Oscars – Final Predictions

The Oscars, hosted by Jimmy Kimmel, air Sunday, March 4 on ABC

BEST PICTURE
1. Call Me By Your Name
2. Darkest Hour
3. Dunkirk
4. Get Out
5. Lady Bird
6. Phantom Thread
7. The Post
8. The Shape of Water
9. Three Billboards Outside Ebbing, Missouri

Will Win: Dunkirk 
Should Win: Get Out
Why?: OK…I predict I’m going to be wrong here and that’s OK with me.  I just figured in a year where there is no clear favorite, the preferential ballot that is used to determine Best Picture might just come out in Dunkirk‘s favor.  Hard to believe that less than six months ago (and after Get Out was released), Dunkirk was the favorite to win this award.  I’d love to see Get Out win here but wouldn’t be upset if Three Billboards Outside Ebbing, Missouri or The Shape of Water were named either.

BEST DIRECTOR
1. Guillermo del Toro, The Shape of Water
2. Greta Gerwig, Lady Bird
3. Paul Thomas Anderson, Phantom Thread
4. Christopher Nolan, Dunkirk
5. Jordan Peele, Get Out

Will Win: Guillermo del Toro
Should Win: Guillermo del Toro
Why?: del Toro is loved in Hollywood and his movie is so totally his vision that it would be hard to deny him the award for his efforts.

BEST ACTOR
1. Timothee Chalamet, Call Me By Your Name
2. Daniel Day-Lewis, Phantom Thread
3. Daniel Kaluuya, Get Out
4. Gary Oldman, Darkest Hour
5. Denzel Washington, Roman J. Israel, Esq.

Will Win: Gary Oldman
Should Win: Gary Oldman
Why?: Even though Oldman has his fair share of detractors after some questionable remarks made in a magazine several years ago, he earns and deserves this award.  After Best Supporting Actress, this is the closest thing to a lock.

BEST ACTRESS
1. Sally Hawkins, The Shape of Water
2. Frances McDormand, Three Billboards Outside Ebbing, Missouri
3. Margot Robbie, I, Tonya
4. Saoirse Ronan, Lady Bird
5. Meryl Streep, The Post

Will Win: Frances McDormand
Should Win: Frances McDormand
Why?: Divisive as the movie is, it’s hard to deny McDormand’s powerful turn in Three Billboards Outside Ebbing, Missouri.  Ronan will win her Oscar soon and if Robbie keeps up the good work she’ll be back in the race in no time.

BEST SUPPORTING ACTOR
1. Willem Dafoe, The Florida Project
2. Woody Harrelson, Three Billboards Outside Ebbing, Missouri
3. Richard Jenkins, The Shape of Water
4. Christopher Plummer, All the Money in the World
5. Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Will Win: Sam Rockwell
Should Win: Sam Rockwell
Why?: While two people from the same film nominated in the same category often means both go home empty-handed (hello deserving winner Sigourney Weaver and Joan Cusack from Working Girl!), this year Rockwell will beat out Harrelson and the rest of the guys for this award.  His character has polarized audiences and critics but he’s so well liked in Hollywood and has turned in consistently fine work for over a decade, this is another easy one to call.

BEST SUPPORTING ACTRESS
1. Mary J. Blige, Mudbound
2. Allison Janney, I, Tonya
3. Lesley Manville, Phantom Thread
4. Laurie Metcalf, Lady Bird
5. Octavia Spencer, The Shape of Water

Will Win: Allison Janney
Should Win: Laurie Metcalf
Why?: My heart breaks for this category since there are SO many deserving nominees.  Janney is so damn popular and respected (with good reason!) in the industry that the odds are locked in her favor for the win.  Still, as memorable as she is in the role it doesn’t seem like a huge stretch which is why my vote would go to Metcalf’s performance in Lady Bird.  It’s a much more challenging role to navigate and she does it with ease.  The best of all possible worlds would have Manville best them all — she’s really terrific.

BEST EDITING
1. Baby Driver
2. Dunkirk
3. I, Tonya
4. The Shape of Water
5. Three Billboards Outside Ebbing, Missouri

Will Win: Dunkirk
Should Win: Dunkirk
Why?: Dunkirk may not be winning the top honors this year but expect it to do well in the technical categories.  While you could prepare for a I, Tonya spoiler, your safe bet is to fly Dunkirk‘s friendly skies.

BEST ORIGINAL SCREENPLAY
1. Guillermo del Toro, The Shape of Water
2. Greta Gerwig, Lady Bird
3. Emily V. Gordon & Kumail Nanjiani, The Big Sick
4. Martin McDonagh, Three Billboards Outside Ebbing, Missouri
5. Jordan Peele, Get Out

Will Win: Get Out
Should Win: The Big Sick
Why?: This is another almost impossible category to select the “Best of”.  I loved all of these films so would be fine with any of them going home a winner.  Seeing that The Big Sick got left off of some key categories (Best Picture, Best Supporting Actor, Best Supporting Actress), I’d jump for joy if they got some recognition here.  Still, though it has a weak third act, the power of Get Out will push it to the front of the line.

BEST ADAPTED SCREENPLAY
1. Scott Frank & James Mangold, Logan
2. James Ivory, Call Me By Your Name
3. Scott Neustadter & Michael H. Weber, The Disaster Artist
4. Aaron Sorkin, Molly’s Game
5. Virgil Williams & Dee Rees, Mudbound

Will Win: Call Me By Your Name
Should Win: Call Me By Your Name
Why?: James Ivory is a legend in the business and has never won an Oscar.  At 89, expect him to pick up his first Oscar for Call Me By Your Name (a movie he at one time was going to direct as well)

BEST FOREIGN LANGUAGE FILM
1. A Fantastic Woman
2. The Insult
3. Loveless
4. On Body and Soul
5. The Square

Will Win: A Fantastic Woman
Should Win: A Fantastic Woman
Why?: I usually make a point to see all of these nominees but this year proved a bit more difficult to catch them all.  Luckily, the one I did see is the favorite to win.  Let’s go with A Fantastic Woman from Chile, featuring transgender actress Daniela Vega who will also be presenting at the ceremony.

BEST CINEMATOGRAPHY
1. Roger Deakins, Blade Runner 2049
2. Bruno Delbonnel, Darkest Hour
3. Hoyte van Hoytema, Dunkirk
4. Dan Laustsen, The Shape of Water
5. Rachel Morrison, Mudbound

Will Win: Roger Deakins
Should Win: Roger Deakins
Why?: 14th time’s the charm?  OMG, if Roger Deakins doesn’t win this award I’ll be SO upset.  After 13 nominations, it’s more than his time.  It helps the work is stellar so it won’t feel like an award for cumulative work.

