Here Are The 36th Annual Gotham Nominations

Posted on October 28, 2026 by Lisa Marie Bowman

Don’t be alarmed but the first of the precursor award nominations were announced yesterday. The Gothams aren’t exactly the most reliable of the Oscar precursors and a lot of the potential Oscar nominees aren’t even eligible for a Gotham but, if you’re a low-budget indie film looking to score a Best Picture nomination, winning a Gotham is a nice way to start Awards Season.

(Winning seems to be the key here. As James Gray can attest, just getting a nomination doesn’t do much.)

Here are the 36th Annual Gotham Nominations.

Best Feature

Clarissa

Arie Esiri, Chuko Esiri, directors; Arie Esiri, Chuko Esiri, Theresa Park, Nicholas Weinstock, producers (NEON)

Club Kid

Jordan Firstman, director; Michael Bloom, Alex Coco, Galen Core, Ryan Heller, producers (A24)

The Debut

Jesse Eisenberg, director; Jesse Eisenberg, Ali Herting, Dave McCary, Emma Stone, producers (A24)

Dreams in Nightmares

Shatara Michelle Ford, director; Naima Abed, Shatara Michelle Ford, Pin-Chun Liu, producers (Lunette Films)

The Invite

Olivia Wilde, director; Ben Browning, Megan Ellison, David Permut, producers (A24)

Josephine

Beth de Araújo, director; Beth de Araújo, Josh Beirne-Golden, Gemma Chan, David Kaplan, Josh Peters, Jordan Rapaport, Mark H. Rapaport, Robina Riccitiello, Marina Stabile, Channing Tatum, Crystine Zhang, producers (Sumerian Pictures)

Mouse

Kelly O’Sullivan, Alex Thompson, directors; Bonnie Comley, Pierce Cravens, Steven A. Jones, Ian Keiser, Chelsea Krant, Stewart F. Lane, Abigail Rose Solomon, Alex Thompson, Alex Wilson, producers (Independent Film Company)

Paper Tiger

James Gray, director; Andrea Bucko, Leonardo Maria del Vecchio, Gary Farkas, James Gray, Anthony Katagas, Andrea Leone, Raffaella Leone, Marco Perego, Carlo Salem, Rodrigo Teixeira, producers (NEON)

Primetime

Lance Oppenheim, director; Ari Aster, Fred Berger, William Iannaccone, Brian Kavanaugh-Jones, Lars Knudsen, Brighton McCloskey, Robert Pattinson, producers (A24)

Teenage Sex and Death at Camp Miasma

Jane Schoenbrun, director; Dede Gardner, Jeremy Kleiner, producers (MUBI)

Your Mother Your Mother Your Mother

Bassam Tariq, director; Babak Anvari, Bassam Tariq, Lucan Toh, producers (Amazon MGM Studios)

Best International Feature

All of A Sudden

Ryusuke Hamaguchi, director; Julien Deris, David Gauquié, Kosuke Oshida, Yuji Sadai, producers (NEON)

Ben’Imana

Marie-Clémentine Dusabejambo, director; Samantha Biffot, Pierre-Adrien Ceccaldi, Marie-Clémentine Dusabejambo, Marie Epiphanie Uwayezu, producers (Alexander)

Blue Heron

Sophy Romvari, director; Ryan Bobkin, Sara Wylie, Sophy Romvari, Gábor Osváth, producers (Janus Films)

Everytime

Sandra Wollner, director; David Bohun, Lixi Frank, Viktoria Stolpe, producers (1-2 Special)

Fatherland

Pawel Pawlikowski, director; Edward Berger, Lorenzo Gangarossa, Mario Gianani, Lorenzo Mieli, Ewa Puszczynska, Dimitri Rassam, Jeanne Tremsal, producers (MUBI)

Filipiñana

Rafael Manuel, director; Bianca Balbuena, Jeremy Chua, Omar El Kadi, Bradley Liew, Rafael Manuel, Alex Polunin, Nadia Turincev, producers (Kino Lorber)

La Gradiva

Marine Atlan, director; Inès Daïen Dasi, producer (1-2 Special)

