See the complete Critics Choice Awards 2026 winners list. Timothée Chalamet, Jessie Buckley, Jacob Elordi & top film and TV performances honored.
If you caught the 31st Annual Critics Choice Awards 2026 on January 4, you saw that the atmosphere at the Barker Hangar was not just about bright lights and glamour. For the fourth year in a row, the night was hosted by Chelsea Handler and it seemed less like a celebratory back slap and more like a nod to hard work.
Whether it was 12-hour makeup sessions or five-minute television episodes, the winners this year didn’t only act, they suffered. The message from the Critics Choice Association (CCA) was loud and clear: in 2026, the line between technical risk and extraordinary physical commitment is where the industry’s attention lies.
(Best Actor Winner)
The weepy Timothée Chalamet as Brooding Heartthrob, Desert Messiah in Dune is not who Marty Supreme is at all, he’s fully reimagined himself. Chalamet Won Best Actor for portraying a 1950s ping-pong wunderkind based on the real life Marty Reisman.
But this was about more than whacking a ball back and forth. He was described as having a “singularly enervating intensity”. Marty was not a sportsman, but a hustler—a guy who could talk some unbeatable nonsense, who could pair swagger with geeky glasses, and who was so engulfed in his need to win that he was willing to try anything. It was a kinetic, fizzy, electrified turn, the kind that reassures you he can fill a film with their souls alone, and in pure physical comedy.
(Best Actress Winner)
If Chalamet delivered the energy, Jessie Buckley delivered the tears. Taking home Best Actress for her portrayal of Agnes (Shakespeare’s wife) in Hamnet, Buckley gave what could be the most gut-wrenching performance of the year.
The storyline deals with the loss of her child, Hamnet, and the sorrows that led to Hamlet. Buckley’s performance was said to be “a privilege to watch.” She never merely portrayed a historical figure; she captured the raw, earth-shattering agony of a mother fighting to keep her life intact. It was a quiet, powerful turn that stood out against flashier roles, proving that sometimes the loudest emotions are the ones spoken in whispers.
(Best Supporting Actor Winner)
Jacob Elordi is now officially more than just a teen heartthrob. Awarded Best Supporting Actor for Guillermo del Toro’s Frankenstein, Elordi achieved the impossible: he brought us to tears over a monster.1 His role wasn’t about scary make-up or snarling. He reputedly studied Butoh (a Japanese “dance of darkness”) in order to capture the creature’s motions, make such a physicality that was at once a terrifying and sincerely moving figure.
He portrayed the Monster not as a villain, but as an acting soul imprisoned in a grotesque body, one who was turned away from by his maker. It was a “physical” act- ing, in the widest sense — using his back, his shoulders and his eyes as well as his voice.
(Best Supporting Actress Winner)
The lack of appreciation for horror at awards shows makes Amy Madigan’s victory for Best Supporting Actress all the more gratifying. In the surprise hit Weapons as Aunt Gladys, a figure who immediately became a horror icon.
Madigan, a 75-year-old seasoned actress, said she was astonished by the win, she thought people would just “dig” the movie – not fall in love with “terrifying” her character. She teetered between a kooky, eccentric senior citizen and a predatory natural force. To be the most frightening person at the party and be so hypnotically watchable is a rare achievement, and the reviews strongly confirmed that.
We may as well not speak of winners without mentioning the night’s biggest—err, biggest champion? Paul Thomas Anderson won both Best Picture and Best Director for One Battle After Another.
The film is densely plotted, an “exquisitely detailed fantasy” about former revolutionaries meeting to rescue a daughter. It’s political and personal and very, very complex – and well, that’s just what the critics called the masterpiece of resistance and hope. I mean it’s not just the one actor here, it’s a conductor (Anderson) behind the wheel of an orchestra of stellar performers (including Leonardo DiCaprio and Teyana Taylor) who create the best film of the year.
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| Category | Winner | Show | Key Context |
| Best Drama | The Pitt | HBO Max | Medical realism meets pandemic trauma. |
| Best Actor | Noah Wyle | The Pitt | A return to form with “urgent” authenticity. |
| Best Actress | Rhea Seehorn | Pluribus | Sci-Fi nuance; playing a resistor in a hive-mind. |
| Best Limited Series | Adolescence | Netflix | A technical feat of one-shot storytelling. |
Perhaps the most heartening bit from the 31st Critics Choice Awards is that “Genre isn’t a slur anymore. ”Horror and Sci-Fi, two genres long neglected at awards time, dominated the discussion.