BEST PRODUCTION DESIGN
1. Beauty and the Beast
2. Blade Runner 2049
3. Darkest Hour
4. Dunkirk
5. The Shape of Water

Will Win: The Shape of Water
Should Win: Blade Runner 2049
Why?: Lots of credit goes to the design of The Shape of Water for adding to its fantasy fairy tale feel.  I won’t be upset when it wins but felt that the sets and art direction for Blade Runner 2049  were a huge part of making that film so intoxicating to look at.

BEST SOUND MIXING
1. Baby Driver
2. Blade Runner 2049
3. Dunkirk
4. The Shape of Water
5. Star Wars: The Last Jedi

Will Win: Dunkirk
Should Win: Baby Driver
Why?: Expect Dunkirk to succeed in another technical category, even though some of the dialogue was hard to hear (maybe that was intentional?)  Baby Driver has a more than decent shot to best Dunkirk…but only in this category.

BEST SOUND EDITING
1. Baby Driver
2. Blade Runner 2049
3. Dunkirk
4. The Shape of Water
5. Star Wars: The Last Jedi

Will Win: Dunkirk
Should Win: Dunkirk
Why?: It’s Dunkirk, right?

BEST COSTUME DESIGN
1. Beauty and the Beast
2. Darkest Hour
3. Phantom Thread
4. The Shape of Water
5. Victoria & Abdul

Will Win: Phantom Thread
Should Win: Phantom Thread
Why?: People were shocked when The Shape of Water recently won top honors at the Costume Guild ceremony and when you think about the monster suit (yep, that’s a costume) it’s easy to see why people were impressed.  Still, the gowns and natty clothing created for Phantom Thread are almost another fully-realized character.

BEST DOCUMENTARY FEATURE
1. Abacus: Small Enough to Jail
2. Faces Places
3. Icarus
4. Last Man in Aleppo
5. Strong Island

Will Win: Face Places
Should Win: Strong Island
Why?: Agnès Varda is the oldest nominee for an Oscar and the well-regard French auteur looks likely to win her first Oscar for a film I sadly haven’t seen.  I have seen Strong Island on Netflix, however, and it blew me away.  Gotta go with my heart on this one.

BEST ANIMATED FEATURE
1. The Boss Baby
2. The Breadwinner
3. Coco
4. Ferndinand
5. Loving Vincent

Will Win: Coco
Should Win: Loving Vincent
Why?:  Everyone loves the emotional Coco and for good reason.  PIXAR always makes a beeline to your heartstrings and that usually means a win in this category.  I’d love to see it go to the gorgeous Loving Vincent, a fully hand-painted film that was totally electrifying to watch.  I’ve heard rumors that The Boss Baby is making a late in the game come from behind play but I’m praying this baby goes to bed early…I couldn’t stand that film.

BEST VISUAL EFFECTS
1. Blade Runner 2049
2. Guardians of the Galaxy Vol. 2
3. Kong: Skull Island
4. Star Wars: The Last Jedi
5. War for the Planet of the Apes

Will Win: War for the Planet of the Apes
Should Win: War for the Planet of the Apes
Why?: You want to know why War for the Planet of the Apes is going to win?  Because the first two movies didn’t and they both deserved it.  Here’s a chance to reward the trilogy.

BEST MAKEUP & HAIRSTYLING
1. Darkest Hour
2. Victoria & Abdul
3. Wonder

Will Win: Darkest Hour
Should Win: Darkest Hour
Why?: While Wonder has the potential to spoil the night for Darkest Hour in this category, I wouldn’t count on Darkest Hour losing seeing that the make-up is praised right alongside Gary Oldman’s work in nearly every review.

BEST ORIGINAL SCORE
1. Carter Burwell, Three Billboards Outside Ebbing, Missouri
2. Alexandre Desplat, The Shape of Water
3. Jonny Greenwood, Phantom Thread
4. John Williams, Star Wars: The Last Jedi
5. Hans Zimmer, Dunkirk

Will Win: Alexandre Desplat
Should Win: Jonny Greenwood
Why?: Most signs point to Desplat emerging victorious but I challenge you to find a more beautiful score to any move released in 2017 than what Johnny Greenwood created for Phantom Thread.  C’mon Academy, get this one right.

BEST ORIGINAL SONG
1. “Mighty River” Mudbound
2. “Mystery of Love” Call Me By Your Name
3. “Remember Me” Coco
4. “Stand Up for Something” Marshall
5. “This is Me” The Greatest Showman

Will Win: “This is Me”
Should Win: “Remember Me”
Why?: Last year I gritted my teeth with Pasek and Paul won an Oscar for composing a song from La La Land but this year I think they might actually deserve it.  Still, I found more emotional resonance in Coco‘s beautiful nominated tune.

Best Documentary Short
1. Edith + Eddie
2. Heaven is a Traffic Jam on the 405
3. Heroin(e)
4. Knife Skills
5. Traffic Stop

Will Win: Edith + Eddie
Should Win: Heaven is a Traffic Jam on the 405
Why?: Sentiment will carry Edith + Eddie over the finish line but that movie had too many one-sided conversations to feel truly complete.  I found Heaven is a Traffic Jam on the 405 to be an unflinching look at mental illness and how one artist tries to emerge from the darkness.  It was magnificent and deserves an Oscar.

Best Animated Short
1. Dear Basketball
2. Garden Party
3. Lou
4. Negative Space
5. Revolting Rhymes

Will Win: Dear Basketball
Should Win: Garden Party
Why?: Here’s another one that would see like a no-brainer if you truly watched every nominee.  Despite it’s dark twist, Garden Party’s hyper-realistic animation made it the best of the bunch of the nominees this year but somehow the favor seems to be falling on Dear Basketball.  Though animated by the legendary Glen Keane and scored by John Williams, it’s a vanity project love letter from Kobe Bryant to himself that was the absolute worst nominee.  Yuck.

Best Live Action Short
1. DeKalb Elementary
2. The Eleven O’clock
3. My Nephew Emmett
4. The Silent Child
5. Watu Wote/All of Us

Will Win: Watu Wote/All of Us
Should WinDeKalb Elementary
Why?: In terms of crafting a complete story arc within the confines of the Live-Action Short narrative, Watu Wote/All of Us is the clear victor.  For purely emotional raw reaction, I can’t imagine a more deserving winner than the timely DeKalb Elementary.   DeKalb is 20 minutes long and is the kind of riveting, body-tense, make you sweat kind of project that’s unforgettable.

The Golden Globes – Final Picks!

