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Jessie Buckley, Leo DeCaprio, Michael B. Jordan
With this weekend’s broadcast Sunday, January 11, 2026, on CBS, the 83rd Golden Globes set up the award season finale to come — The Oscars. The 98th Academy Awards will take place on Sunday, March 15, 2026, at the Dolby Theatre in Los Angeles, televised on ABC. It recognizes films released in 2025, with all the major categories to be awarded that night. A new “Achievement in Casting” category is being introduced for the first time.
But I’m here to take note of the lead up to the Globes with regard to its film categories. I’m not going to get into the validity of these awards given the questionable record of the Foreign Press Association which had created the awards years ago. The first awards presentation for distinguished achievements in the film industry granted by Hollywood Foreign Correspondents Association — the precursor of today’s Hollywood Foreign Press Association — took place in early 1944.
In 1951, the association decided to divide the best film, actor and actress nominees into two categories — drama, and musical or comedy — so that no genre would be slighted. In 1952, the HFPA created the Cecil B. deMille Award to recognize “outstanding contribution to the entertainment field.” The award’s first recipient was deMille himself. Helen Mirren is this year’s recipient.
In recent years, CBS began broadcasting a revamped show on a Sunday in early January. Though it’s a new year, it’s the same awards season. Starting with the Critic’s Choice Awards last Sunday and the National Society of Film Critics awards being handed out the Saturday before, a clearer picture is emerging of what may be in store on Oscar night — which then concludes the season. This week’s nomination announcements are being made from bodies including three of the top guilds: DGA, PGA and SAG. After Golden Globes ceremony airs, it’s the eve of Oscar voting, which opens next Monday.
Though the Globes come with such baggage, the show remains an important campaign stop — particularly for the lead actors and actresses. Each will have the opportunity to deliver their memorable speech just before AMPAS (the voting body for the Oscars) members decide who they want to see collect Academy Awards with its own set of subsequent speeches.
While waiting for Sunday night’s dramatics, with comedian Nikki Glaser returning to host the night, here’s a look at what various voters have had to say so far — and how they’ve extended director Paul Thomas Anderson’s “One Battle After Another” more accolades. Having seen the film, and being a fan of PTA, I don’t get it since it’s nowhere near his best film, but others are falling all over themselves about this picture. Anderson’s latest has gotten four top honors for best picture, best director, best supporting actor and best supporting actress (Benicio del Toro and Teyana Taylor, respectively) in the Critics’ race. But the most distinct character in the film is the Colonel played by Sean Penn who certainly deserves to be a contender in any best supporting actor race.
As to the Globes, because the races are split between drama and musical or comedy, wins could bolster a number of performers’ status as frontrunners. Michael B. Jordan from “Sinners” and Timothée Chalamet from “Marty Supreme” are likely to score in the respective best drama and musical/comedy categories. Jessie Buckley in “Hamnet” is almost certain to win best drama actress award.
The musical/comedy actress race is more competitive. Three stars — Cynthia Erivo (in “Wicked: For Good"), Kate Hudson (of “Song Sung Blue”) and Amanda Seyfried (lead of “The Testament of Ann Lee”) are all singing for these prizes — in their various films. Among the non-musical roles, Rose Byrne is likely to grab the statue for her work in “If I Had Legs I’d Kick You” — and deservedly so. Her competition, “One Battle After Another” newcomer Chase Infiniti and Emma Stone from “Bugonia” turn in powerful performances — all worthy of good reviews and notices. But I’d have to give to Byrne if only because she’s in every scene and has to do serious heavy-lifting throughout.
The previous weekend’s events also boosted several contenders for below-the-line categories. Guillermo del Toro’s “Frankenstein” picked up prizes for production and costume design, plus hair and makeup. As Frankenstein’s creation, Jacob Elordi’s work in the movie is worthy of a Best Supporting Actor nod. Netflix’s other viable Best Picture contender, Clint Bentley’s “Train Dreams,” won Best Cinematography, while Joseph Kosinski’s “F1” took Best Editing and Sound — a great film getting lost in the shuffle for Best Picture. James Cameron’s “Avatar: Fire and Ash,” won Best Visual Effects — an obvious choice.
All these deserve to be on the Oscars’ Best Picture list with Del Toro, Bentley and Kosinski also suitable for noms as Best Director. I would also add “Sinners” and “Sentimental Value” to the Best Picture list with Ryan Coogler and Joachim Trier, respectively, worthy of a Best Director award.
For Kleber Mendonça Filho’s “The Secret Agent” — starring the great Brazilian actor Wagner Moura — the awards and accolades have been rolling in and are well-deserved. The picture won Best Foreign Film at the Critics Choice Awards and has been getting nods for Best Actor and Best Screenplay as well. The NEON-heavy international race is still a toss-up, with most of its contenders — which also include “It Was Just an Accident,” “No Other Choice,” “Sentimental Value” and “Sirāt” — winning prizes outside of the international film categories.
I’m not going to get into a category unique to the Globes — Cinematic and Box Office Achievement. It’s fairly redundant and only there to stroke film companies for their commercial hits.
Though I could go on for about other categories in both the Globes and Oscars, I will just give a few films props here because I thought they were noteworthy and awards worthy. So look out for these documentaries on various shortlists: “Apocalypse in the Tropics,” “Folktales,” “Cover-Up,” “Yanuni,” “Mr. Nobody Against Putin” and the massive “My Undesirable Friends: Part 1 – Last Air in Moscow.”