Minotaur

Andrey Zvyagintsev, director; Charles Gillibert, Nathanaël Karmitz, Marco Perego, Andrey Zvyagintsev, producers (MUBI)

Possible Love

Lee Chang-dong, director; Lee Joon-dong, Lee Chang-dong, David Levine, Chadwick Prichard, producers (Netflix)

Tender Loving Care

Mike Leigh, director; Georgina Lowe, producer (Bleecker Street)

Best Documentary Feature

Closure

Michal Marczak, director; Monika Braid, Rémi Grellety, Karolina Marczak, Michal Marczak, Katarzyna Szczerba, producers (1-2 Special)

A Fox Under a Pink Moon

Soraya Akhlaghi, Mehrdad Oskouei, directors; Siavash Jamali, Mehrdad Oskouei, producers (Kino Lorber)

NAZA

Yuval Abraham, Rachel Szor, directors; Harry Davies, Lindsay Poulton, James Wilson, producers (NEON)

Once Upon a Time in Harlem

David Greaves, director; Anne de Mare, Liani Greaves, producers (NEON)

You Can See Everything

Nathan Fielder, Lance Oppenheim, directors; Maggie Ambrose, Tatiana Bears, Jack Davis, Nathan Fielder, Lance Oppenheim, producers (A24)

Best Director

Ryusuke Hamaguchi, All of a Sudden (NEON)

Sandra Wollner, Everytime (1-2 Special)

Andrey Zvyagintsev, Minotaur (MUBI)

Jane Schoenbrun, Teenage Sex and Death at Camp Miasma (MUBI)

Mike Leigh, Tender Loving Care (Bleecker Street)

Breakthrough Director

Sophy Romvari, Blue Heron (Janus Films)

Jordan Firstman, Club Kid (A24)

Aleshea Harris, Is God Is (Amazon MGM Studios)

Marine Atlan, La Gradiva (1-2 Special)

Joel Alfonso Vargas, Mad Bills to Pay (or Destiny, dile que no soy malo) (Oscilloscope Laboratories)

John Early, Maddie’s Secret (Magnolia Pictures)

Best Original Screenplay

Everytime, Sandra Wollner (1-2 Special)

La Gradiva, Marine Atlan, Anne Brouillet (1-2 Special)

Possible Love, Lee Chang-dong, Oh Jung-mi (Netflix)

Tender Loving Care, Mike Leigh (Bleecker Street)

Wild Horse Nine, Martin McDonagh (Searchlight Pictures)

Best Adapted Screenplay

All of a Sudden, Ryusuke Hamaguchi (NEON)

Clarissa, Chuko Esiri (NEON)

The Invite, Rashida Jones, Will McCormack (A24)

Minotaur, Simon Lyashenko, Andrey Zvyagintsev (MUBI)

Primetime, Ajon Singh (A24)

Outstanding Lead Performance

Mahershala Ali, Your Mother Your Mother Your Mother (Amazon MGM Studios)

Gillian Anderson, Teenage Sex and Death at Camp Miasma (MUBI)

Jeon Do-yeon, Possible Love (Netflix)

John Early, Maddie’s Secret (Magnolia Pictures)

John Malkovich, Wild Horse Nine (Searchlight Pictures)

Ian McKellen, The Christophers (NEON)

Julianne Moore, The Debut (A24)

Sophie Okonedo, Clarissa (NEON)

Andrew Scott, Elsinore (Focus Features)

John Turturro, The Only Living Pickpocket in New York (Sony Pictures Classics)

Outstanding Supporting Performance

Tom Courtenay, Queen at Sea (Greenwich Entertainment)

Esmé Creed-Miles, Sense and Sensibility (Focus Features)

Penélope Cruz, The Invite (A24)

Adam Driver, Paper Tiger (NEON)

Andrew Garfield, Artificial (NEON)

Skyler Gisondo, Primetime (A24)

Sandra Hüller, Fatherland (MUBI)

Kate O’Flynn, Tender Loving Care (Bleecker Street)

Tao Okamoto, All of a Sudden (NEON)