Who will win tonight at the Golden Globes?  Predicated winners are denoted with a (*)

 

Best Motion Picture, Drama
Call Me By Your Name
Dunkirk
The Post
Three Billboards Outside Ebbing, Missouri
*The Shape of Water

Best Motion Picture, Comedy or Musical
The Disaster Artist
Get Out
The Greatest Showman
I, Tonya
*Lady Bird

Best Director, Motion Picture
*Guillermo Del Toro, The Shape of Water
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Christopher Nolan, Dunkirk
Ridley Scott, All the Money in the World
Steven Spielberg, The Post

Best Screenplay, Motion Picture
The Shape of Water
*Lady Bird
The Post
Three Billboards Outside Ebbing, Missouri
Molly’s Game

Best Performance by an Actor in a Motion Picture, Drama
Timothée Chalamet, Call Me by Your Name
Daniel Day-Lewis, Phantom Thread
Tom Hanks, The Post
*Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

Best Performance by an Actress in a Motion Picture, Drama
Jessica Chastain, Molly’s Game
Sally Hawkins, The Shape of Water
*Frances McDormand, Three Billboards Outside Ebbing, Missouri
Meryl Streep, The Post
Michelle Williams, All the Money in the World

Best Performance by an Actor in a Motion Picture, Comedy or Musical
Steve Carell, Battle of the Sexes
Ansel Elgort, Baby Driver
*
James Franco, The Disaster Artist
Hugh Jackman, The Greatest Showman
Daniel Kaluuya, Get Out

Best Performance by an Actress in a Motion Picture, Comedy or Musical
Judi Dench, Victoria & Abdul
Helen Mirren, The Leisure Seeker
Margot Robbie, I, Tonya
*Saoirse Ronan, Lady Bird
Emma Stone, Battle of the Sexes

Best Performance by a Supporting Actor in a Motion Picture
*
Willem Dafoe, The Florida Project
Armie Hammer, Call Me by Your Name
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Best Performance by a Supporting Actress in a Motion Picture
Mary J. Blige, Mudbound
Hong Chau, Downsizing
Allison Janney, I, Tonya
*
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

Best Original Song in Motion Picture
“Home,” Ferdinand
“Mighty River,” Mudbound
*“Remember Me,” Coco
“The Star”, The Star
“This Is Me,” The Greatest Showman

Best Original Score in a Motion Picture
Carter Burwell, Three Billboards Outside Ebbing, Missouri
*
Alexander Desplat, The Shape of Water
Jonny Greenwood, Phantom Thread
Hans Zimmer, Dunkirk
John Williams, The Post

Best Foreign Film
A Fantastic Woman
First They Killed My Father
In the Fade
Loveless
*The Square

Animated Feature Film
The Boss Baby
The Breadwinner
*Coco
Ferdinand
Loving Vincent

TV Nominations

Best TV Series, Drama
The Crown
Stranger Things
Game of Thrones
This Is Us
*
The Handmaid’s Tale

Best Comedy Series
Black-Ish
*The Marvelous Mrs. Maisel
Master of None
SMILF
Will & Grace

Best TV Miniseries or Movie
*
Big Little Lies
Fargo
Feud: Bette and Joan
The Sinner
Top of the Lake: China Girl

Best Performance by an Actor in a TV Series, Drama
*
Sterling K. Brown, This is Us
Freddie Highmore, The Good Doctor
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan
Jason Bateman, Ozark

Best Performance by an Actress in TV Series, Drama
Caitriona Balfe, Outlander
Claire Foy, The Crown
Maggie Gyllenhaal, The Deuce
Katherine Langford, 13 Reasons Why
*Elisabeth Moss, The Handmaid’s Tale

Best Performance by an Actor in TV Series, Comedy
Anthony Anderson, Black-ish
Aziz Ansari, Master of None
Kevin Bacon, I Love Dick
William H. Macy, Shameless
*Eric McCormack, Will and Grace

Best Performance by an Actress in TV Series, Comedy
Pamela Adlon, Better Things
Alison Brie, G.L.O.W.
*Rachel Brosnahan, The Marvelous Mrs. Maisel
Issa Rae, Insecure
Frankie Shaw, SMILF

Best Performance by a Supporting Actor in TV
David Harbour, Stranger Things
Alfred Molina, Feud: Bette and Joan
Christian Slater, Mr. Robot
*Alexander Skarsgard, Big Little Lies
David Thewlis, Fargo

Best Performance by Supporting Actress in TV
*
Laura Dern, Big Little Lies
Ann Dowd, The Handmaid’s Tale
Chrissy Metz, This is Us
Michelle Pfeiffer, The Wizard of Lies
Shailene Woodley, Big Little Lies

Best Performance by an Actor in a TV Miniseries or Movie
*Robert De Niro, The Wizard of Lies
Jude Law, The Young Pope
Kyle MacLachlan, Twin Peaks: The Return
Ewan McGregor, Fargo
Geoffrey Rush, Genius

Best Performance by an Actress in a TV Miniseries or Movie
Jessica Biel, The Sinner
*Nicole Kidman, Big Little Lies
Jessica Lange, Feud: Bette and Joan
Susan Sarandon, Feud: Bette and Joan
Reese Witherspoon, Big Little Lies

2017 – Best of the Best, Worst of the Worst, Grand Totals

Well hello there!  

So here we are about to start the SEVENTH year of this blog!  Hard to believe it and boy, does time fly.  Below I’ve compiled my list of the best and worst of 2017.  As is typically the case, by the time it came to make this list things became a bit of a jumble and I decided to choose the movies that I had the strongest reaction to when I saw them.  I don’t revisit movies often but anything in the Top 5 are films that I’d add to my collection.  

As always, I’ve appreciated your feedback, your patronage, and your general presence in my blog. Even if you read this everyday but have never commented or made contact I can still tell you’ve been here and that means a lot.  My readership and subscriptions leveled off a bit in early 2017 but picked up nicely in the second half of the yearand it’s all thanks to your word of mouth, likes, and shares.  If you haven’t already, make sure to follow this blog, follow me on Twitter (@joemnmovieman), and like my Facebook page so you can help me continue spreading the news about The MN Movie Man.

Best Wishes to you and yours for a most Happy New Year!

~Joe (The MN Movie Man)


5. The Big Sick – while it didn’t exactly become ‘the little indie that could’ as expected, The Big Sick stuck around for a long time in theaters based on positive word of mouth alone and in Hollywood that kind of buzz is worth more than gold.  Writer/star Kumail Nanjiani’s true story on how he met his future wife and, through a stressful series of events, his future in-laws is a wonderfully comic look at love and family.  In our current political climate, it’s also a deft look at cultural stereotypes within the family structure of immigrants and how the second generations are cutting their own path toward the Great American Dream.

