Entertainment

Oscars 2025: Who's in for supporting actor and actress?

Published

1 year ago

January 1, 2025

Oscars 2025: Who's in for supporting actor and actress?

A month before our December awards vote, the Los Angeles Film Critics Assn. launches a group email thread for members to advocate for their favorite films and standout work. The idea is to help everyone close any gaps in our viewing as we plow through screeners and links in a hopeless attempt to see everything before we vote.

Sometimes the discussion veers into other areas, often focusing on whether a particular performance should be considered lead or supporting. Who’s the true lead in “Emilia Pérez,” Karla Sofía Gascón playing Emilia Pérez, the character that drives the narrative, or Zoe Saldaña, who has the most screen time as the attorney helping her? Or are they co-leads? Netflix doesn’t think so, campaigning Gascón in lead and Saldaña in supporting. (It should be noted that these decisions are made with the actor and their teams.)

You could argue that Cynthia Erivo and Ariana Grande should be considered co-leads of “Wicked” too. But the musical is really Elphaba’s story, with Grande’s Glinda along for the ride as her best frenemy. So Universal pushing Erivo in lead and Grande for supporting doesn’t seem egregious.

And what about Kieran Culkin going supporting for “A Real Pain,” an odd-couple road movie about two cousins, played by Culkin and the movie’s writer-director, Jesse Eisenberg, traveling to Poland to visit the childhood home of their late grandmother? Culkin has almost as much screen time as Eisenberg, but the story is told from the point of view of Eisenberg’s character. (Same with Saldaña, which is why, for some, her placement has raised eyebrows.)

At our L.A. Film Critics vote, we tackled lead performance first, and Culkin came close to making the final round. Supporting came next, and it was immediately clear that even the people who thought Culkin was a lead weren’t going to be deterred from voting for him, and he won the award with Yura Borisov from “Anora.” A publicist friend texted me afterward: “That’s where Culkin belongs. If you gave him lead, you’d be saying that he was trying to pull a fast one by going supporting.”

Where he belongs remains up to Oscar voters, who don’t have to follow the studio’s suggested placement. And on rare occasions, they haven’t. The Weinstein Co. campaigned Kate Winslet in supporting actress for “The Reader” at the 2009 Oscars, looking to avoid competing with her lead turn opposite Leonardo DiCaprio in “Revolutionary Road.” The Golden Globes and SAG Awards nominated Winslet for supporting, but film academy members put her in lead. And Winslet wound up winning the Oscar. (She made a point of not thanking Weinstein in her acceptance speech.)

It’s hard to see voters making such a category shift with Culkin or Saldaña or Grande this year. Who might be joining them in the supporting categories? Let’s take a quick look.

SUPPORTING ACTOR

Owing to his excellent work — and all that screen time — playing a charmer whose exuberance masks a deep inner turmoil, Culkin has been dominating the season’s early awards. Borisov could join him as a nominee for his soulful performance as the brooding Russian henchman in “Anora,” though it’s fair to wonder if his work might be too subtle for a branch that tends to reward “most” instead of best.

If you’re looking for “most,” Denzel Washington has got you covered and then some for “Gladiator II.” He’s clearly having the time of his life, and his exuberance (and the sharks!) made the movie well worth our time. Another actor clearly enjoying himself is Edward Norton playing folk singer Pete Seeger in “A Complete Unknown.” Norton leans into Seeger’s folksiness but also weaves in a manipulative streak as we see Seeger trying to keep Bob Dylan (Timothée Chalamet) in the activist movement. He’s every bit as good as Chalamet.

Nobody has a better story among the supporting actor contenders than Clarence Maclin, who went from Sing Sing to “Sing Sing,” and he’s a marvel playing an inmate initially reluctant to participate in the prison theater program. Maclin should be winning more awards, but the movie just hasn’t found a big enough audience.

That’s five, but there are others in the hunt. Jeremy Strong is at the top of his game (as always) playing Roy Cohn in “The Apprentice.” Stanley Tucci brings his delicious snark to “Conclave.” And there’s Peter Sarsgaard and John Magaro, two members of the excellent “September 5” ensemble that, like “His Three Daughters,” is hampered because everyone’s so good. How do you single anyone out?

SUPPORTING ACTRESS

This Oscar race will come down to a battle between Saldaña and Grande, thanks to the screen time, the quality of their work and the fact that this has been a strangely thin year for supporting women. If I were voting, I’d check off Natasha Lyonne, Carrie Coon and Elizabeth Olsen from “His Three Daughters,” alongside Grande and Saldaña, and call it a day. Though I would be tempted to find room for Margaret Qualley, so good as Demi Moore‘s younger half in “The Substance.”

