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Nominations For The 90th Academy Awards

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The 90th Oscars®, hosted by Jimmy Kimmel, will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

Performance by an actor in a leading role

  • Timothée Chalamet in “Call Me by Your Name”
  • Daniel Day-Lewis in “Phantom Thread”
  • Daniel Kaluuya in “Get Out”
  • Gary Oldman in “Darkest Hour”
  • Denzel Washington in “Roman J. Israel, Esq.”

Performance by an actor in a supporting role

  • Willem Dafoe in “The Florida Project”
  • Woody Harrelson in “Three Billboards outside Ebbing, Missouri”
  • Richard Jenkins in “The Shape of Water”
  • Christopher Plummer in “All the Money in the World”
  • Sam Rockwell in “Three Billboards outside Ebbing, Missouri”

Performance by an actress in a leading role

  • Sally Hawkins in “The Shape of Water”
  • Frances McDormand in “Three Billboards outside Ebbing, Missouri”
  • Margot Robbie in “I, Tonya”
  • Saoirse Ronan in “Lady Bird”
  • Meryl Streep in “The Post”

Performance by an actress in a supporting role

  • Mary J. Blige in “Mudbound”
  • Allison Janney in “I, Tonya”
  • Lesley Manville in “Phantom Thread”
  • Laurie Metcalf in “Lady Bird”
  • Octavia Spencer in “The Shape of Water”

Best animated feature film of the year

  • “The Boss Baby” Tom McGrath and Ramsey Naito
  • “The Breadwinner” Nora Twomey and Anthony Leo
  • “Coco” Lee Unkrich and Darla K. Anderson
  • “Ferdinand” Carlos Saldanha
  • “Loving Vincent” Dorota Kobiela, Hugh Welchman and Ivan Mactaggart

Achievement in cinematography

  • “Blade Runner 2049” Roger A. Deakins
  • “Darkest Hour” Bruno Delbonnel
  • “Dunkirk” Hoyte van Hoytema
  • “Mudbound” Rachel Morrison
  • “The Shape of Water” Dan Laustsen

Achievement in costume design

  • “Beauty and the Beast” Jacqueline Durran
  • “Darkest Hour” Jacqueline Durran
  • “Phantom Thread” Mark Bridges
  • “The Shape of Water” Luis Sequeira
  • “Victoria & Abdul” Consolata Boyle

Achievement in directing

  • “Dunkirk” Christopher Nolan
  • “Get Out” Jordan Peele
  • “Lady Bird” Greta Gerwig
  • “Phantom Thread” Paul Thomas Anderson
  • “The Shape of Water” Guillermo del Toro

Best documentary feature

  • “Abacus: Small Enough to Jail” Steve James, Mark Mitten and Julie Goldman
  • “Faces Places” Agnès Varda, JR and Rosalie Varda
  • “Icarus” Bryan Fogel and Dan Cogan
  • “Last Men in Aleppo” Feras Fayyad, Kareem Abeed and Søren Steen Jespersen
  • “Strong Island” Yance Ford and Joslyn Barnes

Best documentary short subject

  • “Edith+Eddie” Laura Checkoway and Thomas Lee Wright
  • “Heaven Is a Traffic Jam on the 405” Frank Stiefel
  • “Heroin(e)” Elaine McMillion Sheldon and Kerrin Sheldon
  • “Knife Skills” Thomas Lennon
  • “Traffic Stop” Kate Davis and David Heilbroner

Achievement in film editing

  • “Baby Driver” Paul Machliss and Jonathan Amos
  • “Dunkirk” Lee Smith
  • “I, Tonya” Tatiana S. Riegel
  • “The Shape of Water” Sidney Wolinsky
  • “Three Billboards outside Ebbing, Missouri” Jon Gregory

Best foreign language film of the year

  • “A Fantastic Woman” Chile
  • “The Insult” Lebanon
  • “Loveless” Russia
  • “On Body and Soul” Hungary
  • “The Square” Sweden