Channing Tatum, Josephine (Sumerian Pictures)

Breakthrough Performer

Adia, Your Mother Your Mother Your Mother (Amazon MGM Studios)

India Amarteifio, Clarissa (NEON)

Guitarricadelafuente, La Bola Negra (Netflix)

Colas Quignard, La Gradiva (1-2 Special)

Mason Reeves, Josephine (Sumerian Pictures)

Gotham Audience Award

Backrooms

Kane Parsons, director; Kori Adelson, Michael Clear, Dan Cohen, Chris Ferguson, Dan Levine, Shawn Levy, Roberto Patino, Osgood Perkins, Jenno Topping, James Wan, producers (A24)

La Bola Negra

Javier Ambrossi, Javier Calvo, directors; Javier Ambrossi, Javier Calvo, producers (Netflix)

The Drama

Kristoffer Borgli, director; Ari Aster, Lars Knudsen, Tyler Campellone, producers (A24)

The Invite

Olivia Wilde, director; Ben Browning, Megan Ellison, David Permut, producers (A24)

Michael

Antoine Fuqua, director; John Branca, John McClain, Graham King, producers (Lionsgate)

Obsession

Curry Barker, director; James Harris, Haley Nicole Johnson, Christian Mercuri, Roman Viaris, producers (Focus Features)

Project Hail Mary

Phil Lord, Christopher Miller, directors; Ryan Gosling, Phil Lord, Christopher Miller, Rachel O’Connor, Amy Pascal, Aditya Sood, Andy Weir, producers (Amazon MGM Studios)
You Can See Everything

Nathan Fielder, Lance Oppenheim, directors; Maggie Ambrose, Tatiana Bears, Jack Davis, Nathan Fielder, Lance Oppenheim, producers (A24)

The winners will be revealed on November 30th, 2026.

Film Review: Death on the Nile (dir by Kenneth Branagh)

Posted on April 11, 2022 by Lisa Marie Bowman

The main mystery at the heart of Kenneth Branagh’s adaption of Agatha Christie’s Death on the Nile is not who committed the film’s murders but just how seriously we, the audience, are meant to take what we’re watching.

In this much-delayed (by COVID and a cast full of actors who could not escape personal scandal) follow-up to 2017’s Murder on the Orient Express, Kenneth Branagh again plays the eccentric detective Hercule Poirot. Poirot is again in an exotic land, this time Egypt. And again, circumstances have conspired to isolate him and a group of wealthy and glamorous suspects from the rest of the world. In Murder on the Orient Express, everyone was stuck on a train. Here, they are stuck on a boat. Admittedly, the boat provides a nice view of the pyramids but, eventually, even those testaments to engineering seem to be mocking the people stuck on the boat. The pyramids, after all, have survived for centuries. The same cannot be said for the people who have come to see them. Over the course of the film, there are several murders. (Indeed, Death on the Nile is significantly bloodier than Murder on the Orient Express and, unlike what happened on the Orient Express, the majority of the victims have done nothing to deserve their grisly fate.) Like Murder on the Orient Express, Death on the Nile is based on a novel by Agatha Christie. Branagh changes a few details from Christie’s novel, which is understandable since it’s important to keep the audience guessing. For instance, Bouc (Tom Bateman), who was Poirot’s assistant in Murder on the Orient Express, returns in Branagh’s film version and provides some continuity between the two films. It also provides a nice side-mystery as the audience tries to figure out how Poirot and Bouc could just happen to run into each other in Egypt. Fear not, the film offers up a solution.

As is to be expected, the victims and the suspects are brought to life by a cast of stars and familiar character actors, all of whom act up a storm. Some, of course, do a better job of embracing the melodrama than others. Armie Hammer and Gal Gadot play a glamorous couple and, regardless of how we feel about Hammer as a human being, it works because Gadot and Hammer both look they could have stepped out of a sophisticated, 1930s RKO comedy. (Hammer’s stiff line readings, which are totally appropriate for his character, would actually be a highlight of the film if he wasn’t Armie Hammer.) Russell Brand is oddly subdued as the doctor with the secret while Dawn French and Jennifer Saunders show up to keep all of the British comedy fanatics happy. Sophie Okonedo plays a jazz singer and how you react to her character will depend on how much patience you have for anachronistic musical numbers. (There’s a surprisingly large amount of them.) Annettte Bening plays Bouc’s mother and there’s really not a subtle moment to be found in her performance but again, it works because Death on the Nile is not a particularly subtle film. It’s a film that demands a certain amount of calculated overacting and Bening is enough of a veteran performer to deliver exactly what the film needs.

