For some reason, the Oscar nominations were not presented in front of a live audience this morning. Pre-taped bits with past Oscar winners like Jennifer Hudson (best supporting actress, 2010 for Dreamgirls) and Brie Larson (best actress 2016, for Room) preceded an automated list announcing the Oscar nominations for 2016’s best movies, interrupted with a commercial for itself. The Academy Awards will take place February 26th, hosted by Jimmy Kimmel. I just realized that I won’t be in the room to win my Oscar pool this year – Sean and I will be in Philadelphia, perhaps not even watching the ceremony!
An accounting firm called PricewaterhouseCoopers has taken care of the Academy balloting process for over 80 years. They send out the nomination forms in December and tabulating them in January takes about 1700 hours. There are over 6000 voting members of the Academy, and they’re all industry professionals. Each branch has different rules as to who can become a member – visual effects supervisors have to be active for a certain number of years, while an
actor must have a credited role in at least 3 films, and a writer should have at least 2 credits, and all must have “achieved distinction” in the motion picture arts and sciences. The tricky part is that you can only be a member of one branch, so someone like Ben Affleck has to decide whether he wants to be there as an actor, a director, or a writer. Each category votes only for itself – on editors can decide who will be nominated for best editing, and only actors vote for best actors nominees. Everyone can vote for best picture, however.
For a film to be considered, it has to meet some basic requirements: it must be over 40 minutes, it must have had at least a 7-straight-day run at a paid-admission L.A. theatre, and it can’t have debuted on television or the internet.
When an Academy member receives a ballot, they get to list their 5 nominee choices in order of preference, and are encouraged to “follow their heart”. The ballots are counted by hand, and the accounting firm looks for the “magic number” – the number of mentions it takes to turn a name into a nomination. The formula they use is: total # of ballots, divided by total possible nominees plus 1. So for Best Director, say you have 600 ballots, and you get to have 5 nominees (plus 1 = 6), that’s 600 divided by 6, or 100 ballots to become a nominee.
The counting starts based on a voter’s first choice until someone reaches the magic number. Once Damian Chazelle (for example), reaches the magic number, all the ballots that had him as first choice will be set aside. The director with the fewest first-place votes is automatically knocked out, and those ballots are redistributed based on the voters’ second choice (the directors still in the running keep their calculated votes from the first round). Once the nominees are announced today, the accounting firm will now send out new ballots and everyone can vote in all categories for the actual awards, although people are discouraged from voting for categories that they don’t understand.
Now on to the nominations!
Best Picture
Best Director
Denis Villeneuve – Arrival
Mel Gibson – Hacksaw Ridge
Damien Chazelle – La La Land
Kenneth Lonergan – Manchester By The Sea
Barry Jenkins – Moonlight
Best Actor
Casey Affleck, Manchester By the Sea
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences
Best Actress
Ruth Negga, Loving
Isabelle Huppert, Elle
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins
Supporting Actor
Lucas Hedges, Manchester By The Sea
Jeff Bridges, Hell or High Water
Michael Shannon, Nocturnal Animals
Dev Patel, Lion
Mahershala Ali, Moonlight
Cinematography
Arrival (Bradford Young)
La La Land (Linus Sandgren)
Lion (Greig Fraser)
Moonlight (James Laxton)
Silence (Rodrigo Prieto)
Documentary
I Am Not Your Negro
Documentary Short
Extremis
4.1 Miles
Watani: My Homeland
Joe’s Violin
Foreign Language Film
Land of Mine
A Man Called Ove
The Salesman
Tanna
Live Action Short
Ennemis Entreniers
La Femme et le TGV
Silent Nights
Sing
Timecode
Sound Editing
Sound Mixing
13 Hours: The Secret Soldiers of Benghazi
Production Design
Fantastic Beasts and Where to Find Them
Visual Effects
Costumes
Allied (Joanna Johnston)
Fantastic Beasts (Colleen Atwood)
Florence Foster Jenkins (Consolata Boyle)
Jackie (Madeline Fontaine)
La La Land (Mary Zophres)
Original Screenplay
Hell or High Water (Taylor Sheridan)
La La Land (Damien Chazelle)
The Lobster (Yorgos Lanthimos, Efthimis Filippou)
Manchester By the Sea (Kenneth Lonergan)
20th Century Women (Mike Mills)
Adapted Screenplay
Arrival (Eric Heisserer)
Fences (August Wilson)
Hidden Figures (Allison Schroeder and Theodore Melfi)
Lion (Luke Davies)
Moonlight (Screenplay by Barry Jenkins; Story by Tarell Alvin McCraney)
Makeup & Hairstyling
A Man Called Ove (Eva von Bahr and Love Larson)
Star Trek Beyond (Joel Harlow and Richard Alonzo)
Suicide Squad (Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson)
Original Score
Jackie (Mica Levi)
La La Land (Justin Hurwitz)
Lion (Dustin O’Halloran and Hauschka)
Moonlight (Nicholas Britell)
Passengers (Thomas Newman)
Original song
Audition – La La Land
Can’t Stop the Feeling – Trolls
City of Stars – La La Land
The Empty Chair – Jim: The James Foley Story
How Far I’ll Go – Moana
Animated
My Life As A Zucchini
Animated Short
Blind Vaysha
Pear Cider and Cigarettes
Pearl
Piper
Editing
Hacksaw Ridge (John Gilbert)
Arrival (Joe Walker)
Hell or High Water (Jake Roberts)
La La Land (Tom Cross)
Moonlight (Nat Sanders and Joi McMillon)
Supporting Actress
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester By the Sea
Wow, we’ve seen a lot of these! What have you seen, loved, hated, felt was overhyped? Surprises?



