 |
| Furiosa coming for OSCAH GLORY |
Best Picture
The Big Short
Bridge of Spies
Carol
Mad Max: Fury Road
The Martian
The Revenant
Spotlight
Between 0 and 3 of:
Brooklyn
Room
Straight Outta Compton
As a reminder, the 5% rule still stands. We get at least 5 but no more than 10 nominees depending on how many films receive more than 5% of the number one votes for Best Picture. Since we started this system, we have gotten either 8 or 9 nominees. The trend may continue, though it's possible we could wind up with less. It's a strange year. The pundits will tell you the frontrunner of the moment is Spotlight, but it's hanging on by a thread. Spotlight makes a lot of sense on paper. It's an old-school issue drama (this time about the Catholic priest sex abuse scandal) with a cast of respected thespians playing hardworking Americans using their ingenuity to fight injustice. It's All the President's Men for the 21st century. Spotlight largely dominated the year-end critics' awards, yet Hollywood seems slightly less enthused. I have seen more than one anonymous Academy member dismiss it as a well-directed "Law and Order: SVU" episode. It's underperformed in nominations with most of the televised awards groups, and it already left the Golden Globes empty handed. Open Road is a new studio, and Spotlight is their first time at the awards rodeo. I don't think they can pull off the Best Picture win. But who can?
After the Golden Globes, The Revenant seems like a possible winner. Alejandro González Iñárritu is fresh off of winning three Oscars for Birdman and is probably the most in-demand filmmaker in Hollywood today. His latest is a technically ambitious epic starring one of the biggest movie stars in the world in a performance that will likely win him an Oscar. Unlike Spotlight, The Revenant has big studio money behind it (Fox) and is already proving to be a force at the box office. But the movie is divisive. Many opinion makers believe that it's a beautifully directed film that doesn't have a coherent script, and it's brutal, violent, and difficult to sit through. It's a bit bleak for a Best Picture winner.
And then there is The Big Short, the ensemble comedy about the financial crisis from Brad Pitt's Plan B production company - an increasingly prominent Oscar player. It's an easily digestible message movie with very Hollywood liberal politics and a cast of beloved Oscar winners and nominees. The Big Short bypassed the festival circuit and came on as a late player into the awards race, and it's done very well with the guilds and BAFTA. This definitely feels like a movie that can build buzz and win the big prize. Plus, Kirstie Alley tweeted about how much she loved it, and her favorites ALWAYS win. Write it down.
That runs the gamut of potential Best Picture winners, but there are some other safe bets for the nomination lineup. The Martian was the feel-good box office smash of the fall, and it marked Ridley Scott's return to form after ten years of directing dreck. It also won a smattering of Golden Globes because Fox bribed the Hollywood Foreign Press Association into pretending it was a comedy. There's always room at the Oscars for big studio hits that are actually made for adults. I think there's also room for Mad Max: Fury Road (editorial aside - THE BEST FILM OF THE LAST FIVE YEARS OMG). It's odd to think about the Academy abandoning its middlebrow snobbery to recognize a genre film (this is the group that chose to recognize Frost/Nixon AND The Reader instead of The Dark Knight), but Mad Max has defied expectations to perform superbly with the guilds, the critics, and the Golden Globes. There seems to be a large amount of goodwill toward that film, and I think it will have the passion to break through.
In a lineup that is lacking in options for the basic biddies who make up the bulk of the Academy, I assume there is a contingent of support for Bridge of Spies. Steven Speilberg's slightly sterile Cold War drama is dripping with prestige and importance, and the critics were kinder than I thought they'd be. One wonders if this is really a film that will attract enough #1 votes, but the Academy did recognize War Horse under this voting system, and nobody even liked that movie. Spielberg always finds a way. And maybe I'm deluding myself (possible), but I really think there will be enough support for Carol to get in. Todd Haynes' Cannes hit is one of the critical darlings of the year, and it's Harvey Weinstein's big push of the season. It did well with the Globes and BAFTA, but its guild performance has been a bit troubling. In an industry run by straight men, there appears to be some resistance to the arty lesbian romance. And unfortunately, Todd Haynes does not have the best track record with the Academy (still hurting from all the Far From Heaven snubs 13 years ago, tbh). Still, I have faith in Dark Lord Harvey. His influence is not to be underestimated.