No, there’s nothing particularly subtle about Death on the Nile but then again, that’s always been a part of Kenneth Branagh’s appeal. Branagh’s endless (and often justified) faith in his own abilities as a director and an actor means that Branagh is willing to do things that others would avoid, whether that means making a 4-hour version of Hamlet or a black-and-white film about growing up in Belfast or, for that matter, a gaudy Agatha Christie adaptation in which he plays the lead detective. Death on the Nile is a celebration of melodrama, beautiful people, and nice clothes. Even the fact that the Egyptian backdrops are obviously phony works to the film’s advantage, giving the proceedings a bit of a retro, Hollywood studio system feel. At its best, Death on the Nile is an homage to old-fashioned camp..

And yet, there are hints that Branagh means for the film to be something more. The films opens with a prologue, one that is not included in Christie’s book or in anything else that Christie wrote about Poirot. The prologue, which is filmed in black-and-white, features Poirot getting terribly wounded during World War I and growing his famous mustache to cover his scars. We also discover that the great love of Poirot’s life was a nurse who died during the war. Later, while solving the murder, Poirot often talks about how he has shut himself away from the world, never wanting to risk falling in love again. There’s even a hint that Poirot has fallen for one of the suspects. Branagh’s a good actor and can obviously pull off Poirot’s inner turmoil but those little serious asides still feel out of place in a film that features Armie Hammer and Russell Brand as romantic rivals. It’s hard not to wonder if Branagh is in on the joke or if he’s seriously attempting to use Poirot as a symbol for an alienated and traumatized society.

One could argue that Poirot uses his mustache to hide from the world in much the same way that many people have spent the past two years using their masks to hide from COVID. Except, of course, Death on the Nile was actually filmed three years ago, before anyone had even heard of COVID-19. The film was first delayed by the theaters shutting down. It was delayed a second time by the scandals surrounded Armie Hammer. (Indeed, this film will probably be the last major studio release to feature Armie Hammer.) It was finally released in February of this year and, within a month, it was on Hulu and HBOMax. It didn’t exactly kill at the box office but I think Death on the Nile will be rediscovered over the years. It’s a minor entry in Branagh’s filmography but it’s still enjoyably silly, regardless of whether that was Branagh’s intention or not.

Horror News: Hellboy reboot Poster Released

Posted on October 1, 2018 by Arleigh

Hellboy The Wild Hunt

The Hellboy reboot has been a tad polarizing with fans of the films pretty much wanting the film to fail because it’s not Guillermo Del Toro and Ron Perlman doing Hellboy 3. Then there are fans of the source material who have faith that this reboot will skew more towards the horror origins that it’s creator had in mind when he created Hellboy and the BPRD.

In fact, the reboot will take ideas from two of the character’s later trip down horror lane with the story arcs from Hellboy: The Wild Hunt and Hellboy: The Storm and The Fury.

Hellboy The Storm and the Fury

While news came down that the release of the Neil Marshall-helmed Hellboy reboot has been pushed up by several months, there’s at least some very good news relating to the BPRD’s number agent.

A new poster for the film has been released courtesy of Entertainment Weekly and we see David Harbour in full Hellboy make-up with unbroken horns, flaming sword and the Right Hand of Doom very much present. This Hellboy also seem to be a bit more worn and scarred from previous fights with a much more demonic visage than the Guillermo Del Toro/Ron Perlman incarnation.

The film won’t be out in the theaters until April 12, 2019, but this cast and crew and this poster is just helping drive my interest in this reboot towards hype level.

Hellboy