#robbie deserves an award for that timing

[justalittlebluetiefling]

HE HONKED

Dorian is such a mess what a guy

[mystery-moose]

EYO THE OSCAR NOMS ARE OUT

Let’s discuss!

BEST PICTURE: I've seen four of the ten nominees this year! Not a bad score for me. Of the remainder I am very interested in American Fiction, Anatomy of a Fall, and Past Lives. American Fiction in particular got Jeffrey Wright a Best Actor nomination! I love Jeffrey Wright! He deserves more recognition! Any film that can get him that has gotta be worth something.

Of the ones I’ve seen… I’d probably select Killers of the Flower Moon as the best? It’s a hard watch, but the craft on display at every level is exceptional. If not that, then… I dunno, maybe Barbie? The Holdovers is a safe choice, it’s a great movie, but there’s almost nothing��� surprising about it. Barbie is CONSTANTLY surprising! But it’s also a madcap comedy bathed in metaphor so… man I don’t know!

Regardless, I wouldn’t pick Oppenheimer. Not to disrespect it, I genuinely believe it to be a very interesting film that’s compelling to watch, and as always Christopher Nolan’s ability to make weird-ass films with experimental structures popular with a mass audience is worthy of tremendous respect. But its pacing is rushed, its script is sometimes awkward to the point of parody, and I just don’t know that it’s saying or doing anything THAT interesting or enlightening about the real people involved or about people or history in general. Y’know?

BEST DIRECTOR: Nothing but Best Picture nominees here, which makes sense. Pretty blown away that Alexander Payne didn't get a nom here for The Holdovers. Not blown away at all that Greta Gerwig didn't get one for Barbie, despite that whole thing clearly being her baby. A real Streisand situation here, I'd say! "Eight nominations on the shelf, did this film direct itself?" Regardless of who wins (or even who I think deserves to!) I'd definitely say Gerwig got snubbed here.

BEST ACTOR: All best picture nominees here, save for Colman Domingo for Rustin. Had never heard of this film before, because it's a Netflix film and they always bury all their work, but it's about a civil rights activist so that makes... how many years that the Academy has included one of these in a Best Actor/Actress context? Selma, Harriet, Judas and the Black Messiah. I'm sure Colman Domingo gives a good performance, just noting that the Academy loves to nominate these for acting awards and not honor them in most any other way. (Hey, Jeffrey Wright's in that movie too! Good year for him!)

Bradley Cooper's here too. I don't think I like him very much! I've never disliked him really, but I've never loved his performance either. But the Academy seems to, since he's been nominated... TWELVE TIMES? Holy SHIT no wonder I wasn't surprised to see his name. Never won one, though. He keeps this up, maybe they'll throw him a pity one like they did for DiCaprio. Then again, I don't think Cooper assigns as much value to it as Leo did -- or at least, it doesn't feel like it. I care so little about Bradley Cooper! I don't follow his personal journey very closely! He's fine, I guess!

As a fan, I'd LOVE to see Jeffrey Wright take it, even though I haven't seen his movie. Of the ones I have, Cillian Murphy is very good in Oppenheimer, no question, but I've gotta give it to my man Paulie G. Dude is an incredibly talented actor with a non-traditional look who's done great work for decades and deserves a big win. He's fantastic in Holdovers too! It's a layered, funny, incredibly natural performance that he just falls into. Not particularly showy, which lowers his chances for a win, but to me (and most sensible folks) that makes it a better performance, so there, nyeh!

BEST ACTRESS: I haven't seen four of these but if they don't give it to Lily Gladstone they've fucked up. Sorry, other nominees, that's all there is to it. Also, where the fuck is Margot Robbie? She's incredible in Barbie! If I get to Supporting Actor and Ryan Gosling is there, this is misogyny.

BEST SUPPORTING ACTOR: This is misogyny!! But I'd love for Gosling to win for this. It'd be his first, and for a role like this that'd be hilarious. That being said it's still a tremendous performance! His commitment to the role both on-screen and off is clear, he's having a ball throughout, and he does his own dancing! God, I just wanna see his speech.

That being said, he has some extremely stiff competition. De Niro continues his golden year renaissance with an excellent performance of a very evil man in Killers of the Flower Moon, and Downey Jr. is so good in Oppenheimer that it took me a couple minutes and a scene transition to realize it was him at all! Also Sterling K. Brown and Mark Ruffalo are here! I like both those guys! If I had to pick one that I've seen that isn't Gosling? Probably Downey Jr. If I gave Oppenheimer one award, it would be this one.

BEST SUPPORTING ACTRESS: I like all these actresses, I think America Ferrera is very good in Barbie, and Jodie Foster has been doing great work lately, but this award belongs to Da'Vine Joy Randolph. She takes a character that could be one note in The Holdovers and invests them with so much life and complexity and history. I still think about that movie in part because of her, and because she made choices that made that character feel more authentic. It's maybe the most I've been impressed by an actress in a good long while, frankly! She deserves this one! Don't fuck it up, Academy! (but I know you will)

ORIGINAL SCREENPLAY: All Best Picture nominees, save for a movie called May December... because it's a Netflix film, of course. God, they sure do make a lot of award-worthy films I never ever hear about, huh! Wild how that happens! (Did you even know a new Spy Kids movie came out this year? Of course you didn't! It was on Netflix!)

I haven't seen four of these, but heard good things about Past Lives. I do really love The Holdovers though! Unless one of the others really knocks my socks off, I'd be comfortable with that winning here.

ADAPTED SCREENPLAY: Oppenheimer does not deserve this. I'm sorry, maybe it's a failure of editing, but the pacing on this thing is too breakneck. Maybe that's a failure of editing more than screenplay, though. Then again, the dialogue itself is uh... often pretty blunt and borderline silly, in that Nolan sort of way! So, y'know!

I'd love to see Barbie win it. It's so fucking funny, and occasionally vibrating with pathos. But I haven't seen the others, and they might rule, actually! American Fiction might be great! I'm looking forward to finding out when it hits digital!

ANIMATED FEATURE: I still think we probably shouldn't cordon these off into their own category, but then so few would get nominated for anything, so let's just live in the world we have, huh? The Boy and the Heron is a Miyazaki film, so that automatically makes it a contender, though I've heard some mixed things about it. Nimona is a dark horse that I remember having some buzz around it earlier this year, and Robot Dreams is a sad movie about a robot so it's automatically a movie I vibe with! Elemental... exists! (Why in the hell was this nominated and not Teenage Mutant Ninja Turtles: Mutant Mayhem?! Why of all things did THAT get snubbed?!)

But we all know this belongs to Across the Spider-Verse. It might not be a complete narrative, but purely on visual spectacle alone, it should win. It is, without question, the wildest eyeball experience I've ever had watching a movie, finally dethroning the previous occupiers, the Wachowskis' Speed Racer and the animated film Redline. It is constantly visually surprising and experimental, to the point that much like its predecessor I don't know how they fucking did some of the stuff they did. It's not the out-of-nowhere immediate game-changer that its predecessor was, and it might not have the immediate influence on an entire genre in the same way... but I think it pushes the medium even further! I can't wait to see what other movies look like in the future because of it.

(also the production sounds like it was a nightmare, animators deserve more pay and more respect, unionize, etc.)

PRODUCTION DESIGN: I mean, of all the things about Napoleon, how it looked was the absolute best of them. I wouldn't be too upset if it won... except I would, because Barbie. I mean, come on. COME ON. This one's a gimme. (Though why is The Creator not here? I know it was a pretty bad movie, but the design? Absolutely impeccable vibes!)

COSTUME DESIGN: I mean. Barbie. Did you see Ken's outfits?

CINEMATOGRAPHY: This is my nerd-ass award I care about. I've liked Hoyte van Hoytema's work in the past, and if Oppenheimer won this I wouldn't think it a complete miscarriage of justice -- it's got some really great images in it. But to me this is Flower Moon's award to lose. I haven't seen the others, but I don't know that anything else is going to match that. It's not too showy, but it is pretty damn impeccable.

There are also movies that I think got snubbed here, like John Wick 4 (yes I'm serious) and Sisu (again, I'm serious) and The Killer. Heck, they didn't even nominate The Holdovers here, and that movie leans into its period setting by aping the cinematography of films from that period! That's neat!

EDITING: That Oppenheimer is here is more proof the Academy doesn't know what good editing is. I mean, if you isolated a couple scenes of that movie, there IS great editing there! And even structurally, I think it makes some bold choices that should be rewarded! But as a whole, I didn't feel like I had time to breathe during a scene, and most of that is down to Nolan always choosing to cut or transition too soon. Sometimes it's even a matter of seconds! But those seconds matter! They're the difference between me feeling like I'm moving through a room and feeling like I'm being hurried through a room, y'know what I mean?

I'd probably go with Flower Moon here, but Holdovers has a lovely, languid pace to it and some very funny cuts, so I'm leaning in that direction too. Haven't seen the others!

MAKEUP AND HAIRSTYLING: How is Barbie not here?! What the hell kind of award show is this?! (A Bad one, we all know this.)

SOUND: (This used to be two awards, one for sound mixing and one for sound editing, and on a technical level those are two very different skills, but whatever, Academy!)

This is one I think that Oppenheimer will probably take, because it does some cool things with sound a few times. But it's also one that I think The Creator might actually deserve. Some really killer sound in that film, right up there with its production design -- which it should have gotten a nomination for! Also, Mission: Impossible dark horse, just to give it something. Because I love those movies, even if this year's was maybe my fourth-favorite Mission: Impossible movie that still makes it better than most movies!

VISUAL EFFECTS: It's kind of a long-shot, but I'm pulling for Godzilla Minus One here. Guardians looked good, The Creator looked good (it's about all it did) and I absolutely adore and respect the commitment to practical stunts and car chases and effects in Mission: Impossible and it should get all the recognition possible for throwing a real train off a real cliff... but c'mon. It's Godzilla. And by all accounts, it does so much with so little, at least in terms of budget. It's a movie directed by a guy who previously supervised visual effects! Of course it was gonna look good! That it looks that good at that budget though? Might be enough to get it the big win. Here's to hoping! It'd be nice to see a movie that cost about ten million dollars be recognized as having better visual effects than a movie that cost... two hundred and fifty million Jesus Christ what are you doing Disney.

ORIGINAL SCORE: Be neat to see Indiana Jones take this one! Good score, nice but not too reverent. But I don't have particularly strong feelings this like I have in previous ones. Don't remember many movie scores from this year, nothing's made it into my playlist beyond a couple Mission: Impossible tracks, certainly nothing's impressed me as much as something like The Batman's score or anything.

ORIGINAL SONG: Two songs from Barbie here, one from the Flamin' Hot Cheetos movie (yes it's real and yes it's historically inaccurate!) and one from... Killers of the Flower Moon. Uh oh. Uh oh! I was all ready to be ride or die for "I'm Just Ken" (and to be clear if it won I wouldn't object) but that song in Flower Moon and how it hits at the end... well. It should probably win, is what I'm saying. Even if it's not the fun choice. Be nice to see it performed, at least. These will all be great performances, probably!

DOCUMENTARY FEATURE: I haven't seen any of these! I usually don't until at least year or two after the fact! Just how I end up watching documentaries, usually. It'll probably be the one about Ukraine, though. Not necessarily because it's the best one, but because the Academy likes to think that making picks like that is somehow activism. (Also can you believe that's still happening? Ukrainian sovereignty, end the war, etc.)