After that, who knows. Critically acclaimed period melodrama Brooklyn was the breakout hit from Sundance, and it is Fox Searchlight's big awards push after two consecutive years of handling the Best Picture winner. It's a nostalgic tear-jerker with tons of heart, and it seems to play well to the geriatric core of the Academy. But is it too slight for the Best Picture nomination? On the other end of the spectrum is Room, the breakout hit from the Toronto festival based on the popular novel of the same name and starring the likely Best Actress frontrunner. People who see it tend to love it, but the subject matter (kidnapping and forced imprisonment) is fairly dark. Some voters are allegedly avoiding this one because child endangerment makes them uncomfortable. The buzz is there, but will there be a large enough pocket of support?
And then there is a surprisingly large number of films that could sneak in if the cards fall right. Straight Outta Compton shocked everyone by becoming a huge box office smash at the end of the summer, and it actually got decent reviews. Universal is taking the wads of cash it earned from Jurassic World to mount an aggressive campaign for this one that has largely worked. Nearly every major industry guild has recognized this film. Will the Academy follow suit? The subject matter doesn't seem up their alley to say the very least, but stranger things have happened. My biggest problem is: what other nominations can it even get? Drug war drama Sicario is a film that seems to be heavily in contention for a number of nominations, and it makes sense that a Best Picture nod could follow. It performed well across the board with the guilds, got good reviews, and made a respectable amount of money at the box office. Lionsgate is a competent awards studio, and they've thrown a lot of campaign dollars behind this one, but I don't see it generating the passion for a Best Picture nod in this system.
Then there is the curious case of Star Wars: The Force Awakens. As the highest-grossing film of all time at the domestic box office, it is impossible to ignore this elephant in the room. From Gone with the Wind to Avatar, the Academy has a fairly consistent history of recognizing the new all-time #1. The reviews were pretty good and Star Wars is a franchise that has received Academy love in the past. Yet there appears to be a certain reluctance in the industry to honoring this installment, as evidenced by its surprising snub by the money-loving Producers Guild - a group that even recognized J. J. Abrams' Star Trek reboot. I think the Academy will relegate it to the technical categories.
The Producers Guild gave all of its sci-fi love to surprise spring box office breakout Ex Machina, by far the biggest hit ever for tiny distributor A24. This is the kind of highbrow sci-fi that the Academy has recognized in the recent past (District 9, Inception), but A24 has its hands full with a campaign for Room and likely can't push in two Best Picture nominees. The Globes gave a much-needed boost to Steve Jobs after its highly publicized box office failure, but is anyone really going to waste #1 votes on that turkey (besides Aaron Sorkin and Kate Winslet)? Inside Out marked a critically beloved return to form for Pixar, and they've profited from the expanded Best Picture lineup in the past (Up, Toy Story 3). But the buzz is oddly quiet for this one, likely because Pixar has spread its marketing team too thin with the additional release of The Good Dinosaur this year. I suspect that there are pockets of support for Quentin Tarantino and The Hateful Eight, but the consensus on that one is that it's too long and indulgent. Even Harvey Weinstein appears to have given up on it. And then there is always the possibility that the Academy will give into its most basic middlebrow instincts and honor Hollywood Blacklist drama Trumbo with all of its self-congratulation and gratuitous histrionics.
