It’s time for me to once again try to predict what will be nominated for the Oscars. If you had to told me, at this time last year, that Top Gun: Maverick would emerge as an Oscar contender, I would have said that you were crazy but here we are. Admittedly, it is early in the year and I think there’s always going to be some ambivalence towards honoring Tom Cruise. (You just know that someone is having nightmares about him thanking David Miscavige in his Oscar speech.) But with the reviews and the box office success that Top Gun: Maverick is getting, it would be a mistake to dismiss it. After all, Mad Max: Fury Road came out around this same time of year in 2015. As well, one can be sure that A24 will be giving Everything Everywhere All At Once a heavy awards push as well. This could very well be the year of the genre blockbuster as far as the Oscars are concerned.
As for Cannes, it’s come and gone. George Miller’s Three Thousand Years of Longing got some good reviews, even if those reviews didn’t translate into awards at the end of the Festival. David Cronenberg’s Crimes of the Future sounds like it’s going to be too divisive for the Academy and really, the thought of Cronenberg winning an Oscar has always been a bit implausible, regardless of how much he may or may not deserve one. As for James Gray’s Armageddon Time, Gray has always been more popular with critics than with audiences or Academy voters. If Gray couldn’t break through with something like The Lost City of Z, I doubt he’s going to do so with an autobiographical film about his life in private school. Steven Spielberg already has the autobiography slot wrapped up with The Fabelmans.
Of course, there’s still many films left to see and many more film festivals to be held. Let us not forget that Martin Scorsese is bringing us Killers of the Flower Moon. Personally, I’m looking forward to Damien Chazelle’s Babylon. In short, nothing has been settled yet. For all the acclaim that Top Gun and Everything are getting, who knows how the race is going to look at the start of the Fall season?
Anyway, here are my predictions for May. Be sure to check out my predictions for February and March and April as well!
Best Picture
Amsterdam
Babylon
Everything Everywhere All at Once
The Fabelmans
I Want To Dance With Somebody
Killers of the Flower Moon
Next Goal Wins
Rustin
She Said
Top Gun: Maverick
Best Director
Damien Chazelle for Babylon
Kasi Lemmons for I Want To Dance With Somebody
Martin Scorsese for Killers of the Flower Moon
Steven Spielberg for The Fabelmans
Taika Waititi for Next Goal Wins
Best Actor
Tom Cruise in Top Gun: Maverick
Colman Domingo in Rustin
Idris Elba in Three Thousand Years of Longing
Brendan Fraser in The Whale
Brad Pitt in Babylon
Best Actress
Naomi Ackie in I Want To Dance With Somebody
Cate Blanchett in Tar
Margot Robie in Babylon
Tilda Swinton in Three Thousand Years of Longing
Michelle Yeoh in Everything Everywhere All At Once
Now that the awards for last year’s films have been given out and everyone has already started to forget who won, we can start to concentrate on the next batch of Oscar contenders….
Oh, stop yelling. It’s not that early!
Well, actually, it is way too early. I mean, we’re still not really sure what is even going to be released this year. Due to all the COVID delays, we went into 2021 knowing which films we could look forward to, mostly because all of those films were originally supposed to be released in 2020. Compared to 2021, we’re going into 2022 blind. The majority of the films that we do know about don’t really sound like Oscar contenders, either.
So, really, the only solution to how to predict the Oscar nominees when you know nothing is to guess. The films and actors listed below are not there because I have any inside information. Instead, they are there as a result of some wishful thinking and some educated guesses. Killers of the Flower Moon was directed by Martin Scorsese, so of course it’s there. The Fabelmans is there because a lot of people feel that the Academy didn’t show Spielberg and West Side Story enough love this year and I think the fact that the film is autobiographical will make it irresistible to same voters who nominated Belfast. Napoleon is there because there might be some lingering guilt over how both Ridley Scott and The Last Duel were utterly ignored this year. Rustin is there because it’s an Obama production and Hollywood loves the Obamas. Chris Rock is listed as a supporting actor nominee because it would be the perfect conclusion to the saga of the Oscar Slap. David Lynch is listed because …. well, I like David Lynch. Personally, it’s doubtful that Tom Hanks will be able to pull off two nominations in one year but if anyone could do it, it’s Tom!
