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
- “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
- “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
Midnight Mass: The Blood of Life
The isolated island community of Crockett receives a mysterious new head priest, full of secrets and a brand new testament under a very unusual Messenger of God.
Meet poor Riley Flynn (Zach Gilford), freshly released from prison and wracked with guilt over what got him there, a stupid drinking accident that caused the death of his ex-girlfriend. The last thing he wants to do is go back to Crockett and the judgment of the mostly religious community there, his disappointed family, and the nightmares of his ex’s death that plague him. But where else would have him? Resignedly on the ferry, he goes.
Riley’s dad Ed (Henry Thomas) isn’t the kind of man who talks very much at all, much less about his feelings, or his very real disappointment in his elder son. Riley’s teen brother Warren (Igby Rigney) has no idea what to say to him either, and just generally keeps mum. Riley’s mom Annie (Kristin Lehman) is accepting and loving, hesitant in how to help her eldest son but never wavering in her faith in the help of our lord Jesus. Mom seems to think a good heaping dose of the Church would set Riley right but is surprised to learn that the old priest of the Parish, Pruitt, has taken an extended leave of absence from the island, and his newcomer replacement Father Paul (Hamish Linklater) is young, charismatic, and bursting at the seams to tell the whole island about the gifts he brought them, most especially what he claims as a new testament under a messenger of God.
We’ll get back to that whole ball of issues in a moment, the other interesting characters of Crockett Island. Bev Keane (Samantha Sloyan) is the nightmarish overly polite and gently, almost lovingly condescending neighbor Christian woman you’ve ever loathed, the kind of person who explains away every last thing her Church may do wrong or contradictory because, after all, God works in mysterious ways. Pfft. Of course, Bev immediately ingratiates herself as the second to the new Father Paul in their services and is the first to start covering up his transgressions as they become more rampant.
Newcomers to Crockett Sheriff Hassan (Rahul Kohli) and his son Ali (Rahul Abburi) present a burgeoning problem to the plans of Father Paul and his shadowy companion, for they are both practicing Muslims. The practical side of investigating these so-called ‘miracles’ and strange happenings falls on Hassan’s shoulders, as he already struggles with barely-concealed racism and suspicion from his fellow islanders, and of course his son is being wooed away from him by the promise of actual, tangible miracles, but from a different whole faith and God. Father Paul definitely does not practice a traditional Christian faith and relies far too much on making use of the eucharist, the ceremony of the blood and flesh of Jesus Christ turning into bread and wine and, well, consumed.
Wade (Michael Trucco) and his wife Dolly (Crystal Balint) are lifers of the island and both in general interested in one thing, the advancement of their own family, specifically their daughter Leeza (Annarah Cymone), who happens to be in a wheelchair. And that happens to be the canny Father Paul’s first real miracle-with-a-cost that he demonstrates to the astonishment of the parishioners, after a heartfelt and rousing sermon, Father Paul commands Leeza to rise, to stand, and to walk. And lo, she does. What parents wouldn’t wholly dedicate themselves to a cause after seeing this happen to their beloved precious daughter? The fringe benefits of healing, and power, the ones that come at a mighty, currently unnamed, cost, are simply a nice bonus.
Joe Collie (Robert Longstreet) is the town drunk, and while his reasons for drowning his sorrows in the sauce might be understandable, absolution wears a very different face when it comes from Father Paul. While Leeza might be willing to forgive Joe, and even as Joe begins attending the newly-formed Al-Anon meetings on the island of course hosted by Father Paul, redemption might’ve been better sought from medical professionals, and not this newfound method of religious worship.
Dr. Sarah Gunning (Annabeth Gish) is the islands’ kind of all-around medic, and this is how she and Riley’s old friend Erin (Kate Siegel), also newly returned to the island, a few months pregnant but traveling quietly alone, met when Erin comes to the Doc for obstetrics. Sarah’s older mother Mildred Gunning (Alexandra Essoe) has many medical and mental issues, and Sarah struggles in their shared home, to take care of her addled mom and balance her own life. Then Father Paul takes it upon himself to visit one of his oldest parishioners, bringing the sacred host and wine with him to give directly to Mildred, who starts looking and acting so much better under his loving care.
The show is very much a slow slow burn, with a lot of the actual action taking place in the last two episodes. Much of the beginning and middle episodes feature two people just sitting alone, having quiet and seriously in-depth conversations about heavy subjects – grief and repentance, what happens when we die, the disasters that come as a result of addictions, how our actions’ consequences reverberate to those we love around us, faith and the foibles of man, and of course, the giving of oneself over to a higher power, for strength, and guidance, and love.
Except, for the higher power that Father Paul brought back with him, to share with his beloved flock of Crockett Island, while it may be extremely powerful and full of what could be considered miraculous magic, everything comes at some kind of a cost. And when the Messenger of God is finally revealed to the shocked denizens of Crockett at Easter Mass, with Father Paul rapturing on about rebirth as the bloody massacre begins in earnest, it’s faith, not in any kind of God or religion, but faith in each other, that may save a few hardy souls.