INTERNATIONAL FEATURE: Haven't seen any of these, but heard good things about Society of the Snow. Zone of Interest is a best picture nominee, so odds are that'll be the one that wins. Surprised a Japanese film got in here but it's not Godzilla! Damn! Was hoping for a dark horse win for Big G!

ANIMATED SHORT: Never seen 'em!

DOCUMENTARY SHORT: Most of the short documentaries I watch are on Youtube these days!

LIVE ACTION SHORT: Good for all these people who got nominated!

THAT'S IT hoo boy the Oscars, huh. This year's a bit of a dull one, nothing that I'm really excited about winning anything outside of like, Barbie. Killers of the Flower Moon definitely deserves a lot of awards, but how many it'll get remains to be seen. Also I just realized DiCaprio didn't score a nomination for his part in that! Just Lily Gladstone! Haha! Good! (Though I do think DiCaprio's work has improved noticeably after he finally got his stupid Oscar. Almost like he stopped trying so hard and that made his performances feel more natural! Wild!)

Anyway, next year I'm gonna be stumping hard for Dune 2 so. Be prepared for that.

[queenofnaturalones]

Oscar Snubs

My take on this whole Barbie thing: 1. Barbie was a fun movie, but it wasn't so good that I feel like it deserved any nominations really. 2. If you ARE going to nominate Barbie for anything, it IS ridiculous to nominate Ken twice (Ryan Gosling and I'm Just Ken) and give nothing to Barbie herself or the woman who directed it. Though this is really an argument for Ryan Gosling not getting a nomination, rather than Margot or Greta getting one as well. 3. As producer and director respectively, Margot and Greta DO have nominations since Barbie has been nominated for Best Adapted Screenplay. 4. The fact that this blew up to the point that it did is peak white feminism. This doesn't need to be on the news. The entire Best Lead Actress category is white except for Lily Gladstone (first indigenous person to win a Golden Globe, first indigenous woman from the US to be nominated for an Oscar). White women are not lacking representation in the Oscars. 5. The focus on Margot Robbie and Greta Gerwig takes focus away from America Ferrera and her first ever Oscar nomination. Why aren't Barbie fans celebrating her? 6. The Color Purple was a fucking phenomenal movie with amazing performances across the board. This was the first time Black people actually got to direct it and it's just such a gorgeous film. Danielle Brooks was wonderful and stole the spotlight. She ABSOLUTELY deserves her nomination and I'm rooting for her to win. But it is a CRIME that she was the only one to get a nod. Fantasia and Taraji both deserved nominations, and the directors Blitz Bazawule and Marcus Gardley deserved nominations, too. 7. Margot Robbie and Greta Gerwig have three nominations each. They'll stay booked, they'll stay busy, they'll stay making more money than their Black and brown peers. And I have no doubt they'll secure their wins eventually. It doesn't have to be for Barbie. How often do you see Black people in the Best Director category? Of the ten slots there are for best actress (lead and supporting) how many do they give to white women vs women of color? How many go on to actually winning an Oscar? When people of color DO win an award, how often do you hear them making history as the first to win in 50 years? Or the first to win period? Margot and Greta will be fine. I never see this energy for non-white people who get snubbed. 8. Watch The Color Purple

[thekyterion]

TOP 10 FILMS OF 2022

In a year full of huge blockbusters, record-breaking indies and a sequel for just about every movie ever made, here are my top 10 films of 2022.

“Aftersun” (dir. Charlotte Wells): An incredibly personal, poignant and heartbreaking directorial debut with performances for the ages from Frankie Corio and Paul Mescal. Following a father and daughter on holiday, the film’s editing and sound design also stand out in this 96 minute emotional masterwork. I’d type more but I’d start crying. Seriously.

“Babylon” (dir. Damien Chazelle): A three hour spectacle of filmmaking and the perils of transitioning through one’s career as the environment around you shifts uncontrollably. Chazelle goes back to his “Whiplash” roots, with tension dialed up to 10 for most of the film, especially the final hour. Diego Calva leads the film perfectly, Margot Robbie gives one of the best performances of the year, and the entire supporting cast (especially Jovan Adepo) are phenomenal. Brilliant crafts and one of my favorite endings in recent memory. Definitely worth the big-screen experience.

“The Banshees of Inisherin” (dir. Martin McDonough): The perfect encapsulation of the deterioration of a friendship that should not go to the levels it does. The entire cast is superb, with all four stars (Colin Farrell, Brendan Gleeson, Kerry Condon, and Barry Keoghan) deserving of awards recognition and will likely be huge threats in their respective acting categories. It’s a gorgeous film that is absolutely hilarious and heartbreaking at the same time, with a thesis that leaves you questioning everything but also never once lets you pick sides in the central battle. And it only gets better and funnier on each rewatch.

“EO” (dir. Jerry Skolimowski): One of the most immersive cinematic experiences I have ever had. The film, Poland’s submission for Best International Feature, places you directly in the eyes of a donkey named EO as he ventures across Europe and the many types of people and perils the world requires you to face, should you be brave enough to venture outside into them. Despite never saying a word, the film uses its breathtaking cinematography and sensory-inducing editing to allow you to understand everything EO does on an incredibly emotional level unlike anything I have ever witnessed.

“Everything Everywhere All at Once” (dirs. Daniel Kwan & Daniel Scheinert): The best and most original film I’ve seen in years. I’ve spoken so much about my absolute love for this film. I saw it 8 times in theaters in 2022, including one screening in IMAX at the TCL Chinese Theatre (which was life-altering). The multiverse masterpiece follows Michelle Yeoh playing a woman who just wants to do her taxes, but finds herself trapped in an inter-dimensional war that affects her current universe all too much. Stephanie Hsu and Ke Huy Quan deserve Oscars for the heart and soul they are able to bring to the film, and Yeoh is my pick for Best Actress, brilliantly balancing every version of her character within a film that changes genres so quickly and dramatically. A brilliant feat of filmmaking.

“Living” (dir. Oliver Hermanus): Based on the 1952 Akira Kurosawa film “Ikiru”, “Living” centers on a man (Bill Nighy) who is coming to terms with his impending death and understanding what it means to be alive and live. Nighy is brilliant and leads the film with impeccably perfect acting, and the film ponders and allows for many questions about life. It’s simply beautiful and never goes where you think, despite being given a road map at the start of the film. If I left the film with anything, it’s that what we choose to do with the time we have matters.

“Marcel the Shell with Shoes On” (dir. Dean Fleischer-Camp): A feature length film based on the YouTube short films, Fleischer-Camp returns to the world of Marcel with star Jenny Slate back as the voice of the a tiny shell you will instantly fall in love with. It’s a stop-motion animation marvel that is able to beautifully combine genres together and never once feels like the bit is going on too long. You’ll want to stay with Marcel for a very long time, and he, once you see the film, will stay with you.

“Nope” (dir. Jordan Peele): Yep. Peele leads Daniel Kaluuya, Keke Palmer, Steven Yeun and Brandon Perea, among others, in this beautifully complex and terrifying thriller that never once goes where you think it will. Peele gives all the puzzle pieces to us in the first watch, but repeated viewings continue to make the puzzle more complete. With some of the best crafts and scenes of the year, especially the score, “Nope” proves that Jordan Peele isn’t running out of brilliant ideas anytime soon.

“TÁR” (dir. Todd Field): Cate Blanchette is terrifying and brilliant as Lydia Tár, a conductor preparing for one of the biggest career achievements of her life while also dealing with the consequences of her previous actions. The film asks some incredibly difficult questions and, even with a daunting 158 minute runtime, doesn’t leave anything unanswered. The film at times feels like a horror film, and is incredibly tense and filled with flashes and visions of the past. Repeated viewings will reward with hidden ghosts and a greater understanding of Todd Field’s vision as a writer and Blanchette’s performance, both of which cannot be praised highly enough and will be huge and deserved contenders during awards season.

“Women Talking” (dir. Sarah Polley): The ensemble of the year, the film follows a group of Mennonite women who are discussing the best course of action to take after an incredibly dark discovery. Polley bakes in the questions of what it means to have a voice and how it can be silenced without realization. The entire cast is absolutely astounding (Claire Foy, in particular, gives a stellar performance), and the score and cinematography are simply stunning. It’s a film that asks hard questions and deals with even harder subject matters, but still remains hopeful even in the darkest of moments.

Score: “정훈희” (Jeong Hun Hi or Jeong Hoon-hee) (안개(Fog) 1967)” from “Decision to Leave” (dir. Park Chan-wook)

[denimbex1986]

'As film fans rage about 2024 Oscars nomination “snubs”, it’s the omission of Andrew Haigh’s gay ghost story All of Us Strangers that stings for me the most.

I found watching the delicate, affecting All of Us Strangers to be a little like picking a scab. The first time I saw it, a barely concealed wound opened and bled.

Although I knew going back a second time would only keep the wound raw, I couldn’t help it. An addictive pang of something – catharsis, masochism, I’m not sure – brought me straight back. I wept both times.

Based loosely on Taichi Yamada’s 1987 novel Strangers, the film follows depressed, queer, mid-40s writer Adam – played with excruciating vulnerability by Fleabag’s Andrew Scott – as he ventures back to his childhood home. His parents, played by The Crown‘s Claire Foy and Billy Elliot‘s Jamie Bell, are there to greet him – despite having died 30 years earlier in a car crash.

It opens a realm of possibility that all of us have or will imagine at one time or another: what do you wish you’d said to a loved one, now they’re no longer around to hear it?

It’s a tough year to be an Oscars contender, for sure. Online, frustrated film lovers are voicing their disappointment at a range of absences from the nominations list: both Barbie director Greta Gerwig and star Margot Robbie were left in the cold, while the heart of Past Lives, actress Greta Lee, wasn’t nominated for best actress.

But both films scored best picture nominations. Indeed, Barbie racked up eight nods in total.

All of Us Strangers? Nothing. It’s confusing. Even Todd Haynes’ May December, snubbed in the majority of categories, managed a nod for best original screenplay.

Critics have adored All of Us Strangers, as have audiences. It’s currently sitting as one of the freshest releases of 2023 on Rotten Tomatoes with a 96 per cent approval rating, while the BAFTAs have got it down for six potential awards, including best British film.

Spend a few minutes scouring social media, and you’ll drown in the wave of outrage from those shocked it didn’t get an Oscar nomination too.

Scott is the film’s highlight. Three decades of muted grief hangs from the delivery of his every line, and his childlike longing for protection resonates as something we all feel but rarely acknowledge. A best actor nomination, though not entirely expected considering he wasn’t nominated in the same category at the BAFTAs, would have been richly deserved.

And Foy should have been a no-brainer for a best supporting actress nod. Her portrayal of a fallible mother of the Thatcher generation – who at first struggles to understand her son’s sexuality – is as warm and tender as it is devastating, given the gulf that exists between their lives.

In one quietly affecting scene, she tells Adam that no matter how long he spends with their apparitions, it will never be enough, essentially capturing the film’s heart in a single line.

It also feels like a bizarre missed opportunity for the Academy to right some of Hollywood’s wrongs when it comes to LGBTQ+ representation.