In other words, don’t take any of these predictions too seriously. As of now, there are no definite contenders. These are just some guesses.
Be sure to check out my even more random predictions for February as well!
Adam McKay has a new movie coming out. It’s called Don’t Look Up and the cast is packed with stars. It’s apparently a comedy about two astronomers who discover that a comet is about to collide with Earth, potentially ending all life as we know it.
Here’s the teaser:
I’m not really a big Adam McKay fan. In fact, I think the last Adam McKay film that I really liked was Anchorman. The Big Short was overrated and smug. Vice was an attempt to destroy Dick Cheney that, instead, rehabilitated the former vice president’s image in the eyes of many. (I mean, seriously, it takes a certain amount of effort to screw up a film that’s only reason for existing was to portray Dick Cheney as being a sinister figure.) Both Vice and The Big Short were victims of McKay’s tendency to try too hard to prove that he’s capable of more than just Anchorman. (Let’s be honest, though. If you had to pick between Anchorman and either of McKay’s Oscar-nominated films, which one are you going for?)
McKay is not a particularly good or clever political satirist but there are people who love his work, largely because they already agree with him. His films are like the progressive, secular version of God’s Not Dead, heavy-handed, predictable, and beloved by people who exist in a very specific social and cultural bubble. Of course, both The Big Short and Vice received several Oscar nominations but that due more to Hollywood agreeing with the film’s politics than the films themselves.
Anyway, the teaser features Leonardo DiCaprio, Jonah Hill, Meryl Streep, and Jennifer Lawrence, all acting up a storm. (These are four talented actors, all of whom really need a director who is willing to say, “Okay, let’s dial it back a little.” Subtlety, of course, is not really a McKay specialty.) I’m not looking forward to this film but I’ll still watch it when it shows up on Netflix. Who knows? Maybe it’ll feel more like Anchorman than Vice. One can only hope!
Suck it, The Big Short. The Wolf of Wall Street is the best film to be made about Wall Street this century.
Martin Scorsese’s 2013 financial epic tells the true story of a group of rather sleazy people who got rich and who basically, to quote Robert De Niro from an earlier Scorsese film, “fucked it all up.” Jordan Belfort (Leonardo DiCaprio, giving what I still consider to be the best performance of his career) is the son of an accountant named Max (Rob Reiner). Fresh out of college, Jordan gets a job on Wall Street. Under the mentorship of the eccentric (but rich) Mark Hanna (Matthew McConaughey), Jordan discovers that the job of a stock broker is to dupe people into buying stock that they might not need while, at the same time, making a ton of money for himself. With the money comes the cocaine and the prostitutes and everything else that fuels the absurdly aggressive and hyper-masculine world of Wall Street. Jordan is intrigued but, after the stock market crashes in 1987, he’s also out of a job.
Fortunately, Jordan is never one to give up. He may no longer be employed on Wall Street but that doesn’t mean that he can’t sell stocks. He gets a job pushing “penny stocks,” which are low-priced stocks for very small companies. Because the price of the stock is so low, the brokers get a 50% commission on everything they sell. Because Jordan is such an aggressive salesman, he manages to make a fortune by convincing people to buy stock in otherwise worthless companies. As Jordan’s boss (played, in an amusing cameo, by Spike Jonze) explains it, what they’re doing isn’t exactly regulated by the government, which just means more money for everyone! Yay!
Working with his neighbor, Donny Azoff (Jonah Hill, at his most eccentric), Jordan starts his own brokerage company. Recruiting all of his friends (the majority of whom are weed dealers who never graduated from high school), Jordan starts Stratton Oakmont. Using high-pressure sales tactics and a whole lot of other unethical and occasionally illegal techniques, Jordan soon makes a fortune. When Forbes Magazine publishes an expose that portrays Jordan as being little more than a greedy con man, Stratton Oakmont is flooded by aspiring stock brokers who all want to work for “the wolf of Wall Street.”
