Thursday, August 27, 2026

For Your Consideration with Reuben Schwartz (Season 36)

 

Welcome back to For Your Consideration with Reuben Schwartz! In this post, I will recap the nominations for the latest Golden Reel Awards, the various storylines going into the ceremony and look back to locate its place within LRF's history.

The Storylines

We arrive at season’s end with two films sitting atop the GRA leaderboard with ten nominations each. The first, Gray, was the main subject of my mid-season check-in. The film did not seem to lose any sort of momentum despite being released in the first half. It has joined the rare company of having an actor nominated in all four main categories; this is actually the third time Roy Horne has accomplished this feat, having previously done so with Wish You Were Here (Season 20) and Open Hearts (Season 22).

The same questions remain when it comes to the ultimate taste of the GRA voting body. While undeniably a well-made film, will its NC-17 rating be a hindrance in winning the biggest awards? And how about Chalamet? He has had a relatively hit-and-miss career path at LRF to this point, so can he finally shake off some of that baggage to finally win his first Best Actor trophy. For a film that is seemingly sitting in pole position, these questions remain fascinating to consider.

In the other corner, we have the season’s final release: The Chain. This makes for an intriguing competitor to Gray because its starring pair—Joe Keery and Sydney Sweeney—owe a large part of their LRF success to Gray writer Roy Horne, who wrote each major leading roles that fit their skill set. As if their was any doubt, this Best Picture race has solidified Horne as the preeminent hitmaker when it comes to catapulting young talent.

While its late season release date means it is very fresh in people’s minds, The Chain is not without its question marks. Diane Esposito’s previous two music biopics (Songbird and Material Girl) were both nominated for Best Picture, yet only came away with the Best Soundtrack award. Are voters hesitant to award the top prize to a music biopic? The popular genre has never broken through at the GRAs, but nothing says The Chain can’t be the first.

Another storyline I will be keeping an eye out for is Pirouette, which has now quietly become a dark horse candidate behind some of the flashier contenders. Like both of those other films, Pirouette is well-represented in the acting categories and I think those awards are going to tell us a lot about the momentum of the night overall. If the Jimmy Ellis-John Malone ballet drama picks up some key victories there, it could make a compelling case for becoming the front-runner for Best Picture.

Lastly, another category that catches my eye is Best Actor, where we have surely one of the youngest crop of nominees in that category ever. Jonathan Bailey at 38 is somehow the elderstatesman of the group. It’s a real who’s who of up-and-coming male stars and could really send one of those actors into the next level of stardom.

Returning Winners:

Sydney Sweeney - By now, the starlet’s journey is one of LRF’s most widely known success stories. She is a two-time Best Actress winner for her roles in the Poison Ivy films, aiming to become the first three-time winner in the award’s history. This is a major storyline to watch.

Suki Waterhouse - Competing against her is fellow winner Waterhouse, whose first Best Actress win came all the way back in Season 3 for her portrayal of Edie Sedgewick in Femme Fatale…

Jared Leto - …which she starred in alongside Leto, whose performance of Andy Warhol was nominated but did not win. He has now been nominated for Best Supporting Actor a record four times, breaking his tie with Robert Downey Jr., Woody Harrelson, and Jeremy Irons at three. He has won once for Murder Mysteries in Season 29.

Russell Crowe - Crowe has quietly been building a hall of fame career at LRF, including three previous wins in the Best Villain category. However, he has yet to win Best Actor or Best Supporting Actor despite four previous nominations.

Toby Kebbell - Meanwhile, fellow Best Villain winner Toby Kebbell (We Still Know Where You Live) is receiving his first nomination in one of the main two male acting categories.

Christina Hendricks - Hendricks is no stranger to GRA gold, having won Best Actress twice (The Question: The End, Misfit) and the Golden Reel of Achievement in Season 20. This marks Hendricks’s first appearance in LRF in nearly 20 seasons, having last been seen in a cameo role in Season 17’s Justice League Dark. Welcome back, Christina!


Returning Nominees:


Timothee Chalamet - The A-list star is one of LRF’s most prolific actors, with Gray marking his 23rd appearance at the studio. He has just one individual acting nomination before, coming in Season 31 with Hideaway.

Luca Guadagnino - Alongside Chalamet is his Gray director, who also had his only nomination for Hideaway. Gray marks his eighth film for the studio, making him one of the busiest directors at LRF.

Brady Corbet - Guadagnino will be competing against another former nominee in the Best Director category, as Corbet was previously nominated back in Season 33 for Best Picture winner Splendour.

Carey Mulligan - The Heartbeat nominee has twice been nominated for Best Actress, but those previous nominations came back in Seasons 4 and 5 for The Price of Fame and A Farewell to Arms.

Johnny Depp - Depp has been nominated for Best Actor three times (Rasputin, The Sandman, The Diplomat); could his first try for Best Supporting Actor get him his first Golden Reel Award?

Saoirse Ronan - Saoirse is a two-time GRA nominee, with her previous noms coming for Amelie and The Driftwood Populace.

Uma Thurman - Thurman is also competing for her first GRA after having previously been nominated for Caesar.