There’s no doubt that the 2024 Oscars are already historic for queer actors: Colman Domingo is up for best actor, thanks to his role as a gay civil rights activist in Rustin, and Jodie Foster is nominated for her portrayal of lesbian racquetball player Bonnie Stoll in Nyad.

In Domingo’s case, it’s only the second time an out gay actor has been nominated in the category for playing a gay character (Ian McKellen was the first).

But for the Academy to be presented with an impeccable LGBTQ+ story – Adam meets a fellow gay resident, Harry (Paul Mescal), and they begin an intimate relationship – and to ignore it entirely, sits uncomfortably. Was the queer quota for the year already filled?

Fans have a few theories as to why it may have been cast aside. It was released in the US at the very end of the year, and in a limited number of cinemas, meaning it slipped under the radar for many. As a queer love story, too, it tackles the enormity of coming out and the pain of not being able to be our authentic selves with our loved ones before it’s too late.

That might be difficult to relate to for some viewers.

There’s the simple fact that the this year’s Oscars are stacked with talent, or perhaps as one satirical film site put it, maybe the Academy simple didn’t bother to watch it. “We got the DVD and everything,” reads a made-up quote from an Academy official on Screen Idle, “but, you know, it looked all a bit British and depressing, so we didn’t get round to watching it.”

The film might not have stormed the Oscars, and it might go unnoticed by those who aren’t avid cinema lovers, but, for the queer people who watch it, it will always be special – and that is worth way more than any gold statuette.

Director and Looking creator Haigh said it best. “I’m all right with it not being some big mainstream million-dollar, billion-dollar hit, because clearly, that’s never going to happen,” he told PinkNews in an exclusive interview.

“There will still be lots and lots of people out there who won’t go and see this film because of the [LGBTQ+ content], or what they think is the content, and that’s a shame, because I feel this is a film for everybody.

“But it’s nice and amazing that it has been taken under the wing by a lot of people. I love that.”'

[cyarskj1899]

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NEWS

Denver Sean

Angela Bassett, Niecy Nash, Sheryl Lee Ralph, and More Win Critics Choice Awards

January 15, 2023 7:40 PM PST

It’s another great night for Black women in entertainment winning awards they rightfully deserve!

The 28th Critics Choice Awards took place at the Fairmont Century Plaza Hotel in Los Angeles on Sunday night.

Chelsea Handler hosted the CW broadcast, taking over from actor Taye Diggs, who hosted the past four years of the awards ceremony.

Sheryl Lee Ralph took home the award for Best Supporting Actress in a Comedy Series for ‘Abbott Elementary,’ Niecy Nash won Best Supporting Actress in a Limited Series for ‘Dahmer,’ Angela Bassett won Best Supporting Actress, Ruth E. Carter won Best Costume Design for her work on ‘Wakanda Forever’ and Zendaya took home Best Actress in a Drama Series.

In a special honor, Janelle Monáe  received the #SeeHer award.

See the evening’s full list of winners below.

Best Picture

“Everything Everywhere All at Once” (A24)

“Avatar: The Way of Water” (20th Century Studios)

“Babylon” (Paramount Pictures)

“The Banshees of Inisherin” (Searchlight Pictures)

“Elvis” (Warner Bros.)

“The Fabelmans” (Universal Pictures)

“Glass Onion: A Knives Out Mystery” (Netflix)

“RRR” (Variance Films)

“Tár” (Focus Features)

“Top Gun: Maverick” (Paramount Pictures)

“Women Talking” (MGM/United Artists Releasing)

Best Actress

Cate Blanchett – “Tár” (Focus Features)

Viola Davis – “The Woman King” (Sony Pictures)

Danielle Deadwyler – “Till” (Orion/United Artists Releasing)

Margot Robbie – “Babylon” (Paramount Pictures)

Michelle Williams – “The Fabelmans” (Universal Pictures)

Michelle Yeoh – “Everything Everywhere All at Once” (A24)

Best Actor

Brendan Fraser – “The Whale” (A24)

Austin Butler – “Elvis” (Warner Bros.)

Tom Cruise – “Top Gun: Maverick” (Paramount Pictures)

Colin Farrell – “The Banshees of Inisherin” (Searchlight Pictures)

Paul Mescal – “Aftersun” (A24)

Bill Nighy – “Living” (Sony Pictures Classics)

Best Director

Daniel Kwan and Daniel Scheinert – “Everything Everywhere All at Once” (A24)

James Cameron – “Avatar: The Way of Water” (20th Century Studios)

Damien Chazelle – “Babylon” (Paramount Pictures)

Todd Field – “Tár” (Focus Features)

Baz Luhrmann – “Elvis” (Warner Bros.)

Martin McDonagh – “The Banshees of Inisherin” (Searchlight Pictures)

Sarah Polley – “Women Talking” (MGM/United Artists Releasing)

Gina Prince-Bythewood – “The Woman King” (Sony Pictures)

S.S. Rajamouli – “RRR” (Variance Films)

Steven Spielberg – “The Fabelmans” (Universal Pictures)

Best Limited Series

“The Dropout” (Hulu)

“Gaslit” (Starz)

“The Girl from Plainville” (Hulu)

“The Offer” (Paramount+)

“Pam & Tommy” (Hulu)

“Station Eleven” (HBO Max)

“This Is Going to Hurt” (AMC+)

“Under the Banner of Heaven” (FX)

Best Drama Series

“Better Call Saul” (AMC)

“Andor” (Disney+)

“Bad Sisters” (Apple TV+)

“The Crown” (Netflix)

“Euphoria” (HBO)

“The Good Fight” (Paramount+)

“House of the Dragon” (HBO)

“Severance” (Apple TV+)

“Yellowstone” (Paramount Network)

Best Young Actor/Actress

Gabriel LaBelle – “The Fabelmans” (Universal Pictures)

Frankie Corio – “Aftersun” (A24)

Jalyn Hall – “Till” (Orion/United Artists Releasing)

Bella Ramsey – “Catherine Called Birdy” (Amazon Studios)

Banks Repeta – “Armageddon Time” (Focus Features)

Sadie Sink – “The Whale” (A24)

Best Comedy

“Glass Onion: A Knives Out Mystery” (Netflix)

“The Banshees of Inisherin” (Searchlight Pictures)

“Bros” (Universal Pictures)

“Everything Everywhere All at Once” (A24)

“Triangle of Sadness” (Neon)

“The Unbearable Weight of Massive Talent” (Lionsgate)

Best Acting Ensemble

“Glass Onion: A Knives Out Mystery” (Netflix)

“The Banshees of Inisherin” (Searchlight Pictures)

“Everything Everywhere All at Once” (A24)

“The Fabelmans” (Universal Pictures)

“The Woman King” (Sony Pictures)

“Women Talking” (MGM/United Artists Releasing)

Best Talk Show

“Last Week Tonight with John Oliver” (HBO)

“The Amber Ruffin Show” (Peacock)

“Full Frontal with Samantha Bee” (TBS)

“The Kelly Clarkson Show” (Syndicated)

“Late Night with Seth Meyers” (NBC)

“Watch What Happens Live with Andy Cohen” (Bravo)

Best Comedy Special

“Norm Macdonald: Nothing Special” (Netflix)

“Fortune Feimster: Good Fortune” (Netflix)

“Jerrod Carmichael: Rothaniel” (HBO)

“Joel Kim Booster: Psychosexual” (Netflix)

“Nikki Glaser: Good Clean Filth” (HBO)

“Would It Kill You to Laugh? Starring Kate Berlant & John Early” (Peacock)

Best Foreign Language Series

“Pachinko” (Apple TV+)

“1899” (Netflix)

“Borgen” (Netflix)

“Extraordinary Attorney Woo” (Netflix)

“Garcia!” (HBO Max)

“The Kingdom Exodus” (MUBI)

“Kleo” (Netflix)

“My Brilliant Friend” (HBO)

“Tehran” (Apple TV+)

Best Animated Series

“Harley Quinn” (HBO Max)

“Bluey” (Disney+)

“Bob’s Burgers” (Fox)

“Genndy Tartakovsky’s Primal” (Adult Swim)

“Star Trek: Lower Decks” (Paramount+)

“Undone” (Prime Video)

Best Movie Made for Television

“Weird: The Al Yankovic Story” (The Roku Channel)

“Fresh” (Hulu)

“Prey” (Hulu)

“Ray Donovan: The Movie” (Showtime)

“The Survivor” (HBO)

“Three Months” (Paramount+)

Best Actress in a Drama Series

Zendaya – “Euphoria” (HBO)

Christine Baranski – “The Good Fight” (Paramount+)

Sharon Horgan – “Bad Sisters” (Apple TV+)

Laura Linney – “Ozark” (Netflix)

Mandy Moore – “This Is Us” (NBC)

Kelly Reilly – “Yellowstone” (Paramount Network)

Best Actor in a Drama Series

Bob Odenkirk – “Better Call Saul” (AMC)

Jeff Bridges – “The Old Man” (FX)

Sterling K. Brown – “This Is Us” (NBC)

Diego Luna – “Andor” (Disney+)

Adam Scott – “Severance” (Apple TV+)

Antony Starr – “The Boys” (Prime Video)

Best Hair and Makeup

“Elvis” (Warner Bros.)

“Babylon” (Paramount Pictures)

“The Batman” (Warner Bros.)

“Black Panther: Wakanda Forever” (Marvel Studios)

“Everything Everywhere All at Once” (A24)

“The Whale” (A24)

Best Visual Effects

“Avatar: The Way of Water” (20th Century Studios)

“The Batman” (Warner Bros.)

“Black Panther: Wakanda Forever” (Marvel Studios)

“Everything Everywhere All at Once” (A24)

“RRR” (Variance Films)

“Top Gun: Maverick” (Paramount Pictures)

Best Editing

Paul Rogers – “Everything Everywhere All at Once” (A24)

Stephen Rivkin, David Brenner, John Refoua, James Cameron – “Avatar: The Way of Water” (20th Century Studios)

Tom Cross – “Babylon” (Paramount Pictures)

Matt Villa, Jonathan Redmond – “Elvis” (Warner Bros.)

Monika Willi – “Tár” (Focus Features)

Eddie Hamilton – “Top Gun: Maverick” (Paramount Pictures)

Best Production Design 

Florencia Martin, Anthony Carlino – “Babylon” (Paramount Pictures)

Dylan Cole, Ben Procter, Vanessa Cole – “Avatar: The Way of Water” (20th Century Studios)

Hannah Beachler, Lisa K. Sessions – “Black Panther: Wakanda Forever” (Marvel Studios)

Catherine Martin, Karen Murphy, Bev Dunn – “Elvis” (Warner Bros.)