Achievement in makeup and hairstyling

  • “Darkest Hour” Kazuhiro Tsuji, David Malinowski and Lucy Sibbick
  • “Victoria & Abdul” Daniel Phillips and Lou Sheppard
  • “Wonder” Arjen Tuiten

Achievement in music written for motion pictures (Original score)

  • “Dunkirk” Hans Zimmer
  • “Phantom Thread” Jonny Greenwood
  • “The Shape of Water” Alexandre Desplat
  • “Star Wars: The Last Jedi” John Williams
  • “Three Billboards outside Ebbing, Missouri” Carter Burwell

Achievement in music written for motion pictures (Original song)

  • “Mighty River” from “Mudbound”
  • Music and Lyric by Mary J. Blige, Raphael Saadiq and Taura Stinson
  • “Mystery Of Love” from “Call Me by Your Name”
  • Music and Lyric by Sufjan Stevens
  • “Remember Me” from “Coco”
  • Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
  • “Stand Up For Something” from “Marshall”
  • Music by Diane Warren; Lyric by Lonnie R. Lynn and Diane Warren
  • “This Is Me” from “The Greatest Showman”
  • Music and Lyric by Benj Pasek and Justin Paul

Best motion picture of the year

  • “Call Me by Your Name” Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito, Producers
  • “Darkest Hour” Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski, Producers
  • “Dunkirk” Emma Thomas and Christopher Nolan, Producers
  • “Get Out” Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele, Producers
  • “Lady Bird” Scott Rudin, Eli Bush and Evelyn O’Neill, Producers
  • “Phantom Thread” JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi, Producers
  • “The Post” Amy Pascal, Steven Spielberg and Kristie Macosko Krieger, Producers
  • “The Shape of Water” Guillermo del Toro and J. Miles Dale, Producers
  • “Three Billboards outside Ebbing, Missouri” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers

Achievement in production design

  • “Beauty and the Beast” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
  • “Blade Runner 2049” Production Design: Dennis Gassner; Set Decoration: Alessandra Querzola
  • “Darkest Hour” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
  • “Dunkirk” Production Design: Nathan Crowley; Set Decoration: Gary Fettis
  • “The Shape of Water” Production Design: Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeff Melvin

Best animated short film

  • “Dear Basketball” Glen Keane and Kobe Bryant
  • “Garden Party” Victor Caire and Gabriel Grapperon
  • “Lou” Dave Mullins and Dana Murray
  • “Negative Space” Max Porter and Ru Kuwahata
  • “Revolting Rhymes” Jakob Schuh and Jan Lachauer

Best live action short film

  • “DeKalb Elementary” Reed Van Dyk
  • “The Eleven O’Clock” Derin Seale and Josh Lawson
  • “My Nephew Emmett” Kevin Wilson, Jr.
  • “The Silent Child” Chris Overton and Rachel Shenton
  • “Watu Wote/All of Us” Katja Benrath and Tobias Rosen

Achievement in sound editing

  • “Baby Driver” Julian Slater
  • “Blade Runner 2049” Mark Mangini and Theo Green
  • “Dunkirk” Richard King and Alex Gibson
  • “The Shape of Water” Nathan Robitaille and Nelson Ferreira
  • “Star Wars: The Last Jedi” Matthew Wood and Ren Klyce

Achievement in sound mixing

  • “Baby Driver” Julian Slater, Tim Cavagin and Mary H. Ellis
  • “Blade Runner 2049” Ron Bartlett, Doug Hemphill and Mac Ruth
  • “Dunkirk” Mark Weingarten, Gregg Landaker and Gary A. Rizzo
  • “The Shape of Water” Christian Cooke, Brad Zoern and Glen Gauthier
  • “Star Wars: The Last Jedi” David Parker, Michael Semanick, Ren Klyce and Stuart Wilson

Achievement in visual effects

  • “Blade Runner 2049” John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover
  • “Guardians of the Galaxy Vol. 2” Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick
  • “Kong: Skull Island” Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus
  • “Star Wars: The Last Jedi” Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould
  • “War for the Planet of the Apes” Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist

Adapted screenplay

  • “Call Me by Your Name” Screenplay by James Ivory
  • “The Disaster Artist” Screenplay by Scott Neustadter & Michael H. Weber
  • “Logan” Screenplay by Scott Frank & James Mangold and Michael Green; Story by James Mangold
  • “Molly’s Game” Written for the screen by Aaron Sorkin
  • “Mudbound” Screenplay by Virgil Williams and Dee Rees

Original screenplay

  • “The Big Sick” Written by Emily V. Gordon & Kumail Nanjiani
  • “Get Out” Written by Jordan Peele
  • “Lady Bird” Written by Greta Gerwig
  • “The Shape of Water” Screenplay by Guillermo del Toro & Vanessa Taylor; Story by Guillermo del Toro

“Three Billboards outside Ebbing, Missouri” Written by Martin McDonagh

 

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Dune Part Two: The Lisan Al Gaib comes for you!

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Welcome back to our struggle for control of the known universe already in progress, the continuation of the journey of Paul Atreides from exile to Emperor, Dune Part Two

So when we last left our intrepid if dubious heroes, House Atreides had been betrayed and virtually destroyed, by a combination of House Harkonnens surprise attacks and the added treachery of Emperor Shaddam and his Sardaukar. Paul Atreides (Timothee Chalamet), the last surviving heir (so far) of House Atreides and his mother Jessica, have taken refuge on the desert planet of Arrakis amongst the indigenous Fremen, and as far as most are aware, the other remnants of House Atreides are dead as well. And here is where we catch up with everyone, as the struggle for Atreides emergence and dominance begins in earnest! 

The Emperor’s daughter Princess Irulan (Florence Pugh) is known for her many skills, but her copious note-taking and writings on the large events shaping her world come to the forefront as she takes counsel with her father amidst games of chance on their homeworld. Her life is one of luxury and privilege but alas, Irulan is a trained Bene Gesserit and is well aware that in all likelihood, she will be used as a pawn in the marriage games empires have to go through. Bet she never imagined it could be to a House everyone swore had been utterly destroyed. 

Meanwhile, on Arrakis, Paul is trying to integrate himself into the Fremen way of life, which is admittedly far different from the life he led back on the Atreides homeworld of Caladan. (If nothing else, Caladan has vast oceans.) The Fremen are fiercely independent, gloriously strong fighters, survivors who dare to ride and revere the giant sandworms that inhabit their planet that they call Shai-Hulud, and rightfully distrustful of outsiders. After all, the previous stewardship of Arrakis belonged to House Harkonnen, known for their cruelty and glee at hunting Fremen and torturing their victims, sometimes for weeks at a time. But Paul won his and Jessicas way into the Fremen by fair combat against Jamis, and if nothing else, the Fremen are firm in their beliefs of the old ways. 

Or rather, the elder Fremen are, most particularly the famed Fedaykin fighter and Naib (leader) of Sietch Tabr Stilgar (Javier Bardem) is adamant in his unshakable belief that Paul is the foretold Lisan Al Gaib, the Voice from the Outer World, that will lead the Fremen to peace and paradise. Stilgar’s steadfast belief in Paul’s potential only grows, and he manages with just that to convince a great many of the other Fremen elders. The younger generation of Fremen however, of which Paul’s beloved Chani (Zendaya) is a part, generally scoff at the legends of otherworldly prophets and Arrakis as a fabled green, wet heaven. In the beginning, Paul himself swears he doesn’t want to be the Messiah, only a Fremen fighter amongst the rest of them, hundreds of years of the Missionaria Protectiva, the Bene Gesserit practice of spreading useful religious propaganda as seeds on various planets, is working double-time against him. It doesn’t help that Paul’s mother Jessica (Rebecca Ferguson) is expounding on that myth as much as she possibly can. 