Emma Mackey - Rounding things out, the emerging star now has three nominations after having previously been nominated for Time Out! and The House of Black. Could a win here solidify her as a major star at LRF?


The Newcomers:

Joe Keery - LRF’s Starman makes his debut at the Golden Reel Awards as one of the leading contenders for Best Actor.

Charlotte Wells, Maiwenn - These two Best Director nominees were nominated for their respective directing debuts at the studio.

Glen Powell - The Fletch star has only been nominated a part of ensembles before. This marks his first individual GRA nomination.

Jonathan Bailey - And rounding out that list is Bailey, who has been steadily increasing his visibility at the studio since his debut in Season 27.

Monica Barbaro - The Pirouette star drew rave reviews from critics in what was only her second LRF appearance, after AVP: The Long War.

Best Villain - All four nominees here are making their first GRA appearance; it was for Timothy Olyphant’s tenth LRF film, Javier Bardem’s seventh, Tom Hopper’s fourth, and Matthias Schweighofer’s second.

Tuesday, August 25, 2026

SEASON 36 GOLDEN REEL AWARD VOTING

 

The highly competitive nomination phase is over and you, the voters, have decided who will be nominated for the Season 36 Golden Reel Awards. You may now vote to see which nominees will come out victorious at this season's upcoming award ceremony....   











































Saturday, August 22, 2026

SEASON 36 GRA NOMINATIONS POLL

 

The first step of any awards show is to determine the nominees. The choices will be announced in less than 72 hours, so vote soon.

In each category, please select your top FIVE choices. All of the categories are below, so just keep scrolling and vote.











































PREMIERE MAGAZINE # 360

 

The Roundup with Jeff Stockton (Season 36 Round 10)

 

And just like that, Season 36 is in the books. Here's The Roundup....



THE CHAIN
The Chain is a very solid biopic. Is it revolutionary? No. Does it reinvent the music-biopic formula? Not even a little. But sometimes there is absolutely nothing wrong with taking the “greatest hits” approach when the greatest hits are this good. Fleetwood Mac already comes preloaded with everything a movie needs: relationships imploding, substance abuse, creative rivalries, enormous egos, and some of the best music ever recorded. The film wisely understands that it doesn’t need to manufacture much drama—it just needs to organize what was already there into a compelling two-hour story. Charlotte Wells gives it enough personality to keep it from feeling completely mechanical, while Diane Esposito’s screenplay checks all the expected boxes without making them feel like chores. Sometimes formula works. The Chain is proof.


JOE KEERY
I think we can stop calling Joe Keery an emerging leading man. He’s a leading man. Period. His rise through LRF has been interesting to watch because it never felt forced. He started with supporting parts, gradually earned larger opportunities, proved he could carry Starman, and now he’s standing at the center of a prestige Fleetwood Mac biopic playing Lindsey Buckingham. That’s a pretty substantial climb. More importantly, he feels comfortable there. Keery has enough charisma to carry lighter material, but The Chain also lets him show some rougher edges and dramatic weight. This is the kind of role that changes how an actor gets cast going forward. The training wheels are officially off.


JESSIE BUCKLEY
Jessie Buckley has had one of the more interesting LRF careers because she’s never really been treated like a conventional movie star. For a while, she bounced between supporting roles in larger productions and her recurring Jean Grey appearances in the X-Men franchise. That gave her visibility, but it didn’t necessarily give her many opportunities to truly own a movie. The Midnight Library finally does. And even though I have plenty of problems with the film itself, Buckley isn’t one of them. She takes a potentially exhausting character and gives the material far more emotional credibility than I thought the screenplay deserved. If nothing else, this movie proves she can absolutely carry a leading role outside the comfort of an ensemble or franchise.



THE MIDNIGHT LIBARY
Jessie Buckley is good. There. That’s the compliment. Everything else about The Midnight Library frustrated me. The story felt emotionally manipulative in a way that constantly reminded me I was being told how to feel. The supporting characters were difficult to like, and the movie kept stacking misery on top of misery as though sadness automatically equals profundity.

And can we talk about the genre classification? Fantasy? Really? Yes, technically there’s a fantastical device at the center of the story. But if you walked into this expecting an actual fantasy movie, you probably spent two hours wondering where it went. This was a depressing character drama with a supernatural framing device. Call it what it is.


TALES FROM THE CRYPT
There are things I like here. Individual segments work. Some performances work. A couple of the horror concepts are genuinely fun. But taken as an entire movie? This reminded me why horror anthologies are so difficult to pull off theatrically. You’re essentially asking the audience to repeatedly reset its investment. Just as one story starts building momentum, it ends and you’re suddenly meeting another cast, another villain, another set of rules. That can work beautifully on television. In a two-hour movie, it often feels like channel surfing. Midnight Tales struggled with the exact same problem years ago, and Tales from the Crypt never really solves it either.


