Oscar Predicions 2025

Seeing the Oscar nominations prompted me to check back on last year to see how I did.  I got 7 out of 10, which is pretty consistent with years past. Let's see if I can do any better!

This has been a banner year for seeing Oscar-nominated films, as I've actually seen three - Conclave, Wicked, and A Complete Unknown. This is the first year in a while where I've not actually seen any of the best animated feature nominees. Yes, the kids are getting older.

I don't have too many comments about the other categories this time around, but I do have a couple:

* I'm already unofficial 0 for 1, as Conclave did not pick up the cinematography nod I mentioned in my post about that film. 

* Sticking with Conclave, I expect Edward Berger not getting nominated for director will be one of the more notable snubs. He's the only DGA Award nominee not nominated, with The Substance's Coralie Fargeat replacing him. Other snubs apparently include Pamela Anderson for The Last Showgirl and Trent Reznor for score and song for Challengers, the tennis movie I only know about because parts of it were filmed in the Boston area.

Finally, my usual disclaimer. While I've seen an unprecedented number of nominees (for me), you should not rely on these picks for your Oscar pool. Or anything else, for that matter.

On to the predictions!

Best International Feature Film - my usual rule of picking the movie that's also been nominated for Best Picture has hit a snag. Two films in this category are also nominated for the big prize (Emelia Perez and the Brazilian film I'm Still Here. A third film, Flow, is nominated for best animated feature. 

I'm not going to try to logic this out and will go with the buzz and pick Emelia Perez. If I had to explain it, I'm thinking Flow will win in the animated category and I'm Still Here doesn't have Netflix to throw its weight around.

Best Animated Feature - So based on my previous comments I'm going to go with Flow here, though it would not surprise me if The Wild Robot won (it did pick up the Critics' Choice Award, while both picked up Annie Awards). The Pixar losing streak continues.

Best Original Screenplay - I'm going with The Substance here, on my (often incorrect) theory that a film nominated for Best Picture that is unlikely to win will get rewarded here. My theory gets a chance to double down as a potential reward for Coralie Fargeat not winning the directing prize. This theory does not explain why it would not apply to The Brutalist or Anora, both written (or co-written) by their directors.

Best Adapted Screenplay - I'm going to jettison the theory used above and go with Conclave, mostly based on how much I liked the book. Which, honestly, makes no sense.

Acting in rapid fire as always:

Best Actor - Adrien Brody in The Brutalist

Best Actress - Demi Moore, The Substance

Best Supporting Actor - Guy Pearce, The Brutalist

Best Supporting Actress - Zoe Saldana, Emelia Perez

This year seems a little more wide open than previous years, with only Demi Moore feeling like a prohibitive favorite. Three of these won a Golden Globe for their performance, though Moore won for lead in a comedy/musical. I opted to go with Pearce over Golden Globe winner Kieran Culkin as if there's any year to win an Oscar for playing a rich white asshole, it's this one.

The most likely second place for each of these, I think, would be Timothee Chalamet for A Complete Unknown, Fernanda Torres for I'm Still Here, Culkin for A Real Pain, and Isabella Rossellini for Conclave (fulfilling the semi-regular supporting award WTF moment).

Best Director - If you can put together a 3.5 hour movie nominally about architecture and screen it with a planned intermission, and still get abundant praise and 10 Oscar nominations, I think you're likely to win this. So I'm going with Brady Corbet for The Brutalist.

Best Film - Early on it looked like Emelia Perez was going to walk away with this, but there's been some predictable backlash (it's a musical, not in English, and may be a bit too odd) and some less so (star Karla Sofia Gascon getting busted for some highly bigoted tweets). This opens up just enough of a hole for an Important Movie like The Brutalist.

Rather than add updates to each category, I've put them all into one spreadsheet, which I think helps demonstrate how things are going more clearly:

The guilds have thrown a bit of a wrench into things, with Anora and Timothee Chalamet the main recipients. SAG further muddied the waters by giving Conclave the outstanding cast award. It's not particularly predictive of who will win the Best Picture Oscar (the same film wins both awards about half the time), but the last three winners (and four of the last five) won both. 

For what it's worth the Independent Spirit Awards were the night before the SAG Award, and Anora won best picture, Sean Baker best director, and Mikey Madison best actor (the ISAs no longer separate acting awards by gender). Hard to say what this means for all of their chances at the Oscars, given that most of the nominees there weren't eligible for ISAs.