Best Director
Alejandro González Iñárritu, The Revenant
Tom McCarthy, Spotlight
Adam McKay, The Big Short
George Miller, Mad Max: Fury Road
Ridley Scott, The Martian
Alternate: Todd Haynes, Carol
This category seems especially difficult to pin down, as it has been in recent years. The directors branch of the Academy is a finicky and idiosyncratic bunch. I can honestly see any of my predicted five getting snubbed for a variety of outlying contenders. I suppose the Globe win would make Alejandro González Iñárritu the frontrunner du jour, but I can't really see him winning. It's tough to even get nominated for your followup to a Best Director win (just ask Kathryn Bigelow and Tom Hooper), much less win again. But The Revenant is probably the flashiest directorial achievement of this bunch, and he's been doing the work on the campaign trail talking about how challenging it was to make this film. I'm fairly confident he'll be nominated, but anything is possible in this category.
I also feel fairly certain that Ridley Scott will make it. The man is a venerated multiple Oscar nominee, and as I said earlier, he made his first respectable movie in years with The Martian. It's a narrative that his peers in the directors branch will respond to. In a weird race, I can actually see him winning as a bit of a lifetime achievement award, though his bizarre, rambling acceptance speech at the Golden Globes likely gives many Academy members pause. The directors branch should also come through for George Miller, who has been around forever doing good work without much recognition. He's won a good chunk of critics' awards for Mad Max: Fury Road, and Warner Bros. has been doing its part to keep his name in the conversation. Part of me is worried that the movie is not very Oscar-y for obvious reasons, but the tide of support seems too strong to deny.
I have a hard time buying that Tom McCarthy and Adam McKay are both going to get nominated, but after the Directors Guild nominations, I'm not sure who to dump. Both of their movies are clearly strong Best Picture nominees, but it's not really because of the directorial achievement in either case. They'll be nominated on the strengths of their respective films alone. They're both relative unknowns. McKay's CV consists primarily of dumb Will Farrell comedies. McCarthy has directed some acclaimed indies like The Station Agent and The Visitor, but I dare you to sit through The Cobbler and tell me anyone involved should be winning Oscars. If only one makes it, I think it's McKay because The Big Short seems to be gaining momentum. Spotlight has a very TV movie aesthetic that may hurt McCarthy.
If one of the McBasics is snubbed, it will likely be in favor of Todd Haynes. Haynes is a major American filmmaker who has yet to be recognized by the Academy's directors branch, and Carol is widely considered to be his masterpiece. He won prestigious Best Director prizes from the New York Film Critics and the National Society of Film Critics, and he was nominated for the Globe and the BAFTA. He has Harvey Weinstein! I fear that the directors branch won't bite. This is arguably the most aggressively male and heterosexual branch of the Academy (I guess some of the tech branches could give them a run for their money). Their tastes can veer arty, which would seem to benefit Carol, but have they ever embraced something with such a queer sensibility? I'm not talking about Brokeback Mountain here. I hope I'm wrong, but I think Haynes is getting snubbed again.
One must always consider the threat of Steven Spielberg, who netted his first BAFTA nomination in over 20 years for Bridge of Spies. There are few people in Hollywood more respected than Spielberg, and the movie appears to be well-liked. It's worth noting that the directors branch of the Academy has a complicated history with Spielberg. He has been snubbed several times when he seemed like a safe bet. Even the middlebrow Directors Guild passed him over this year, and the Academy directors never recognize him when even the lowly television people say no. For his part, Spielberg doesn't really seem to care this season, perhaps burned by the tepid response to the overly aggressive campaign for Lincoln. Anyone else would be fairly shocking, but the directors branch can make some bizarre calls.
Best Actor
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Alternate: Steve Carell, The Big Short
The consensus appears to be that it's Leonardo DiCaprio's year and no one can stop him. I have no reason to doubt that. He has been working hard for this Oscar, sharing sob stories about suffering in the cold and eating raw bloody bison liver. You'd think nobody on earth had ever had a difficult shoot! The performance itself is physical and showy, and he is the whole movie. It's Leo's world and we're all living in it.