SEASON PROFITS
No billion-dollar profit season. Not even quite. The studio had some enormous successes this year—Boba Fett, Donkey Kong Country, The Hulk 3, Assassin’s Creed: Eternal—but there simply weren’t enough of them. More importantly, the misses were expensive. Stretch Armstrong was a crater. The Bounty Hunter hurt. Several smaller movies lost enough money that the cumulative damage became impossible to overcome. That’s ultimately the financial story of Season 36. The studio produced hits, but it never developed the depth necessary to turn those hits into a truly dominant season.

So no Scrooge McDuck vault diving this year. Nobody’s swimming through gold coins. Maybe next season.

Friday, August 21, 2026

ON LOCATION (SEASON 36 ROUND 10)

 

The Midnight Library
- Prague, Czech Republic


Tales from the Crypt
- Vancouver, British Columbia, Canada



The Chain
- Los Angeles, California, USA

- London, England, UK

BOX OFFICE BREAKDOWN (SEASON 36 ROUND 10)

 


THE MIDNIGHT LIBARY
Budget: $40,000,000
Total Box Office: $78,105,064
Total Profit: $2,233,323


The Midnight Library managed to scrape its way into the black, but the margin was razor-thin. The fantasy drama avoided becoming another season casualty, though its financial performance was much closer to survival than success.

BOX OFFICE FACT
With the small profit earned by The Midnight Library, Jessie Buckley has now appeared in seven profitable films across nine LRF appearances. Remove the X-Men franchise from that equation, however, and her record drops to an even 50% — Lowell and The Midnight Library turned profits, while Dust Saint and Recursion both lost money.

GENRE RANKINGS
Fantasy: #94





TALES FROM THE CRYPT
Budget: $32,000,000
Total Box Office: $48,910,155
Total Profit: -$11,300,995


The anthology format once again proved difficult to translate into a strong theatrical result. Tales from the Crypt avoided the kind of catastrophic loss seen elsewhere this season, but still ended its run more than $11 million in the red.

BOX OFFICE FACT
Writer Joshua Collins is now an even 2-for-4 with his LRF horror films. Krueger and Tethered turned profits, while DOOM and now Tales from the Crypt both lost money.

GENRE RANKINGS
Horror: #112




THE CHAIN
Budget: $51,000,000
Total Box Office: $195,092,282
Total Profit: $66,667,068


The Chain gave Season 36 a strong closing performer, nearly reaching $200 million worldwide on a relatively controlled budget. The Fleetwood Mac biopic continued LRF's recent success with music-driven prestige films and easily became the financial standout of the final round.

BOX OFFICE FACT
Writer Diane Esposito has been on an impressive music-biopic run over the last five seasons. Songbird, Material Girl, and now The Chain have combined to gross more than $508 million worldwide.

GENRE RANKINGS
Drama: #32
Biography: #12
Music: #7




Season 36 Round 10 Total Box Office:
$322,107,501

Season 36 Round 10 Total Profit:
$57,599,396

Round 10 finished comfortably in the black thanks almost entirely to The Chain. Its $66.7 million profit more than covered the loss from Tales from the Crypt and the near-break-even performance of The Midnight Library, giving Season 36 a respectable—if unspectacular—final round.




Season 36 Total Box Office:
$5,208,954,440

Season 36 Total Profit:
$913,544,660

Season 36 closes with just over $5.2 billion in worldwide box office and $913.5 million in profit. Despite several major hits at the top of the slate, the season never generated enough depth to overcome its long list of bombs and disappointments. Finishing nearly $86.5 million short of $1 billion in profit, Season 36 ultimately lands as a mediocre financial season by LRF standards rather than one of the studio's stronger campaigns.


SEASON 36 BOX OFFICE STANDINGS
1. Boba Fett — $763,673,771 👑
2. Donkey Kong Country — $720,434,668 👑
3. The Hulk 3 — $641,110,407 👑
4. Lobo — $480,893,956 🔥
5. Assassin's Creed: Eternal — $421,105,411 🔥
6. The Song of Roland — $263,839,608 💰
7. Ilvermorny: The Hidden School — $260,440,506 💰
8. Luke Cage: The Purple Man — $249,978,106 💰
9. The Chain — $195,092,282 💰
10. Stretch Armstrong — $144,189,611 ☠️
11. Buffy the Vampire Slayer 2 — $131,525,669 💰
12. Fletch — $123,159,160 💰
13. Echoes of Red — $82,814,137 💰
14. Double Date — $80,369,160 💰
15. The Bounty Hunter — $80,094,428 ☠️
16. The Midnight Library — $78,105,064 ⚖️
17. Gray — $62,441,218 💣
18. Kill Bin Laden — $56,735,938 💣
19. Tales from the Crypt — $48,910,155 💣
20. Darkness — $43,316,174 💰
21. 1995 — $40,003,252 💰
22. Pirouette — $39,100,555 📉
23. An Unholy Union — $37,350,012 ⚖️
24. Three Rounds — $34,386,590 💣
25. The Quiet Between Us — $26,319,562 📉
26. Heartbeat — $25,404,407 💣
27. Fading Star — $23,730,087 💣
28. Voice — $23,437,788 💣
29. Diary of a Wimpy Kid — $18,000,669 💣
30. 1016 West Monroe — $12,992,089 💣