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An Unknown Unknown

There's a point early in A Complete Unknown where Sylvie (played by Elle Fanning), the girlfriend of Bob Dylan (Timothée Chalamet), is preparing to leave for a semester in Rome, and she says that she doesn't want to think about how much she'll miss him, but that she also doesn't really know anything about him. Which I think speaks for the movie as well.

We do get a story, told in entertaining fashion, of Dylan's arrival in New York, his introduction to the folk scene with the help of Pete Seeger (Ed Norton), his on and off again relationship with Joan Baez (Monica Barbaro), and his eventual turn towards rock music (the film is based on the book Dylan Goes Electric! by Elijah Wald).  The only real insight on Dylan that we get is in response to Sylvie's comment that I mentioned above, where Dylan more or less says that the past doesn't matter, that moving forward is what's important. 

We do get some interesting tidbits that fill out the biography, such as Dylan's friendship with Johnny Cash (Boyd Holbrook) and how he met his long-time road manager, Bob Neuwirth (Will Harrison). The culminating scene at the 1965 Newport Folk Fest, and the reaction to his electric set, is very well done.

For the lack of insight into Dylan, I think the film does a good job giving insight into Seeger, whose devotion to folk music and his peaceful nature are severely tested as Dylan becomes more famous and less interested in folk. I really liked Ed Norton's performance, and was glad to see him get an Oscar nomination for it.

In the end I did like this movie, though I did feel like there was a bit of a hole at the center due to Dylan's basic unknowability (even if that was more of a feature of the movie than a bug).

We got six previews before the movie, some of which seemed more appropriate than others given who you'd expect would turn up for an Oscar-nominated movie about folk music:

Becoming Led Zeppelin was the most appropriate, being a film about a music group that got its start in the 1960s. It's a documentary, the first one about the band made with cooperation of its members. Having the band involved piqued my interest.

Perhaps the least appropriate was Until Dawn, based on the video game of the same name. A group of teens, led by a girl investigating the disappearance of her sister, are murdered, only to be brought back to life a la Groundhog Day to be murdered again by someone (or something) else. The only way to break the cycle is apparently to survive until dawn.

Two other movies focused on the more youthful segment of the audience were Captain America: Brave New World and Thunderbolts, both part of the Marvel Cinematic Universe. Where I have literally only seen about 80 percent of one MCU film (the original Iron Man) I'll pass judgement.

The more artsy counterpart to Until Dawn is Presence, Steven Soderbergh's film told from the point of view of the poltergeist that haunts the house the Payne family just moved into. I like the idea of this movie, but am not really interested in seeing it.

I had the opposite reaction to The Alto Nights, about mob bosses Vito Genovese and Frank Costello. Both roles are played by Robert DeNiro, which is a little too stunt casty for me. I was surprised to see Barry Levinson as the director, as between the casting and subject matter I assumed it was another Martin Scorsese film. 

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Pro-Clave

Our family closed a three movie Thanksgiving weekend (the second movie being Wicked, which my wife loved and the boys tolerated) with Conclave, the story of a papal election focusing primarily on the dean of the College of Cardinals, Thomas Lawrence, played by Ralph Fiennes. He's more or less in charge of the proceedings, and has to promote the candidacy of his friend and American cardinal Aldo Bellini (Stanley Tucci) against those who want the church to return to a more conservative and traditional orientation, whose leading candidate is Venetian cardinal Goffredo Todesco (Sergio Castellitto).  All without overt politicking, which is expressly forbidden.

On top of that, Lawrence has to manage various intrigues involving other cardinals, such as a Nigerian cardinal (Lucian Msamati) with a mysterious relationship to a nun, a Canadian cardinal (John Lithgow) who is angling to get himself elected, and a mysterious Mexican cardinal assigned secretly to Kabul (Carlos Diehz) who arrives just before the conclave starts. He's assisted in handling these issues by the nun in charge of the domestic arrangements, played by Isabella Rossellini, whose appearance brings to mind the brief, show stopping role Judi Dench played in Shakespeare in Love.

The movie is directed by Edward Berger (All Quiet on the Western Front), and he does a great job of getting as much emotional mileage possible out of what could be a fairly dull subject, palace intrigue notwithstanding. It's also beautifully shot, I expect a nod for cinematography once the Oscar nominations come out.