The potential spoiler may be Bryan Cranston as legendary communist blacklist victim Dalton Trumbo in Trumbo. Cranston is one of the most respected actors in the biz thanks to "Breaking Bad," and the transition to film has been remarkably easy for him. It's a big, showy, scenery chewing performance in a movie about Hollywood and artists standing up for their convictions. Cranston gets extra bonus points for playing a real person. Also getting real person bonus points is Michael Fassbender for the titular role in Steve Jobs. The movie was a huge bomb, but his reviews are great and he has won a fair share of critics' awards. If he weren't so standoffish and reluctant to play the campaign game, he might even have a chance at the Oscar.
Matt Damon makes sense on paper for The Martian, but I wonder if it's really Oscar baity enough. Yes, he's the lead in a likely Best Picture nominee, but he's kind of just playing Matt Damon in Space. He spends the majority of the movie harvesting potatoes and complaining about disco music. It might be telling that SAG snubbed him, though he did just win the (comedy?) Globe. The field is kind of weak, so I have a hard time seeing anyone replacing him. The weakness of the field is why we've all kind of shrugged and accepted that Eddie Redmayne is probably getting nominated for The Danish Girl even though the movie is a turkey and he didn't get great reviews. The reigning Best Actor champion has been thirstily pounding the pavement for a follow-up nomination, and it's certainly an Oscar-y role. However, the subject matter makes the older, conservative set uncomfortable, and the young, progressive crowd thinks the movie is outdated and problematic in its treatment of trans issues. He seems like he should be vulnerable despite getting nominated for all the televised awards, but who is strong enough to knock him out?
Surprise nominations often come from beloved Best Picture contenders, which makes me think Steve Carell could spoil for The Big Short. Carell is now a Serious Actor thanks to his Oscar-nominated turn in Foxcatcher, though he returns to his comedic roots for this one. He got a random Globe nomination, but he's not really the clear lead of the film. Still, the movie has fans who could be voting for it across the board. I suppose we must also consider Johnny Depp, who has been campaigning his tail off for his turn as Whitey Bulger in horrible age makeup in Black Mass. Depp has more or less squandered all of his credibility as an actor after years of starring in big budget trash, and this was supposed to be his image rehabilitation film. He got the SAG nomination, but I just don't think anyone likes the movie all that much. It's faded from the awards conversation at this point, and Warner Bros. has abandoned it to focus its campaign resources on Mad Max. Will Smith has also been working the campaign circuit for NFL cover-up drama Concussion, which everyone seems to agree is a garbage movie. He schmoozed his way to a Globe nomination, but the Academy will not follow suit.
Best Actress
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Charlotte Rampling, 45 Years
Saoirse Ronan, Brooklyn
Alternate: Alicia Vikander, The Danish Girl
Brie Larson has unlocked new levels of thirst this Oscar season, blatantly owning up to schmoozing the Hollywood Foreign Press Association for her Globe win and favoriting and retweeting everyone on Twitter who remotely praises her work in Room. I'm living for it. This former indie darling is taking full advantage of her moment in the sun. It helps her case that her work in Room is showy and acclaimed. She really would be a worthy winner. Miss Larson is a graduate of the Eddie Redmayne School of Oscar Campaigning. It's not possible to want it too much.
Her strongest competitor is likely Saoirse Ronan, who has achieved the impossible task of transitioning from child Oscar nominee to respected adult actress. Truly the Jodie Foster of our times. Ronan's work in Brooklyn is pretty low key for a potential Oscar winner, but she has effusive reviews and the Best Actress prize from the New York Film Critics. This award will likely come down to which film has more broad support in the Academy, as both are on the bubble for a Best Picture nomination.
Cate Blanchett would probably be a frontrunner for the win for Carol had she not just won two years ago. It's hard enough to win a 2nd Oscar, much less a 3rd (ask Meryl Streep). Blanchett has received some of the best reviews of her career in Carol, and everyone loves her. She's getting nominated even if the Academy gives her movie the cold shoulder in every other category.