And, for a while, Jordan has everything that he wants. While the Stratton Oakmont offices become a den of nonstop drugs and sex, Jordan buys a huge mansion, a nice car, and marries a model named Naomi (Margot Robbie). His employees literally worship Jordan as he begins and ends every working day with inspirational (and often hilariously profane) sermons, encouraging his people to get out there and sell no matter what. Of course, making that much money, Jordan has to find a way to hide it from the IRS. Soon, with the help of Naomi’s aunt (Joanna Lumley), he is smuggling millions of dollars into Switzerland where a banker (Jean Dujardin, who is both hilariously suave and hilariously sleazy a the time) helps him hide it all.
When Jordan learns that the FBI and SEC are looking into his dealings, Jordan invites Agent Patrick Denham (Kyle Chandler) to come visit him on his yacht and, in a scene that launched a thousand memes, the two of them have a friendly conversation that’s largely made up of passive aggressive insults. Jordan taunts Denham over the fact that Denham washed out when he tried to get a job on Wall Street. Denham laughingly asks Jordan to repeat something that sounded like it may have been a bribe. When Denham leaves the boat, Jordan taunts him by tossing a wad of hundred dollars bills into the wind….
And here’s the thing. Yes, the media and our political class tells us that we’re supposed to hate that Jordan Belforts of the world. One can imagine Bernie Sanders having a fit while watching Jordan brag about how he cheated the IRS. If Adam McKay or Jay Roach had directed this film, one can imagine that they would have used the yacht scene to portray Jordan Belfort as pure evil. (McKay probably would have tossed in Alfred Molina as a waiter, asking Belfort if he wants to feast on the lost future of the children of America.) But the truth of the matter is that most viewers, even if they aren’t willing to admit it, will secretly be cheering for Jordan when he throws away that money. DiCaprio is so flamboyantly charismatic and Scorsese, as director, so perfectly captures the adrenaline high of Jordan’s lifestyle that you can’t help but be sucked in. He may be greedy and unethical but he just seems to be having so much fun! Just as how Goodfellas and Casino portrayed life in the mafia as being an intoxicating high (as well as being more than a little bit dangerous), The Wolf of Wall Street refrains from passing easy judgment and it steadfastly refuses to climb onto a moral high horse. Jordan narrates his own story, often talking directly to the camera and almost always defending his actions. As a director, Scorsese is smart enough to let us make up own minds about how we feel about Jordan and his story.
Of course, when Jordan falls, it’s a dramatic fall. That said, it’s not quite as dramatic of a fall as what happened to Ray Liotta in Goodfellas or Robert De Niro in Casino. No one gets blown up, for instance. But Jordan does lose everything that gave his life meaning. By the end of the film, he’s been reduced to giving seminars and challenging attendees to sell him a pen. (“Well,” one hapless gentleman begins, “it’s a very nice pen…..”) During the film’s final scenes, it’s not so much a question of whether Jordan has learned anything from his fall. Instead, the movie leaves you wondering if he’s even capable of learning. At heart, he’s the wolf of Wall Street. That’s his nature and it’s really the only thing that he knows how to do. He’s a bit like Ray Liotta living in the suburbs at the end of Goodfellas. He’s alive. He has his freedom and a future. But he’s still doesn’t quite fit in. Much like Moses being denied the opportunity to physically enter the Promised Land, Jordan’s punishment for his hubris is to spend his life in exile from where he truly belongs. And yet, you know that Jordan — much like Henry Hill — probably wouldn’t change a thing if he had the chance to live it all over again. He’d just hope that he could somehow get a better ending while making the same decisions.
Unlike something like The Big Short, which got bogged down in Adam McKay’s vapid Marxism, The Wolf of Wall Street works precisely because it refuses to pass judgment. It refuses to tell us what to think. I imagine that a lot of people watched The Wolf of Wall Street and were outraged by the way Jordan Belfort made his money. I imagine that an equal number of people watched the film and started thinking about how much they would love to be Jordan Belfort. The Wolf of Wall Street is a big, long, and sometimes excessive film that dares the audience to think of themselves. That’s one reason why it’ll be remembered after so many other Wall Street films are forgotten.
The Wolf of Wall Street was nominated for best picture of the year. It lost to 12 Years A Slave.
This is my last set of Oscar predictions for the year. With the critics groups and some of the guilds having now announced their picks for the best of 2019, the Oscar picture is now a lot more clear. Once Upon A Time In Hollywood, Parasite, The Irishman, 1917, and Marriage Story all seem to be guaranteed to pick up a nomination.