Jason Kisvarday, Kelsi Ephraim – “Everything Everywhere All at Once” (A24)

Rick Carter, Karen O’Hara – “The Fabelmans” (Universal Pictures)

Best Cinematography

Claudio Miranda – “Top Gun: Maverick” (Paramount Pictures)

Russell Carpenter – “Avatar: The Way of Water” (20th Century Studios)

Linus Sandgren – “Babylon” (Paramount Pictures)

Roger Deakins – “Empire of Light” (Searchlight Pictures)

Janusz Kaminski – “The Fabelmans” (Universal Pictures)

Florian Hoffmeister – “Tár” (Focus Features)

Best Comedy Series

“Abbott Elementary” (ABC)

“Barry” (HBO)

“The Bear” (FX)

“Better Things” (FX)

“Ghosts” (CBS)

“Hacks” (HBO Max)

“Reboot” (Hulu)

“Reservation Dogs” (FX)

Best Actress in a Comedy Series

Jean Smart – “Hacks” (HBO Max)

Christina Applegate – “Dead to Me” (Netflix)

Quinta Brunson – “Abbott Elementary” (ABC)

Kaley Cuoco – “The Flight Attendant” (HBO Max)

Renée Elise Goldsberry – “Girls5eva” (Peacock)

Devery Jacobs – “Reservation Dogs” (FX)

Best Actor in a Comedy Series

Jeremy Allen White – “The Bear” (FX)

Matt Berry – “What We Do in the Shadows” (FX)

Bill Hader – “Barry” (HBO)

Keegan-Michael Key – “Reboot” (Hulu)

Steve Martin – “Only Murders in the Building” (Hulu)

D’Pharaoh Woon-A-Tai – “Reservation Dogs” (FX)

#SeeHer Award Janelle Monáe Lifetime Achievement Award Jeff Bridges

Best Animated Feature

“Guillermo del Toro’s Pinocchio” (Netflix)

“Marcel the Shell with Shoes On” (A24)

“Puss in Boots: The Last Wish” (DreamWorks Animation)

“Turning Red” (Pixar)

“Wendell & Wild” (Netflix)

Best Actor in a Limited Series or Movie Made for Television

Daniel Radcliffe – “Weird: The Al Yankovic Story” (The Roku Channel)

Ben Foster – “The Survivor” (HBO)

Andrew Garfield – “Under the Banner of Heaven” (FX)

Samuel L. Jackson – “The Last Days of Ptolemy Grey” (Apple TV+)

Sebastian Stan – “Pam & Tommy” (Hulu)

Ben Whishaw – “This is Going to Hurt” (AMC+)

Best Costume Design

Ruth E. Carter – “Black Panther: Wakanda Forever” (Marvel Studios)

Mary Zophres – “Babylon” (Paramount Pictures)

Catherine Martin – “Elvis” (Warner Bros.)

Shirley Kurata – “Everything Everywhere All at Once” (A24)

Jenny Eagan – “Glass Onion: A Knives Out Mystery” (Netflix)

Gersha Phillips – “The Woman King” (Sony Pictures)

Best Song

“Naatu Naatu” – “RRR” (Variance Films)

“Lift Me Up” – “Black Panther: Wakanda Forever” (Marvel Studios)

“Ciao Papa” – “Guillermo del Toro’s Pinocchio” (Netflix)

“Hold My Hand” – “Top Gun: Maverick” (Paramount Pictures)

“Carolina” – “Where the Crawdads Sing” (Sony Pictures)

“New Body Rhumba” – “White Noise” (Netflix)

Best Score

Hildur Guðnadóttir – “Tár” (Focus Features)

Michael Giacchino – “The Batman” (Warner Bros.)

Justin Hurwitz – “Babylon” (Paramount Pictures)

John Williams – “The Fabelmans” (Universal Pictures)

Alexandre Desplat – “Guillermo del Toro’s Pinocchio” (Netflix)

Hildur Guðnadóttir – “Women Talking” (MGM/United Artists Releasing)

Best Original Screenplay

Daniel Kwan, Daniel Scheinert – “Everything Everywhere All at Once” (A24)

Charlotte Wells – “Aftersun” (A24)

Martin McDonagh – “The Banshees of Inisherin” (Searchlight Pictures)

Steven Spielberg, Tony Kushner – “The Fabelmans” (Universal Pictures)

Todd Field – “Tár” (Focus Features)

Best Adapted Screenplay

Sarah Polley – “Women Talking” (MGM/United Artists Releasing)

Rian Johnson – “Glass Onion: A Knives Out Mystery” (Netflix)

Kazuo Ishiguro – “Living” (Sony Pictures Classics)

Rebecca Lenkiewicz – “She Said” (Universal Pictures)

Samuel D. Hunter – “The Whale” (A24)

Best Supporting Actress

Angela Bassett – “Black Panther: Wakanda Forever” (Marvel Studios)

Jessie Buckley – “Women Talking” (MGM/United Artists Releasing)

Kerry Condon – “The Banshees of Inisherin” (Searchlight Pictures)

Jamie Lee Curtis – “Everything Everywhere All at Once” (A24)

Stephanie Hsu – “Everything Everywhere All at Once” (A24)

Janelle Monáe – “Glass Onion: A Knives Out Mystery” (Netflix)

Best Supporting Actor

Ke Huy Quan – “Everything Everywhere All at Once” (A24)

Paul Dano – “The Fabelmans” (Universal Pictures)

Brendan Gleeson – “The Banshees of Inisherin” (Searchlight Pictures)

Judd Hirsch – “The Fabelmans” (Searchlight Pictures)

Barry Keoghan – “The Banshees of Inisherin” (Searchlight Pictures)

Brian Tyree Henry – “Causeway” (A24/Apple Original Films)

Best Supporting Actor in a Comedy Series

Henry Winkler – “Barry” (HBO)

Brandon Scott Jones – “Ghosts” (CBS)

Leslie Jordan – “Call Me Kat” (Fox)

James Marsden – “Dead to Me” (Netflix)

Chris Perfetti – “Abbott Elementary” (ABC)

Tyler James Williams – “Abbott Elementary” (ABC)

Best Supporting Actress in a Comedy Series

Sheryl Lee Ralph – “Abbott Elementary” (ABC)

Paulina Alexis – “Reservation Dogs” (FX)

Ayo Edebiri – “The Bear” (FX)

Marcia Gay Harden – “Uncoupled” (Netflix)

Janelle James – “Abbott Elementary” (ABC)

Annie Potts – “Young Sheldon” (CBS)

Best Supporting Actor in a Limited Series or Movie Made for Television

Paul Walter Hauser – “Black Bird” (Apple TV+)

Murray Bartlett – “Welcome to Chippendales” (Hulu)

Domhnall Gleeson – “The Patient” (FX)

Matthew Goode – “The Offer” (Paramount+)

Ray Liotta – “Black Bird” (Apple TV+)

Shea Whigham – “Gaslit” (Starz)

Best Supporting Actress in a Limited Series or Movie Made for Television

Niecy Nash-Betts – “Dahmer – Monster: The Jeffrey Dahmer Story” (Netflix)

Claire Danes – “Fleishman Is in Trouble” (FX)

Dominique Fishback – “The Last Days of Ptolemy Grey” (Apple TV+)

Betty Gilpin – “Gaslit” (Starz)

Melanie Lynskey – “Candy” (Hulu)

Juno Temple – “The Offer” (Paramount+)

Best Supporting Actor in a Drama Series

Giancarlo Esposito – “Better Call Saul” (AMC)

Andre Braugher – “The Good Fight” (Paramount+)

Ismael Cruz Córdova – “The Lord of the Rings: The Rings of Power” (Prime Video)

Michael Emerson – “Evil” (Paramount+)

John Lithgow – “The Old Man” (FX)

Matt Smith – “House of the Dragon” (HBO)

Best Supporting Actress in a Drama Series

Jennifer Coolidge – “The White Lotus” (HBO)

Milly Alcock – “House of the Dragon” (HBO)

Carol Burnett – “Better Call Saul” (AMC)

Julia Garner – “Ozark” (Netflix)

Audra McDonald – “The Good Fight” (Paramount+)

Rhea Seehorn – “Better Call Saul” (AMC)

Best Foreign Language Film

“RRR” (Variance Films)

“All Quiet on the Western Front” (Netflix)

“Argentina, 1985” (Amazon Studios)

“Bardo, False Chronicle of a Handful of Truths” (Netflix)

“Close” (A24)

“Decision to Leave” (Mubi)

Best Actress in a Limited Series or Movie Made For Television

Amanda Seyfried – The Dropout (Hulu)

Julia Garner – “Inventing Anna” (Netflix)

Lily James – “Pam & Tommy” (Hulu)

Amber Midthunder – “Prey” (Hulu)

Julia Roberts – “Gaslit” (Starz)

Michelle Pfeiffer – “The First Lady” (Showtime)

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[kazumahashimoto]

BEAUTIFUL PERSON AWARD! Once you are given this award you're supposed to paste it in the asks of 8 people who deserve it. If you break the chain nothing happens, but it's sweet to know someone thinks you're beautiful inside and out <333333333333333

lol thank you<3 here i'll do your tag game while you're here

1. food: bread. all bread any form

2. character: character of all time has got to be kazuma hashimoto. i mean there's no other option

3. film: All About Who You Know (2019) is the greatest film ever produced

4. book: the fuckinggguhhh no.6 novels

5. author: he's not published yet💔

6. actor: i don't really watch live action things that much so let's go with voice actor. my faves swing around pretty often but currently i'd say robbie daymond, justin briner, and recently aj beckles! do not get me started though lol

7. film: it's still All About Who You Know (2019)

8. tv show: let's skip over the anime answers cos like i think you can guess what those are 😭 i fucking love degrassi. so much. besides that i'd say breaking bad lol

9. color: any shade of red/pink like this

10. song: uhh this changes constantly as well but currently i'd say no diff by hi i'm chris and this

11. singer: singer is so specific. let's just say musical artist. 1 800 pain and femtanyl 👍

[lady-eve]

Okay so I loved the Barbie Movie, truly one of my favorites of all time. But idk that I'm on board with this Oscar snub narrative. The truth is I didn't see ANY of the other movies nominated for best director or best actress so how can I say that even though I think Greta Gerwig and Margot Robbie were amazing and moved me in ways I'm not often moved by movies that the actual nominees didn't deserve it. Isn't that how it works? If Gerwig and Robbie had been nominated then one of the current nominees would have not been nominated, correct? I actually don't know if that's how the Oscar's work bc that shit is so stupid and I never care about film makers congratulating each other any more than I care about like the National Realators Association Awards lmao. Like have fun in your little industry bubble but why should the public give a fuck? Anyway I just haven't seen anyone give an argument of who should NOT have been nominated in favor of Barbie Movie filmmakers being on that list. And that makes me think yall didn't watch Killers of the Flower Moon or Anatomy of a Fall either which would make this whole argument pointless.

[zendyval]

I haven't been seen Barbie yet and most of the movies nominated. I have had a hard time concentrating on films since the pandemic so am much more of a tv girl of late- though I did finally watch Bottoms, but that is neither here nor there.

But I need the Oscars to happen now because the insane discourse on both extremes is driving me fucking crazy. The OMG BARBIE sucked and nobody deserved noms for anything and it's about time you realize how bad it was, except Ryan blah blah and then the other side acting as if the world has ended because Margot didn't get an acting nom and Greta, a directing nom. Neither I think would have been out of place, but there has also been a lot of minimizing that a woman IS nommed for Best Director (of course there can be more than one but many are acting as if the noms are a full on sausage fest) and some of the other nominees that are out there. Also minimizing that Greta and Margot are nommed in other categories. I promise you Greta Gerwig is going to be fine, as is Margot Robbie, after one of the biggest films in years.

Also whether anyone agrees with the America F. nom or not, the way people are speaking about her is not cool. If it makes anyone feel better, pretend her nom is for Real Women Have Curves or any of the tv project she did that probably deserved Emmy noms- I know she has one for Ugly Betty, but Superstore? She did some great monologues there. I promise there are far greater injustices in awards world than America F. getting a nom.

