The 92nd Oscar Nominations

The announcement of the nominations for the 92nd annual Academy Awards will be take place in a two-part live presentation on Monday, January 13th and will cover all twenty-four categories. Actor and producer John Cho alongside actor, writer, and producer Issa Rae will serve as hosts of the two-part live presentation from approximately 5:18 a.m. to approximately 5:41 a.m. Pacific Time. The announcement will be broadcast live on multiple platforms, including an online live stream on the Academy’s websites and social media accounts along side a satellite feed that will be relayed on linear television by local and national broadcast stations.

The ceremony for the 92nd annual Oscars will be held on Sunday, February 9th at the Dolby Theatre in Hollywood, and will be televised live on the ABC Television Network at 8 p.m. Eastern Time (5 p.m. Pacific). The ceremony’s preceding broadcast “Oscars: Live on the Red Carpet” will air at 6:30 p.m. Eastern Time (3:30 p.m. Pacific).

You can watch the live stream of the Oscar nominations announcement below. Following the announcement, the full list of Oscar nominees will be posted on Academy Awards website as well as here on this web page.

There were a few names of individuals who were not included in the nominations this year for a well deserved category, or not at all. Visit the Oscar Snubs article to view the list of individuals that we believe should have earned a spot of recognition for their work this year.


The Official List of Nominations

Actor in a Leading RoleAntonio Banderas, Pain and Glory
Leonardo DiCaprio, Once upon a Time…in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes
Actor in a Supporting RoleTom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once upon a Time…in Hollywood
Actress in a Leading RoleCynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy
Actress in a Supporting RoleKathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell
Adapted ScreenplaySteven Zaillian, The Irishman
Taika Waititi, Jojo Rabbit
Todd Phillips & Scott Silver, Joker
Greta Gerwig, Little Women
Anthony McCarten, The Two Popes
Animated Feature FilmHow to Train Your Dragon: The Hidden World
Dean DeBlois, Bradford Lewis & Bonnie Arnold
I Lost My Body
Jérémy Clapin & Marc du Pontavice
Klaus
Sergio Pablos, Jinko Gotoh & Marisa Román
Missing Link
Chris Butler, Arianne Sutner & Travis Knight
Toy Story 4
Josh Cooley, Mark Nielsen & Jonas Rivera
Animated Short FilmDcera (Daughter), Daria Kashcheeva
Hair Love, Matthew A. Cherry & Karen Rupert Toliver
Kitbull, Rosana Sullivan & Kathryn Hendrickson
Memorable, Bruno Collet & Jean-François Le Corre
Sister, Siqi Song
Best PictureFord v Ferrari
Peter Chernin, Jenno Topping & James Mangold
The Irishman
Martin Scorsese, Robert De Niro, Jane Rosenthal & Emma Tillinger Koskoff
Jojo Rabbit
Carthew Neal & Taika Waititi
Joker
Todd Phillips, Bradley Cooper & Emma Tillinger Koskoff
Little Women
Amy Pascal
Marriage Story
Noah Baumbach & David Heyman
1917
Sam Mendes, Pippa Harris, Jayne-Ann Tenggren & Callum McDougall
Once upon a Time…in Hollywood
David Heyman, Shannon McIntosh & Quentin Tarantino
Parasite
Kwak Sin Ae & Bong Joon Ho
CinematographyRodrigo Prieto, The Irishman
Lawrence Sher, Joker
Jarin Blaschke, The Lighthouse
Roger Deakins, 1917
Robert Richardson, Once upon a Time…in Hollywood
Costume DesignSandy Powell & Christopher Peterson, The Irishman
Mayes C. Rubeo, Jojo Rabbit
Mark Bridges, Joker
Jacqueline Durran, Little Women
Arianne Phillips, Once upon a Time…in Hollywood
DirectingMartin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once upon a Time…in Hollywood
Bong Joon Ho, Parasite
Documentary FeatureAmerican Factory
Steven Bognar, Julia Reichert & Jeff Reichert
The Cave
Feras Fayyad, Kirstine Barfod & Sigrid Dyekjær
The Edge of Democracy
Petra Costa, Joanna Natasegara, Shane Boris & Tiago Pavan
For Sama
Waad al-Kateab & Edward Watts
Honeyland
Ljubo Stefanov, Tamara Kotevska & Atanas Georgiev
Documentary Short SubjectIn the Absence
Yi Seung-Jun & Gary Byung-Seok Kam