The 2026 ceremony wasn’t about the speeches (though Noah Wyle’s tribute to healthcare workers was a tear-jerker), it was about the work. The Critics Choice Association took risks in its rewards. They watched Chalamet playing ping-pong half-blind, Elordi starving in a makeup chair, Stephen Graham doing a one-hour monologue in a single take and thought: This is the bar now.
As we head toward the Oscars, one thing is clear: The industry is turning its back on polished perfection and embracing a gritty, sweaty, technically dazzling brand of realism.
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Discover Anthony Mackie’s journey from theater to Hollywood, his rise in the MCU as Captain America, and his impact on film, TV, and stage. Learn more...!
Anthony Mackie was born on September 23, 1978. He is an American actor and producer. People love his work in movies and TV shows. He acts in both small films and big superhero movies.
Many fans know him as Sam Wilson, also called Falcon. He later became Captain America in the Marvel movies. He is talented and hardworking. His journey from stage to Hollywood is truly inspiring.
Anthony Mackie was born in New Orleans, Louisiana. He started acting at 14 at the New Orleans Center for Creative Arts. He later studied at New York University’s Tisch School of the Arts.
He performed in many plays, including Broadway and Off-Broadway productions. In 2002, he worked as an understudy for Don Cheadle in Topdog/Underdog. That same year, he won an Obie Award for his role in Talk, a play by Carl Hancock Rux.
Mackie made his film debut in 2002. He played Papa Doc, a rival to Eminem’s character in 8 Mile. In 2003, he got his first starring role in Brother to Brother. He played Perry, a young Black artist struggling with his identity.
His performance earned him a nomination for the Independent Spirit Award for Best Actor. In 2004, he starred in Million Dollar Baby, which won an Academy Award. That same year, he worked with Spike Lee in She Hate Me. His career kept growing from there.
Anthony Mackie kept building his career in the mid-2000s. He acted in Half Nelson (2006), Crossover, and We Are Marshall. In March 2008, he performed in three plays by August Wilson. These plays were Ma Rainey’s Black Bottom, Fences, and Jitney. The performances took place at the John F. Kennedy Center in Washington, D.C.
In 2009, Mackie played Tupac Shakur in Notorious. He later starred in Night Catches Us (2010). In 2011, he appeared in The Adjustment Bureau and Real Steel. His big break came in 2014 when he joined the Marvel Cinematic Universe.
He played Sam Wilson, also known as Falcon, in Captain America: The Winter Soldier. He returned for many MCU films, including Avengers: Endgame.
In 2021, Mackie officially became Captain America in The Falcon and the Winter Soldier. He will star as Captain America in Captain America: Brave New World. The movie is set to release in 2025.
Anthony Mackie got his first big role in Brother to Brother (2003). He played Perry, a young Black artist. Perry struggled with his identity as a gay man. Mackie’s performance impressed many people. He earned a nomination for the Independent Spirit Award for Best Actor. This was a big moment in his career.
In 2004, Mackie starred in major films. He appeared in Million Dollar Baby, directed by Clint Eastwood. The film won the Academy Award for Best Picture. Mackie also worked with Spike Lee in She Hate Me.
His role in Million Dollar Baby showed he could handle big studio films. His work with Spike Lee proved his passion for independent films. That same year, he starred in The Manchurian Candidate.
Mackie kept building his career in the mid-2000s. He starred in Half Nelson (2006), Crossover, and We Are Marshall. These films showed his versatility. He took on different roles. He proved himself as a talented and dependable actor.
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Anthony Mackie has always loved performing on stage. He has returned to theater many times in his career. Live performance is important to him. In March 2008, he starred in three plays by August Wilson. He performed at the John F. Kennedy Center in Washington, D.C.
The plays included Ma Rainey’s Black Bottom, Fences, and Jitney. These performances were part of “August Wilson’s 20th Century.” The event featured staged readings of Wilson’s Century Cycle.
In mid-2009, Mackie played Pentheus in The Bacchae. The play was part of Shakespeare in the Park in New York City. In February 2010, he starred on Broadway. He performed in A Behanding in Spokane with Christopher Walken.
Mackie has never left theater behind. He continues to explore different roles on stage. His love for acting drives him to return to live performances. His work in theater proves his passion for the craft.
Anthony Mackie’s career changed when he joined the Marvel Cinematic Universe (MCU). In 2014, he played Sam Wilson, also known as Falcon. He first appeared in Captain America: The Winter Soldier.
Audiences quickly loved his performance. His role in the MCU grew. He played Falcon in several Marvel films. He appeared in Avengers: Age of Ultron (2015) and Captain America: Civil War (2016). He continued in Avengers: Infinity War (2018) and Avengers: Endgame (2019).