Not remotely an original thought either but I agree with the sentiment that people like to complain when a film gets nommed for BP but then not for Best Director there is a lot of ire about how the film didn't direct itself. How can something be nommed for BP and not BD. Well maybe because there are 10 BP noms and only 5 BD, so clearly 5 aren't going to make the cut.

[themovieblogonline]

Barbie Review: An Exhilarating Pink Symphony

Let's take a moment to celebrate Greta Gerwig. From the moment I first watched Lady Bird during its theatrical release, I knew she possessed a crucial and unique voice that would leave a lasting impact in the years to come – and I was absolutely right. Little Women, her next film, based on the novel by Louisa May Alcott, has become one of my all-time favorite comfort movies. There's a certain magic in it that can cure any amount of sadness. https://www.youtube.com/watch?v=pBk4NYhWNMM This is precisely why I couldn't contain my excitement when I heard she would be taking on the project of Barbie. With Gerwig's involvement, you can always be confident that her work won't be just another generic, uninspired movie. Her films may not be everyone's cup of tea, but there's no denying the undeniable uniqueness of her voice. With Barbie, she's demonstrating her power and style like never before. The Good: Greta Gerwig's Barbie is an outrageously funny and visually stunning journey that brings the iconic doll to life in ways we could never have imagined. Bursting with vibrant colors and humor, this film is an absolute joy to watch. Set in the enchanting world of Barbie Land, the story follows Barbie and Ken as they venture into the real world, leading to a hilarious and heartwarming exploration of the human experience. The film's humor is its undeniable highlight. From start to finish, there isn't a single scene without something to laugh at. Gerwig's clever writing and the actors' impeccable comedic timing make Barbie the funniest movie in recent memory. The audience is treated to moments of pure hilarity, and the infectious laughter that echoes through the theater is a testament to its brilliance. But it's not just the humor that captivates audiences; the production design is equally impressive. Barbie Land is a visual feast, a kaleidoscope of colors dominated by the iconic pink hue. The attention to detail and creativity in creating this fantastical world is commendable. So much so that it reportedly caused a shortage of pink paint in the real world, adding a layer of humor to the film's influence on the physical world. The heart of the film lies in Margot Robbie's phenomenal performance as Barbie. Known for her versatility, Robbie embodies the beloved doll with charm, wit, and an endearing vulnerability. She effortlessly switches between comedic brilliance and heartrending moments, creating a multi-dimensional character that resonates deeply with the audience. This may well be Robbie's finest performance to date, cementing her as one of the most talented actresses of her generation. Alongside Robbie, America Ferrera shines in a supporting role as Gloria, a Mattel employee thrust into the whirlwind of the real world with Barbie. Ferrera's portrayal is warm and genuine, and her chemistry with young talent Ariana Greenblatt, who plays her daughter, Sasha, adds a touching layer to the film's emotional core.   Ryan Gosling's casting as Ken is a stroke of genius. His undeniable charisma and energy bring Ken to life in a way that no other actor could have achieved. Gosling's chemistry with Robbie is palpable, and their performances elevate the film to new heights. Both actors deliver unforgettable performances and deserve serious consideration for awards recognition. Rodrigo Prieto's cinematography is a sight to behold. Every frame is meticulously crafted, showcasing the colorful and fantastical world of Barbie Land with awe-inspiring beauty. The film's visual splendor enhances the storytelling, making it one of the most visually striking films of the year. Beyond its entertainment value, Barbie is an incredibly important film. Gerwig's direction, coupled with the superb performances, makes audiences fall in love with cinema all over again. It reminds us of the power of storytelling and its ability to transport us to magical worlds while also reflecting on our own reality. The Bad: If I'm going to be completely honest with you all, there was not a single element of Barbie that I didn't fall in love with. Perhaps you should stay away from this one if you're not a big fan of goofy comedies or if you're not a big fan of any of the actors or something along those lines. It's also definitely not a movie that you should take your kids to see, even though this is a Barbie movie. Trust me, it goes to some seriously deep places that took me by complete surprise. There are also some adult jokes in the film as well, so be warned. Overall: Barbie, directed by Greta Gerwig, is an absolute triumph. With its side-splitting humor, jaw-dropping production design, and outstanding performances, it captivates audiences and leaves them with a renewed appreciation for the art of filmmaking. Margot Robbie's portrayal of Barbie is a tour de force, supported by an excellent ensemble cast led by Ryan Gosling and America Ferrera. The film's visual splendor, courtesy of Rodrigo Prieto's cinematography, further adds to its brilliance. Barbie is an experience that brings joy, laughter, and warmth, making it a must-see film that leaves a lasting impression on its audience. Read the full article

[mariailoveyou-guerin]

that been said kinda disappointed about the whole movie all that marketing hype promo absolutely everything just for the movie to be fun but just okay it wasn’t worthy of all that hype and promo they did was very disappointing it was just literally a silly fun but okay movie not great not incredible and definitely not the way first people who saw it at pre screen was talking about it, it was literally just okay it didn’t leave anything I really thought I was gonna leave feeling some type of way but nothing left feeling absolutely nothing just that it was very meh actually and hype promo was waste of time and money! I don’t know what I was expecting maybe for it to be the movie of the year like they was talking about but it wasn’t even movie of the week if being honest! I knew it was gonna be silly and fun which it delivered and sure I wasn’t expecting much but I was definitely expecting something from the way it was being hyped and market everywhere and the praises and found even more disappointing that it’s called Barbie but it was really a movie more about the Ken having extentenial life crisis Ken had so much more of everything even got songs it’s Barbie movie but Barbie didn’t even sing

but Ken did had multiple singing part whole dance number which the barbies got too and don’t even get me started on the fact they literally casted Ryan as Ken because he wasn’t supposed to outshine Barbie Margot and it’s Ryan in a acting capacity he can’t because Margot is far superior actor but he still managed to steal the show now I get the praise why it was mostly him beinf highlighted by critics never in million years did I think Ryan would out act let alone outshine Margot but he did somehow Margot got nothing except for the 2 scenes with the Ruth’s that’s about it! I mean Ryan is a good comedy actor and genuinely more funny in real life the Margot but Margot is great comedy actress especially after her role as Harley so if Ryan was gonna outshine her in some part it would be the hilarious one liners and comedy part but the whole movie Ryan and Ken’s stealing the whole movie was not what I was expecting I find it so ironic and hilarious that Ryan was cast in the role to not outshine outdo Margot but he did all that when he was just cast to just be Ken as Ryan is in all the interviews always giving Margot the barbies all the attention screen time while he acts like Ken in the background but the movie is really Ken with barbie or Ken ft Barbie Ken started a whole revolution got all the barbies to agree going against Barbie the movie was Ken Ryan movie really not Margot Barbie movie!

loved Margot scene with Ruth tho in the yellow dress that’s the most she shined in the whole movie kinda sad about it my girl deserved for the effort she put in

Overall just really disappointed about the movie like I was expecting nothing and got disappointed somehow or I was expecting a little something but was let down massively the whole movie was very underwhelming for the amount of money hype promo and talk they did for it and if it gets any at all award nominations know that it’s bc of yt privilege and yt female privilege! Bc it didn’t deserve anything I wasn’t expecting it to be deep life altering but at least a little deep and at least something so when I left the cinema I would feel overjoyed overwhelmed with emotions about the movie the way the cast was all everywhere saying watch Oppenheimer first bc you don’t wanna watch Barbie and feel all these emotions laughter while watching Oppenheimer but like I feel absolutely nothing and felt nothing after I left the cinema just wondering where to go to eat! So yeah whole movie was underwhelming so underwhelming would give it a 3/5 or 7/10 and only reason it got 7/10 it should be 6.5 really it’s bc I loved the colors that was nice and Ryan was amazing still in shock how he outshined THE mf margot Robbie in movie that’s literally about her but somehow the yt man did again wait was that the point of the movie? Idk disappointing so disappointed for a movie I’ve waited months to see a movie eveyone swore was gonna be movie of the year or this generation movie just for it to be utterly and completely ridiculously meh and underwhelming

[path-of-my-childhood]

Taylor Swift to receive Global Icon Award

May 10th 2021 // BRIT Awards 2021

Today we're so excited to announce that multi-million selling international superstar and songwriter of a generation Taylor Swift will be the first female artist to be presented with the BRITs Global Icon award at this year's ceremony, in recognition of her immense impact on music across the world and incredible repertoire and achievements to date! According to the Official Charts Company, Taylor is the UK's biggest selling artist of the year to date in 2021. Taylor Swift is an eleven-time Grammy award winner and the first ever female artist to win the Grammy for Album of the Year three times. She has sold over 114 million albums worldwide with total global audio and video streams reaching 78 billion. She is the only artist in history to have four consecutive albums sell over one million copies in their week of release ('Speak Now', 'RED', '1989' and 'reputation'), the only artist to have nine albums each sell at least half a million copies in a single week and the first and only female artist in the 21st century to score seven #1 studio albums in the UK! This is just a fraction of her incredible achievements, but it's safe to say there's no question that Taylor is more than deserving of this prestigious award. The BRITs Icon is the highest accolade given and is reserved for truly exceptional artists. Taylor becomes the first female artist to become a recipient with previous winners being Elton John, Robbie Williams and David Bowie. The BRIT Awards will take place tomorrow and you'll be able to watch the show at 8pm BST | 9pm CET | 3pm EDT | 12pm PDT on ITV, ITV Hub and YouTube.com/BRITs.

[pynkhues]

What are you reading/what have you read lately that you'd recommend?

Oh man, so many actually! In particular though, I'd recommend:

The Animals in That Country by Laura Jean McKay. It's a pandemic novel that came out right at the start of the pandemic, which is kinda nuts in terms of timing. It's not about COVID though, but rather about a fictional illness that presents as the flu but while people are sick, they can understand and talk to animals. It's nuts, but rich and darkly funny and Laura has this insane ability to really hone in on the different rhythms of animals and adapt that to their speech - from the fractured, almost hypnotic sound of flies to the violent poetry of dingoes. I loved this book a lot, especially when it really focused in on a grandmother and her granddaughter trying to navigate this feverish new world at a zoo in regional Australia.

Drop Bear by Evelyn Araluen. Both prose and poetry, Evelyn's an Aboriginal writer here and this collection unpacks colonial trauma and land and religion and, as The Guardian put it, 'kitsch Australiana' in a way that's just really, really compelling. It's been winning all the awards here this year, and it really deserves it. It's p wonderful.

The Rain Heron by Robbie Arnott. I adored Robbie's first book, Flames, and I actually think I might love The Rain Heron even more. The way he writes nature and incorporates that into humanity and violence and myth is really, really magic, and this story about a reclusive woman being forced to confront her history when a soldier comes looking for a mythical creature in the mountain she lives is just right up my alley.

The Trauma Cleaner by Sarah Krasnostein. This is actually a biography about Sandra Pankhurst who was a trans woman who created a business cleaning up traumatic incidents, from murders to suicides to hoarders who died among their belongings to collapsed houses with bodies still inside. It's totally riveting, and Sandra is such a fascinating woman (she only passed away earlier this year), and this biography just has so much heart and humour to it. The Criminal podcast actually did a really great interview with Sandra before she passed away too which I highly recommend checking out too!