4. Blade Runner 2049 – A forward-thinking sequel to the futuristic 1982 cult classic, Blade Runner 2049 should have done much better at the box office and I’m still puzzled as to why this one fizzled so fast.  Big, bold, and beautiful, I saw this one twice in theaters and could have gone a few more times had the fall not gotten so cramped.  Director Denis Villeneuve (Prisoners, Enemy, Sicario), continues to be a force to be reckoned with and he gathered the best and brightest in front of and behind the camera to create a spectacular sci-fi epic.  Special mention to Dutch breakout Sylvia Hoeks who gets my vote for Best Villain of 2017.

3. Phantom Thread – this one isn’t out in many theaters yet so my full review is pending but this late-breaking film quickly jumped to my Best of the Year list.  I’ve been completely off the Paul Thomas Anderson bandwagon for the last few films (Inherent Vice was on my worst of list in 2015) but I’m applying for membership to his fan club after this strikingly gorgeous beautiful film he’s delivered.  It’s rich on multiple levels, not only in the ornate fashions on display but in the deeply emotional performances from star Daniel Day-Lewis (Lincoln) and two strong female supporting characters Vicky Krieps and Lesley Manville (Maleficent).  This one really knocked me over and blew my socks off…really sublime.

2. The Lost City of Z – Released in April 2017, you’d be forgiven if you’ve missed out on The Lost City of Z.  It’s so very, very good that it’s more than a minor heartbreak that it didn’t get the proper attention when it arrived in theaters.  I think the marketing from Amazon Studios really failed this film which should have been delayed to later in the fall for a more prestige release date.  Based on the bestselling novel, The Lost City of Z is a haunting tale of adventure and obsession that has stuck with me ever since I saw it.  The performances are stellar (who knew Pacific Rim’s Charlie Hunnam had it in him or that The Rover’s Robert Pattinson could be so compelling?) and director James Gray’s paces the film so well that the lengthy running time will surely fly by.  Seek this one out at all costs – you’re missing something special!

1. Get Out – Comedian Jordan Peele’s directorial debut captured lightning in a bottle and has kept that energy going ever since its release almost a year ago.  On its way to Oscar nominations for Best Picture and Best Screenplay (and perhaps one for Best Director?), Get Out is hands down the most original and entertaining film I saw throughout 2017.  I missed the critics screening for this one so found myself paying for a mid-week showing several weeks after it came out.  The reactions of the packed audience were but a ¼ of the fun to be had, I’ve watched it again at home and it works just as well.  Peele masterfully commands our attention in this Stepford Wives-esque tale of a white girl bringing her black boyfriend home to meet her parents.  Nothing is what it seems on their posh estate and the deeper we dive down Peele’s rabbit hole the more intriguing the picture becomes.  Scary, funny, on message, and supremely timely, Get Out is the kind of authentic filmmaking that’s becoming a rarity in Hollywood.  Just plain perfect.

Honorable Mentions: Atomic Blonde, Three Billboards Outside Ebbing, Missouri, Lady Bird, Breathe, Call My By Your Name, Logan, Novitiate, The LEGO Batman Movie, The Post, IT, Wonder Woman, Personal Shopper

5. Goodbye Christopher Robin – I love Winnie-the-Pooh.  I did not love Goodbye Christopher Robin, a syrupy biopic on the man who created the lovable bear that lived in the Hundred-Acre Wood.  According to the filmmakers, A.A. Milne and his wife (a woefully terrible Margot Robie, Suicide Squad) were largely absentee parents that wound up exploiting their only child’s imagination for his stuffed animals for financial gain.  A late breaking and purely cinematic change of heart in Milne is the stuff of trite redemption stories but by the time it arrives the damage has extended too far into our consciousness.

4. mother! – Oh, how I was looking forward to this one.  This is one movie that had all the cards stacked in its favor.  An air of mystery, a celebrated director, a bankable movie star lead, and a supporting cast of solid actors that each have headlined their own film.  How did this one go so wrong?  mother! winds up on this list for being intensely unlikable at its best and practically unwatchable at its worst (which is most of the time).  An intriguing first 45 minutes (featuring the wonderfully feline Michelle Pfeiffer, Grease 2) gives way to utter insanity and culminates with a series of stomach churning developments.  Movies should always have an element of challenge to them but this one pushes the wrong buttons.

3. Roman J. Israel, Esq – Last year Denzel Washington had two movies that debuted to different receptions (Fences and The Magnificent Seven).  In 2017, Washington appeared in but one film, this severely misguided legal drama from writer/director Dan Gilroy (who was at the helm for the superb Nightcrawler in 2014) and the problems it has are too numerous to count.  It’s hackneyed plea for social justice reform reeks of half-baked rewrites and last-minute fixes and the supporting characters are but mere stereotypes. Even the reliable Washington is bizarrely off his game here, the Oscar buzz around his performances is mystifying.

2. Wish Upon – even thinking about this one again makes me mad.  Best to just tell you it’s horrible and barely coherent and leave it there.

1. The Snowman – unquestionably the poorest film released in 2017 and maybe one of the worst films of the last decade, The Snowman is uniquely terrible.  It’s a film that’s awful from almost the first frame and never even makes the effort to better itself.  That it’s filled with A-list stars and based off an international bestseller is bad enough, but most of the reasons it’s the worst of the worst is old fashioned bad filmmaking.  An embarrassingly heinous film and one that I’m sure will quickly be jettisoned from the resumes of everyone involved.  Let this one melt and never be heard from again.

Dis(Honorable) Mentions: Last Flag Flying, A Bad Mom’s Christmas, Home Again, Justice League

Most Misunderstood: Valerian and the City of a Thousand Planets – Make no mistake about it, this movie is absolutely bonkers and will likely only appeal to the very (very) open-minded.  I’ve found myself in opposition with critics and spoon-fed audiences that have trouble with these outlandish sci-fi yarns (see my lone-wolf praise for John Carter) but I can also understand where their fears come from.  I wasn’t prepared to love this one but it was so gaga in the visuals department and so unpretentious in its goal to jolt your senses that I had to give it some well-deserved major kudos.
Honorable Mention: Downsizing, The Greatest Showman

Joe’s Humble Pie Award of 2017 (movies that turned out differently than I expected going in): Darkest Hour – True story, but I was really dreading seeing this slice of life biography on Winston Churchill.  Knowing that it covered the same period that was depicted so masterfully in Dunkirk, I just couldn’t muster any kind of excitement for it even after hearing that Gary Oldman’s performance as Churchill was an Oscar shoo-in.  While it isn’t a perfect film due to some pacing issues, director Joe Wright (Anna Karenina) and Oldman gave audiences a rarity: edge-of-your-seat entertainment with a story anyone that has ever taken a history class was already well-aware of.
Honorable Mention: Brad’s Status, Personal Shopper

Movies You Probably Haven’t Seen But Should

A Cure for Wellness

All I See Is You

Annabelle: Creation

Beatriz at Dinner

Certain Women

Gifted

God’s Own Country

Ingrid Goes West

Interiors

Life, Animated

Personal Shopper

Southside With You

Stronger

The Florida Project

The Handmaiden

The Lost City of Z

Tickled

Toni Erdmann

Click HERE for a full listing of films seen in 2017
Total Movies Seen in the Theater110
Total Movies Seen at Home176
Grand Total for 2017 (not counting films seen multiple times)278
Where I Saw the Most Movies – Showplace Icon (41!)