I am going to go out on a limb and predict that, despite being ignored at SAG and by the Golden Globes, Uncut Gems will get some nominations as well. Right now, the film just seems to have momentum on its side. Realistically, I’m not a 100% convinced that it’ll be nominated, not the way I am with some other films. It’s divisive film and I’m sure that some people think that rewarding Adam Sandler will just lead to him using his newfound respect to get a theatrical release for the next Grown Ups sequel. But I’m going to take a chance and go with it.
(Of course, Nightcrawler and Jake Gyllenhaal also had a lot of momentum a few years ago and ended up getting totally shut out of the Oscars.)
Runners-up: MARRIAGE STORY (2); PARASITE (3); THE IRISHMAN (4); ONCE UPON A TIME IN HOLLYWOOD (5); JOJO RABBIT (6); LITTLE WOMEN (7); THE FAREWELL (8); THE TWO POPES (9); KNIVES OUT (10)
BEST ACTOR
Winner: Adam Driver, MARRIAGE STORY
Runners-up: Joaquin Phoenix, JOKER (2); Antonio Banderas, PAIN AND GLORY (3); Leonardo DiCaprio, ONCE UPON A TIME IN HOLLYWOOD (4); Robert De Niro, THE IRISHMAN (5)
BEST ACTRESS
Winner: Scarlett Johansson, MARRIAGE STORY
Runners-up: Renée Zellweger, JUDY (2); Charlize Theron, BOMBSHELL (3); Saoirse Ronan, LITTLE WOMEN (4); Awkwafina, THE FAREWELL (5, tie); Lupita Nyong’o, US (5, tie)
BEST SUPPORTING ACTOR
Winner: Brad Pitt, ONCE UPON A TIME IN HOLLYWOOD
Runners-up: Willem Dafoe, THE LIGHTHOUSE (2); Joe Pesci, THE IRISHMAN (3); Al Pacino, THE IRISHMAN (4); Shia LaBeouf, HONEY BOY (5)
BEST SUPPORTING ACTRESS
Winner: Laura Dern, MARRIAGE STORY
Runners-up: Margot Robbie, BOMBSHELL (2); Florence Pugh, LITTLE WOMEN (3); Jennifer Lopez, HUSTLERS (4); Annette Bening, THE REPORT (5)
BEST DIRECTOR
Winner: Sam Mendes, 1917
Runners-up: Bong Joon-ho, PARASITE (2); Martin Scorsese, THE IRISHMAN (3); Quentin Tarantino, ONCE UPON A TIME IN HOLLYWOOD (4); Noah Baumbach, MARRIAGE STORY (5)
BEST FOREIGN LANGUAGE FILM
Winner: PARASITE
Runners-up: PAIN AND GLORY (2); THE FAREWELL (3); LES MISÉRABLES (4); PORTRAIT OF A LADY ON FIRE (5)
BEST DOCUMENTARY
Winner: APOLLO 11
Runners-up: ONE CHILD NATION (2); AMERICAN FACTORY (3); HONEYLAND (4); FOR SAMA (5)
BEST ANIMATED FILM
Winner: TOY STORY 4
Runner-up: I LOST MY BODY
BEST SCREENPLAY
Winner: Noah Baumbach, MARRIAGE STORY
Runner-up: Steven Zaillian, THE IRISHMAN
BEST CINEMATOGRAPHY
Winner: Roger Deakins, 1917
Runner-up: Hong Kyung-pyo, PARASITE
BEST MUSICAL SCORE
Winner: Thomas Newman, 1917
Runner-up: Alexandre Desplat, LITTLE WOMEN
RUSSELL SMITH AWARD (best low-budget or cutting-edge independent film)
The North Texas Film Critics Association announced their picks for the best of 2019 earlier today. Speaking as a North Texas film critic, I’m a bit annoyed that I wasn’t consulted but oh well! (To quote King of the Hill, “North Texas? More like South Oklahoma!”) Here are their winners:
BEST FILM
Winner: THE IRISHMAN
Runners-up: 1917; PARASITE; THE FAREWELL; MARRIAGE STORY; JOJO RABBIT; THE PEANUT BUTTER FALCON; A BEAUTIFUL DAY IN THE NEIGHBORHOOD; ONCE UPON A TIME…IN HOLLYWOOD; FORD V FERRARI; JOKER
BEST ACTOR