How about you? Do you have any books to recommend?

[liberty-barnes]

Just Breathe

Tom Holland x Female!Osterfield!Bisexual!Reader

Summary: Childbirth waits for no one, not even the Oscars.

Warnings: fluuuuuff, pregnant reader, mentions of childbirth, good press articles, BISEXUAL READER WOOOHOOO

Word Count: 1.5k words

Estimated Reading Time: 6 minutes

A/N: heeeeey look @peterspideyy​ @parkersbliss​ that crazy idea i ranted to you about like six months ago finally got done! i can’t believe i did it... this feels too good to be true, is the world gonna end or something?

Masterlist 

"I don't think this is a good idea."

"Me neither."

"Please, just stay here."

You looked up to your brother and husband, frowning as you smoothed your hand over the soft black fabric of your gown.

"I am not missing the Oscars, Tom. I've still got two weeks until I'm due, it'll be fine."

You sat down on the bed and looked dejectedly at your shoes, then proceeded to throw puppy dog eyes your brother's way until Harrison had no choice but to kneel and help you put on your comfortable trainers. There's no way you're putting on your heels at 37 weeks of pregnancy.

"But what if Baby decides to come sooner? You could go into labour at any moment!"

You rolled your eyes and only raised your arms so they could help you out of bed.

"You guys are being over-dramatic. Nothing's gonna happen. We're just going to the Oscars, we'll have a good time, and hopefully, I'll leave with a little statue under my arm."

With that, you waddled out of your hotel room, ready to get into the limo.

---

"(Y/n)! It's so good to see you! You look radiant as always!"

You smiled at Kaitlyn, an interviewer you knew and trusted and rubbed your belly comfortingly. 

"Thank you, I feel like a whale, but Baby'll be here soon so it's worth it."

She smiled and asked you a bunch of questions about your movie and how you were feeling about being nominated for Best Actress.

"But anyway, how far along are you now?"

"I'm a little over 37 weeks, they should be coming soon. Tom and Haz were actually really apprehensive about me coming here since I'm so close to my due date."

She smiled and looked over at the two men, obviously on edge.

"Well, I wish you all the best and I sincerely hope you win."

You hugged her goodbye and posed for a few more pictures before being led inside by your husband.

---

"And now, for the moment you've all been waiting for..."

Everyone watched with bated breath as Brie Larson, last year's winner, got ready to announce who would take home the trophy.

"This year's winner, and taking home the Oscar for best actress in a leading role..."

Tom took your hand and you squeezed it tight, ready to applaud one of the other amazing actresses on their win.

"(Y/n) Holland, for her brilliant performance in Two Sides of the Same Coin!"

You felt like your heart was gonna beat out of your chest, run to that stage, kiss Brie, then promptly burst to flames out of sheer, unadulterated enthusiasm. Tom was hugging you and whispering how much you deserved it while your brother gently guided you to the podium. None of them would ever allow you to go up there on your own. Always one in front of you in case you trip forward and one behind you to catch you if you fall back.

Overprotective much?

As soon as you reached Brie, you hugged her tight (or as tight as you could with a human baby house separating you), taking the award while the two boys hugged her too.

"Holy Louis Tomlinson in a crop top."

The audience laughed, most of them already familiar with your strange One Direction inspired expressions.

"Wow, I didn't actually think I was gonna win this, everyone had such amazing performances. I-It's an honour, really. Two Sides of the Same Coin was a project very near and dear to my heart, so I'd like to thank the amazing Drew Barrymore, who wrote and directed the movie."

The room erupted in cheers and the woman smiled at you from her place on the front row.

"Bisexual representation is something we don't get very often, and when we do, it's always misjudged. So thank you for showing the world what bisexuality really is, and for giving me a chance to live out my dreams of kissing lots of people. This idiot tied me down too soon."

You pointed behind you at Tom, hearing his appalled squeak along with Harrison's guffaw of a laugh. 

In other news, the baby was starting to inconvenience you slightly. Baby had been going crazy since last night (not that you'd tell the boys) and the Braxton-Hicks were killing you, but it only got worse now.

"I'd also like to thank my amazing costars, Zendaya, Bella Thorne, and Owen Patrick Joyner, it was awesome to make out with you all..."

The crowd laughed while you felt something trickle down your legs.

Oh.

OH.

You'll never live this down, that's for sure.

"Uh, before I finish can one of you idiots call the car and get them to come to the exit please and thank you? Now as I was saying-"

"Wait, why?"

You turned to your brother and smiled innocently.

"Oh, my water just broke."

The crowd cheered.

Tom screamed.

Harrison fell to the floor, unconscious.

You sighed.

"New plan, can anyone try to wake my brother while my hus-" 

You looked at Tom, frantically doing small back and forths between you and his best friend, unsure of what to do. 

"-While someone else calls the car because both of them are apparently useless."

"We need to get you to the hospital!"

His terrified scream could be heard all through the room, even with no mic.

"What? No! I need to finish my acceptance speech, then go back to the hotel to shower and maybe take a little nap and then go to the hospital. My water just broke, Thomas, we have time, calm your tits."

You turned back fully to the mic, facing the hysteric faces of the crowd, very entertained by the exchange.

"Now as I was saying, I want to thank the amazing team that worked on this movie, you're all amazing and it was such a good experience. I'd also like to thank my family for always being there for me and supporting me and Haz in our acting careers. Thank you to my brother, even if he's unconscious right now, he'll just watch it on Youtube later, for literally forcing me to go to the audition. And lastly, I'd like to thank my wonderful husband, who hopefully hasn't passed out yet, for always supporting me and being my biggest rock through everything. Now if you'll excuse me, I'm off to deliver a baby, you know, just normal Saturday night stuff."

---

An Oscar in hand and another... down her legs?

(Y/n) Holland sure gave the Oscars something to be entertained by on this last Saturday. The wife of fellow actor Tom Holland looked radiant in her custom-made Valentino dress, looking ready for a night of fun.

(Y/n) was nominated for this year's Best Actress in a Leading Role award, alongside Meryl Streep, Margot Robbie, Cate Blanchett, and Tessa Thompson, but the Oscar went to her from her brilliant performance in Two Sides of the Same Coin. But it was during her acceptance speech that things got... slippery.

At 37 weeks of pregnancy, the Holland baby was ready to come at any minute, but apparently, theatrics run in the family. The actress was in the middle of her speech when she felt her water break, pausing in her talking to request a car be called.

You'd think her husband, Tom, and brother Harrison Osterfield, overprotective as they are, would be fully prepared! Unfortunately for them, and fortunately for our entertainment, they were not. Harrison went unconscious after hearing the news, dropping to the floor and earning himself a minor concussion, much to his sister's amusement

[image1-harrison-ice-pack.png]

@ynholland: "Don't worry, when you go into labour, I'll be with you every step of the way." Said Harrison Osterfield, then proceeded to pass out, get a minor concussion, and miss the whole delivery.😂 Good job, little bro👍

And just when you thought she couldn't get any better, she finishes her acceptance speech with: "Now if you'll excuse me, I'm off to deliver a baby, you know, just normal Saturday night stuff." We have no choice but to stan this iconic queen!

But for the news you've all been waiting for, Oscar Robert Holland (yes, the middle name is a homage to Robert Downey Jr. himself, we're not crying, you are!) was born just twelve hours later. Tom let know through a beautiful Instagram picture that he is in fact "perfectly healthy and loved by everyone already".

[image2-tom-and-oscar.png]

@tomholland2013: I present to you, my best creation to this date: Oscar Robert Holland. Thank you all for your prayers and kind messages, our boy is perfectly healthy and loved by everyone already❤️

But of course, Uncle Haz wouldn't stay behind.

[image3-haz-and-oscar.png]

@hazosterfield: Since I know you've all been worried sick and desperate to know how the baby is... I'm doing just fine, it's just a minor concussion :) Oh and my godson's great too.

And just to prove that the Osterfields are indeed the royal family of comedy, we leave with this wonderful picture posted to the happy mum's very own Instagram.

[image4-yn-and-oscars.png]

@ynholland: Guess I was so good they gave two Oscars instead of one ;)

-Written by Kaitlyn Storm

so anyway, Two Sides of the Same Coin is a movie idea i got a while ago and should maybe try to write one of these days but oh well or something. anyway, i’m not gonna rant about it here cause it’d be too long but i hope you enjoyed this and don’t forget to like/comment/reblog if you feel like it!

-Love, Miah

«────── « ⋅ʚ♡ɞ⋅ » ──────» 

Taglists: (if your name is striked through it means for some reason tumblr wouldn’t let me tag you) 

PERMA TAG 

@adriannajackson123​ @theamazingtomholland​ @inlovewithmobtom​ @andycanbeemotional​ @officiallyunofficialperson​ @lost-in-the-stars03​ @jeezkiddo​ @a-singleboat​ @wunder-13 @highlydisfunctional1​ @ellyseveronica​ @inthecornerchair​ @harishaanne​ @anjalika03​ @lozzypoz321​ @mendes-marvel​ @sovereignparker​ @bubbles-the-powerpuffgurl 

 MARVEL ACTORS 

@sarcasticallywitty15​ @agentnataliahofferson​ @onelovesr​ @agentnataliahofferson​ @parkerpetertingle​ @juliebean247​ @frustratingpaperclip​ @tacobacoyeet​ 

HOLLAND & CO. 

@sarcasticallywitty15​ @agentnataliahofferson​ @onelovesr​ @agentnataliahofferson​ @zeusmyster​ @parkerpetertingle​ @juliebean247​ @joyleenl​ @quaksonhehe​ @clara-licht​ @frustratingpaperclip​  @tutuabby28​ @tacobacoyeet​ 

LGBTQ+ 

@quaksonhehe​ 

[anonil88]

Malcolm and Marie live blog

I don't usually do liveblogs for movies but yea.

Spoilers ahead!!

I love that its modern timed but very 70s stylized.

A tune indeed.

When you are high and drunk on success and

How the white critic reacts is why I feel like gatekeeping my scripts. At the same time some things I do make are about race or involve.

Marie sitting on the patio smoking is a mood whenever men are talking.

So he's pretentious and unaware.

Whoever chose the music for this, I feel like we would be Spotify mutuals.

Can this nigga stop pacing.

Also can he stop talking;

Marie is so tired and unimpressed.

Also little booties matter and are to be bitten.

Oooo the tension and the jazz.

Title Card over mac and cheese.

Shitty boxes mac and cheese but still mac and cheese.

Tbh i always wonder if spouses/significant others get upset when their spouses don't acknowledge them during speeches.

John sounds so much like his dad but I really hope his acting style differs from his dad a lot.

Guilty confession?

He did not profit off of his partners backstory and then not even acknowledge her.....I.....

If that ever happened to me catch me cussing my partner out during the beginning credits, the end credits, in the car, and at home.

GASLIGHTER!

The way I'm excited for Zendaya to give me some, oooo can she work with Regina King. Please on my knees I pray.

Um no that's not your job to coddle your lead.

He's a dick and the type of dick who makes himself look like a good person around other people.

If Sam Levinson is trying to make his viewers more of misandrist, it's working.

I feel like Marie has her flaws probably a lot of them and we will surely see as this continues, but Malcolm needs to learn how to apologize sincerely.

