Best Visual Effects Oscars Predictions (February)

The Academy’s final five picks for Best Visual Effects really only contained one surprise in the form of Free Guy. Its only other major nomination this season had been from BAFTA, so it was curious to see the film land an Oscar nod, particularly after it was completely shunned by the Visual Effects Society. Perhaps the visual effects branch features a lot of gamers. After all, they did nominate Ready Player One in 2018.

This category has been all but locked up for Dune from the beginning of the season and it’s one of the most concrete predictions one can have this year. Its six nominations from VES proved its total dominance. It’s likely it will win most (if not all) of those categories plus victories at BAFTA and Critics Choice and sail to a deserving win at the Oscars.

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Can one really make a case for anything scoring an upset victory? Well, no, but Spider-Man: No Way Home and Shang-Chi and the Legend of the Ten Rings remain the faintest of chances to nab an unexpected win. In saying that, the Academy hasn’t awarded this category to a superhero film since Spider-Man 2 in 2004, so history isn’t on their side.

So what will shape this race before Oscar voting commences on March 17? The Visual Effects Society Awards will take place on March 8, while BAFTA and Critics Choice Awards will both reveal their winners on March 13. You’d expect to see Dune clean up at every ceremony and prove this battle was over before it even began.

BEST VISUAL EFFECTS PREDICTIONS:
1. Dune (Warner Bros.)
2. Spider-Man: No Way Home (Sony Pictures)
3. Shang-Chi and the Legend of the Ten Rings (Disney)
4. No Time to Die (MGM)
5. Free Guy (Disney)

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Author: Doug Jamieson

From musicals to horror and everything in between, Doug has an eclectic taste in films. Both a champion of independent cinema and a defender of more mainstream fare, he prefers to find an equal balance between two worlds often at odds with each other. A film critic by trade but a film fan at heart, Doug also writes for his own website The Jam Report, and Australia’s the AU review.