Winner: Joaquin Phoenix, JOKER
Runners-up: Robert De Niro, THE IRISHMAN; Adam Driver, MARRIAGE STORY; Adam Sandler, UNCUT GEMS and Leonardo DiCaprio, ONCE UPON A TIME…IN HOLLYWOOD
BEST ACTRESS
Winner: Charlize Theron, BOMBSHELL
Runners-up: Scarlett Johansson, MARRIAGE STORY; Renée Zellweger, JUDY; Awkwafina, THE FAREWELL and Lupita Nyong’o, US
BEST SUPPORTING ACTOR
Winner: Tom Hanks, A BEAUTIFUL DAY IN THE NEIGHBORHOOD
Runners-up: Joe Pesci, THE IRISHMAN; Brad Pitt, ONCE UPON A TIME…IN HOLLYWOOD; Al Pacino, THE IRISHMAN and Song Kang-Ho, PARASITE
BEST SUPPORTING ACTRESS
Winner: Zhao Shuzhen, THE FAREWELL
Runners-up: Laura Dern, MARRIAGE STORY; Scarlett Johansson, JOJO RABBIT; Kathy Bates, RICHARD JEWELL and Annette Bening, THE REPORT
BEST DIRECTOR
Winner: Sam Mendes, 1917
Runners-up: Martin Scorsese, THE IRISHMAN; Quentin Tarantino, ONCE UPON A TIME…IN HOLLYWOOD; Noah Baumbach, MARRIAGE STORY and Lulu Wang, THE FAREWELL
BEST FOREIGN LANGUAGE FILM
Winner: PARASITE (South Korea)
Runners-up: PAIN AND GLORY (Spain) and LES MISÉRABLES (France)
BEST DOCUMENTARY
Winner: APOLLO 11
Runners-up: AMERICAN FACTORY; ONE CHILD NATION; DAVID CROSBY: REMEMBER MY NAME and ROLLING THUNDER REVUE: A BOB DYLAN STORY
BEST ANIMATED FILM
Winner: TOY STORY 4
Runners-up: ABOMINABLE and HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
BEST CINEMATOGRAPHY
Winner: Roger Deakins, 1917,
Runner-ups: Jarin Blaschke, THE LIGHTHOUSE; Rodrigo Prieto, THE IRISHMAN; Hoyte Van Hoytema, AD ASTRA; Robert Richardson, ONCE UPON A TIME…IN HOLLYWOOD and Phedon Papamichael, FORD V FERRARI
BEST NEWCOMER
Winner: Roman Griffin Davis was awarded Best Newcomer for JOJO RABBIT
For those of you keeping track of precursors and using them to shape your own predictions, the SAG nominations are usually a pretty big deal. It’s rare that every film that gets a best ensemble nomination also gets a best picture nominations. (In the past, The Big Sick, Trumbo, and Beasts of No Nation all got ensemble noms without also getting a best picture nomination.) But, at the same time, the SAG is full of Academy members (the Actor’s Division is the largest part of the Academy) so their nominations are definitely a good sign of the way the winds are blowing.
So, a look at the nominations below — very bad news for Adam Sandler. I have a hard time seeing how he can get an Oscar nomination without also a Golden Globe or SAG nomination. Good news for Christian Bale, who is rapidly becoming the male Meryl Streep as far as automatic nominations are concerned. Good news for Bombshell. Good news for me, because I predicted that the liberals in Hollywood would embrace Bombshell for the same reason that they embraced films like Vice and The Big Short (i,e., “honoring Jay Roach and Adam McKay movies to own the cons”). Potentially bad news for Kathy Bates, who received a Golden Globe nomination for her performance in Richard Jewell but not one from SAG. Bad news for 1917, which was totally rejected by the SAG. Potentially good news for Joker, which may have missed out on Ensemble but still picked up nominations for Joaquin Phoenix and the stunts crew.