Learning to Skateboard in a Warzone (If You’re a Girl)
Carol Dysinger & Elena Andreicheva
Life Overtakes Me
John Haptas & Kristine Samuelson
St. Louis Superman
Smriti Mundhra & Sami Khan
Walk Run Cha-Cha
Laura Nix & Colette Sandstedt
Film EditingMichael McCusker & Andrew Buckland, Ford v Ferrari
Thelma Schoonmaker, The Irishman
Tom Eagles, Jojo Rabbit
Jeff Groth, Joker
Yang Jinmo, Parasite
International Feature FilmCorpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)
Live Action Short FilmBrotherhood
Meryam Joobeur & Maria Gracia Turgeon
Nefta Football Club
Yves Piat & Damien Megherbi
The Neighbors’ Window
Marshall Curry
Saria
Bryan Buckley & Matt Lefebvre
A Sister
Delphine Girard
Makeup and Hair StylingKazu Hiro, Anne Morgan & Vivian Baker, Bombshell
Nicki Ledermann & Kay Georgiou, Joker
Jeremy Woodhead, Judy
Paul Gooch, Arjen Tuiten & David White, Maleficent: Mistress of Evil
Naomi Donne, Tristan Versluis & Rebecca Cole, 1917
Original ScoreHildur Guðnadóttir, Joker
Alexandre Desplat, Little Women
Randy Newman, Marriage Story
Thomas Newman, 1917
John Williams, Star Wars: The Rise of Skywalker
Original ScreenplayRian Johnson, Knives Out
Noah Baumbach, Marriage Story
Sam Mendes & Krysty Wilson-Cairns, 1917
Quentin Tarantino, Once upon a Time…in Hollywood
Bong Joon Ho & Han Jin Won, Parasite
Original SongI Can’t Let You Throw Yourself Away, Toy Story 4
(I’m Gonna) Love Me Again, Rocketman
I’m Standing With You, Breakthrough
Into The Unknown, Frozen II
Stand Up, Harriet
Production Design and Set DecorationThe Irishman, Bob Shaw (Design) and Regina Graves (Decoration)
Jojo Rabbit, Ra Vincent (Design) and Nora Sopková (Decoration)
1917, Dennis Gassner (Design) and Lee Sandales (Decoration)
Once upon a Time…in Hollywood, Barbara Ling (Design) and Nancy Haigh (Decoration)
Parasite, Lee Ha Jun (Design) and Cho Won Woo (Decoration)
Sound EditingDonald Sylvester, Ford v Ferrari
Alan Robert Murray, Joker
Oliver Tarney & Rachael Tate, 1917
Wylie Stateman, Once upon a Time…in Hollywood
Matthew Wood & David Acord, Star Wars: The Rise of Skywalker
Sound MixingGary Rydstrom, Tom Johnson & Mark Ulano, Ad Astra
Paul Massey, David Giammarco & Steven A. Morrow, Ford v Ferrari
Tom Ozanich, Dean Zupancic & Tod Maitland, Joker
Mark Taylor & Stuart Wilson, 1917
Michael Minkler, Christian P. Minkler & Mark Ulano, Once upon a Time…in Hollywood
Visual EffectsDan DeLeeuw, Russell Earl, Matt Aitken & Dan Sudick, Avengers: Endgame
Pablo Helman, Le&ro Estebecorena, Nelson Sepulveda-Fauser & Stephane Grabli, The Irishman
Robert Legato, Adam Valdez, Andrew R. Jones & Elliot Newman, The Lion King
Guillaume Rocheron, Greg Butler & Dominic Tuohy, 1917
Roger Guyett, Neal Scanlan, Patrick Tubach & Dominic Tuohy, Star Wars: The Rise of Skywalker

DiCaprio, Scorsese, and Hulu Will Adapt the True Story of Serial Murder H.H. Holmes

In a recent announcement posted by Variety, it appears Leonardo DiCaprio, Martin Scorsese, and Paramount Studios have obtained a new distribution partner, Hulu, to assist them with the decade long “in limbo” adaptation of Erik Larson’s bestseller non-fiction book The Devil in the White City. Originally intended years ago to be a straightforward movie adaptation will now be re-worked as an episodic series; although, it is unclear at the present moment how many episodes will be produced.

The book is about Chicago’s most notorious serial killer: Dr. Henry Howard Holmes, or commonly referred to as H.H. Holmes. The exact number of his victims is unknown, but his methodology of drawing people away from the 1893 World’s Fair, only to kill them in his apartment style hotel in the Englewood neighborhood of Chicago. The property was later nicknamed as the Murder Castle.

the “Murder Castle” was torn down in 1938

According to Variety, the studio had won, lost, and regained the movie rights for the book several times over the years, which includes the current ownership of the rights they won in a 2007 auction. DiCaprio partnered with the studio in 2010 to serve as an executive producer and lead actor for a movie adaption.