After that, it's a bit difficult to predict, and the televised awards haven't given much guidance. Joy promised to be a potential winning vehicle for Jennifer Lawrence as she finally had the chance to carry a non-franchise vehicle by herself. Critics came for David O. Russell's latest with their knives out, and the movie's chances are basically dead outside of this category. Lawrence is the biggest female movie star in the world, and she did win her 3rd Globe in 4 years for this. Now that she's free of The Hunger Games, she's been more visible on the campaign circuit than she has been in the past. She got good ink even from critics who hated the movie, but many feel she was miscast, and the fact that she is continuously cast in roles meant for 30- and 40-somethings is starting to become a point of contention in entertainment media. Can she pull off a nod for a film that is otherwise dead in the water? At this point I say, why not? I'm not seeing a ton of other convincing options.
Despite getting no love from the televised awards, I'm giving the last spot to Charlotte Rampling. She is a respected veteran who has somehow never gotten an Oscar nod, and she's giving the performance of her career in a very acclaimed film. 45 Years is a tiny film, but Dame Charlotte has been doing the work on the campaign trail, and there is passion for this performance. She won the Best Actress prizes from Los Angeles and the National Society of Film Critics. The Academy operates on a preferential ballot, and this is the kind of passion pick that can make the cut by virtue of having enough #1 votes.
The real reason for the weird confusion in this category is a number of clearly leading performances that have been campaigned in the supporting category for the bulk of the season. Category fraud has always happened, but it has never been quite as outrageous as this year. Alicia Vikander's character is in many ways the focal point of The Danish Girl. The story is essentially told from her perspective, and her character has more of an arc than Redmayne's. Rooney Mara is by all accounts every bit as much of a lead in Carol as Cate Blanchett is, and she even beat her costar for the Best Actress prize at Cannes. Both women were nominated in supporting at SAG and lead at the Globes. Vikander got a Best Actress nod at BAFTA while Mara was relegated to supporting. Who knows what will happen at the Oscars. One or both could conceivably show up in Best Actress. Vikander is probably more likely, as she has another performance in the supporting category that could get her nominated. At the same time, I can't imagine that The Danish Girl has enough support for TWO lead acting nominations, though Vikander generally got better reviews than Redmayne did. Mara is in a Harvey Weinstein movie, and people will vote for her where he tells them to.
In my dreams, Charlize Theron is a contender for Mad Max: Fury Road, and hey! Maybe she is! She did get a Best Actress nod from the otherwise worthless Broadcast Film Critics Association, and she is the female lead of a likely Best Picture nominee. There is some precedent for an action heroine getting a Best Actress nod (Sigourney Weaver in Aliens.....yup, that's all I've got). Charlize doesn't really seem to care, and WB has focused its campaign on Miller, so it's probably not happening. As usual, the old dames are in the mix. Helen Mirren got a SAG nod for The Woman in Gold, which made a surprise splash at the box office in the spring and also has Harvey Weinstein pushing it. Maggie Smith got Globe and BAFTA nods for The Lady in the Van, a quaint comedy that got surprisingly good notices at the Toronto fest. Mirren is campaigning. Smith is not. Either could make it, I suppose. Or both! And then Sarah Silverman(???) got a SAG nod for something called I Smile Back, the most bizarre awards contender since we had to pretend Cake was a thing for several weeks in early 2015.
Best Supporting Actor
Christian Bale, The Big Short
Idris Elba, Beasts of No Nation
Mark Ruffalo, Spotlight
Mark Rylance, Bridge of Spies
Sylvester Stallone, Creed
Alternate: Jacob Tremblay, Room
This is probably the most confounding category of the year. Mark Rylance is the only person who I'm 100% certain is getting nominated. He's swept the big critics' prizes, and he got nominated for all the televised awards. His performance as a Soviet spy in Bridge of Spies is the kind of loud, villainous work that often does well in this category. Rylance doesn't do much film work, but he has more Tonys than he knows what to do with. Prepare yourselves for some weird speeches, FYI.