Question the wisdom of your religious leaders along with the rest of us in a fine slow-burn addition to the Flanaverse, Midnight Mass is on Netflix now!
Saw X: It ain’t brain surgery!
Legendary executioner Jigsaw returns to exact revenge on a cadre of scam artists who promised him a bogus cure for his cancer!
First off, be aware, that this is what I call an interleaved sequel, a movie set between previous films in the franchise. In this case, Saw X occurs after the events of the very first Saw film, and before Saw II. Everybody got where we are? Good! Into the madness, we dive!
So, as we all know, John Kramer’s been diagnosed with cancer, very aggressive brain cancer, and likely doesn’t have much time left. And he’s tried everything under the sun, doing a ton of meticulous research, we’d expect nothing less from our master of the art of murder, and not one thing has worked. Yet one man from the support group for cancer sufferers, Henry (Michael Beach), offers an off-the-books supposed miracle cure, and John jumps at the chance.
Why does this nonsense always sound too good to be true? Because it is. Deleted scenes from the first Deadpool movie already told us why traveling to Mexico for any kind of medical cure is a sublimely stupid move, but Kramer is desperate. And while he might be sick and dying, John Kramer has never been what anyone could call stupid. So the villa out in the Mexican countryside, the affable cab driver Diego (Joshua Okamoto) professes surprise at Kramer being highjacked for his good, the nervous muttering from assistant Valentina (Paulette Hernandez), the side-eyeing from little housekeep Gabriela (Renata Vaca) and her tequila, and most especially the smooth and smarming reassurances of head “doctor” Cecilia Pederson (Synnove Macody Lund), all leave a kind of sour taste in John’s mouth.
The whole cluex4 scene is done in the style that the Saw films are known for, where we the audience are treated to cut-together explanatory scenes in a flip-flash fashion of usually about two minutes, for poor John when he realizes he’s been hoodwinked and just how badly, seems a little contrived. But then it’s entirely possible that we the audience truly expected our genius mastermind of the infamous Jigsaw murders to have realized what was happening sooner, and got enraged along with Kramer. And cheered as he prepared to take his bloody and ultra-violent revenge!
First up in our grand guignol of executions is the return of Jigsaw’s first protégé, Amanda (Shawnee Smith). And despite her avowed reverence for Jigsaw and his proven “therapy”, Amanda does waver a bit when the scammers are put through the paces of their specially-made Saw traps, and they shriek and blubber and bleed out. The appearance of the ringer of the bunch, Parker (Steven Brand), doesn’t even slow our beloved engineer of the damned down, because we knew Jigsaw would have his other apprentice waiting just off stage, the deliciously vicious Detective Hoffman (Costas Mandylor). Even the monkeywrench of involving little-boy soccer fan Carlos (Jorge Briseno) in the traps, is just another cog in the machine that is the brilliantly plotting mind of John Kramer.
A fine addition to the Saw legends, showcasing a return to the beloved style and panache of the original Tobin Bell-starring Jigsaw films, Saw X is splashing gore and gallons of blood in theaters now!
Scott Pilgrim Takes Off
“Scott Pilgrim Takes Off,” Netflix’s latest series, is a rollicking journey through the world of video game culture, blending nostalgic references with a fresh narrative twist. Centered around Scott Pilgrim, portrayed with magnetic charisma by Michael Cera, the show skillfully integrates gaming elements into its storytelling, creating a delightful homage to the video game subculture.
The series cleverly employs pixelated graphics, power-up animations, and game-like sound effects to bring the virtual world to life. These visual cues, reminiscent of classic video games, enhance the storytelling and resonate with audiences familiar with the gaming landscape. The attention to detail in recreating iconic gaming moments is commendable, creating a visual and auditory treat for enthusiasts.
The exploration of video game culture goes beyond mere aesthetics; it becomes an integral part of the characters’ identities and interactions. The script intelligently weaves gaming terminology and tropes into the dialogue, effectively blending the real and virtual worlds. The series navigates the challenges and triumphs of the characters through the lens of gaming, making it a unique and engaging experience for both gamers and general audiences.
The ensemble cast, including standout performances from Mary Elizabeth Winstead, Ellen Wong, and Chris Evans embraces the gaming theme with infectious enthusiasm. The chemistry between the characters is palpable, adding emotional depth to the series.
“Scott Pilgrim Takes Off” successfully taps into the zeitgeist of video game culture, offering a nostalgic yet contemporary take on the gaming phenomenon. It’s a must-watch for those who cherish the pixelated roots of the gaming world while providing an accessible and entertaining narrative for a broader audience. The series takes off not only in its title but also in its ability to soar within the ever-expanding realm of Netflix originals.