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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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Tales of Herding Gods (Mu Shen Ji) : Destiny will find you!

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What is a donghua? In essence, a donghua is an animated series similar to an anime, but hailing from China. About 90 percent of donghua I’ve watched have been cultivation-based, which was originally a Taoist concept that’s described as extending ones lifespan through the study of martial and mystical arts. Donghua have a whole library of sub-categories too, Wuxia and Xianxia and Xuanhuan and all sorts of others, but for the purposes of reviewing Tales of Herding Gods, we will stick to Xuanhuan, which is a Chinese fantasy-world setting often including elements of Chinese folklore, mythology, and even science-fiction. Armed with fresh cultivator vigor, lets dive into this!

The show is based on the popular xuanhuan novel Mu Shen Ji by Zhai Zhu. So Qin Mu was found as an infant by the disabled Elders of Disabled Elderly Village, with only a strange amulet and nothing else, not even a name, left to him. Picked up by the complicated Granny Si and one-armed Old Ma, Qin Mu was a strange child and would have certainly died if Granny Si hadn’t taken matters into her own hands. But a great destiny, and donghua are very big on Destiny, was determined for Qin Mu, and so all the Elders of Disabled Elderly Village are determined to help Qin Mu in their own, definitely unique, ways.

Qin Mu grows up strong, trained by the village Elders whom he grows to love – mask-faced Apothecary, feared by all for his poisons but the one Qin Mu’s believes is actually the nicest amongst the Elders; the half-man Butcher with literally no lower body but the blade skills of a Berserker, who teaches Qin Mu his extraordinary knife ways; the one-leg-missing Cripple who of course teaches Qin Mu his astounding movement and leg skills; the prayerful Blind who nonetheless teaches Qin Mu Eye techniques along with the staff and spear; Deaf, as one can imagine has no ears, passes on his methods of exceptional painting and proper etiquette; Mute is a Divine Blacksmith and makes all the specialized weapons for Disabled Elderly Village; Old Ma is missing an arm, and is the master and instructor of the ironic Thousand-Armed Buddha and Eight Thunderclap Strikes to Qin Mu; Granny Si was the Saintess of the Heavenly Devil Cult in her previous life, and her powers of blood and manipulation strings save Qin Mu’s butt on more than one occasion; and finally, the Village Chief is a former Sword God and human Emperor besides, who now nevertheless governs the Village from his wheelchair, in sheer grit and utter refusal to just die already.

A great deal of emphasis is placed on Qin Mu’s early training, for as he was determined for some kind of destiny, sooner or later he’d have to leave the Village to go find it (no-one wants a Destiny to come looking for them instead), and the Elders all determine that Qin Mu will be as well-armed in mind, body and spirit as they can possibly make him. All the Elders have pasts and each their own distinct training regimen that would certainly kill lesser mortals if they tried it, but Qin Mu is special, and quite determined. And all the Elders, despite any initial misgivings

they may have had when Qin Mu the infant was first found, come to love the precious boy that is the son of all of them.

The show is an incredible visual treat, with CGI animation the likes of which really hasn’t been seen anywhere, all painstakingly rendered to within an inch of its life, detailed and fully realized and totally immersive. The fight scenes, and there are of course many, are gorgeous and actually remind one of The Matrix if it were set in one of the many Chinese underworlds.

Everything has a gloriously dark gothic feel to it, especially the various monsters Qin Mu has to fight and the Disabled Elders who raised him, but also practically everywhere our

villain-in-training goes looks dark, dreadful, and gleefully ready to rend you to shreds at any given moment.

Fight on before fearsome destiny comes looking for you too, in Tales of Herding Gods which can be found on Bilibili.com now!

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The Too-Perfect Saint: Tossed Aside by my Fiance and Sold to Another Kingdom

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In a world infested by monsters and demons, women who wield Holy Powers known as Saints are the main line of defense, and the show begins as the title suggests, with the strongest Saint Philia Adenauer being rejected and sold by her former fiance to a neighboring kingdom!

