is working a side job delivering pizzas while Denise is secretly typing up a maybe-aspirational novel about a woman dreaming of leaving her family. The kids have their own secrets, too. They suspect their parents are on the cusp of divorcing, and so, seemingly, do Greg and Denise.

Such a framework for sci-fi cataclysm is, naturally, Spielberg 101. But while “The End of Oak Street” is sure to test and restore their familial bonds, Mitchell, who also wrote the script, takes a route that leans more into horror, absurdism and outright silliness.

In any case, yes, there are dinosaurs. It’s both skillful and a lot of fun how Mitchell teases them out. The first signs are mysterious. A flash of light. A strange exotic flower in a neighbor’s backyard. A giant mount of feces in another’s. But soon, the Platts find that their neighborhood is overrun with primordial beasts and surrounded by jungle: Oak Street is suddenly a suburban island in a prehistoric world.

It’s a perfectly “Twilight Zone” plot that inadvertently solves the problems that have plagued the “Jurassic Park” movies for 20 years. If those films have struggled to find an off-island setting, “The End of Oak Street” instead brings the dino isle straight into suburbia. Encounters with raptors and worse transpire across front porches and shag carpets.

You could chalk it all up to good dumb fun. And it is mostly that, with set pieces built to make an audience groan in anticipation or cheer for the successful swing of a sledgehammer. But where “The End of Oak Street” succeeds where so many others fail is in the sincerity it has for its characters. Ridiculous and over-the-top as the concept is, the Platts are firmly grounded. (Hathaway, especially, helps in this department.) The combination of an earnest family drama with CGI hijinks, plus increasingly nutty plotting, make “The End of Oak Street” a fairly nonstop hoot.

Composer Michael Giacchino does his best John Williams impression to match. But Mitchell’s film also increasingly detours from the Spielberg playbook. Only Mitchell would take a moment for a freaked-out Audrey to sneak into the car to pop a cassette in and listen to Steve Winwood’s “Valerie.”

And while it would be pushing it to say there’s that much underneath “The End of Oak Street,” its characters are united in keeping certain things secret out of fear that their spouse or kids or parents can’t handle the truth. The swiftness that the dinosaurs invade their neighborhood could be symbolic of any ecological disaster, but the subsequent challenges prove each member of the family can handle quite a bit more than expected — even when the parental assurance that everything's going to be OK, like when a giant snake is slithering through their home, is laughably disputable.

It adds up to a gonzo good time that gives an old-school family adventure a darker, modern spin. Mitchell has quickly made suburbia his evident domain, where “it,” or something else, is sure to follow.


Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
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Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)

It turns out that the honey business isn't as sweet as it sounds: In the new movie “The Rivals of Amziah King,” beekeepers steal from each other, poison rivals' insects and rip folk off. “It’s not full of kind people,” the title character warns.

“The Rivals of Amziah King” isn't as sweet as it thinks it is, either. Instead of picking a single variety to explore, the movie is a maddening mishmash of genres — blending Quentin Tarantino's sudden brutality, a coming-of-age tale, a heist flick, a revenge fantasy and a sweet, music-filled country hoedown.

Matthew McConaughey returns to the big screen playing the title character in what can only be called Matthew-McConaughey-turned-up-to-11 mode, pure Cheshire Cat smile, rascally wink and buttery, Southern gentlemanly charm. Suspenders and scruff on, cowboy boots snug, McConaughey is the one who makes everyone's life instantly better just by showing up.

Written by Andrew Patterson and James Montague and directed by Patterson, “The Rivals of Amziah King” follows McConaughey's honey-producing King as he negotiates his patch of rural Oklahoma until he inexplicably leaves the movie at the hour mark and hands it off to Angelina LookingGlass, making her film debut.

We meet King ordering chicken fried steak sandwiches and cherry Cokes as he plays the banjo in a quartet of musicians at a beloved food joint. That gets interrupted when authorities need his knowledge to find out who abandoned $250,000 worth of honey barrels on the road and King starts to investigate. Then someone gets a chunk of their skull — including ponytail — ripped off in an industrial accident and that takes over. Settle in, the whiplash is just beginning.

King soon connects with his former foster daughter — that's LookingGlass, fierce and preternaturally grounded — who he gets to mansplain in the local ways, like what to eat at the potluck (“There's a story in every dish”), life lessons (“Patience is better than being smart”) and beekeeping (“Every queen is a survivor”). Bees here, if you didn't already get from the clunky writing, represent community, sharing and caring.

Cinematographer M.I. Littin-Menz's camera techniques never settle down in this movie, like a puppy forever pulling on its leash. Early sequences employ frozen shots irritatingly dropped into the mix and later we have furious close-ups, quick cuts, quirky flashbacks, ethereal river sequences and lingering poetic images of close-up bees like from a documentary, a kinetic approach that seems not to have much faith in the actual story keeping viewers' interest alive. Music supervisor Winslow Bright swamps many scenes with loud choirs, loud banjo and loud strings.

Maybe that's because as soon as you've settled down for one genre, it gets hijacked by the next. Warm and extended moments of communal song — the great T Bone Burnett had a hand in some of the outstanding Americana tunes like “Quill” with McConaughey exuberant, and “Johnny Come Outside” — are undercut by seeing kids smash their heads on school bus roofs or a cool Western-like tracking of a honey-stealing local rascal that is marred by his horrific, boiling-to-death murder. There are so many montages of honey production that viewers may qualify for a beekeeping certificate.

Great turns are produced by Kurt Russell as a lethal local kingpin who schmoozes his way past the law, and Jake Horowitz, a former Marine who knows how to plan a theft with military precision, mostly shirtless. One brazen theft here is of “O Brother, Where Art Thou?” and, however you liked that movie, you realize now how hard it was to actually pull off.

Patterson likes to remind viewers of his Oklahoma bona fides, but much of the overlong movie was shot in Alabama. And that hints at what's wrong with “The Rivals of Amziah King” — it just doesn't feel authentic, either in place or in story. Forget honey, it sort of leaves a vinegary taste behind.


Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
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Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)

British rock star Rod Stewart, 81, has cancelled forthcoming US tour dates after having a heart operation, his social media announced.

A message posted late Tuesday on his Instagram page said the raspy-voiced rocker has "successfully undergone a routine coronary stent procedure".

This procedure is to widen blocked or narrowed coronary arteries by interesting a tube that allows blood to flow more freely.

He had been due to play a series of US tour dates this month including in Las Vegas.

Now, "on the advice of his doctors, he will take the next four weeks to recuperate and regain full fitness before returning to the stage," his management said.

"Unfortunately, this means he will be unable to continue his current tour dates".

The spiky-haired singer and songwriter, who had a string of megahits in the 1970s and 1980s, has kept up a busy touring schedule despite his age.

He wrote in 2025: "I love what I do, and I do what I love. I'm fit, have a full head of hair and can run 100 meters (330 feet) in 18 seconds."

Stewart has recently cancelled several US shows over ill health, however, most recently on Sunday in Cincinnati, described at the time as due to "an unforeseen but minor medical procedure".

In June, he cancelled a concert in California at the last moment after contracting laryngitis, but faced criticism for attending a World Cup match the next day.

Later in June he was seen receiving oxygen during a show in Utah and told the audience he had nearly fainted.