The summer months, often characterized by sun-soaked relaxation and vibrant outdoor activities, are not typically synonymous with the gravitas of Oscar buzz. The “Dog Days” of summer, generally spanning from mid-July to mid-August, present a curious paradox for the Academy Awards. While many expect Hollywood’s elite to chase the sun and sip cocktails by the beach, the last decade and a half has revealed a surprising trend: several films released during this time have risen to the level of Best Picture contenders. This year, however, the landscape seems starkly different, and a deeper analysis suggests that the cinematic offerings of this season may not have the same buzzworthy appeal that has previously characterized summer releases.
Historically, films released during the Dog Days have managed to carve out significant space in Oscars consideration. For instance, last year’s release of *Oppenheimer*, alongside *Barbie*, demonstrated that summer films can indeed hold the attention of both the audience and the Academy, earning critical acclaim and box office success. The intense competition of that period created a cultural phenomenon that resonated with moviegoers and critics alike. Films like *The Help* and *Dunkirk* serve as prime examples, displaying a unique trend where audience-friendly narratives transcend expectations and transcend into awards season relevance.
These films often possess a “rough charm,” appeal to the broad middle audience, and harness momentum that is crucial for Oscar stature. The surprise emergence of nominees like *BlacKKKlansman* and *Inception* reinforces the idea that summer releases can disrupt traditional narratives surrounding awards season, wherein films premiering in the fall typically gain precedence. This summer, however, the anticipated outpouring of quality cinema seems to be lacking, prompting a reevaluation of what the Dog Days can offer in the way of Oscar contention.
In 2023, the summer offerings appear to be tepid compared to the vibrancy of previous years. While *Inside Out 2* may boast potential Oscar nominations, its early June release disqualifies it from being classified as a true Dog Days contender. A variety of other films have been released as well, including *It Ends With Us*, which, despite its box office performance, lacks critical visibility and the gravitas typically associated with best picture nominees. Furthermore, films such as *Deadpool & Wolverine* seem designed more for popcorn consumption than for adult storytelling that typically earns accolades.
Film enthusiasts might find solace in *Sing Sing*, which was released by A24 at the very beginning of the summer window. Here lies a film that has elicited positive whispers among Oscar analysts. However, its limited release and lack of box office presence highlight a key issue: visibility and enthusiasm are crucial for generating the momentum necessary for awards recognition, and *Sing Sing* has, thus far, failed to capture mass attention.
As the summer progresses, the spotlight will increasingly shift from audience-driven cinema to films tailored for awards season. The management of these releases often comes with an orchestrated strategy, fashioned by campaigners eager to sway the narrative in their favor. Movies like *Joker: Folie à Deux* and *Gladiator II*, despite early expectations, will likely be subject to calculated promotional approaches, insulating them from the spontaneous fervor of the Dog Days audience excitement.
The transformation of the Oscar race into a finely tuned machine, disconnected from genuine viewer enthusiasm, poses a significant change from the carefree days of summer film consumption. This evolution culminates in a situation where the ordinary moviegoer plays an ever-diminishing role in determining the stature of films vying for top honors.
The Dog Days of this summer feel less like an energetic precursor to Oscar season and more like a distant echo. While past years have brought forth audience favorites into the awards conversation, the current landscape lacks the vibrancy necessary to empower films from this time frame to ascend into the ranks of Best Picture nominees. Perhaps a reevaluation of summer’s role in the cinematic calendar is in order, as it appears this year’s offerings may simply be just that: an ordinary summer, devoid of Oscar excitement.
Leave a Reply