Welcome to the Kingdom of Girtonia, where honestly, the people and especially their Royals are far too concerned with appearances. Philia Adenauer may be the strongest Saint in living memory and she serves Girtonia well and faithfully, but because she never smiles, whispers and recriminations follow her, rather than thanks and accolades. On the other hand, her younger sister Mia, also a Saint, is beloved by everyone in Girtonia, for she’s bright and kind and has a ready smile for everyone, even her awful parents and the main Prince of the Kingdom, the selfish and arrogant Julius.

The show goes on to mercilessly demonstrate just how badly Philia is abused by the folk of Girtonia, how she works continuously at all of her Saintly duties daily and people still take advantage of her giving nature by demanding yet more of her, her time, her efforts, her magic, and all without a smidgen of gratitude. It’s all the expected duty of the strongest Saint, after all, and if Philia ever dared to think about shirking all that she’s expected to carry on her slim shoulders, it would bring shame to the entire Adenauer family, plus the Kingdom of Girtonia besides. Nevermind that her dreadful parents are only using Philia’s prestige as the Saint of the Kingdom and her engagement to Prince Julius to boost their status in high society, and nevermind that Prince Julius himself is a brainless greedy little twit who resents Philia for her power as the strongest Saint even as he tries to use her prestige to in theory boost his own.

Philia’s own wishes have never mattered, the only one who even thinks Philia might have feelings of her own is her sister Mia, and she’s had to keep mum about them for both their sakes.

So one day Prince Julius takes it into his tiny little head to, conspiring with Philia’s own parents no less, break their engagement, marry sister Mia instead, and oh yeah, sell Philia as a Saint to the neighboring Kingdom of Parnacorta, whose Saint had died recently. All of this is done very quickly and in the most underhanded way possible, so much so that neither Philia nor Mia have the chance to protest, and now Philia’s gone and Mia’s expected to take her place in literally everything – all Philias Saintly duties and the engagement to Prince Julius besides.

Parnacorta isn’t exactly a next-door neighbor of a Kingdom, it takes a fair far carriage ride for Philia to get there and she’s even forced to walk the last few leagues or so, but compared to her treatment in Girtonia on the reg, that’s small potatoes. Fearful she won’t be able to live up to the reputation she strived so hard for in Girtonia, Saint Philia Adenauer squares her poor shoulders

and prepares to meet this new life of slavery, just in a different Kingdom, without even her beloved sister beside her.

What Philia didn’t expect, what completely floors her, was to be greeted in the capital city of Almburg in Parnacorta by Bishop Bjorn himself, at a party thrown in her honor. She sure didn’t expect earnest apologies from Second Prince Osvalt for outright buying her, but with the unfortunate death of their previous Saint Elizabeth, the Prince brothers of Parnacorta were desperate, and since Elizabeth had been Crown Prince Reichardt’s fiance, he wasn’t in much state to take care of things just then. She also did not expect to be given an actual mansion to live in, complete with servants of her own, in the form of butler Leonardo and maid Lea, who both cluck like worried hens over their new Mistress as she goes about her Saintly duties with the beaten-down countenance of someone already severely broken. In fact, damn near everyone in Parnacorta is pretty horrified at how Philia was treated in her home Kingdom of Girtonia and determine that she should never come to feel that way in Parnacorta, Second Prince Osvalt even takes it upon himself to tell Philia he hopes she will come to love his Kingdom as much as he and his subjects do.

Things have taken a remarkably upward turn for Philia, but everything comes to a grinding halt when it turns out that not only did Prince Julius not use any of the money he got for Philia’s sale in defense of Girtonia, but that Saint Mia is considerably less skilled than her sister in Saintly magic, and demons and monsters are beginning to overrun the borders of Girtonia. Of course somehow Prince Julius determines this is all actually Saint Philia’s fault, once again, and begins plotting ways to get her back to Girtonia, to fix the mess she somehow created.

