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).

It has been an uber-hectic week. Plenty of content this week and most of it is hard to qualify. Most of the races continue to be all over the place, which makes pinning down winners and losers difficult. I tried my best here, but I’ll be a bit more vague this week than previously.

But, before we get into this week’s winners and losers, let’s take a look at what’s coming up this week:

Week 5

Tue. 19 – London Critics (Nominations) (Official)
Tue. 19 – Nevada Film Critics Society (Awards) (Unconfirmed)
Tue. 19 – Phoenix Critics (Awards) (Official)
Wed. 20 – Florida Critics (Nominations) (Unconfirmed)
Fri. 22 – Florida Critics (Awards) (Official)

Big Winners

Get Out has remained a consistent presence throughout Precursor Season, picking up several prizes for Best Picture and screenwriting, but not much else. It’s shaping up to be a potential frontrunner to win.
Lady Bird is also doing quite well this season, topping Get Out about as often as Get Out is topping it. The bonus here is that Lady Bird may not be winning as many Best Picture prizes, but it’s picking up more other prizes like Director, Actress, and, especially, Supporting Actress.
Three Billboards Outside Ebbing, Missouri hasn’t picked up any Best Picture prizes, but it’s been earning several others including Best Supporting Actor (when Willem Dafoe isn’t claiming it) and screenplay. What really boosted its profile was the major nomination haul it got from the Screen Actors Guild.
Phantom Thread hasn’t been seen by a lot of people yet, however, it’s still managing to claim quite a number of precursor awards, including Best Director, Best Actor, and others. It could be a bigger threat than we initially expected.

Big Losers

The Post got a major boost from the National Board of Review, but has been largely ignored ever since. That means the film won’t have the backing of the critics, which could hinder its Oscar potential.
Call Me by Your Name is still getting recognized, but the high profile miss of both Armie Hammer and Michael Stuhlbarg at the Screen Actors Guild was a major blow. It’s also not picking up as many other prizes as it did early in the season. That doesn’t bode well for replicating Moonlight‘s success.
BPM (Beats Per Minute) has been doing incredibly well with the precursors, but several nails were drilled into its coffin simultaneously when the Academy didn’t shortlist the film for Best Foreign Language Film. That means it’s out of the competition altogether and any other prizes it received will just be rewards and not foreshadowing.