All of which complements the acting, which is at a very high level. Fiennes stands out as the conflicted cardinal, and has picked up a few award nominations so far. Rossellini's role may be too slight to grab an Oscar nod, though she's been nominated elsewhere. I was also impressed with John Lithgow, who showed just the right balance of ambition and (false?) piety, while playing down his usual instinct to make a meal of his role.

There is a surprise at the ending, which is the same as it was in Robert Harris's book (which I also recommend). I think it was done reasonably well, enough so that it elicited an audible gasp from my wife.

I do recommend seeing this, especially if you're someone who like to see all of the Oscar nominated movies. I expect this will be among the 10 Best Picture nods, though I'd be surprised if it won.

We saw this at a local independent theater, so only four previews:

Pan's Labyrinth, which was being shown as part of a late-night screening series

A Complete Unknown, as mentioned previously

Nosferatu, the Robert Eggers version of the classic vampire story. My wife was strangely interested in seeing it (she's not normally a horror person). Can't say it did much for me, but I'm also not much of a horror person.

Mission Impossible - The Final Reckoning, which I am unlikely to see since I don't think I've seen any of these movies since the second one. 

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Pastor, Plotter, Prayer, Guy

We took a family trip to the movies on this Black Friday, but didn't take in any of the big-budget pictures (the wife and kids will be seeing Wicked tomorrow, I'm passing). We instead saw Bonhoeffer, the story of an anti-Nazi German minister and theologian. 

The film is distributed through Angel Studios, which focuses on Christian-themed films and may be best known for its highly dubious child trafficking movie Sound of Freedom. The connection made me leery, but reviews were reasonably positive so I was OK giving it a shot.

In the end, I think it did an OK job of giving an overview of Bonhoeffer's life and resistance to the Nazis, but could have been much better.  The story is told in flashback during Bonhoeffer's last few days of life before being executed, and it's not always clear to tell at what point during Nazi rule events take place. 

There were also a couple of places where the story was embellished that didn't work for me.  During Bonhoeffer's time in the US studying theology he goes to a jazz club, and while he says he hasn't played in a long time, he proves to be a dab hand at improvising with the house band. This scene, and one where Bonhoeffer is assaulted by a racist hotel manager, were apparently added to emphasize his empathy for the plight of Blacks in America. 

The film also plays up how involved Bonhoeffer was in an assassination attempt on Hitler, which in reality he may have known about but was not actively involved. In both cases, the departure from fact made me wonder about the overall accuracy of the film. Bonhoeffer's story should be interesting enough to tell without making stuff up, though a more factual film may have been too theological.

The film ends with a reminder of the death toll of the Holocaust, a warning about the increase in anti-Semitic activity, and a call to never allow this sort of thing to happen again.  While I don't think it was intentional, the ending can also be interpreted as promoting resistance to whatever the incoming administration has planned. 

There were seven previews prior to the film, some more in line with the film being screened than others:

Den of Thieves 2, a sequel to Den of Thieves, a 2019 heist film that pitted LA County sheriffs against thieves who used to be special forces Marines. I expect the fast cars and fancy boats dominate to make up for a lack of plot.

Kraven the Hunter, which is apparently part of the Spider-Man universe. There are a lot of faux Russian accents and apparent daddy issues between Kraven and his father, played by Russell Crowe. Pass.

Dog Man, based on the book series by Dav Pikey. If this had come out five years ago I can guarantee that we would have seen this, as both boys were fans of the books. For all I know we may still wind up seeing it.

Homestead, one of two Angel films previewed. This one takes place during (or after) a war where a compound in the mountains becomes a flashpoint between its inhabitants and the people who are locked out. I expect there will be tension between loving thy neighbor and killing everyone for God to sort out.

Brave the Dark was the other Angel film, based on a true story about a teacher in 1980s Pennsylvania who takes in a troubled homeless teen. Jared Harris plays the teacher, which surprised me until I read the film is directed by his brother Damian. 

September 5, which tells the story of the Munich Olympic hostage crisis from the viewpoint of the ABC Sports crew that had a front row seat to the tragedy and covered it for the network. There is a fair amount of ethical wrangling about whether or not the coverage may be putting the hostages at risk. I may want to see this, but feel like I should see Munich first.