And why would she do that? Survival yes, but also, Jessica is a thoroughly trained Bene Gesserit and knows of plans within plans within plans. Jessica also has many secrets of her own, and one very important one happens to be that she’s pregnant with Paul’s sister. The Bene Gesserit bodily control may be something out of legend, but even Jessica, possibly Reverend Mother Mohiam’s best and most fractious student, will have trouble with the trial the Fremen are insisting she go through to become truly one of them. The Reverend Mother equivalent of Sietch Tabr, known as their Sayyadina, is old and dying, and the Fremen have to have a Reverend Mother. Jessica tells Paul this much and explains that each culture is different in their trial to become a Reverend Mother, so she honestly doesn’t know what to expect. The reality happens to be worse than she could’ve imagined – Jessica must drink the Water of Life, a deadly poison that comes from Shai-Hulud (sort of), and come out the other side of it. And Jessica manages to do it, barely, with almost all of the consequences going to the poor fetus in her womb, the girl that will grow to become Alia Atreides, an insane legend in her own right. But for now, the unnamed fetus is awake and aware and full of the memories of generations of Bene Gesserit women that came before her – before she was even born

Paul participates in razzia raids amongst the Fremen as they work to take out the spice mining operations of the Harkonnens, immerses himself in the vastly different desert culture of his chosen people, and perhaps most importantly, his romance with his beloved Chani only grows stronger. After declaring his desire to join the fierce fighter elites amongst the Fremen known as Fedaykin, Paul is told by Stilgar that he must summon and ride one of the giant sandworms, the embodiment of Shai-Hulud where the Fremen get their terrible tooth Crysknives from. And after much sendup, in a glorious scene of blinding sand and huge monstrous killer worm-riding, Paul is triumphant and riding atop the sacred creature, his Maker hooks set properly to control the great beast, waving at great distance to his fellow Fremen as Chani looks on in bemusement. 

But that’s all external, and inside Paul is beginning to become divided on what he wants to do. As Jessica pushes the Protectiva hard amongst the women and priestesses of the Fremen, she is also pushing her son to become much larger than he ever wanted to be, if nothing else a conqueror can take revenge for the destruction of House Atreides and the death of her beloved Duke Leto. Paul may have earned his place amongst the Fremen and been given new names – Usul, meaning the strength of the base of the pillar, as his private name within the Sietch; and Muad’Dib, from the small mouse survivor of the desert, well versed in desert ways, called ‘Instructor-of-Boys’ in Fremen legend, as his open-use name – but now everyone wants Paul to be something greater, and potentially more destructive, than what he currently is. It only gets worse when Paul begins to suffer prophetic dreams, and visions when he’s awake, prodding him further to his destiny as an epic conqueror of worlds. Nothing can be done for it, Paul convinces himself that he must take the Water of Life himself, to awaken the sleeping prophet inside himself, and allow him to hopefully See a path through the future. 

The problem with that plan, is that Bene Gesserit are almost exclusively all women, and only they are supposed to know how to transmute poisons internally, along with all sorts of other “witchcraft”. But Jessica has been training Paul in forbidden Bene Gesserit ways all his life, and as much as Paul might rail and even quail against it, there is no denying his incoming destiny, crushing any resistance he may have with all the force of a giant sandworm hunting a spice blow. And even when Paul has finally given in and taken the cursed substance almost mockingly called the Water of Life, it falls to another strong and prophetic in her right female in his life, his beloved Chani, to save him from himself. But even Chani can’t stop Paul’s destructive destiny as the conqueror of the known worlds, guilty of slaying millions upon millions of people in his quest for vengeance, thinly disguised as peace. 

Over on the Harkonnen homeworld of Geidi Prime, “Beast” Rabban (Dave Bautista) is disgusted and enraged at the continuing Fremen raids against the Harkonnens on Arrakis, and terrified of what his uncle the notoriously cruel Baron Harkonnen (Stellan Skarsgard), will do to him in response. The Baron’s nephew Feyd-Rautha (Austin Butler), heir apparent or na-Baron to House Harkonnen, demonstrates his blood-inborn savagery in a slaughter of the remnants of House Atreides gladiator-style, as his birthday celebration. Pleased with the spectacle, the Baron commands Feyd-Rautha to take control of the fight against this Fremen rebel known as Muad’dib, as Rabban is proving himself more and more useless. And any tool or toy that the Baron finds broken or unusable, is destroyed before being discarded. 