Anyway, here are the SAG film nominees:
Outstanding Performance by a Male Actor in a Leading Role:
Christian Bale (“Ford v Ferrari”)
Leonardo DiCaprio (“Once Upon a Time in Hollywood”)
Adam Driver (“Marriage Story”)
Taron Egerton (“Rocketman”)
Joaquin Phoenix (“Joker”)
Outstanding Performance by a Female Actor in a Leading Role:
Outstanding Performance by a Male Actor in a Supporting Role:
Jamie Foxx (“Just Mercy”)
Tom Hanks (“A Beautiful Day in the Neighborhood”)
Al Pacino (“The Irishman”)
Joe Pesci (“The Irishman”)
Brad Pitt (“Once Upon a Time in Hollywood”)
Outstanding Performance by a Female Actor in a Supporting Role:
Laura Dern (“Marriage Story”)
Scarlett Johansson (“Jojo Rabbit”)
Nicole Kidman (“Bombshell”)
Jennifer Lopez (“Hustlers”)
Margot Robbie (“Bombshell”)
Outstanding Performance by a Cast in a Motion Picture:
“Bombshell” (Lionsgate)
“The Irishman” (Netflix)
“Jojo Rabbit” (Fox)
“Once Upon a Time in Hollywood” (Sony)
“Parasite” (Neon)
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture:
“Avengers: Endgame”
“Ford v Ferrari”
“The Irishman”
“Joker”
“Once Upon a Time in Hollywood”
The Satellite Nominations were announced earlier today and they appear to really, really like Ford v. Ferrari.
Now, you may be asking yourself, “Who gives out the Satellites?” They are awarded by the International Press Academy. They should not be mistaken for the Golden Globes, which are given out the Hollywood Foreign Press Association. Instead, the Satellites should probably be considered the Golden Globes’s less popular cousins. Unlike the Globes, they haven’t really proven themselves to be reliable as a precursor.
The Hollywood Critics Association was, up until a few days ago, known as the Los Angeles Online Film Critics Society. Perhaps realizing that HCA just plans looks better than LAOFCS, they announced yesterday that they were changing their name.
They also announced their nominees for the best of films and performances of 2019! While the HCA may not be one of the major precursors of awards season, their nominations do give a fairly good picture of which films and performances are currently being touted as possible Oscar nominees.
And here they are:
BEST PICTURE
“1917”
“Booksmart”
“The Farewell”
“The Irishman”
“Joker”
“Jojo Rabbit”
“Parasite”
“Marriage Story”
“Once Upon a Time in Hollywood”
“Waves
BEST ACTOR
Adam Driver, “Marriage Story”
Eddie Murphy, “Dolemite Is My Name”
Joaquin Phoenix, “Joker”
Leonardo DiCaprio, “Once Upon a Time in Hollywood”
“Taron Egerton, “Rocketman”
BEST ACTRESS
Awkwafina, “The Farewell”
“Charlize Theron, “Bombshell”
Lupita Nyong’o, “Us”
Renée Zellweger, “Judy”
Scarlett Johansson, “Marriage Story”
BEST SUPPORTING ACTOR
Brad Pitt, “Once Upon a Time in Hollywood”
Joe Pesci, “The Irishman”
Shia LaBeouf, “Honey Boy”
Sterling K. Brown, “Waves”
Tom Hanks, “A Beautiful Day in the Neighborhood”
BEST SUPPORTING ACTRESS
Jennifer Lopez, “Hustlers”
Laura Dern, “Marriage Story”
Margot Robbie, “Once Upon a Time in Hollywood”
Taylor Russell, “Waves”
Zhao Shuzhen, “The Farewell”