The general wave of love for The Big Short has me feeling confident that Christian Bale will be nominated. He's become a bit of an Oscar darling these days. The standing ovation Sylvester Stallone got at the Globes convinced me that he's probably getting nominated. Never in a million years did I think he would ever be nominated for another Oscar, much less for another Rocky movie. But the sympathy wave is strong, and that movie was a surprise critical and commercial smash. He could maybe even win.
What to do with the men from Spotlight? Someone from that movie HAS to get an acting nomination, right? And yet that film was surprisingly shut out of this category at both the Globes and SAG. Open Road made the rookie mistake of pushing too many people in this category instead of settling on one or two plausible contenders. Mark Ruffalo and Michael Keaton have the most buzz of this ensemble, with the former pulling a BAFTA nod and the latter winning the New York Film Critics prize in the lead category. I suspect that one of them will be nominated. My gut says Ruffalo because he's a nice guy. Keaton turned a lot of people off by being a Bitter Betty after losing to Eddie Redmayne last year. If neither makes it, Spotlight is just not winning Best Picture.
The last spot could go a number of directions. My gut says it will be Idris Elba. He hit that golden SAG/Globe/BAFTA combo, and it's the type of classic scenery chewing villain performance that does well in this category. Elba is well-liked in the industry, and he just feels like an inevitable Oscar nominee to me. The problem is that Beasts of No Nation has little buzz in other categories, and it's tough to sit through. Child soldiers in Africa do not make for pleasant holiday season screener viewing. But the film has vocal champions in the industry, and I think he can generate enough passion for #1 votes in an open category.
There could be a spot for Jacob Tremblay in Room. He got some of the most glowing reviews I've ever seen for a child actor, and the movie is a possible Best Picture contender. Brie Larson has made a point of effusively praising Tremblay at every opportunity on the campaign trail. Tremblay got a nod from SAG, which could be a sign of industry support. It will ultimately depend on how much love there is in the Academy for the film. He will have a hard time overcoming stiff competition from respected veterans. Paul Dano could sneak in for his acclaimed turn as Brian Wilson in Love & Mercy. This category is lacking in contenders playing recognizable figures, and of course the Beach Boys are LA legends. Dano got a Globe nod, but I fear the movie is too small. Michael Shannon got SAG and Globe nods for playing a seedy real estate agent in 99 Homes. I'm still scratching my head over that one. It could happen at the Oscars, but is anyone actually watching that movie? Oscar winner Benicio Del Toro could be a spoiler for his work in Sicario, a film that is gaining a lot of late momentum in the race. He got a surprise BAFTA nod, but is it all too little too late? If The Revenant is really a Best Picture frontrunner, then Tom Hardy could get nominated. Can anyone even understand what he's saying in that movie?
Best Supporting Actress
Jennifer Jason Leigh, The Hateful Eight
Rooney Mara, Carol
Rachel McAdams, Spotlight
Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs
Alternate: Helen Mirren, Trumbo
The ultimate winner in this category is anyone's guess, though the Globes suggest that it could be Kate Winslet. We know Kate loves awards season, and she has been everywhere this year. She got good ink for serving '80s mom realness in Steve Jobs, and she has survived the public flogging the movie got for losing so much money. Of all these contenders, her performance is probably the most obviously Oscar baity. I think she's well-liked enough to win another Oscar. Why the hell not?
The other strong contenders are the category fraud duo I mentioned earlier. Alicia Vikander is the breakout ingenue of the year, and she is feasibly in contention for both The Danish Girl and Ex Machina. The former is the juicier role, but the latter is the buzzier movie. It really could go either way, and I won't be surprised by whichever film she gets nominated for. My guess is The Danish Girl only because Focus is the better awards studio. Harvey will have his way and get Rooney Mara the nomination in this category, but I don't think she has much of a shot at winning. It's a bit subtle for the Oscars.
I am having my own personal prayer vigil for Jennifer Jason Leigh. The poor woman has been in contention more times than I can count, and she's never been nominated for an Oscar. She got in with the Globes and BAFTA, but I am concerned. The role is meaty but unlikable, and the movie is not particularly popular. I'm not sure how many voters will actually make it to the end of their Hateful Eight screener. The category is sparse enough that she should get enough #1 votes to get in, but I have doubts.