In the International Feature realm look out for Japan’s “Kokuho” and Taiwan’s “Left-Handed Girl.” Films that also deserve notice though they might be long shots in various categories are: “Blue Moon” and its star Ethan Hawke, “Song Sung Blue” with its female lead Hudson and “Weapons” with one of its stars, Amy Madigan, getting great reviews.
On the Best Animated list, Netflix’s “KPop Demon Hunters” is a massive hit and a strong Golden Globe nominee, making it a major front-runner as a feature film and for its song, “Golden.” And though it’s unlikely to win, “Little Amélie or the Character of Rain” is a beautiful film everyone should see.
One final note to this report/preview. Never have I seen a year when so many genre films such as “Frankenstein,” “Weapons” or “Sinners” are in major categories, and well they should be. The art of film-making needs such imaginative and thought-provoking fare to get people before their screens or in the theaters.
I’ve ignored the TV/Streaming categories because when a series has multiple episodes there are opportunities for expansive story-telling. So viewing the season is a requite for me and I haven’t been able able to view them in their entirety.
But it’s in making a feature film — even if it’s over three-hours long — that creators face a challenge beyond just great concepts. They have to get it done within the limitations of making a feature. And they have to get it right within that framework. I salute anyone who can do that.
Awards Calendar January 2026
Vertigo
The Film Forum celebrates the master of suspense and the man who turned terror into tunes with HITCHCOCK & HERMANN. Running December 12 to 18 the film series includes The Trouble With Harry, The Wrong Man, The Man Who Knew Too Much, Psycho and more from Alfred Hitchcock and his esteemed musical collaborator Bernard Hermann.
The festival coincides with the publication of Steven C. Smith’s acclaimed new book Hitchcock & Herrmann: The Friendship & Film Scores That Changed Cinema (Oxford University Press), available at Film Forum concession during the festival.
Smith will introduce select screenings of North By Northwest, The Wrong Man, Psycho, and The Man Who Knew Too Much, which features Herrmann as himself conducting the London Symphony Orchestra at London’s Albert Hall. On Sunday, December 14 at 1:10, Mr. Smith will present an illustrated talk entitled “Hitchcock & Herrmann: The Sound of Murder,” to be followed by a book signing in the lobby.
On Tuesday, December 16 at 7:40, The Wrong Man will be introduced by Mr. Smith and Jason Isralowitz, author of Nothing to Fear: Alfred Hitchcock and The Wrong Men. Following the screening, Mr. Isralowitz will chat with Bruce Goldstein, Film Forum’s Repertory Artistic Director, about the real-life story behind the film.
To learn more, go to: https://filmforum.org/series/hitchcock-herrmann
HITCHCOCK & HERRMANN
December 12 - 18, 2025
Film Forum
209 W Houston Street
New York, NY 10014
One of the strangest cult classics is about to get stranger. Make that TWO of the strangest cult classics! Touted as the true vision of shlock-auteur Lloyd Kaufman, Mr. Melvin takes The Toxic Avenger Parts II & III and combines them into one new film. The idyllic, crime-free tranquility of the Tromaville citizens’ lives is shattered when Apocalypse Inc. settles down in their town. To make matters worse, the corrupt corporation has poisoned Tromaville’s only hero, the Toxic Avenger, against them. However, if Toxie can confront the monster he’s become, it may not be too late to save his town—and his soul. The screening will be followed by a Q&A with Troma President and Co-founder Lloyd Kaufman.
A fixture of video stores and dark basements, the films of Troma Entertainment has equally thrilled and repulsed audiences for decades, with titles including Class of Nuke ‘Em High, Surf Nazis Must Die, Poultrygeist, and their post-modern prometheus, The Toxic Avenger, which also recently had a remake starring Peter Dinklage.
To learn more, go to: https://movingimage.org/event/mr-melvin/
Mr. Melvin with Lloyd Kaufman in person
November 7, 2025
Redstone Theater, Museum of the Moving Image
36-01 35th Ave
Astoria, NY 1110
Paul Morrissey (1938 - 2024) shocked, delighted, and disgusted audiences for decades with his “Warhol” films, and leaving a mark as a reactionary auteur. Now the Metrograph theater (7 Ludlow Street) pays tribute to the films made in the 1980s and distancing himself from the Warhol brand.
Leaving the Factory: Morrissey After Warhol runs September 5th to the 14th (with select encore screenings) featuring five films, all screened in 35mm. These are rare and raw films such as Forty Deuce (starring a young Kevin Bacon) based on Alan Bowne’s off-Broadway play about desperate hustlers. The anti-biopic Beethoven’s Nephew, paints a less than flattering picture of the legendary composer in this shot in Vienna period piece. Madame Wang’s is a satire of 1980s LA as an agent of the East German Stasi becomes mired with Los Angeles squatters. Mixed Blood is a an East Village turf war as gangs battle across Alphabet City. Spike of Bensonhurst is about a down on his luck boxer who’s run out of his neighborhood for chasing after the daughter of mafia boss Ernest Borgnine and now hides out in the Red Hook slums.
To learn more, go to: https://metrograph.com/category/morrissey/
Leaving the Factory: Morrissey After Warhol
September 5 - 14, 2025 with select encore screenings to follow
Metrograph
7 Ludlow Street
New York, NY 10002