Hollywood to Broadway – Hello, Dolly!

Your old pal The MN Movie Man took some time away from dark movie theaters in May for a long overdue visit to The Big Apple and caught up with what Broadway has to offer. Theaters in NYC and London’s West End are continually being filled with stage adaptations of movie properties and out of the 10 shows I saw, half of them either began as a film or are revivals of shows that generated a movie version of their own. In this short series, I’ll go through these five musicals from the Great White Way and see how they compare to their Silver Screen counterparts.

The Original Broadway Show: Hello, Dolly!, opened on January 16, 1964
The Movie: Hello, Dolly!, (1969)
The Broadway Show: Hello, Dolly!, opened on April 20, 2017

 

When Hello, Dolly! first ambled into town it had built in elegance.  Produced by legendary theater impresario David Merrick, directed by famed choreographer Gower Champion, and starring Broadway favorite Carol Channing, the musical was traditional as they come and played like gangbusters winning 10 Tony Awards and remaining on the Great White Way for a record setting run.  Well known for its stunt-casting after Channing left, famous Dollys included stars like Ethel Merman, Ginger Rogers, Betty Grable, and Phyllis Diller, not to mention an ingenious staging of an all-black cast led by Pearl Bailey.  Hello, Dolly! also had a healthy life on the road with Channing touring as Dolly for years (decades, really), occasionally stopping back in NYC for limited engagements.   Strangely, the first exposure I had to the show wasn’t from a Carol Channing tour but Sally Struthers who performed the role in a local community theater production.

Four years into the Broadway run, 20th Century Fox released a film version of Hello, Dolly! and poor Carol Channing once again got the short end of the Broadway-to-Hollywood stick.  Channing was famously passed over for Marilyn Monroe when Gentlemen Prefer Blondes made the silver screen leap and this time around none other than Barbra Streisand got her part.  This might have been some sweet revenge for Streisand who lost the Tony Award for Funny Girl to Channing in Hello, Dolly! – it’s well known that Channing and Streisand used to lunch regularly when both were treading the boards but Streisand stopped talking to Channing soon after she was bested by Carol.

Actually, maybe Channing had the last laugh since the film version of Hello, Dolly! was a fairly enormous flop when it opened…almost ruining 20th Century Fox in the process.  Miraculously, it was nominated for 7 Oscars (including Best Picture!) and won three but the film hasn’t aged well over the years.  However opulent the production and costume design were, if the musical itself was by the numbers oatmeal the film is dry melba toast.  It’s worth watching for the complete disdain co-star Walter Matthau has for his leading lady…even when he’s supposed to be falling in love with her.

Endlessly produced by theaters big and small across the world, Hello Dolly! still hadn’t had a Channing-less revival on Broadway until it was announced the Bette Midler had agreed to return to NYC in her first musical in over four decades.  Naturally, the theater community erupted with delight and the show’s advance soared to a record-setting $40 million dollars.  In fact, the show is so sold out that Midler isn’t even doing any press for it.  There’s no need…no one can get a ticket without paying a huge chunk of cash or waiting in line for a limited amount of standing room seats given out each morning.

That’s how I lucked out at seeing the show on my recent trip to The Big Apple. Getting in line with my friend around 4:30 in the morning, we weren’t even the first in line but had no trouble getting a ticket when the box office opened at 10:00am.  Already having opened to glowing reviews, I knew this would be a memorable experience and it truly was.  It’s hard to express the pure joy this production elicits…it’s just something you pretty much have to see for yourself.  Midler was in fabulous form, nailing the comedy and nuance of the role and doing a darn good job singing Jerry Herman’s score along the way.  While she’s a bona fide superstar and everyone there was there to see her, she never upstaged her co-stars…all of whom are the cherry-picked best of the best.  From David Hyde Piece’s droll but sincere Horace to Kate Baldwin’s gorgeous Irene, the voices are beautiful and the ensemble is sharp and crisp.  Special mention must be made for Beanie Feldstein  (Jonah Hill’s younger sister) who makes for a hysterical Minnie Fay.

With Midler scheduled to remain in the show for a year, ticket demand may free up as newer shows populate the landscape but be prepared for this to remain a tough ticket for some time.  The production itself is designed to run after Midler leaves…it just needs a star of her caliber to bring in the audiences.  With uber-producer Scott Rudin running things, expect some stunt casting to rival original producer David Merrick’s in the A-list department.

Hollywood to Broadway – Anastasia

Your old pal The MN Movie Man took some time away from dark movie theaters in May for a long overdue visit to The Big Apple and caught up with what Broadway has to offer. Theaters in NYC and London’s West End are continually being filled with stage adaptations of movie properties and out of the 10 shows I saw, half of them either began as a film or are revivals of shows that generated a movie version of their own. In this short series, I’ll go through these five musicals from the Great White Way and see how they compare to their Silver Screen counterparts.

The Movie: Anastasia (1997)
The Broadway Show: Anastasia, opened on April 24, 2017

Yes, yes, I know that there was a version of Anastasia from 1956 that netted star Ingrid Bergman a Best Actress Oscar but since the Broadway version was inspired/adapted from the 1997 animated movie let’s focus on that one instead.

Of all the non-Disney animated films that started popping up in the mid to late ‘90s, there was something about 20th Century Fox’s Anastasia that hit the right chord. Hard to believe that a pretty grim plotline involving the family of a Russian Czar being murdered and a mystery girl that could be the lone surviving heir became the basis for a fancifcul musical romp, former Disney animator Don Bluth was riding a nice wave of second banana popularity and managed to massage this one into a family affair. Digging into the supernatural for its villain Rasputin, it wasn’t to be taken very seriously but it surely seemed to remain a fond favorite of a lot of little girls over the years.

Honestly, it’s never been a particular favorite of mine, though full disclosure I’m writing this review from memory instead of recent exposure, but I do remember the handful of songs from Broadway composers Lynn Ahrens and Stephen Flaherty being a definite highlight. Nabbing two Oscar nominations for their work, Ahrens and Flaherty would get their chance at a full blown musical version of Anastasia twenty years later but would the adults that were pre-teens in 1997 shell out Broadway prices to bring their children to see Anastasia live again live onstage?