For the last spot, I'm just going to guess that the most popular film wins out. Rachel McAdams benefits from being the only actress of note in Spotlight, even if she doesn't have much to do. It's the kind of filler Supporting Actress nod we typically see for strong Best Picture contenders. She got a SAG nod, and I guess the Academy will follow suit. I don't think most people in the industry care one way or the other about Rachel McAdams. If Amy Adams had this part, we wouldn't even be thinking twice about this nomination.
McAdams could be vulnerable to Helen Mirren as infamous gossip columnist Hedda Hopper in Trumbo. She delivers one-liners with delightful vitriol, and everyone loves Helen Mirren. I think the movie will play well to the Academy, but is this a performance that's going to get #1 votes? She doesn't really have much of substance to do. The same is true of Julie Walters, who got a random BAFTA nod for Brooklyn. Walters is a multiple Oscar nominee with a sympathetic presence in a well-liked film, but there's no way she gets nominated unless that movie is a stronger Best Picture contender than I think it is. Jane Fonda has been campaigning her ass off, and it's been a hoot, but there is no way she will actually get nominated for her cameo in Youth, right? I mean, I am here for it, but I can't see it happening. I am praying for Kristen Stewart in Clouds of Sils Maria, but there is no campaign for that film. IFC threw together some last minute screenings, but it's probably too small and arty to make an impact. At least KStew won prizes from the New York Film Critics and the National Society of Film Critics. Who knew she had it in her to be an art house queen! When will your faves??
And the rest...
Best Original Screenplay
Bridge of Spies
Ex Machina
The Hateful Eight
Inside Out
Spotlight
Alternate: Straight Outta Compton
Best Adapted Screenplay
The Big Short
Brooklyn
Carol
Room
Steve Jobs
Alternate: The Martian
Best Animated Feature
Anomalisa
Inside Out
The Good Dinosaur
The Peanuts Movie
Shaun The Sheep Movie
Alternate: When Marnie Was There
Best Foreign Language Film
The Brand New Testament (Belgium)
Labyrinth of Lies (Germany)
Mustang (France)
Son of Saul (Hungary)
Theeb (Jordan)
Alternate: A War (Denmark)
Best Documentary Feature
Amy
Cartel Land
He Named Me Malala
In Jackson Heights
The Look of Silence
Alternate: The Hunting Ground
---
Best Film Editing
The Big Short
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens
Alternate: Spotlight
Best Cinematography
Bridge of Spies
Carol
Mad Max: Fury Road
The Revenant
Sicario
Alternate: The Hateful Eight
Best Production Design
Bridge of Spies
Cinderella
Crimson Peak
Mad Max: Fury Road
Star Wars: The Force Awakens
Alternate: The Martian
Best Costume Design
Brooklyn
Carol
Cinderella
The Danish Girl
Mad Max: Fury Road
Alternate: Crimson Peak
Best Makeup and Hairstyling
The 100-Year-Old Man Who Climbed Out the Window
Mad Max: Fury Road
The Revenant
Alternate: Black Mass
Best Original Score
Bridge of Spies
Carol
The Hateful Eight
Spotlight
Star Wars: The Force Awakens
Alternate: Inside Out
Best Original Song
50 Shades of Grey - "Love Me Like You Do"
Furious 7 - "See You Again"
The Hunting Ground - "Till It Happens to You"
Meru - "The Light That Never Fails"
Youth - "Simple Song #3"
Alternate: Spectre - "The Writing's on the Wall"
Best Sound Mixing
Bridge of Spies
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens
Alternate: Sicario
Best Sound Editing
Mad Max: Fury Road
The Martian
The Revenant
Sicario
Star Wars: The Force Awakens
Alternate: Inside Out
Best Visual Effects
Ant-Man
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens
Alternate: The Avengers: Age of Ultron
No comments:
Post a Comment