cartoonish, but McAvoy gives each personality a distinctive flavour without ever resorting to stereotypes. And that’s hard work period, never mind the fact that he’s fighting Shyamalan’s confused script, that seems to want to have something meaningful to say about this controversial disorder, but also really just wants to be an exploitative horror film. You can’t have it both ways.
having introduced any of his characters. He bestows back stories on two of them through flashbacks, hoping it’s not too late. The rest remain paper thin. The girls (Anya Taylor-Joy, Haley Lu Richardson, Jessica Sula) are mostly there to scream on cue, and to wear progressively less clothing.
Mills, feel very much like real people because their problems are so distinct. The women don’t bleed into each other; they are each accorded with specific neuroses, anxieties, passions, and influences. We know a little about how they were born, and how they will die, but mostly we know how they are living. 20th Century Women is not plot-driven; nothing “happens” except truth is revealed through meticulous character study.
I suppose it was to be expected that Ray Kroc, the “founder” of McDonald’s, was an asshole. But, wow, was he ever an asshole. He died well before this movie was made but it seems he would have agreed with that assessment and been fine with it since it got him where he wanted to be – it made him rich, eventually.
victory. But only until the movie starts, because so far, about 5 minutes into each movie I proudly show to Jay, she wonders why I bothered to beg her to watch this one, asking things like, “Do you remember it being this bad?” when the flying cars first come into view.
Still, there is something to be said about Blade Runner and something reassuring about its continued relevance. A big reason that the movie feels thin today is because it has been so influential. We’ve seen so many films build on what Blade Runner started, and in comparison, Blade Runner is like a wheel made out of stone. In that way, it’s important but if choosing between the original or the best that the genre has to offer today, the modern film is going to be the better one. But there is still room in my heart for the rickety original, the one that was ahead of its time (and ahead of ours, as Blade Runner is set in the “distant” future of 2019).
Terrorists are despicable. They take lives or limbs and create chaos and fear, sometimes in support of twisted ideology, sometimes just for kicks, and always demonstrate a complete lack of humanity. Sensational as their actions are, what deserves recognition are not the acts themselves, but the responses by the terrorists’ targets.
doesn’t kill me. Having read the book, I knew exactly what we were in for with the movie, and I warned anyone who would listen, but that doesn’t mean I didn’t want to see it. It’s Scorsese. I mean, that alone is enough. But I also know that Martin Scorsese has something to say about spirituality, and if he’s gotten away from it with his last few movies, this one is a major reinvigoration of his theme.
that Rodrigues faces, or the hell that he’s in now. Even though the movie is relentlessly brutal, you’ll still be wowed by the images, the beauty lurking within the swamp.
This Asshole Atheist really noticed the distinction between religion and faith – religion being something a government can choose to eradicate; faith, however, is much more difficult. Silence is really a question of belief, not just what you believe, but how strongly you believe it, how strongly you think others should believe it, how far you’re willing to go to impose those beliefs, how much pain you can endure before you abandon those beliefs. And if god himself can hide in silence, can belief dwell there also?
e if nothing else the role he has created for himself is a terrible one. The lead character is remarkably unsympathetic and no amount of teary-eyed inner conflict or monotone monologuing in voiceover form (because this character doesn’t like to express feelings aloud) can change that. On top of that, his hats make him look ridiculous, and there are so many hats.
aniacs shooting at each other that leave the viewer unclear as to who’s on whose side (spoiler alert: the guys doing the killing are the ones on Affleck’s character’s side). Affleck also completely wastes Brendan Gleeson, Zoe Saldana, Chris Cooper, Elle Fanning, and most egregiously Agent Coulson (though Jay took Chris Messina’s bad teeth and pot belly hardest but at least Messina got a decent amount of screen time).