From the screaming crowds and squeals of delight emanating from the Broadhurst Theatre in NYC, the answer is a resounding ‘Yes’. I have to say, though, that the entire affair was completely lost on me and I’m debating whether it was just fatigue from doing standing room for my 7th show in five days or if I simply didn’t care for the piece in general. Make no mistake, it’s got a lovely cast led by the beautiful and genuine Christy Altomare and two swoon-ready leads in Derek Klena and Ramin Karimloo (the only actor to receive rapturous entrance applause) but there’s something fairly vacant about it all. Director Darko Tresnjak, scenic designer Alexander Dodge, and projection designer Aaron Rhyne work wonders with making sense out of swiftly changing scenes by nimbly moving the action around St. Petersburg and Paris and Linda Cho’s costumes are downright stunning.

Yet for all the gloss and glam the material feels kind of ham-fisted and the new music from Ahrens and Flaherty, while orchestrated grandly, never actually soars. The best music is still the two most popular songs from the movie, ‘Once Upon a December’ and ‘A Rumor in St. Petersburg’. Aside from a more than capable set of leads, there’s dynamite supporting work by theater grande dame Mary Beth Peil (Tony nominated here) and a riotous Caroline O’Connor as her mischievous lady in waiting. Whenever those two are onstage the musical snaps to life but with too many ballads and songs that sound the same it’s enough to lull even the most alert tourist into a gentle slumber…I actually dozed off a few times and I was standing up!

Already doing great box office numbers and with productions announced around the world, Anastasia will be coming to your neck of the words eventually and I think the design elements would travel quite well. Here’s hoping the tour gets tweaked a bit to take the air out of some of the scenes and one or two songs get the heave ho to keep the mystery at the heart of Anastasia something we actually want to get to the bottom of.

Hollywood to Broadway – Groundhog Day

Your old pal The MN Movie Man took some time away from dark movie theaters in May for a long overdue visit to The Big Apple and caught up with what Broadway has to offer. Theaters in NYC and London’s West End are continually being filled with stage adaptations of movie properties and out of the 10 shows I saw, half of them either began as a film or are revivals of shows that generated a movie version of their own. In this short series, I’ll go through these five musicals from the Great White Way and see how they compare to their Silver Screen counterparts.

The Movie: Groundhog Day (1993)
The Broadway Show:
Groundhog Day, opened on April 17, 2017

As usual, I find myself confessing some deep dark movie sins on this blog and here’s another one to add to the list. Ok…here we go. Promise you’ll still like me after? No turning back now… Until recently, I wasn’t a fan of Groundhog Day.

Are you still there?

Good…thank you for sticking around.

Y’see, I think Groundhog Day was originally sold to 13 year old me as the kind of comedy that would have me rolling in the aisles at Bill Murray’s crazy antics as a cranky weatherman that falls into a vortex of having to repeat the same day in an endless loop. The trouble was, the comedy ran deeper than surface gags and one-liners and there was a sadness to it all that I just didn’t understand at that time. Coming back to it as an adult, I found the film to be a real delight with a dynamic craftsmanship most modern conceptual comedies could only dream of.

As Phil Connors, Murray is in top form as the over-it-all newscaster seemingly slumming it reporting from Philadelphia on whether good ‘ole Punxsutawney Phil will see his shadow and foretell six more weeks of winter. Waking up the next day with an eerie sense of déjà vu, Phil eventually realizes he’s stuck re-living the same day over and over and over and over and over again with no way to break the cycle. Along the way he becomes an expert piano player and learns French. Eventually he tests the limits of his “power” and experiments with what life would be like as a jerk or as a nice guy, finally overcoming his mythological torture when he gets things right. Murray had good support from Andie MacDowell who feels like a good straight man to Murray’s particular type of comedy…and who can forget Stephen Tobolowsky’s nebbish Ned? Directed by Murray’s frequent collaborator, the late Harold Ramis, Groundhog Day is one of those near perfect comedic treats that works across multiple age-groups, even if the humor was lost on me as a teen.

 

Unbelievable as it sounds, the one and only Stephen Sondheim was the first composer who showed an interest in bringing Groundhog Day to the stage but by the time the musical premiered at The Old Vic in London last year, the composer was Tim Minchin. Minchin is a well-known Australian comedian that found success back in 2010 with his adaptation of Matilda. Having recently seen Matilda, I knew that Minchin favored tricky lyrics and music that wasn’t always hummable…but that Down Under style of comedy seemed like a great fit with Groundhog Day’s structure and it turns out I was right.

While I literally couldn’t relay a bar of music I heard in Groundhog Day if you paid me $10K, the show was constructed so well and performed so effortlessly that I have to give great credit to the creative time that saw this one through to the finish line. It’s fascinating to me that a show so American would have its successful world premiere in London (it won the Olivier Award for Best Musical) but perhaps producers thought if they could be a hit in the UK then a US run would be a slam dunk. Nominated for 7 Tony Awards, Groundhog Day started performances at the tail end of a solid year of new musicals so it faces an uphill battle on Tony night for most of the categories it’s nominated in. One category up for grabs , though, is Best Actor and while I haven’t seen star Andy Karl’s biggest competition (Ben Platt in Dear Evan Hanson), Karl is downright beloved in the Broadway community and would surely deserve the honor. Coming back from a potentially sidelining injury during previews is sure to garner more goodwill (if not an outright sympathy vote) but what Karl’s doing onstage is pretty exemplary work. Phil is one of those classic musical characters we shouldn’t be rooting for but wind up cheering on and that’s thanks almost entirely to Karl’s genuine performance as a man that turns a corner after reaching multiple dead ends.

Minchin’s music and lyrics blend nicely with Danny Rubin’s faithful adaptation of his screenplay, only making minor adjustments that translate better to the stage. Karl’s co-stars are all solid, though a song for a local babe that opens Act 2 feels extraneous. Kudos also to the director and choreographer for making some enjoyable sleight of hand stage magic to get Karl back to the beginning of his day in increasingly creative ways.

Though it’s housed in the beautiful August Wilson Theater with its quaint (read: too small!) seats, this feels like a show that might work better on tour in Middle America. I’m not sure the entire production with its multiple turntables and high tech LED displays would easily transition to a bus and truck road show and it does need a star performance to anchor the evening…but if it comes to your neck of the woods give it a shot.

Check out my look at Sunset Boulevard!
Check out my look at Charlie and the Chocolate Factory!

 

Hollywood to Broadway – Sunset Boulevard

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Your old pal The MN Movie Man took some time away from dark movie theaters in May for a long overdue visit to The Big Apple and caught up with what Broadway has to offer. Theaters in NYC and London’s West End are continually being filled with stage adaptations of movie properties and out of the 10 shows I saw, half of them either began as a film or are revivals of shows that generated a movie version of their own. In this short series, I’ll go through these five musicals from the Great White Way and see how they compare to their Silver Screen counterparts.