In 2021, his character’s journey reached a major moment. He starred in The Falcon and the Winter Soldier on Disney+. In the show, Sam Wilson became the new Captain America. This moment was a big step in the MCU. It also made Mackie a top star in the superhero world.
Mackie will continue as Captain America. He will lead Captain America: Brave New World in 2025. Fans are excited to see his next adventure in the MCU.
As of February 2025, Anthony Mackie’s net worth is estimated at $8 million, though it’s expected to increase after his role in Captain America: Brave New World.
Mackie originally intended to become an engineer, but he was drawn to acting and attended the New Orleans Center for Creative Arts. He married his childhood sweetheart, Sheletta Chapital, in 2014, but they divorced in 2018.
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Anthony Mackie kept pushing himself after his success in the MCU. He took on many different and challenging roles. He starred in Detroit (2017), a period crime film. He played an important role in The Hate U Give (2018). In 2019, he appeared in the horror film Synchronic.
He also starred in The Banker (2020). These movies show his passion for meaningful stories and different genres. He also played Martin Luther King Jr. in All the Way (2016) on HBO.
Mackie also explored television. In 2020, he starred as Takeshi Kovacs in Altered Carbon on Netflix. In 2023, he took on a new role in the Peacock series Twisted Metal. He played the lead character, John Doe.
This role allowed him to mix action and comedy. His performance proved his versatility and charm. He continues to take on exciting projects and impress audiences with his talent.
Anthony Mackie is an American actor and producer known for roles in movies and TV shows, especially as Sam Wilson (Falcon) in the MCU.
He was born on September 23, 1978, in New Orleans, Louisiana.
His first major film role was in 8 Mile (2002), where he played Papa Doc.
Mackie joined the MCU in 2014, playing Sam Wilson (Falcon) in Captain America: The Winter Soldier.
Outlander star Rosie Day makes her powerful directorial debut in One Hundred and Fifty-Two Days with Alistair Petrie and Roman Griffin-Davis. Full details here.
Outlander Star Rosie Day is making her directorial debut with One Hundred and Fifty-Two Days, a powerful British cinema project. There’s a particular kind of enchantment that takes place when an actor who has been poked and prodded and told what to do for most of their life steps behind the camera. They don’t just make a movie, they curate a performance. British cinema, 2026 appears to be staking out the title of year of the actor-auteur. First up was Outlander Star Rosie Day. If you don’t know her by that name, then you will know her as the tough Mary Hawkins in Outlander or the quietly brutal lead in The Seasoning House.
But now, Outlander Star Rosie Day is swapping the corset for the director’s monitor to make her feature directorial debut with One Hundred and Fifty-Two Days – it seems less a debut and more a manifesto. Starring powerhouse talent such as Alistair Petrie (The Night Manager), Roman Griffin-Davis (Jojo Rabbit), and Alice Lowe (Timestalker) this isn’t just another indie drama — it’s a “a sucker punch to the heart.”
Outlander Star Rosie Day career has been shaped by parts that require her to be emotionally and physically tough. Mary Hawkins in Starz’s Outlander Star Rosie Day, which made her deal with complex trauma, sexual assault and historical repression. Likewise, The Seasoning House (her starring role) allowed Gara to express deep emotions with very little verbal exchange.
Outlander Star Rosie Day has never been afraid to explore the darker corners of human life. Acting, writing her hit book Instructions for a Teenage Armageddon – her goal has always been to “give the microphone back” to young people.
Statement on the production Day described the visceral impact of the script:
“One Hundred and Fifty Two Days is a deeply moving and powerful piece, with its hilarious moments perfectly balanced by tears. There’s a rarely seen screenplay that makes you experience so many feelings and turns that I can tell you this is a very moving experience.”
That quote is indicative of the film’s tone. This is not to imply that Day is turning out a grim melodrama. “Laughing” could indicate she’s embracing the absurdity of grief—strange encounters along the way, the dark comedy of hospitals and, yes, the grandmother figure. She added further about her excitement to ensemble:
“It’s going to be an amazing ride to watch, and I can’t wait to see where it goes!”
An otherwise undisclosed member of the writing duo, Giles Paley-Phillips (involved from the outset) has co-written the screenplay. He has spoken of the journey as being:
“I’m so grateful to be on this amazing journey working with such an incredible team and creative minds to tell this story. This is really rewarding on a personal level, and I’m very lucky to be doing it.”