As the legend of Muad’dib grows off Arrakis and circulates among the Imperial worlds, the Emperor grinds his teeth in frustration and the Bene Gesserit, led by Reverend Mother Mohiam (Charlotte Rampling) as the Emperor’s Truthsayer, begin pushing forward their plots and machinations. Lady Margot Fenring (Lea Seydoux), a criminally underused character in this respect, demonstrates her willingness to be a pawn in Bene Gesserit machinations, but never forget, strong Bene Gesserit women have been breaking their own rules for generations. Just look at what Jessica did. 

As the raids and rebellion on Arrakis continue, both the Emperor and the Baron become more and more desperate, sending in mercenaries and smugglers in the hopes they might have more luck. And aboard one of those smuggler’s vessels happens to be an old hand at being a smuggler himself, the warrior troubadour with the scarred face given him by “Beast” Rabban himself, Gurney Halleck (Josh Brolin). Reunited with his beloved Duke’s only son, Gurney finds himself swept up in the legend of Muad’dib in the making along with everyone else, though at least from Gurney’s point of view, Paul is using the messianic angle to take revenge for House Atreides. 

Finally, in an act of what could be considered the ultimate in arrogance, Emperor Shaddam Corrino himself comes to Arrakis, along with Princess Irulan and many others of his Court, the Baron, and Feyd-Rautha in tow as well, to crush this upstart Muad’dib and his Fremen warriors. Sadly for all that the powerhouse actor Christopher Walken plays him, Emperor Shaddam Corrino is shown as a doddering old man, cowed in the face of Muad’dib’s overwhelming vitality and growing-ever-stronger legend. And there is where we will end the review, for the final confrontation between all key players in the Known Universe is full of spoilers and derivations from the original opus of Frank Herbert’s novel Dune

For those of you who stuck around long enough to get to the end, after all, Dune Part Two is almost three hours long itself, if you are fans of the original novel and the zany Lynchian masterpiece that was the first Dune film, you may be disappointed or even angered at the changes made to the story for the climactic end scenes. Director Villenuve has an eye for making grand epic scenes like Paul’s sandworm ride but can be a bit scattered when it comes to piecing the story together with all the key players needing to be involved in a way that can be understood by any layman. Dune in any form is a rich, vast universe of storytelling, and even an almost three-hour-long sequel simply can’t cover every last bit that’s in the novels. But if nothing else, the film is an overwhelming feast for the eyes and should bring a whole new legion of fans to the many worlds contained within Dune

If you want to dive further into the Dune-iverse, do yourself a favor and read the Dune prequel books written by Herbert Jr. and Kevin J. Anderson. Until then, dive into the sands of Arrakis along with Shai-Hulud and scream vengeance to the skies with Paul Muad’dib Atreides in Dune Part Two, in theaters now! 

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Thatsmye Interviews: Les Weiler on Henchin’: the Series

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The 8 Episode Series Tries To Encompass A Lot Leaving Fans In A Cliffhanger.

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The 2010 “Avatar: The Last Airbender” movie by M. Night Shyamalan faced criticism for its deviations from the beloved animated series. The film struggled with pacing, casting, and a lackluster script, disappointing fans who cherished the source material. In contrast, the 2024 Netflix series has generated positive buzz for its commitment to diverse casting, adherence to the original storyline, and improved character development. The series seems poised to capture the essence of the animated show, offering a fresh and faithful adaptation that resonates with both new and existing fans.

Even though the Netflix series comes closer to the core ideals of the animated series, I feel it lacks heart. Many scenes barely scratch the surface of the relationships between the characters and the push-and-pull relationship between Aang and Zuko. I will admit the CG versions of Momo and Appa are just so gosh darn cute.

The 8 episode series tries to encompass a lot leaving fans in a cliffhanger. It’s worth a watch and I am hanging on for the next season to be announced.

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