Over in Parnacorta, even amidst genuine and kind folk who come to love her quickly, Saint Philia finds herself overwhelmed with the oncoming demon and monster tide, even after she takes on the inexperienced Saint of Bolmern, Grace Mattilas, for training. Philia contacts the Saints of neighboring Kingdoms to pool their magics and resources, while trying desperately to get word of the goings-on in Girtonia and the state of her sister Mia. And as outright war approaches, buoyed by the confidence of the people of Parnacorta and the always-faithful love of her dear sister Mia, Saint Philia who never smiles gathers power to her and prepares to defend all the good things in her new world!

The anime is done almost entirely in softly shaded pastels, mostly greys and violets for the Saints, with the harsher colors being left to the actual antagonists, the demons, monsters, and the belligerent folk of Girtonia who made Philia’s life miserable. The tale of an overlooked woman who gathered love and family not of her blood around her is a beautiful one, that anyone can appreciate.

Cheer on Saint Philia and her genuine new friends in The Too-Perfect Saint: Tossed Aside by my Fiance and Sold to Another Kingdom on Crunchyroll now!

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Jurassic World: Rebirth — A Promising Premise Buried Beneath Chaos

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The Jurassic franchise has always balanced on the razor’s edge between spectacle and cautionary tale, and Jurassic World: Rebirth certainly attempts to recapture that original magic. Set five years after Jurassic World Dominion, the film shifts from global chaos to localized suspense, asking a familiar, urgent question: When will humans stop f**king with nature?

It’s a bold new direction—on paper. Dinosaurs are no longer overrunning cities or frolicking in snow. What’s left of them survives in isolated, equatorial environments eerily similar to their prehistoric origins. And within the DNA of three of the most massive creatures across land, sea, and air lies the key to a revolutionary medical breakthrough—because of course it does. That idea, ambitious and morally gray, sets the stage for what could have been a taut sci-fi thriller. Instead, Rebirth struggles to find its footing.

Scarlett Johansson leads the charge as Zora Bennett, a covert ops specialist contracted to recover the critical genetic material. Johansson brings intensity and gravitas to the role, but even she can’t hold together a plot that seems to unravel faster than a velociraptor attack. Her team, including the always-excellent Mahershala Ali as Duncan Kincaid and Jonathan Bailey as conflicted paleontologist Dr. Henry Loomis, is well-cast, but the film bounces between character arcs and action set pieces with a pace that feels more chaotic than compelling.

Zora’s mission collides with a shipwrecked civilian family stranded on a forbidden island that once hosted a secret Jurassic Park research facility. It’s here, amidst overgrown ruins and long-forgotten experiments, that the movie starts to echo the tension and wonder of the 1993 original. Gareth Edwards (Rogue One) brings his signature scale and atmosphere to some genuinely impressive sequences, particularly a misty jungle standoff that had the audience audibly holding its breath.

But even stunning visuals can’t mask a story that jumps around like a spooked compy. The plot is fragmented, the character motivations murky, and a key third-act twist—while thematically rich—feels rushed and underdeveloped. There’s a fascinating idea buried beneath the surface about how humans continue to exploit nature under the guise of saving themselves. It’s pure Jurassic DNA. But the film never quite gives that theme room to breathe.

The ensemble cast—including Luna Blaise, David Iacono, and Audrina Miranda—tries their best to inject heart into the narrative, and there are emotional beats that land, particularly between Garcia-Rulfo’s Reuben and his daughter. But overall, the film never slows down long enough for audiences to invest deeply.

In the end, Jurassic World: Rebirth feels like a movie caught between two eras—trying to honor the intelligent suspense of the past while chasing the blockbuster chaos of the present. It’s not a total misfire; there are moments that genuinely thrill, and it does reawaken some of the series’ foundational questions. But it’s a bumpy ride, and one that ultimately left me wondering how many more times we need to learn the same lesson.

Final Verdict:
(5/10)
Rebirth brings back some of the feel of the original, but it’s a messy, uneven installment weighed down by its own ambition. A missed opportunity dressed in T. rex-sized potential. Let’s hope, next time, they learn to let nature speak for itself.

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