With the Screen Actors Guild nominations announced earlier this week, the Oscar race is officially moving at full force, and a few movies have already been left in the dust.

“A Star is Born,” “Roma” (out on Netflix streaming today!), “Green Book,” “If Beale Street Could Talk,” “The Favourite,” “BlacKkKlansman,” and “Vice” all appear set for a strong showing at the Academy Awards, even as organizers can’t figure out who will host the thing. Blockbusters like “Black Panther” and “Mary Poppins Returns” might break into Best Picture too, which would certainly help attract more casual moviegoers to the telecast.

Unfortunately, as the critics groups and guilds announce their favorites, many films and performances have seen their chances at Oscar nominations dashed. Consider “First Man,” a movie from “La La Land” director Damien Chazelle and starring Ryan Gosling. It’s a technical marvel, but lousy box office and an overblown controversy about the American flag on the moon (it’s in there!) seems to have dashed the Neil Armstrong biopic’s chances at major prizes. Too bad, because the movie deserves a bigger audience.

Even as its presence fades, “First Man” still has more of a shot than the following should-be contenders:

“Mission: Impossible — Fallout” for Best Picture

Yes, “Black Panther” had a far greater cultural impact in 2018, but if we’re talking about blockbusters that truly delivered, the list starts with “Mission: Impossible — Fallout.” The sixth and best installment in the durable Tom Cruise franchise contains some of the most spectacular stunts ever committed to film. The story is, well, full of your standard spy games, but the ensemble around Cruise (at the top of his game) continues to be strong, and director Christopher McQuarrie throttles the suspense at every turn. If nothing else, “Fallout” should be the rallying cry to finally incorporate a stunt category at the Academy Awards.

“Widows” for Best Picture

Another victim of so-so box office, the introspective heist drama from “12 Years a Slave” director Steve McQueen contains another powerhouse performance from Viola Davis (snubbed by the Golden Globes and Screen Actors Guild already). More than its genre trappings, “Widows” tells a sprawling story of desperation and grief while touching on themes of political corruption and racial division. Maybe audiences didn’t think there were enough shootouts, but I figured industry types would want to celebrate such a thoughtful take on a well-worn genre.

More love needed for two other Netflix originals

Alfonso Cuaron’s “Roma” enters the Oscar race as the clear critic’s choice, and Netflix appears to be spending lots of dough to make sure the drama performs well down the stretch.

While most other Netflix original films land somewhere between “mediocre-to-bad,” two others this year might have had better luck with a more traditional release.

One, of course, is the ambitious and challenging Western anthology “The Ballad of Buster Scruggs” from the Coen Brothers. Filled with richly absurd dialogue, gorgeous vistas and challenging thematic undertones, “Buster Scruggs” often gets discussed by segment rather than by its unique cohesion. It’s strange to see such an excellent Coen Brothers film sit out the awards circuit, but it happens from time to time.

The other Netflix gem, the Tamara Jenkins-directed “Private Life,” takes a story about a couple struggling with infertility and injects it with specific and heartfelt humor and emotion. The script deserves an Oscar nomination, and I can’t believe star Kathryn Hahn hasn’t made more of a showing. She’s incredible, but it is a packed year in the Best Actress category.

More performances in need of a boost:

Nobody will feel bad for Charlize Theron (already an Oscar winner) missing out on an Oscar nomination for the underseen “Tully,” but it’s a worthy performance nonetheless. “Eighth Grade” has a strong shot to net writer/director Bo Burnham a nomination for screenwriting, but the movie’s star, Elsie Fisher, plays a huge part in the film’s overall impact.

If we’re talking excellent performances by young actors, then Amandha Stenberg for “The Hate U Give,” Helena Howard for “Madeline’s Madeline,” and Thomasin McKenzie for “Leave No Trace” should also be mentioned.

Despite missing out on a SAG nomination, Toni Collette still might be a dark horse to earn a nomination for her role in the terrifying “Hereditary.” I just wouldn’t count on it.

And while “Creed II” doesn’t quite live up to the first installment, its star Michael B. Jordan continues to show his acting chops. I wouldn’t be against a nomination for him in Best Actor, or maybe in Supporting Actor for “Black Panther.” While we’re talking “Creed” stars, how about Tessa Thompson? She’s strong in supporting roles in “Creed II,” “Annihilation” and “Sorry to Bother You.” Oh, and that reminds me… “Annihilation” for lead Natalie Portman and tech categories, and “Sorry to Bother You” in screenwriting.

I could go on and on, but maybe I should see a few more things like “Roma” and “If Beale Street Could Talk” as they become available to our local market. I might still push out names and titles just like everybody else.

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Tyler Wilson can be reached at twilson@cdapress.com