A Complete Unknown, which is kind of a biopic of the early 1960s New York City folk scene, told through the lens of a young Bob Dylan (played by Timothee Chalamet). It's probably the film on this list that I'm most likely to see, as the older boy said he was interested.

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Oscar Predictions 2024

So last year was a small step forward for me, correctly predicting 7 of the 10 awards I bother to predict. Of course, two of the misses were in major categories (Best Actress and Best Picture). Let's see if I can do better this year!

But first, random nomination thoughts:

* I have only seen two nominated films, and they're actually going up against each other in a category. Both Napoleon and Godzilla Minus One were tabbed for Best Visual Effects, and I have to admit I'm pulling for the monster (though it would also have to beat the latest Guardians of the Galaxy and Mission Impossible movies to take the award).

Napoleon also got a nod for costuming.

* On the music side, John Williams got his 54th (!) nomination, this time for Indiana Jones and the Dial of Destiny. One of his fellow nominees is Robbie Robertson, former member of The Band who did the score for Killers of the Flower Moon before he passed away last August. None of which may matter, as early results suggest Ludwig Goransson will win for Oppenheimer.

On the song side, Billie Eilish and her brother Finneas could pick up their second Oscar in three years with their song from Barbie. Their biggest competition may be the other song from Barbie that was nominated, "I'm Just Ken." 

* Speaking of Barbie, two of the most notable non-nominations this year were for the film's star, Margot Robbie, and its director, Greta Gerwig. Both could still win a statue, though, as Robbie could get one as a producer (if the film wins best picture) and Gerwig could get one for the screenplay. The film did give us one of the surprise nominations with America Ferrara getting a Best Supporting Actress nod.

* I'm also trying to figure out if Still: A Michael J. Fox Movie and American Symphony got snubbed in the feature documentary category. Still cleaned up at the Critics' Choice Documentary Awards, winning Best Documentary Feature as part of its five total awards. It was on the shortlist but not nominated. It did win a number of Emmy Awards, so I'm thinking voters opted to honor it there.

There was no such dodge available for American Symphony, about a year in the life of musician Jon Batiste and his wife's battle with leukemia. It had the most Critics' Choice Documentary Awards nominations with six, winning two. He did get a best song nod, though, so we'll likely see him at the ceremony anyway (hopefully with his wife).

Your usual disclaimers:

* My picks will include information on other awards already presented (I think as this point it's just the Golden Globes and Critics Choice Awards) and nominated (everything else).  I may add information on who won these other awards as they're given out, but the picks are locked in.

* Don't take the locked in status for anything resembling confidence or actual knowledge. As I said before I've seen two nominated films, neither of which are nominated for the major awards. Take all of these with a huge grain of salt. Use them to make your own Oscar pool picks at your peril.

And now the picks!

Best International Feature Film - There are two international films nominated for Best Picture, Anatomy of a Fall and The Zone of Interest. So why is only the latter nominated in this category?

Similar to RRR last year, blame shenanigans by the national nominating committee. They decided to go with The Taste of Things, apparently to punish Anatomy of a Fall director Justine Triet for comments made about how French president Emmanuel Macron suppressed the pension reform protests. So while they did block the film from the category it would most likely win, the film did get five nominations (including Best Picture and Best Director).

All of this is a longish way of my picking The Zone of Interest as it is the one film in this category that is also nominated for Best Picture. 

(Update: The Zone of Interest took this award at the BAFTAs, as well as the award for best British film.)

Best Animated Feature Film - Pixar is on a two year losing streak in this category, which is as long as they've ever gone without winning (it's happened three times before).  Look for the studio to enter uncharted territory, as I don't see Elemental as the film to get them back in the win column.

Spider-Man: Across the Spider-Verse won the Critics' Choice award, but I think the Oscar is going to go to Hayao Miyazaki and The Boy and the Heron, which won the Golden Globe. I have no real theory to base this on, and both films have racked up a number of awards, so I wouldn't be surprised if Spidey took this one.

(Update: The Boy and the Heron won the animated feature award at the BAFTAs, but Spider-Man:Across the Spider-Verse won Best Feature at the Annie Awards and the PGA Award.)

Best Original Screenplay - I'm going with Anatomy of a Fall here, as most of the big-name films are in the other category. It did win the screenplay Golden Globe, though it wasn't nominated for the Critics' Choice Award (maybe it didn't qualify?). 

(Update: Anatomy of a Fall won the BAFTA over Barbie, among others.)

