As the precursor awards continue unabated until Oscar night, I’m going to be providing a weekly update highlighting the films that have won and lost momentum through the precursor awards (and in some cases other outside influences).

And there we have it. The 91st Academy Award are over and we’re free for nine months until Oscar season begins again. Before we wrap-up everything for this year’s Academy Awards, let’s take one last look at the winners and losers of Oscar season based on the actual Oscar winners and losers.

Big Winners

Green Book picked up two awards it didn’t really deserve, including Best Picture, proving it was the year’s biggest winner. In the end, the heavily white membership of the Academy still has an influence over the awards, making irrelevant all of the Academy’s attempts to diversify the ranks.
Bohemian Rhapsody was another big winner, going up with four awards, the most of the night. Although it lost Best Picture, four of five victories is pretty solid.
Olivia Colman was the shock of the evening when she triumphed over expected winner Glenn Close, who remains Oscarless. Colman’s delightful presence during the awards season may have helped boost her chances.
Black Panther took three prizes, including Original Score, where it wasn’t considered the frontrunner. Apart form that, it spent most of the season dominating where films like it had never dominated before.

Big Losers

A Star Is Born started the season as the odds-on favorite to dominate the Academy Awards. However, as the season progressed, its chances continued to diminish until it was left holding a single statuette for Original Song, much like it’s Barbra Streisand/Kris Kristofferson predecessor.
The Favourite might have picked up the surprise Best Actress trophy, but for the most part, it went into the night with ten nominations and came out with one, an exceptionally poor performance. Perhaps it wasn’t quite to the Academy’s tastes.
Richard E. Grant exited 2018 as the frontrunner with his numerous awards from critics groups, but as soon as the televised awards started shifting dramatically towards Mahershala Ali, his star faded disappointingly fast.
If Beale Street Could Talk was the best film of the year and picked up all the requisite critics awards and nominations to be a major player, but as the guilds started voting, they seemed not to care for the film and it went down pretty fast, going from frontrunner in several categories to also-ran barely managing to pick up the Best Supporting Actress prize.
A Quiet Place had critics prizes and was the most inventive film of the year. Its sound design was well regarded, but after it failed to earn the Sound Mixing nomination it richly deserved, it then managed to lose Sound Editing in one of the worst selections the category has ever seen.