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On the other hand, turning something like Barbie, Godzilla Minus One, or even Poor Things into something worthy of a nomination is an extraordinary achievement.

Destined for failure from the get-go. At best, maybe a cult following among a certain audience. To elevate these kinds of films to the level of what something like The Holdovers just earns by birthright is to snatch victory from the jaws of defeat. Something like Maestro is built with a sort of Oscar Privilege from the get-go.