Best Adapted Screenplay - I don't know if it's really an adapted screenplay (it has at least one original screenplay nod elsewhere), but I'm going with Barbie as both a potential make-up for Greta Gerwig not getting a director nod and because I don't know how much adaptation happened when you make a three to four hour movie. 

(Update: American Fiction won the BAFTA, and I kind of wish I'd picked this instead.)

Acting awards rapid-fire as always

Best Actor - Paul Giamatti for The Holdovers

Best Actress - Lily Gladstone for Killers of the Flower Moon

Best Supporting Actor - Robert Downey, Jr. for Oppenheimer

Best Supporting Actress - Da'Vine Joy Randolph for The Holdovers

Randolph is as close to a mortal lock for her award as you can be, and Giamatti and Downey have been winning consistently for their roles as well. If Gladstone doesn't win it'll likely be Emma Stone (who has won a Golden Globe and the Critics' Choice Award for Poor Things).

(Update: Cillian Murphy and Emma Stone won the BAFTAs for leads, Downey and Randolph for supporting. Three of the four also took SAG Awards, with Lily Gladstone taking the fourth. The lead awards are as up for grabs as the supporting awards are locked down.)

Best Director - I'm going to underthink this and the Best Picture category this year and go with Christopher Nolan for Oppenheimer. 

(Update - Nolan won the DGA Award, which makes him a strong favorite for the Oscar. Winning the BAFTA won't hurt, either.) 

Best Picture - Which means I'm also going with Oppenheimer to win here, and probably dooming it. 

(Update - it did win the Best Film BAFTA, so I may not have jinxed it too badly. It also took the best cast statue at the SAG Awards, which isn't a best picture award and doesn't track particularly well with the Best Picture Oscar, but I thought it worth mentioning. It also won the PGA Award, so we might as well get ready for this to win the big prize.)

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+1 Godzilla Minus One

 I did not grow up a fan of Godzilla. I would occasionally watch parts of the regionally syndicated Creature Double Feature, which would run two movies on Saturday afternoons, usually a mix of traditional horror/monster movies and Toho's kaiju films. I was more exposed to kaiju thanks to Mystery Science Theater 3000 (from which we learned that Gamera is full of turtle meat and that one of the greatest threats to Japan's postwar stability was traffic accidents). I also saw the 1998 Godzilla film starring Matthew Broderick, which was garbage.

So, of course, I have a son who loves Godzilla.

This is why, on our family vacation a couple of summers ago, we wound up at the Pickwick Theater in Park Ridge, Illinois, watching both the original Godzilla and Godzilla vs. The Sea Monster. I liked the original more than I expected, and found the second movie just goofy enough to make up for what it otherwise lacked in plot and acting. My son, of course, was in his element, enjoying both films and even engaging in discussions with other attendees (which normally would not be in his comfort zone).

I had my return date with the monster over the holidays, when the two of us took in Godzilla Minus One. It's not exactly a reboot (as far as I can tell), but does give a fresh spin on the origin story. As with the original, Godzilla is angered/mutated by atomic weapon testing in the Pacific, and decides to take it out on Tokyo.  When the government can't stop the monster, a plucky team made up mostly of war veterans and scientists come up with their own plan to do so.

The central character in all of this is a failed kamikaze pilot, who got a sneak preview of Godzilla's power when it attacked the remote airbase he flew to rather than ram an American ship. His shame, and the sadness brought on by the deaths of his parents, makes it difficult to fit in when he returns to Tokyo, but he finds purpose again when he takes in a young woman who is living on the streets with a baby (all three orphans). He then gets a job taking out naval mines with a small crew who becomes a kind of surrogate family.

I found those plot lines to be surprisingly endearing. Who knew there'd be successful romantic subplot in a monster movie? 

I also liked the nod to past movies, like the use of music from the original film. I also got a strong Jaws vibe from the scenes involving the mine clearing boat.

My only complaint about the film is that it needs 10 to 15 percent more Godzilla. Not sure where, exactly, but I would have liked just a little more.

Anyway, if you're even somewhat into Godzilla or monster movies, it's very much worth checking this out.  The screening I went to was in Japanese with English subtitles, don't know if there's a dubbed version out there or not. Seems like that would be more in tune with how most of us first experienced kaiju movies.