70s vibes! 70s vibes!

Them kissing and talking about criticism and dreams makes me miss a partner. A partner that I've had and haven't had.

Women really are behind every great man.

Yea sir you fucked a happy moment.

Oh visual allegories for looking in from the outside and cat and mouse chasing and looking from the outside in.

She's saying she doesn't feel noticed by you.

Gas lighter :0 he called her an emotional support dog, bruh.

I would LOVE to co-write or take a writing class held by Sam Levinson. The fights i write are very much in this same realm of reflection and anger and monologue.

Sam.....sam.....are all the sides inside of you doing okay sir?

The ugly side of dating and being in a relationship with someone who struggles with their own demons.

Honestly I could close my eyes and listen to this script being read without seeing these characters visually. Just close my eyes and get a sense of these characters like it was a radio story.

Oh. Oh this is a new wheelhouse of Zendaya acting; a different voice is like breaking through here and her expressions aren't the same we are used to. You can literally hear another character in there....hmm.

Mans is outside really fighting with his invisible demons lmfao.

Selfish ass, how after everything she said you came out of it thinking about your own craft and self instead of how you hurt her.

So she's conditional.

Me: did sam (a white man) say nigga this many times in his script or are the actors adding their own inflections. Not just the lingo used but the topic of race and directing etc. being written by a white writer about black characters is always gonna be a critique when you're writer is a white person.

Alexa play Broken Girls by Saba

He is so hurtful.

A clown nigga a clown look in the fucking mirror you bozo head ass looking like you need some Mehron clown white and a size 16 in clown shoes.

John is doing a really swell performance and reading of these lines.

He is reading her for her insecurities by bringing up his experiences with other women and that.....is yikes.

Arguments can get messy like this in real life but it takes a lot of maturity and control to either not let it get to this point or have a healthy conversation afterwards.

This film is really shot on some very crisp lenses.

They sitting there like 🚬🧍‍♀️🧍‍♂️.

Leftover Mac and Cheese and unfinished cigarettes.

The nyt etc. pay walls are so annoying, but there is a work around look at the articles on incognito or add a period at the end of the url.

He sounds like his daddy so much here, weird, this is the only part I'm eh on the dialogue it feels real but a bit out of pace in how they are bouncing off one another.

Nail scissors? So the end is not the only part he based off of Marie. 🙄

ITS A GOOD REVIEW YOU DINGUS but also its a full review they are going to critique things. She isn't wrong though he did profit off of a woman's story that was not his own to profit from.

Yes Malcolm because unfortunately all marginalized people look through a lens of life that is inherently political because of the world they live in.

He is so mad and upset and had a lot on his chest. But I think he Malcolm and Sam are talking about something thats an issue and a non issue. Being critiqued for you art is hard but also Malcolm is not super self aware. He's like a stand in figure of for example rich depop sellers who wanna be oppressed so badly they yell at others instead of examining their own personal behaviors and ethics.

Oh Marie, when you know the spark is gone and you pick fights because.

He ain't even ask her to read?

One critic I have for most of hollywood actors is they learn their cry and that is it. A change from this is Margot Robbie, I adore her fluctuations of crying being similar but the crying is carried differently for each character. If I had to say any actor that does a cry scene amazing its this woman right here (Amy Adams)

You stole her story from her and gave it away, she has a right to be upset and angry and a rubber band ball of emotions.

Citizen Kane, not the cinematography, but the story is it even that good? (Unpopular opinion but meh, maybe in my rewatch it will be better.)

But that is what people want authenticity and whatever authenticity means to them. What is real for one is false for another.

To be honest look at the criticism of Euphoria, well earned, but a lot of people were like this isn't real even though he literally wrote about his own life. People said it was inauthentic like....wtf.

Ahh the smoking is just a habit, he quit and she didn't.

CAST ZENDAYA IN A HORROR MOVIE PLEASE FOR THE LOVE OF EVERYTHING. Get Lupita and Zendaya and some more black actors preferably less known ones in a horror movie. One with a interesting script and story, directed by Regina King. Please and thankyou.

I love Marie yep that was amazing.

Behind every great man is a greater woman, one that deserves her credit for how she has stood behind. I wonder the stories of those women, what they have sacrificed or not sacrificed. Their thoughts and feelings when the world is surrounding their partner and views them as a plus one. (I'd write a short script about this but I think do I have the time, can I, or am I equipped ?)

He is a shitty person for bringing up his exes, like she even said I don't wanna know any of that.

Imagine being on anti depressents and rarely having a sex drive and then when you do your partner starts talking about their exes and tearing you apart for all your faults.

I love when you see peaks of Zendaya's cadence in roles.

Tension, what if's and he didn't even bring her up in his speech.

Marie to herself and the audience:

He is not afraid that he will loose her but as my character says in my unreleased story, "i can't wait til you give me a fucking reason to leave your ass." Malcolm expects everything in order for not even doing the bare minimum and she is only asking him for something as simple as consideration. She just wants him to be considerate. He wants to get married and considers their relationship like rolling down a hill at full speed and he cannot apologize, he cannot be considerate, and he cannot admit his wrongs. He can only offer her I love yous that he probably does mean but he does not back up outside of what he's done for her in the past. The past which was more of her experience than his and he sees his part in it as a burden. He doesn't use his own vantage point of the past to further his career he uses her. He does all of these things without a real apology or thankyou because he is not afraid to loose her.

The restrictions of quarantine and the panorama have made Sam's writing very no frills. I wonder how other films from other directors and writers that are filmed in small contained crews like this will be structured. But this was a very good movie gonna add to my letter box 3.3-3.5

Oh shit this is my song,

Ratings/overall thoughts:

Script is like a C+, B- : I could go into my heavier big brain thoughts on the script but I don't feel like it. You catch hints of it above it centers conversation on race and privilege, mainly the writers and questions i have that won't be answered but Sam did make me grow disdain for Malcolm over a short time. Which is sometimes hard to do because im one sympathetic person but the sympathy i have for Malcolm is at 0. Maybe a 2 at some scenes but then it quickly goes back to 0. Some parts of the dialogue miss the mark or hit the are off balanced. While some of it like Malcolm's bathroom speech albeit mean is really strong or their conversation when he comes back from peeing really shines for me.

Performances: B+ to A- because they carried the script further than it could of gone with less talented actors. The monologues do well to showcase their current skill levels which are already high af and leave room for anticipation in where these actors go next.

Zendaya holding a knife: A+ with a gold star. That switch on and off and on is delectable.

John being a shitty boyfriend but following Marie like a lost puppy: B+ with a good job written at the bottom of the paper, Malcolm being nervous a frantic dialed up with more realistic nervousness would have sold me completely on Malcolm's anxious waiting.

Cinematography: A and a participation award.

The mac and cheese: A+ for the easy mac. Wish it was like Annie's or Velveeta.

Cigarettes: Participation award and their picture hung up for student of the month. Why the grill lighter? Everytime Malcolm opened up his mouth Marie was like sparks fly.

The music: A++ with a prize. Whoever picked the music probably makes good Spotify playlists.

[ratingtheframe]

So 2020 sucked... but the films didn���t! The top twenty films of 2020 (in my humble opinion).

AT LAST. This godforsaken year is over and as we venture into a new year, let's hope and pray that the art’s industry finds a way to build themselves back up again, in a way that is safe and necessary for them to bring us the entertainment we so crave. It has been a crazy and unprecedented year for the film industry, a year that it has never seen with losses of an estimated $5 Billion at the end of March. Some of the most anticipated blockbusters of all time had to be put on hold and postponed for hopefully next year with No Time to Die, A Quiet Place II, Wonder Woman 1984, Dune and Black Widow being a slim few that never got onto a silver screen this year. However, there is no reason to fret or relinquish the loss film has had this year, as hopefully next year once we’ve had a better understanding of this virus, these films along with many others will have their audience. Amongst the postponed releases, many films have been resilient to the virus and still managed to gain a spot in the cinema despite the circumstances. 

Christopher Nolan’s Tenet was the only multi-million dollar film to be released this year and even though the risk of release could have meant nothing for the film, it still managed to rake in a staggering $361 million, an expected profit for a film of its size. However, despite the film's success, Nolan made it clear that this shouldn’t be taken lightly and that the safety of film consumers comes before the profits themselves. 

Even though we will have to be more cautious in the cinema, films will return, once we have regulated safety measures in cinemas and film festivals to ensure that customers can feel comfortable. For now, HBO has planned to put many releases from Warner Bros. straight onto its streaming platform as well as in the cinema next year, in an attempt to prevent the spread of COVID whilst still being able show the films we’ve been craving. There’s no telling what next year will bring, what the Oscars will look like or if filming for the next Batman film will ever end, however it's clear to see that the film industry has shown resilience amongst this pandemic and will continue to do so in years to come, no matter the challenges.

Here are twenty of the films that made it to the cinema (or streaming platforms) this year, that proved the durability of the film industry during this time. 

20. Tenet directed by Christopher Nolan 

We can all agree that Chrisopher Nolan’s Tenet should be handed the award of Most Confusing Yet Entertaining Film of the Year, or ever made in fact. The sci-fi epic adventure that sees its lead (named “the protagonist) travel back in time and then forward in time and then back in time again (?)... yup, I didn’t get it either, but I’m not the only one seeing as Robert Pattinson who played alongside John David Washingston hadn’t a clue what was going on either. And he was in the film. However, despite the film's confusion, it doesn’t make it a bad or “lazy” film, for every aspect of this film from lighting, sound design, casting, direction, stunts WAS ON POINT and those elements are truly what sets this film apart. The story may have been perplexing but at least there was one. 

19. Nomadland directed by Chloé Zhao

It is such a shame that Nomadland may not get the audience it deserves due to the COVID-19 pandemic as it is a truly moving and rich film. The Nomads are a group of real Americans who’ve hit the road in various mobile homes after the Great Recession in 2008 caused millions to be homeless and redundant. Frances McDormand plays Fern, one of these Nomads and child of the road whilst the film follows her simple, yet melancholy journey across Western America.  Chloé Zhao has been tipped several times for an Oscar with Nomadland after winning the Golden Lion at this year’s Venice Film Festival. Let’s hope that if this goes onto the Academy Awards, Nomadland will find the audience it so craves. 

18. Uncut Gems directed by the Safdie Brothers 

YES, Uncut Gems came out THIS YEAR, which is an insane thought seeing as I saw the film in a packed cinema before it was released onto Netflix. The Safdie Brothers, Josh and Benny brought us Uncut Gems this year, a declining tale of a man’s test with fate and the many many second chances he gets at life, only to f*** all of them up. Adam Sandler plays Howard Ratner, a pawn shop owner and frequent gambler. This is Sandler’s best ever role and the multifaceted, gritty work of the Safdie Brothers (Heaven Knows What, Good Time) really brought something brilliant out of him. 

17. The Half of it directed by Alice Wu

The Half of It wins the Most Surprising Film of the Year. A highly credible film directed by Alice Wu, The Half of It is EVERYTHING we want and need in this world. In fact, it’s everything we kind of already have in this world, but hardly see on screen. Non white leads, queer non stereotyped relationships, unpredictable endings; The Half of It was an all rounder for me. Some may roll their eyes at the amount of diverse elements to the film and see it as a way of gaining brownie points, but why does that have to be a thing? Why can’t having active and authentic representation across all films just be normal rather than political? If anything, it should be encouraged. The story was brilliant (and made me cry) as it had so many layers to it as well as the characters.