The Movie: Sunset Boulevard (1950)
The Broadway Show:
Sunset Boulevard, opened on February 9, 2017

You don’t get more Hollywood than Billy Wilder’s Sunset Boulevard. Released in 1950, the movie was a scathing bite at the Tinsel Town hand that fed the majority of the people involved. Nowadays there’s nothing Hollywood loves more than patting itself on the back and showering movies about the film industry with plaudits (hello, La La Land!) but back when Sunset Boulevard arrived not many industry people were immediately lining up to sing its praises as an insider’s look into the studio system. Nominated for 11 Oscars including Best Picture, Director, Actor, Actress, Supporting Actor, and Supporting Actress, the movie was up against some stiff competition (All About Eve, Born Yesterday, Father of the Bride) and wound up winning just three: Art Direction, Screenplay, and Franz Waxman justly took home gold for his haunting score.

Even if over the years Gloria Swanson’s unhinged fading silent film star would be fodder for parody from the likes of Carol Burnett, the picture remains oddly timely and still a strikingly beautiful film. Filled with unforgettable moments such as Swanson’s creepy crawl toward the screen as it fades to black, it’s an unqualified classic that earns its place as one of Hollywood’s crown jewels of filmmaking. It’s also a pleasure to see legends such as Cecil B. DeMille, Hedda Hopper, and Buster Keaton play themselves, further blurring the line between reality and fiction.

I was barely a teenager in 1993 when Andrew Lloyd Webber’s musical adaptation of Sunset Boulevard premiered in London. I’m not even going to go into its troubled path behind the scenes involving lawsuits from two divas (Patti LuPone & Faye Dunaway) who were both hired and fired before the show even premiered stateside. When the musical arrived in NYC in 1994 it easily won a host of Tony Awards including, among others, Best Musical, Best Actress for Glenn Close, and another for its gargantuan set designed by John Napier. The sheer size of the production was legendary but made it difficult to recoup its investment so it didn’t wind up being the true smash it could have been. Even a touring production folded quickly due to the constraints of such a behemoth making the move from theater to theater on a weekly basis. Subsequent productions scaled back the proceedings (one even had its actors playing their own instruments…shudder!) but it wasn’t until 2016 when a semi-stage run in London with Close reprising her role that there was talk Broadway might get another trip down Sunset Boulevard.

I’ll admit the chief reason I planned my trip to NYC was for the chance to see Close in the role she will forever be identified with (at least onstage). Seeing Close, um, up close was too good of an opportunity to pass up and add to that a 40 piece orchestra in Broadway’s famed Palace Theatre and the writing was on the wall…I had to see it.

There’s no way to accurately describe the experience of seeing Sunset Boulevard the way I think it was meant to be seen, with its original leading lady and a grand orchestra in a scaled back production smartly restaged by director Lonny Price that may have been smaller set-wise but felt grandly operatic all the same. Removing the lavish set dressings allowed the music (some of it borrowed from Waxman’s original score) and the performances to be the justified stars of the show.

Handsome Brit Michael Xavier sports a spot-on American accent and handily takes on doomed screenwriter Joe Gillis while Swede Fred Johanson is imposing but loyal as Max, Norma’s chauffer – both men sing wonderfully. Price has assembled a well-oiled ensemble including one that plays a ghostly visage of a young Norma Desmond that haunts her elder self throughout the evening.

The show is all about Close, though, and she’s unforgettable. She already made for a thrilling Norma in 1994 (at least on CD) but seeing her take on the same role over 20 years later was revelatory. The voice isn’t always rock solid but these moments of grated fragility only add to the overall sadness of the character. From her first entrance to the goosebump-inducing finale, it’s impossible to look at anyone but Close because she’s always completely ‘in’ the scene even during the very few times where she’s not the focus.

Gloria Swanson and Glenn Close will both be remembered for their interpretations of Norma Desmond, and while Close’s original reading was just adjacent to Swanson’s screen performance in this revival she goes deeper and recreates the role from the ground up. It was everything I wanted and more – well worth the trip!

Hollywood to Broadway – Charlie and the Chocolate Factory

Your old pal The MN Movie Man took some time away from dark movie theaters in May for a long overdue visit to The Big Apple and caught up with what Broadway has to offer. Theaters in NYC and London’s West End are continually being filled with stage adaptations of movie properties and out of the 10 shows I saw, half of them either began as a film or are revivals of shows that generated a movie version of their own. In this short series, I’ll go through these five musicals from the Great White Way and see how they compare to their Silver Screen counterparts.

The Book:
  ‘Charlie and the Chocolate Factory’, by Roald Dahl. Published in 1964
The Movies: Willy Wonka and the Chocolate Factory (1971), Charlie and the Chocolate Factory (2005)
The Broadway Show:
Charlie and the Chocolate Factory, opened on April 23, 2017

Mention Charlie and the Chocolate Factory to anyone of a certain age and it’s highly likely the first image that pops into their brain is Gene Wilder’s master of chocolate from the film adaptation in 1971. Titled Willy Wonka and the Chocolate Factory to highlight Wilder’s star presence, there’s a valid reason why people have a certain fondness for it. With a script from Dahl himself that was wacky with whimsy while maintaining his overly sinister edge, the film chugs along nicely although it always has felt longer to me than its 100 minutes. This is largely in part to several dud songs from Leslie Bricusse & Anthony Newley (‘Cheer Up Charlie’ is such a morose cocktail it should be followed with an anti-depressant chaser) and a gross belching scene with Charlie (Peter Ostrum) and his grandfather (Jack Albertson) that I’ve found less tolerable as each year passes. And how about that terrifying journey on Wonka’s boat with images of slimy insects and a chicken getting its head chopped off? Don’t remember it? You’ve probably been watching an edited version toned down for the kiddies coming at it fresh.

Still, though it takes a while to get there with a whole heap of exposition that’s admittedly mostly necessary, there’s nothing quite like that first glimpse of Wonka’s fabulously designed factory centerpiece with its edible plants and chocolate river. It becomes less appetizing as it goes on but for a while there is truly is scrumdidilyumptious.

What wasn’t so tasty was Tim Burton’s 2005 re-imagining that put Charlie back in the title but became an even more tripped-out version than it’s ‘70s predecessor. Typically Burton-esque with oversized CGI set-pieces and oversaturated candy-coated colors, I still don’t see any real reason to spend much time digesting this one. Featuring another creepy performance by Burton muse Johnny Depp and a forgettable supporting cast of oddballs, the Bricusse/Newley songs were ousted in favor of new compositions from Danny Elfman and are pale comparisons with even the most throw-away tunes from the original. It’s a dark and threatening film and while it’s been some time since I’ve seen it all the way through, I remember wanting it to be over before Charlie and his fellow Golden Ticket winners even set foot inside the fabled factory.  The less said about this one, the better.

