The period vaguely spanning from mid-July to mid-August, known as the Dog Days of summer, may not immediately strike one as a crucial time for potential Oscar contenders. One would typically assume that Academy voters are unwinding in picturesque locations like Malibu or on the shores of the Mediterranean during this time. However, over the past fifteen years, the Dog Days bracket has surprisingly produced Best Picture nominees, challenging this perception. A prime example of this phenomenon occurred last year with the release of Oppenheimer, which not only scored a nomination but emerged as a winner among its contenders. Even the classic Dog Day Afternoon, a Best Picture nominee from 1976, was originally a Christmas release. These summer nominees often resonate with audiences, giving them the momentum needed to enter the Oscar race, despite some skepticism from within the film industry.
Films that emerge as Dog Day nominees often possess a rough charm that captivates the movie-hungry masses, propelling them into the prestigious Oscar race. A notable example is The Help, which dominated the mid-to-late summer box office in 2011 and went on to secure four Oscar nominations, including a supporting actress win for Octavia Spencer. This DreamWorks production showcased how seemingly middle-brow dramedies could make a significant impact during the Dog Days. Other movies like BlacKKKlansman, Dunkirk, Once Upon A Time In Hollywood, and Inception have also followed a similar trajectory, drawing parallels to the success of Saving Private Ryan in 1998 and subsequent hits like Inglourious Basterds and Little Miss Sunshine. These films capture the audience’s attention just before the awards season officially kicks off, creating a dynamic shift in the industry’s focus.
Traditionally, the July-August period was a ripe time for potential Oscar contenders, with well-attended releases and intriguing near-misses paving the way for future nominations. However, the current cinematic landscape doesn’t seem to align with this trend. While films like Sing Sing have generated buzz among Oscar pundits, they have struggled to connect with summer audiences, falling short at the box office. The absence of standout Dog Day releases this year has left a void in the usual Oscar excitement associated with this time frame. Major contenders like Deadpool & Wolverine and It Ends With Us are entertaining in their own right but may not be substantial contenders for Best Picture nominations, according to industry insiders.
As the Dog Days transition into the next phase of the awards season, the influence of awards professionals will only grow stronger. Even audience-friendly films like Joker: Folie à Deux and Gladiator II will enter the Oscar race within a meticulously orchestrated promotional context, shaping perceptions long before the average moviegoer has a chance to engage with them. The Dog Days, typically a period marked by unexpected contenders and sleeper hits, appear relatively subdued this year in terms of Oscar buzz. The evolution of the film industry and the shifting criteria for award recognition suggest that the Dog Days may not hold the same significance they once did in the realm of the Oscars.