16. 7500 directed by Patrick Vollrath

Definitely the wildcard of this list, 7500 is an Amazon Studios film starring Joseph Gordon Levitt. I’ll admit, my hopes weren’t high, but after taking the time to watch this film I was truly blown away. And who KNEW Joseph Gordon Levitt could be so deep and in tune with his emotions on screen. He plays a pilot whose plane gets hijacked mid flight. There. Enough said. I could hardly BREATHE throughout this film in apprehension of what was going to happen next.

15. Kajilionaire directed by Miranda July

2020 thus far has been the best year for female filmmakers. From Céline Sciamma’s Portrait of a Lady on Fire, Josephine Decker’s Shirley, Rose Glass’ Saint Maud and Miranda July’s Kajilionaire, a clear cut foundation has been carved effortlessly for female filmmakers this year. Miranda July’s Kajilionaire especially rocked my senses a little as I saw so much unfamiliarity yet beauty within this film. A simple storyline that follows Old Dolio (Evan Rachael Wood), a young woman trying to feel more connected with her parents. A certainly bittersweet tale that has this rose tinted like vibe to it that attaches itself to the visuals and music of the film, that make everything feel light and playful. This contrasts well with the story itself as being sad and melancholy, further proving the fact this film is more than face value. Face value films have never gotten us anywhere and its films that go beyond entertainment that truly last in the industry. 

14. Bombshell directed by Jay Roach 

Bombshell is a PERFECT title for this film; a film that left me angry, sad and questioning the immorality that is still prevalent in the mostly male dominant society we live in. Charlize Theron, Margot Robbie and Nicole Kidman (best trio ever) star as three news anchors on Fox news whose lives are brutally torn apart when the Head of Fox News, Roger Ailes is accused of sexual harassment on many different occasions by female members of the workplace. Despite the silence being now broken, these three women still face a whole load of other problems that come in speaking up against a powerful, white and rich male. Threats of permanent job losses, victim blaming and a weak image are the consequence of speaking up about sexual assault as a member of Fox news. The brand itself has an incredibly misogynistic view of women and continues to have an idealised image of how women should be on the news with those working at Fox actually admitting it brings in viewers. Women with tons of makeup and dresses shorter than is comfortable is Fox news and Bombshell went above and beyond exposing this scandal that truly shook American broadcasting forever. 

13. Borat Subsequent Movie Film directed by Jason Woliner 

Borat Subsequent Movie Film wins the award for Most Jaw Dropping Film of the Year, as its protagonist and creator Sacha Baron Cohen, went above and beyond to show us the true dark depths of America. Ballsy, outrageous, jaw dropping, scandalous; every bold word can be used to describe this film and the lengths it went to get right to the heart of American society. The ugly heart. By now you should be aware that the ex president’s attorney was shoved right into the firing line after he was taken into a hotel bedroom by a reporter who happened to be an actor. Rudi Gulliani was left red faced after Borat bursts into the hotel room proclaiming the young reporter is his daughter, with Gulliani still unaware the entire outrageous event had been caught on camera. And not just any camera. A MOVIE camera. A true triumph in free speech and comedy, Borat Subsequent Movie Film will live on forever as the most outlandish film there is.

12. Miss Juneteenth directed by Channing Godfrey-Peoples 

A real eye opener into current American society using a touching story between mother and daughter as a backdrop. Turquoise is a single mother struggling to get by and support her daughter Kai through the Miss Juneteenth pageant, held annually in Fort Worth, Texas. A real competition, the Miss Juneteenth pageant promises one lucky young woman of colour a full scholarship to a black historical college of their choosing. Turquoise desperately wants this for her daughter as it’ll give her the opportunities in life she never had. A truly moving and authentic film, this scored 100% on Rotten Tomatoes which is a highly impressive and deserving score.

11. The Trial of the Chicago Seven directed by Aaron Sorkin

Aaron Sorkin’s lyricism in words was again brought to us on screen this year with his depiction of the Chicago 7 (eight if you count Bobby Seale); seven men who were accused and put on trial for eliciting the Chicago riots of 1968. When in actuality, the police themselves had more to do with riling up the protestors than anyone else, even pushing a crowd of protestors through the front window of a restaurant to make it seem like they had vandalised the property. If anyone was going to make such a film, Sorkin would be the one to do it as with any event or idea he covers, Sorkin’s words as a writer MAKE YOU CARE. Even when you had no recollection or understanding of something, the way Sorkin depicts these events on screen has you absorbed into the story till the last second. An incredible and powerful story and a film that I could constantly go back to in order to learn about the injustices of American politics.  

10. The Devil All the Time directed by Antonio Campos 

I feel like The Devil All the Time still hasn’t got the recognition it deserves. There is something incredibly powerful and priceless about having a group of exceptionally talented people come together to create something for screen. This film wins Best Casting of the Year (if you don’t count Dune) as the likes of Tom Holland, Robert Pattinson, Eliza Scanlen, Sebastian Stan, Bill Skarsgård,  Mia Wasikowska, Harry Melling, Riley Keogh, Jason Clarke and Haley Bennett graced our screens in this dark and ominous tale. Any story that is set in a small town and is about stories interweaving is bound to be interesting and thought provoking in it’s telling, with this adaptation being no different. The star of the show was Robert Pattinson’s thick Tennessee accent along with his clean yet filthy character interpretation of a perverted priest. Not one line in this film was thrown away and every single moment held a weighty tension, further confirming to us each character’s downfall by the end. An amazing adaptation and something you will reeeeeally enjoy.

9. Soul directed by Pete Docter 

What was supposed to be Pixar’s second release of the year, Soul is Pixar’s most highly executed film to date. The amount of detail and care the animators and creators of Soul had taken to this picture is INSANE; insanely beautiful. With the black community going through so much this year, having something like Soul be put out to audiences shows support of this ever changing and growing movement. Even though having black representation on screen isn’t on the top of everyone’s priority list, it’s still important that the effort is there in order to really show what the world is like on screen and to cater to more audiences. Soul itself had everything; diverse, three dimensional characters, a clear and heart warming story and comedic, uplifting points that only strengthened the important message of this movie; life itself.

8. The Lighthouse directed by Robert Eggers 

Again, another film that came out right at the beginning of the year, Robert Egger’s The Lighthouse was a whole new world that we had never seen before. Shot on a Panavision Millennium XL2 using a lense from the 1930s and black and white film, The Lighthouse was a decrepit, eerie and brilliant movie to watch throughout. It just makes me satisfied as a viewer when a director not only creates a film, but creates one that is so beyond anything we’ve ever seen and could likely have been made in an entirely different era altogether. Robert Pattinson KILLED IT in his role as a surly drunken sailor alongside Willem Dafoe, whose Irish accent was enviable. Overall a highly executed film that exudes brilliance and a creative mind.

7. The Hater directed by Jan Komasa 

I would say The Hater is the second wildcard on this list. It’s a Polish drama that hasn’t had a lot of rep in the media, however, this doesn’t detract from the film’s execution and drama. A real downfall story that sees a jealous ridden man go from a media intern into illicting terrorism. Like, HELLO how does one go to such an extreme? The only way to find out would be watching the film...The film really spoke to the dangers of social media and the ease of getting someone to insight violence onto someone else, all through a computer. My mouth was hanging on the floor during several moments of this film and I can 100% guarantee the Netflix film will have the same affect on you.

6. La Belle Époque directed by Nicolas Bedos 

La Belle Époque (or “The Good Times”) wins the award for Most Heart Warming Film of the Year. A surprisingly unique concept that follows a man trying to relive the best moments of his past after his wife wishes to divorce him. A company that specialises in creating your past memories offers him the opportunity to go back to the time when he and his wife first met, using actors, set design and music to recreate the moment. The French film emits a strong sense of nostalgia throughout with brilliant music and set design. It’s just one of those films that heavily expresses the idea of “what if” within a film whilst answering it boldly through its unique story.

5. Ema directed by Pablo Larraín 

Ema took me a few days to fully absorb and appreciate as an experimental film, rather than one with a clear cut narrative. It's a film that expresses an idea, a feeling as opposed to a story which is completely okay and doable in this day and age. Ema is a liberating, freeing and psychedelic world of a film, with the message of the film being wrapped up in Ema’s attitude as a woman and the way she sets fires to things wherever she goes. Literally, as the opening sequence is of her setting alight a basketball hoop. There is some strong, vivid imagery within this and the MUSIC...definitely the best sound track I’ve heard this year. Ema’s in my top five for its uniqueness, rawness and the weird sense of liberation it gave me after watching it.

4. Saint Maud directed by Rose Glass

Probably the biggest breakthrough film of the year and despite the pandemic, Saint Maud certainly got the rep it deserved. An entirely new perspective of horror was brought to use in troves in the form of this Irish film created by first time director Rose Glass. I cannot express how brilliant and revolutionary Saint Maud was for its simplicity, story and filmmaking techniques. An ambitious and all round brilliant film that sits prettily in my top five films of the year.

3. Portrait of a Lady on Fire directed by Céline Sciamma

Portrait of a Lady on Fire wins the award for Best Foreign Language Film and it still hurts to think it never even made it to the Academy Awards this year. One of the most moving and earthy films that I’ve seen this year, Portrait of a Lady on Fire is a slow, sensual and ambiguous picture that shows a love story between two women through the form of art. I became quite obsessed with the music of Antonio Vivaldi after seeing this as the time period and music intertwined really well in this film. Exceptionally made and incredibly raw, Portrait of a Lady on Fire went straight for the heart in this film by also putting the grievances of love at the forefront of this film. 

2. Parasite directed by Bong Joon Ho 

You are probably extremely bored and tired of hearing of the success of Parasite as a breakthrough picture, however there are an abundance of reasons for it! Winner of Six Academy Awards including Best Picture, Parasite really pulled the rug beneath the Academy Awards feet and certainly proved that no matter your race, it's the story that sells and that will bank you an Academy Award. A wonderfully crafted story, one that could have been found in theatre or even opera and those sort of structured narratives are what really grab people’s attention. 

1. Another Round (Druk) directed by Thomas Vinterberg 

And finally, my favourite, Most Enjoyable Film of the Year had to be without a doubt, Thomas Vinterburg’s Druk, which I had the pleasure of seeing at the BFI London Film Festival this year. The theatre-like structure of a narrative has been implemented seamlessly into this film and even if structure means nothing to you, you can feel when a film has been crafted differently to bring about a dynamic and earthy narrative. I’ve previously watched two films of Vinterberg’s; Festen and The Hunt and even though those two films hold a high rating, Druk is definitely Vinterberg’s best film yet. Extremely entertaining whilst also carrying a rather dark side to it, Vinterberg sells you the best and worst of two worlds whilst exposing the effects of alcohol consumption. 

And that’s it! 2020 in films! If you agreed or disagreed with anything on this list or think something else should’ve made the list that came out this year, be sure to leave me a comment on this post or via instagram on @ratingtheframe. It’s crazy to think that this obsession of mine turns two years old next year and there are still so many amazing pictures to be seen! And as always, you will find each and every one of them right here on @ratingtheframe.tumblr.

Bring on 2021!