Flash forward to 2013 when London’s West End featured the premiere of a Charlie and the Chocolate Factory stage musical. Maintaining several of the Bricusse/Newley songs and padded with music from Hairspray composers Marc Shaiman and Scott Wittman the show was directed by Sam Mendes to be bigger than life. From the clips I’ve seen online, this show was huge from beginning to end and was a popular title during it’s nearly four year run in the UK. Bringing it to Broadway was inevitable but by the time it jumped the pond Mendes was out as director and it seems like he took most of the set with him. What opened in April at the Lunt-Fontanne Theatre has been drastically reworked, ditching the overwhelming enormity of its Brit big brother and replacing them with production values seemingly designed to make the show easier to tour (it’ll be coming to a theater near you in 2018) and that just didn’t sit well with me.

While Christian Borle sounded great and played the sarcastic side of Wonka to a T, the actor is just one of many in the show that looks like they are dying a slow death while children in the audience scream and beg their parents for more candy at intermission. In a way, I felt sorry for them because these are talented performers who likely signed up to participate in a spectacle but learned too late they’d be Our Town-ing it for much of the show. Just wait until Act 2 when the big reveal of the edible room appears on a rolling platform the size of a department store window. The ‘children’ (strangely played by adults in NYC, save for Charlie himself) don’t even all fit on it at the same time! The one bright spot of the show were the Oompa-Loompas, brought hilariously to life via some overly simplistic theater magic that nonetheless had me howling with laughter along with the rest of the audience.  Parents be warned, some of the children go out in increasingly perverse fashion…with one unfortunate being ripped apart and another exploding in a cascade of purple glitter.

The last show I saw during my eight days in NYC, I couldn’t help but be a bummed out by this small scale bon-bon that often looked appetizing but wasn’t filling in the least.

The Oscars – Final Predictions

oscars-2017

Well here we are…it’s the day of the show y’all and I’ve done by best to get a look at the nominees. Out of 62 movies nominated this year, I managed to see 61 (My Life as a Zucchini, I’ll be haunted by you for the next 365 days).  If you’re looking for help filling out your Oscar ballot, take heart to my final predictions below.  This was a good year for movies and many decisions are tough choices and/or close calls…but let’s hope there are more than a few surprises tonight and voters didn’t just vote for La La Land across the board.

BEST PICTURE
Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures – Should Win
La La Land – Will Win
Lion
Manchester By the Sea
Moonlight

BEST DIRECTOR
Damien Chazelle – La La Land – Will Win
Mel Gibson – Hacksaw Ridge – Should Win
Barry Jenkins – Moonlight
Kenneth Lonergan – Manchester By the Sea
Dennis Villenueve – Arrival

BEST ACTOR
Casey Affleck – Manchester By the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences – Will Win/Should Win

BEST ACTRESS
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie – Should Win
Emma Stone – La La Land – Will Win
Meryl Streep – Florence Foster Jenkins

BEST SUPPORTING ACTOR
Mahershala Ali – Moonlight – Will Win/Should Win
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester By the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

BEST SUPPORTING ACTRESS
Viola Davis – Fences – Will Win/Should Win
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester By the Sea

BEST ADAPTED SCREENPLAY
Eric Heisserer – Arrival
August Wilson – Fences
Allison Schroeder, Theodore Melfi – Hidden Figures
Luke Davies – Lion
Barry Jenkins – Moonlight – Will Win/Should Win

BEST ORIGINAL SCREENPLAY
Mike Mills – 20th Century Women
Taylor Sheridan – Hell or High Water
Damien Chazelle – La La Land
Yorgos Lanthimos, Efthymis Filippou – The Lobster
Kenneth Lonergan – Manchester By the Sea – Will Win/Should Win

BEST FOREIGN LANGUAGE FILM
A Man Called Ove – Sweden – Should Win
Toni Erdmann – Germany
The Salesman – Iran – Will Win
Land of Mine – Denmark
Tanna – Australia

BEST EDITING
Arrival
Hacksaw Ridge – Should Win
La La Land – Will Win
Hell or High Water
Moonlight

BEST CINEMATOGRAPHY
Arrival – Should Win
Lion
La La Land – Will Win
Moonlight
Silence

BEST PRODUCTION DESIGN
Fantastic Beasts & Where to Find Them
Hail, Caesar – Should Win
La La Land – Will Win
Arrival
Passsengers

BEST SOUND MIXING
Arrival
Hacksaw Ridge – Should Win
13 Hours: The Secret Soldiers of Benghazi
La La Land – Will Win
Rogue One: A Star Wars Story

BEST SOUND EDITING
Arrival
Hacksaw Ridge – Will Win/Should Win
La La Land
Deepwater Horizon
Sully

BEST DOCUMENTARY SHORT
Extremis
4.1 Miles
Joe’s Violin – Should Win
Watani: My Homeland
The White Helmets – Will Win

BEST LIVE ACTION SHORT
Ennemis Intérieurs – Will Win
La Femme et le TGV
Silent Nights
Sing
Timecode – Should Win

BEST ANIMATED SHORT
Blind Vaysha
Borrowed Time
Pear Cider and Cigarettes
Pearl – Should Win
Piper – Will Win

BEST COSTUME DESIGN
Fantastic Beasts & Where to Find Them
Florence Foster Jenkins
Jackie – Will Win/Should Win
La La Land
Allied

BEST ORIGINAL SCORE
Mica Levi – Jackie – Should Win
Justin Hurwitz – La La Land – Will Win
Dustin O’Halloran and Hauschka – Lion
Nicholas Britell – Moonlight
Thomas Newman – Passengers

BEST DOCUMENTARY FEATURE
13th
I am Not Your Negro
OJ: Made in America – Will Win/Should Win
Fire at Sea
Life, Animated

BEST ANIMATED FEATURE
My Life as a Zucchini
Kubo and the Two Strings
Moana
The Red Turtle
Zootopia – Will Win/Should Win

BEST VISUAL EFFECTS
Deepwater Horizon
Doctor Strange
Kubo and the Two Strings
The Jungle Book – Will Win/Should Win
Rogue One: A Star Wars Story

BEST MAKEUP & HAIRSTYLING
Star Trek Beyond – Will Win/Should Win
Suicide Squad
A Man Called Ove

BEST ORIGINAL SONG
Audition (The Fools Who Dream) – La La Land
City of Stars – La La Land – Will Win (I don’t love any of these songs so I’m not picking a “Should”)
How Far I’ll Go – Moana
Can’t Stop the Feeling – Trolls
The Empty Chair – Jim: The James Foley Story