Look, the dust has finally settled on the 31st annual Critics Choice Awards, but people are still talking. Usually, these shows are just a precursor to the Oscars, a "nice to have" on a resume. But this year? Things felt different. From the moment the Critics Choice Awards nominations were announced back in December, the vibe was chaotic in the best way possible. Ryan Coogler’s Sinners walked in with a massive 17 nominations, but as we saw on January 4th, nominations don’t always equal a clean sweep.
Honestly, the Barker Hangar in Santa Monica was the place to be. Chelsea Handler was back for her fourth year hosting, and she didn’t hold back. You’ve probably seen the clips of the red carpet by now, but the real story is in who the critics chose to ignore versus who they obsessed over.
The Heavy Hitters and the Shocking Snubs
When the Critics Choice Awards nominations dropped, everyone assumed Sinners would just steamroll everything. It’s a Ryan Coogler horror movie—how could it not? And while it did bag some big wins like Best Original Screenplay and Best Score for Ludwig Göransson, it lost the big one. Best Picture went to Paul Thomas Anderson’s One Battle After Another.
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It’s kinda wild when you think about it.
The critics usually lean toward the "prestige" picks, and PTA is the king of prestige. But One Battle After Another wasn't just a critical darling; it dominated the directing and adapted screenplay categories too. Then there’s the Timothée Chalamet factor. His win for Marty Supreme felt like a "coming of age" moment for his career, even though he's been around forever. He beat out Leonardo DiCaprio. Let that sink in for a second.
Why Some Stars Were Left in the Cold
You can’t talk about nominations without talking about the snubs. It's the law of the internet.
- Cynthia Erivo: This was the one that had everyone's jaw on the floor. After the first Wicked was such a monster, her absence for Wicked: For Good felt like a targeted exclusion.
- Dwayne Johnson: Early buzz said The Smashing Machine was his "serious actor" breakout. The critics? They weren't buying it. Not a single nomination for the Rock.
- The Last of Us: On the TV side, this was a massive shocker. It's one of the biggest shows on the planet, yet it felt like the Critics Choice Association just... forgot?
It's basically a reminder that no matter how much money your movie makes or how big your social media following is, the critics are a fickle bunch. They care about "craft," or at least their version of it.
The TV Race Was a Total Bloodbath
If the movie side was predictable in its unpredictability, the TV categories were a straight-up cage match. Adolescence was the big story here. It went into the night with six nominations and walked away as the most decorated limited series. Stephen Graham winning Best Actor in a Limited Series felt right, especially if you saw his performance. It was visceral.
Then you have The Pitt.
Noah Wyle is having a massive resurgence. Winning Best Actor in a Drama Series for The Pitt over people like Adam Scott from Severance and Diego Luna from Andor is a statement. It says the critics are looking for that old-school, gritty television feel again. Rhea Seehorn also finally got her flowers for Pluribus, winning Best Actress in a Drama. About time, right?
The comedy categories were essentially a playground for The Studio. Seth Rogen and Ike Barinholtz both took home trophies. It’s a show about Hollywood, so of course, people who write about Hollywood are going to love it.
Breaking Down the Technical Wins
We usually skip the "below-the-line" stuff, but we shouldn't. The technical categories often tell you where the Oscar winds are blowing. Frankenstein didn't win the big acting awards (except for Jacob Elordi, who was incredible as the Creature), but it cleaned up in Production Design, Costume Design, and Hair and Makeup.
Guillermo del Toro knows how to build a world.
If you’re betting on the Oscars, keep an eye on F1. It won Best Sound and Best Editing. Those are usually the "canary in the coal mine" awards for technical excellence. The sound design in that movie is legitimately deafening in a good way.
Real Talk: Does This Actually Predict the Oscars?
Historically, the Critics Choice Association is the most accurate predictor of Academy Award nominations. They have a massive voting body—over 500 media critics and journalists.
But they aren't 100% accurate.
They tend to be more populist than the Academy. They love a big spectacle. That's why Avatar: Fire and Ash took home Best Visual Effects and Mission: Impossible – The Final Reckoning grabbed Best Stunt Design. The Oscars sometimes turn their noses up at the "popcorn" movies, but the Critics Choice Awards embrace them.
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What You Should Watch Next
If you’re trying to catch up on the winners and the buzziest nominees before the next big awards show, here is your roadmap.
- Watch "One Battle After Another" immediately. If you want to understand the current "vibe" of film critics, this is the textbook.
- Binge "The Pitt" on Max. Noah Wyle is doing the best work of his career, and the drama is actually grounded.
- Don't skip "Sinners". Even though it didn't win Best Picture, the ensemble cast (which won the Critics Choice award) is worth the price of admission alone.
- Check out "Adolescence" on Netflix. It's a short commitment but packs a massive emotional punch.
The Critics Choice Awards nominations and the subsequent wins have effectively narrowed the field. We now know who the frontrunners are. We know who the dark horses are (looking at you, Jessie Buckley). Most importantly, we know that 2026 is going to be a very interesting year for entertainment.
Keep an eye on the SAG Awards next. Usually, if someone wins both a Critics Choice and a SAG, they can start polishing their Oscar speech. Timothée Chalamet and Rhea Seehorn are the ones to watch there. If they repeat their wins, the race is essentially over. For now, just enjoy the fact that we're getting some actually good stories on our screens again. It’s been a long time coming.
To stay ahead of the curve, track the winners of the upcoming guild awards—specifically the DGA (Directors Guild) and PGA (Producers Guild). These two ceremonies, when combined with the Critics Choice results, provide the most reliable data for predicting the eventual Best Picture winner. Focus your viewing on the "Best Casting and Ensemble" winners, as that category is often the strongest indicator of a film's overall support within the industry.