There’s been a lot of justified praise for Danielle Deadwyler’s performance in “The Piano Lesson,” playing a woman determined to deal with her family’s past in her own way — and not according to her brother’s wishes. After being overlooked two years ago for “Till,” Deadwyler makes a clear case for her first nomination. Felicity Jones also is looking to break through as an Oscar nominee, and her work as the strong-willed wife in the second half of “The Brutalist” has put her in the conversation.

Then there are Aunjanue Ellis-Taylor and Isabella Rossellini, making big impressions in a small amount of time. Rossellini has never been nominated and is in “Conclave” for less than eight minutes. But she has one great scene (that curtsy!) that often generates applause at screenings. Voters remember that. Ellis-Taylor, meanwhile, brings a palpable heartache to “Nickel Boys” as a devoted grandmother sidelined by inequality and avarice.

Finally, there’s Selena Gomez playing a drug cartel boss’ wife in “Emilia Pérez,” delivering a showstopping song and adding an interesting ambiguity to her character. Gomez has been called out for her Spanish in the film, but that feels like nitpicking in a movie where absurdity often feels like the principle.

Movie Reviews

Ravi Teja’s Bhartha Mahasayulaku Wignyapthi Movie Review

Published

8 minutes ago

January 13, 2026

Press Room

Ravi Teja’s Bhartha Mahasayulaku Wignyapthi Movie Review

Movie Name : Bhartha Mahasayulaku Wignyapthi

Release Date : Jan 13, 2026
123telugu.com Rating : 2.75/5
Starring : Ravi Teja, Ashika Ranganath, Dimple Hayathi, Sunil, Satya, Vennala Kishore, Tarak Ponnappa, Muralidhar and Others
Director : Kishore Tirumala
Producer : Sudhakar Cherukuri
Music Director : Bheems Cecireleo
Cinematographers : Prasad Murella
Editor : A Sreekar Prasad
Related Links : Trailer

Mass Maharaja Ravi Teja returns to the big screen with Bhartha Mahasayulaku Wignyapthi, which has released today as a Sankranthi special. Ashika Ranganath and Dimple Hayathi play the female leads. Read on to know how the film fares.

Story:

Ram Satyanarayana (Ravi Teja), who manufactures the alcohol brand Anarkalee, travels to Spain after it is rejected by a wine company owned by Manasa Shetty (Ashika Ranganath). The trip leads to a romance, but Ram returns to India to his possessive wife, Balamani (Dimple Hayathi). Problems begin when Manasa arrives in India, leaving Ram Satyanarayana caught between the two women, and the film follows how he navigates the situation and brings it to a resolution.

Plus Points:

Ravi Teja steps away from his usual mass persona and opts for a calm, restrained role laced with style and situational comedy. While this is familiar territory for him, his effortless screen presence and comic timing make the character work once again.

Ashika Ranganath looks appealing and gets a role with a fair emotional arc. Her scenes with Ravi Teja are pleasant and register well. Dimple Hayathi, cast as the possessive wife, does an average job and fits the requirement of the role.

Comedy is largely driven by Satya in the opening portions, and his track works effectively. After his exit, Sunil takes charge and delivers humour in his trademark style. Together, their portions ensure a fairly engaging first half. Vennela Kishore also contributes with his reliable comic timing.

Minus Points:

The biggest drawback is the story itself. The core conflict of a man trapped between his wife and girlfriend has been explored countless times, and this film offers little novelty beyond fresh casting. The narrative, humour, and emotional beats follow a predictable pattern. The second half, in particular, had ample scope to deepen the conflict between Ravi Teja, Ashika, and Dimple Hayathi, but the writing fails to capitalise on it.

Director Kishore Tirumala manages the first half competently, but the film loses momentum after the interval. The drama feels artificial, and the comedy turns ineffective. Predictability becomes a major issue as the film progresses.

While the humour is reasonably engaging in the first half, it falls flat in the latter portions. The second half struggles to generate laughs, and the climax is simplistic with minimal emotional payoff. A stronger blend of comedy and drama could have at least elevated the film to a passable level.

Tarak Ponnappa’s track brings nothing new and feels like a filler in the narrative. The Vammo Vayyo song and the remix of the Karthika Deepam and Pinni serial tracks are aimed at mass audiences but appear suddenly and do not flow well with the story.

Technical Aspects:

Kishore Tirumala attempts to package a routine storyline with humour and emotion, but the execution remains inconsistent. While a few moments click, the overall impact, especially in the second half, is underwhelming.

Prasad Murella’s cinematography is serviceable. Sreekar Prasad’s editing needed to be sharper, as trimming several redundant scenes would have improved the film’s pace. Bheems Ceciroleo’s music is passable, though the background score fails to leave a strong impression. Production values are adequate.

Verdict:

On the whole, Bhartha Mahasayulaku Wignyapthi ends up as a familiar drama with sporadic moments of entertainment. Ravi Teja delivers a composed performance, Ashika Ranganath looks good, and Satya, Sunil, and Vennela Kishore provide some relief. However, the predictable narrative, forced drama, and weak second half significantly dilute the impact. With tempered expectations, the film can be watched for its performances and humour.