We had six previews before the movie. Two I'd already seen: Argylle (which my son said should be the next movie we see in the theater) and The Beekeeper. The four new previews:

Kingdom of the Planet of the Apes - I'm even less familiar with these movies than Godzilla movies, but it looks like the apes are trying to find human technology, I assume for nefarious purposes. There's also what looks like a feral human involved.

Imaginary - where a girl's imaginary friend turns out to be real- and murderous. Thankfully, my son does not seem interested in seeing this.

Perfect Days- a Wim Wenders film set in Japan, inspired by a project where world-famous architects designed public toilets. The main character (surprise) cleans toilets for a living, and maintains a simple lifestyle that's upended when his niece arrives unexpectedly. It's a very different film tonally from the others that were previewed, but it's the one I'd be most interested in seeing.

I.S.S. - the Russians and Americans staffing the International Space Station square off for control when war breaks out on Earth. Maybe a little on the nose given current conditions. 

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Able Was I, Ere I Saw Napoleon

 I didn't plan for my first post-Covid movie in the theater to be Napoleon, but it turns out (after discussion with family) that it was. On the plus side, we saw it in IMAX so the battle scenes made that much more of an impression. On the negative side, I wish I'd picked a better film.

(Aside: it turns out my wife and her mom saw at least one of the Downton Abbey movies in the theater, while the wife and kids saw Encanto when I was at work. Apparently my family likes to go to the movies when I am otherwise occupied.)

This isn't as bad a film as some have made out (the Boston Globe review gave it one and a half stars, which seems too low), but it didn't tell me much that I didn't already know about Napoleon, at least as far as his military exploits go.  I knew less about the relationship between Napoleon and Josephine, other than that it was tempestuous and ended in divorce. I don't know that I know more about their relationship now, though it was apparently kinkier than I expected. There's a four-plus hour director's cut coming to Apple TV+ that will apparently focus  more on their relationship.

I do think having some knowledge of Napoleon's military career will help viewers, as the battle scenes aren't given much more context than Napoleon wants to bring peace to Europe through superior firepower. Most historical figures are noted through quick titles, but some aren't. And as many have opined, there are historical accuracies in the film that you may or may not find annoying. 

Joaquin Phoenix was fine as Napoleon, mumbly but not to the Marlon Brando depths that the Globe review suggested, but he didn't stand out. There are a dozen actors (or more) who could have given a similar performance. Vanessa Kirby was much better as Josephine, potentially Oscar-worthy (based on my not having seen any other non-animated new movies in 2023). I do expect that the movie will get nominated for Oscars, and likely win, in technical categories. As befits a movie where shit gets blown up in a loud and repeated fashion.

So while Napoleon wasn't any great shakes, it was better than the last film I saw in the theater.

And, of course, there were plenty of trailers for movies I probably won't see at all, never mind in the theater:

Ferrari, the biopic of the Italian sports car magnate, with Adam Driver in the title role. Of all of the movies previewed this is the one I'd likely see in the theater, as I am interested in auto racing and would want to see the racing scenes on a big screen.

Aquaman and the Lost Kingdom, where Atlantis is under some sort of threat that Aquaman has to thwart with the help of his brother. I just could not care less. I really have no interest in the Marvel Cinematic Universe.

Which means I also have no interest in the Spiderman universe, in which Madame Web takes place. Dakota Johnson plays a paramedic who is also clairvoyant. If nothing else, I got to hear the line that launched a thousand memes. 

Bob Marley: One Love, the Bob Marley biopic, whose trailer I mostly missed while fetching a drink for my wife.

The Beekeeper, which has Jason Statham as the same guy as he plays in all his movies, but who also keeps bees. He's bent on taking revenge against a phishing outfit responsible for the suicide of Statham's neighbor, which I guess I can get behind (the revenge, not the suicide).

Argylle, which sees a writer of spy fiction (Bryce Dallas Howard) get tangled up in real life espionage after her book plots steer too close to actual clandestine events. This comes to us from the same people as the Kingsman movies, and looks to hew pretty close to those films' aesthetic.

Ghostbusters: Frozen Empire, where the original cast pairs up with some new recruits to fight off a supernatural threat. This is a sequel to Ghostbusters: Afterlife, and like that movie unrelated to the female-centered 2016 reboot.

No preview for Godzilla Minus One, which will likely be the next movie I see in the theater thanks to my kaiju-loving older son.

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