BEST MALE DIRECTOR
Bong Joon-ho, “Parasite”
Martin Scorsese, “The Irishman”
Noah Baumbach, “Marriage Story”
Quentin Tarantino, “Once Upon a Time in Hollywood”
Taika Waititi, “Jojo Rabbit”
BEST FEMALE DIRECTOR
Alma Har’el, “Honey Boy”
Greta Gerwig, “Little Women”
Lorene Scafaria, “Hustlers”
Lulu Wang, “The Farewell”
Olivia Wilde, “Booksmart”
ORIGINAL SCREENPLAY
Bong Joon-ho & Han Jin-won, “Parasite”
Emily Halpern, Sarah Haskins, Susanna Fogel, & Katie Silberman, “Booksmart”
Lulu Wang, “The Farewell”
Noah Baumbach, “Marriage Story”
Rian Johnson, “Knives Out”
ADAPTED SCREENPLAY
Anthony McCarten, “The Two Popes”
Lorene Scafaria, “Hustlers”
Scott Silver and Todd Phillips, “Joker”
Steven Zailian, “The Irishman”
Taika Waititi, “Jojo Rabbit”
BEST PERFORMANCE BY AN ACTOR OR ACTRESS 23 AND UNDER
Kaitlyn Dever, “Booksmart”
Julia Butters, “Once Upon a Time in Hollywood”
Noah Jupe, “Honey Boy”
Roman Griffin Davis, “Jojo Rabbit”
Thomasin McKenzie, “Jojo Rabbit”
BREAKTHROUGH PERFORMANCE
Jessie Buckley, “Wild Rose”
Kelvin Harrison Jr., “Waves”
Paul Walter Hauser, “Richard Jewell”
Taylor Russell, “Waves”
Zack Gottsagen, “The Peanut Butter Falcon”
BEST CAST
“Avengers: Endgame”
“The Irishman”
“Knives Out”
“Once Upon a Time in Hollywood”
“Waves”
BEST FIRST FEATURE
“Brittany Runs a Marathon”
“Booksmart”
“Honey Boy”
“The Peanut Butter Falcon”
“Queen & Slim”
BEST INDEPENDENT FILM
“Booksmart”
“The Farewell”
“Honey Boy”
“Luce”
“Waves”
BEST ACTION/WAR FILM
“1917”
“Avengers: Endgame”
“Captain Marvel”
“Fast & Furious Presents: Hobbs & Shaw”
“John Wick: Chapter 3 — Parabellum”
BEST ANIMATED FILM
“Abominable”
“Frozen II”
“How to Train Your Dragon: The Hidden World”
“Missing Link”
“Toy Story 4”
BEST BLOCKBUSTER
“Avengers: Endgame”
“Captain Marvel”
“Once Upon a Time in Hollywood”
“Shazam!”
“Spider-Man: Far from Home”
BEST COMEDY/MUSICAL
“Booksmart”
“Blinded by the Light”
Dolemite Is My Name”
“Long Shot”
“Rocketman”
BEST DOCUMENTARY
“American Factory”
“Apollo 11”
“Hail Satan?”
“The Kingmaker”
“Love, Antosha”
BEST FOREIGN LANGUAGE FILM
“The Farewell”
“Monos”
“Pain & Glory”
“Parasite”
“Portrait of a Lady on Fire”
BEST HORROR FILM
“Crawl”
“Doctor Sleep”
“Midsommar”
“Ready or Not”
“Us”
BEST ANIMATED OR VFX PERFORMANCE
Josh Brolin, “Avengers: Endgame”
Robert De Niro, “The Irishman”
Rosa Salazar, “Alita: Battle Angel”
Ryan Reynolds, “Detective Pikachu”
Tom Hanks, “Toy Story 4”
BEST CINEMATOGRAPHY
Drew Daniel, “Waves”
Jarin Blaschke, “The Lighthouse”
Lawrence Sher, “Joker”
Robert Richardson, “Once Upon a Time in Hollywood”
Roger Deakins, “1917”
BEST COSTUME DESIGN
Arianne Phillips, “Once Upon a Time in Hollywood”
Julian Day, “Rocketman”
Jacqueline Durran, “Little Women”
Ruth E. Carter, “Dolemite Is My Name”
Mark Bridges, “Joker”
BEST EDITING
Fred Raskin, “Once Upon a Time in Hollywood”
Lee Smith, “1917”
Michael McCusker, “Ford v Ferrari”
Thelma Schoonmaker, ‘The Irishman”
Yang Jin-mo, “Parasite”
BEST HAIR AND MAKEUP
“Bombshell”
“Joker”
“Judy”
“Rocketman”
“The Irishman”
BEST ORIGINAL SONG
“Catchy Song” from “The Lego Movie: The Second Part”