123telugu.com Rating: 2.75/5

Reviewed by 123telugu Team

Entertainment

Trevor Noah caps off ‘generational run,’ will host Grammys for sixth and final time

Published

2 hours ago

January 13, 2026

Press Room

Trevor Noah caps off ‘generational run,’ will host Grammys for sixth and final time

Trevor Noah is gearing up for one last Grammys hurrah.

This year, the comedian and former host of “The Daily Show” will helm the awards show for the sixth and final time, CBS announced Tuesday. Noah has emceed the ceremony every year since 2021.

“I am beyond thrilled to welcome Trevor Noah back to host the Grammys for his sixth, and sadly, final time,” the show’s executive producer Ben Winston said Tuesday in a statement to the Hollywood Reporter.

Winston went on to call Noah “the most phenomenal host.”

“He’s so smart, so funny, and such a true fan of the artists and music,” the producer said. “His impact on the show has been truly spectacular, and we can’t wait to do it together one last time.”

The official Grammys Instagram account also confirmed the news.

“It’s music’s BIGGEST night and he’s on a generational run,” the caption reads.

The 68th Grammy Awards will return to L.A.’s Crypto.com Arena on Feb. 1, and will broadcast live on CBS and stream on Paramount+ starting at 5 p.m. PT.

In addition to marking Noah’s final turn as host, this year’s show will be the last to air on CBS, its home network since 1973. After that, it kicks off a 10-year run with Disney. The Grammys will air on ABC, Hulu and Disney+ beginning in 2027.

Kendrick Lamar led the 2026 Grammy nominations with nine, including album and record of the year. Trailing just behind were Lady Gaga and producers Cirkut and Jack Antonoff, with seven nominations each.

Noah himself is also up for a Grammy Award this year for his audio narration of his children’s book “Into the Uncut Grass.”

Movie Reviews

Unpaarvayil Movie Review: A By-The-Book Psycho Thriller That’s Blind To Its Flaws

Published

12 hours ago

January 13, 2026

Press Room

The Times of India

TNN, Jan 13, 2026, 1:24 PM IST

2.0

Un Paarvayil Movie Synopsis: When her twin sister dies under mysterious circumstances, Bhavya goes on a hunt to find the murderer, but the fight isn’t easy as she loses her vision.Un Paarvayil Movie Review: The opening sequence of Un Paarvayil reminds one of a few finely written scenes from films about twins like Charulatha (2012) or Thadam (2019) where we learn about their special bond. In Un Paarvayil, Bhavya (played by Parvati Nair) gets on stage to receive the Best Business Woman award. Parallely, her twin, Dhivya (also played by Parvati Nair), is stuck in a dangerous situation. As the latter faces difficulty, Bhavya, who is on stage, also feels like she is being choked and struggles to breathe – an instant telepathy of sorts that suggests her sister is in danger. Without a lot of words or too many scenes, this one sequence conveys the bond between the sisters Bhavya and Dhivya. However, this narrative creativity is never seen on screen again throughout the film’s run time.Everything about Un Paarvayil is right on paper. With a textbook formula, Un Paarvayil has the right recipe for a psycho thriller – a scary bungalow, a loving but mysterious husband, and a psycho killer. But that’s about it. The stage is set, writing is done, and actors deliver the dialogues, but these don’t come together cohesively. In most scenes, the dialogue delivery is bland, and the writing becomes increasingly predictable. For instance, Bhavya is informed very early on in the film that Dhivya has a best friend with whom she shares all her secrets. However, the writing is so contrived that until the last moment, Bhavya never thinks about reaching out to this friend to learn more about her sister. It’s as though Bhavya forgot that piece of the puzzle.Which is why it feels like the film suffers from progressive amnesia. For instance, at one point, it looks like the cops give lethargic explanations for a murder, but we are not sure if they are just lethargic or are partners-in-crime with the psycho killer. And we keep wondering – but we never get to know that because the film has forgotten such a sequence existed. Likewise, Bhavya learns about an important CCTV evidence and pursues it. Still, before she uncovers the truth, she begins to track down another clue, and the CCTV evidence is never mentioned again. Remember how we see the twins share a unique connection in the opening sequence? It is also depicted only once and gets forgotten. Just like this, the film keeps jumping from one sequence to another, with all the old clues left behind and forgotten, before another new clue randomly reaches Bhavya. So, the next time we find a missing puzzle, we are no longer curious about it.That said, the film did have some interesting scenes. Whenever the psycho killer is on screen, the tension rises, and we are hooked to what’s next – but such sequences are very few. By the book, it might look like the film has a perfect premise, and some really good performances from Parvati Nair and Mahendran do make things intriguing, but the film turns a blind eye to its basic cinematography and contrived writing, leaving us in the dark for the most part.