The “personal” nature of this may be that it is autobiographical to some extent: Paley-Phillips has openly talked about losing his mother and how grief has influenced his life and his work. When a writer films their own story, especially one involving personal trauma, there is usually greater truth to the emotional story.
The pairing with Elizabeth Morris is a strategic one, Morris presumably grounds Paley-Phillips’s poetic tendencies with the requisite structural discipline of screenwriting.
The narrative of One Hundred and Fifty-Two Days is almost sadly poetic.
He must mourn from afar, stuck in medical limbo. It’s a story about the 152 days that define a life — a “blank” moment during which everything stops, yet everything changes.
The casting of One Hundred and Fifty-Two Days demonstrates a conscious effort to mix star appeal with proven character-actor skill.
| Actor | Known For | Narrative Archetype | Key Plot |
| Roman Griffin | Jojo Rabbit, Silent Night | The Boy (Protagonist) | After Jojo Rabbit, we know he can hold the weight of a film’s soul on his shoulders. |
| Alistair Petrie | The Night Manager, Sex Education | The Father (Likely) | Specializes in repressed authority figures. Perfect for a father who uses silence and rigidity (or alcohol) as a shield against grief. |
| Alice Lowe | Timestalker, Prevenge | Physiotherapist / Relative | Known for dark comedy. Will likely inject the “laugh” element Rosie Day mentioned, preventing the film from becoming maudlin. |
| Annette Badland | Ted Lasso, Outlander | The Grandmother (Likely) | A veteran character actress capable of great warmth and steel. A former colleague of Day from Outlander. |
| Paterson Joseph | Wonka, Peep Show | Doctor / Mentor | brings a charismatic gravitas. Can play the “institutional face” of the hospital or a supportive family friend. |
Both the book and its later film version are profoundly resonant with our collective experience of the COVID-19 pandemic, though they were imagined well before its arrival. Its portrayal of a respiratory disease that causes isolation and separation is uncannily reminiscent of what people around the world are experiencing. This link lets viewers infuse their own recollections of lockdown, loss, and resilience into the story.
Under Outlander Star Rosie Day direction, the film turns into a bittersweet portrayal of shared trauma, affirming the anguish of separation and the emotional impact of medical crises on people and families as a whole.
The film is about grief and the male frailty and it subverts all the expected ones. By introducing the character of the “whimsical grandmother” as a vehicle for the grieving process being non-linear, it suggests the presence of life and death simultaneously and encourages the main character to live while losing. This say-turning laughter and tears up the complexity of loss. And the fact that they’re allowed to be vulnerable men and that is important in itself.
The Boy’s vulnerability and need for guidance stand in stark contrast to the Father’s repressed emotions, represented by his struggle with alcoholism. These aspects serve to demonstrate that mental health care, and particularly that of teenage boys and men, can be treated with compassion and realism — before our very eyes, in true Day fashion.
Outlander Star Rosie Day and Alistair Petrie, in fairness, aren’t just colleagues, they have a professional shorthand. Previously seen together at industry functions such as The Uninvited screening last year, it’s probably a safe assumption that their relationship brings a sense of trust on set that you can’t just make up.
When a director and their lead actor “speak the same language”, the performance is usually ten times stronger.
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Don’t expect your typical “hospital movie.” Since the original book was written in free verse, expect the film to rely on silence and visual metaphors rather than heavy dialogue.
Rosie Day’s previous short films, like Tracks, have told us she’s a filmmaker who can make the most of every moment on screen. In One Hundred and Fifty-Two Days, she is transposing poetry’s “white space” to the “quiet space” of cinema.
Verdict: This is a film about male vulnerability, the absurdity of grief, and the odd people (an “erratic” grandmother or a no-nonsense physiotherapist) who reel us back into the living world.
One Hundred and Fifty-Two Days would undoubtedly be a milestone in British film making when it is completed in 2027. This film elevates the basic tenets of the best-seller adaptation formula with an organic synthesis of art and commerce.
Outlander Star Rosie Day, making the leap from in front of the camera, applies her “teenage armageddon” concept to a sensitivity study of male frailty. Alistair Petrie assumes a role that questions his hardline authoritarian identity, with the pandemic shadowing, highlighting themes of solitude and reflection.
What makes the project unique, however, is its subtle narrative — about a boy fighting for breath — told by a director who is dedicated to telling the stories of young people. Should Day get her wish and meld emotional grit with comic relief, she’ll be further established as a sensitive auteur reflecting on the mess of being.
Production is underway on Britain’s craggy northern shoreline for what could be another classic of modern British social realism.
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