In 2015, Martin Scorsese joined the pair to serve as it’s director with the (now dated) plan to turn the book into a movie; then the pre-production of the project stalled for the next four years. Both men will remain on board to serve as the executive producers, but may no longer serve as the leading actor and director.

This would not be the first, nor last, attempt to bring the story of H.H. Holmes to the movies or television screens. Television network Investigation Discovery aired a three episode mini-series in 2017, which was considered by many viewers as a very shallow retelling of the infamy.

FX Network offered a scarier interpretation of the story in 2016 when they aired American Horror Story: Hotel, which took many creative liberties with more of an “inspired by” approach of H.H. Holmes and his hotel rather than a literal retelling of the story.

Source: Variety (2/11/19), Variety (2/10/15), History, Investigation Discovery


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The Aviator (2004)

If you have read the review I had published for Shutter Island, there is a particular section in the article where I cover the topic of cameo appearance. It can be tremendously distracting for me if I recognize too many familiar faces appearing in bit roles. Are you ever the same way about watching a movie with an excessive amount of familiar faces appearing within it? There are certain instances when the minor appearance is acceptable and I will shrug it off without much thought or further consideration. Any given comedy film is the single most acceptable excuse for an excessive use of the cameo performance, because the desired intention would be to provoke a laugh.

However, a dramatic film is not necessarily the case unless the cameo appearance by a recognizable face is coherent to the story itself. An acceptable example of a dramatic cameo appearance that I am willing to overlook would be the appearance of Hunter S. Thompson in the film adaptation of his book Fear and Loathing in Las Vegas. The scene in which he makes an appearance is an introspective flashback when the main character, who is a fictionalized version of Thompson, visualizes his own self at an old age. Who better to portray Thompson at an older age than Thompson himself? It is relevant to the story and perfectly acceptable.

I would imagine that I am complaining too much about the topic, but it is a roundabout way to point out the irritating distraction I had experienced while watching The Aviator (2004). Too many recognizable faces and names were appearing as minor characters in the film. Were these actors making an appearance because they were given an opportunity to work with Martin Scorsese, the director of the film?

Alternatively, was it just another opportunity to earn an extra day worth of a paycheck? The answer to these questions may never present itself to me directly, but it is an annoying curiosity regardless. Although it is nothing more than a personal pet peeve to play the game of “Name That Face” while watching a film from a highly revered name of film, directing it has not been a complete deterrence from any personal enjoyment. The Aviator is well done and completely entertaining as it currently stands. I doubt there would be anything worthwhile that I would be able to change about the film in which could serve as an improvement.

There is one particular element of the production design, which immediately caught my attention while watching the film. Did anyone else observe the development of the color saturation and hue as the movie progressed through the timeline of the story? During the presentation of the earlier years in the story, the color saturation was a bit off from the usual color palette that we are accustomed to seeing. How often do we see purplish-blue peas?

I am referring to the dinner scene in the nightclub with Howard Hughes, Katherine Hepburn, Errol Flynn, and Johnny Meyer. Here is the video clip in order to observe the color tones that are utilized within the film. Right from the start of the segment, you may notice the purplish blue highlights adding a special glow around the musical performers. The particular hue is similar to the color of the peas that are placed upon the dinner table about a minute and twenty-four seconds into the clip.

Sure, it would be dishonest if I were to deny that I was rest assured about this information by watching the behind-the-scenes features that have been placed on the DVD. However, when I was watching the film in the movie theater I knew there was something going on with the color palette of the film since we never see purplish-blue peas in recently produced films unless it was intentionally produced that way.

The artistic decision to define a particular color palette within the film was designed to resemble the color limitations of the color film developing processes that were available to Hollywood filmmakers during the era in which each scene is set. The movie is more than just a selected color palette, but I did find the technique rather intriguing. Scorsese’s limited use of the color spectrum was a creative choice perfectly fitting for the movie as defined by its relevance to the story contained within it.

The surprising element in the film that caught me a bit off guard was the performance from Leonardo DiCaprio. The last time I remember watching one of his films with an incredibly strong performance was The Basketball Diaries. I would not want to limit his entire career down to just these two movies. He brought so much to the story in several different films with his acting performances. He is a talented actor, which is a fact that cannot be argued against very well.

I am considering that the strongest suits in the production value of the film would be DiCaprio’s performance, Scorsese’s directing, the cinematography, and editing of the movie. It all holds together very well, which allows the story to unfold rather smoothly.


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