Matt Damon had a really rough 2017

Image result for matt damon suburbicon

Three major releases (The Great Wall, Suburbicon, and Downsizing) that were box office bombs and were not received well by critics or fans. Damon did The Great Wall just for the $$, but Suburbicon and Downsizing seem like good ideas on paper, with a respectable pedigree.All 3 could be on a list of worst movies of 2017 actually. Then there’s also all the backlash he received for his relationship with Harvey Weinstein and his comments after bout sexual assault/harassment. Also, his Dad died this month. One positive I guess, he probably had my favorite cameo in Thor: Ragnarok. He got $20M for Great Wall. Think he’s okay with that. So not all was lost for Damon this year. Moral of the story: Money is everything?

Jodie Foster Compares Superhero Movies To Fracking, James Gunn responds

You can find my full thoughts on The Playlist

“Going to the movies has become like a theme park,” she told Radio Times magazine. “Studios making bad content in order to appeal to the masses and shareholders is like fracking - you get the best return right now but you wreck the earth.
“It’s ruining the viewing habits of the American population and then ultimately the rest of the world. I don’t want to make $200m  (£150) movies about superheroes.”
"Asked whether she would ever consider making a film about a superhero, she said she would consider it, but only if they had “really complex psychology”.  

There are plenty of cinephiles that are worried about the current state of American cinema at the moment. The most popular complaint seems to be aimed directly at the influx of superhero movies currently populating, or for many polluting, the cinematic landscape. Many directors have come forth in recent years criticizing the superhero genre including Clint Eastwood, Ridley Scott, Alejandro Gonzalez Inarritu, David Cronenberg, William Friedkin, Terry Gilliam, Mel Gibson and, even, Roland Emmerich!
You can now add Jodie Foster to that list of high-profile filmmakers as the 55-year-old writer-director-actress, in an interview with Radio Times (via Daily Mail) magazine, recently compared the superhero genre to fracking.
“Going to the movies has become like a theme park. Studios making bad content in order to appeal to the masses and shareholders is like fracking – you get the best return right now but you wreck the earth,” she said.
Yikes. And if that isn’t bad enough, she went on to say that these American-produced superhero movies are not just polluting the United States but the rest of the world as well. “It’s ruining the viewing habits of the American population and then ultimately the rest of the world. I don’t want to make $200m  (£150) movies about superheroes,” she added.
Foster, recently directed an episode of Netflix‘s “Black Mirror,” but says that it ain’t easy to be a filmmaker in Hollywood these days unless you are part of the untouchables club such as Steven Spielberg or Clint Eastwood, adding there is a “lack of respect” for most other directors.
Conversation has instantly sparked around Foster’s comments, and it didn’t take long for “Guardians of the Galaxy” director James Gunn to issue a fascinating response on Twitter:
I think Foster looks at film in an old-fashioned way where spectacle film can’t be thought-provoking. It’s often true but not always. Her belief system is pretty common and isn’t totally without basis. I say not without basis because most studio franchise films are quite soulless – and that is a real danger to the future of movies. But there are also quite a few exceptions.
For cinema to survive I believe spectacle films NEED to have a vision and heart they traditionally haven’t. And some of us are doing our best to move in that direction. Creating spectacle films that are innovative, humane, and thoughtful is what excites me about this job.
But, to be fair, at least from Foster’s quotes, she seems to see filmmaking as something that’s primarily about her own personal growth. For me, that may be part of why I do this, but spending many millions of dollars on a film has to be about more than that – it’s communication – so my experience is merely one spoke on that wheel. But I respect Foster and what she’s done for films and I appreciate her different way of looking at Hollywood’s landscape.
Yes, a thoughtful, courteous response that cuts to the heart of the issue and, in a way, it seems like Gunn does agree with Foster’s assertion that “spectacle films” are often empty. But Gunn says the solution isn’t necessarily ditching the $200 million superhero film, but, rather, transforming it.
Gunn, after all, gave a bit of heart and soul to ‘Guardians’ and even fought the MCU bigwigs to have his “Awesome Mix Tape” included into the original movie. Of course, he’s one of the few exceptions to have responded in a mannered, adult way to Foster’s criticisms, as fanboys on social media were going nuts over the last few days. To which I say, all the better for it. After the Disney/Fox deal, Foster has reopened the debate on the superhero movie at a relevant and important timeframe as the industry is slowly,  but surely becoming monopolized by sequels, reboots, remakes and, more to the point, a influx of superhero movies, which are, as Foster correctly asserted, “soul killing.” Maybe the fracking analogy isn’t far off. 

Denis Villeneuve, Xavier Dolan and Guillermo Del Toro Reveal Their Top 10 Movies of 2017

Now, the directors are chiming in on their best films of 2017. Indiewire asked more than 43 well-known directors' to reveal their best of the year:
Guillermo del Toro’s Top 10 Films Of 2017
10. “Brawl in Cell Block 99”
9. “Ingrid Goes West”
8. “Tigers Are Not Afraid”
7. “Good Time”
6. “The Meyerowitz Stories”
5. “Get Out”
4. “Three Billboards Outside Ebbing, Missouri”
3. “Dunkirk”
2. “Lady Bird”
1. “A Ghost Story”
Denis Villeneuve’s Top 8 Films Of 2017
“Those Who Make Revolution Halfway Only Dig Their Own Graves”
“The Square”
“Three Billboards Outside Ebbing, Missouri”
“The Beguiled”
Neill Blomkamp’s Oats Studio Short films
Xavier Dolan’s Top 8 Films Of 2018 (Unranked)
“Call Me by Your Name”
“Lady Bird”
“The Shape of Water”
“The Killing of a Sacred Deer”
“Wind River”
“The Post”
“Three Billboards Outside Ebbing, Missouri”

Pedro Almodovar's Top 8 Films Of 2017
“Phantom Thread” 
“BPM (Beats Per Minute)” 
“Three Billboards Outside Ebbing, Missouri” 
“You Were Never Really Here” 
“A Ghost Story” 
“The Killing of a Sacred Deer”

Luca Guadagnino's Top 20 in alphabetical order:

“A Fantastic Woman,” by Sebastian Leilo
“After the Storm,” by Hirokazu Kore-eda
“Alien Covenant,” by Ridley Scott
“Austerlitz,” by Sergei Loznitsa
“The Big Sick,” by Michael Showalter
“Cinema, Manoel de Oliveira and Me,” by Joao Botelho
“Dunkirk,” by Christopher Nolan
“Eight Hours Are Not a Day” (restored re-release), by Rainer Werner Fassbinder
“Faces Places,” by Agnes Varda
“I Am Not Your Negro,” by Raoul Peck
“Logan,” by James Mangold
“Logan Lucky,” by Steven Soderbergh
“The Lost City of Z,” by James Gray
“Mrs. Fang,” by Wang Bing
“On the Beach at Night Alone,” by Hong Sang-soo
“Paddington 2,” by Paul King
“Split,” by M. Night Shyamalan
“Twin Peaks: The Return,” by David Lynch
“The Venerable W,” by Barbet Schroeder
“War For the Planets of the Apes,” by Matt Reeves
Paul Schrader's top 10 of 2017
1. “Detroit”
2. “A Fantastic Woman”
3. “The Florida Project”
4. “Jane”
5. “A Quiet Passion”
6. “Lady Bird”
7. “I, Tonya”
8. “The Post”
9. “Wormwood”
10. “The Big Sick”

Despite Terrible Reviews Netflix’s ‘Bright’ Is Adored By General Audiences and Draws 11M Viewers In First Three Days

Image result for bright netflix

Hey, I'm all for audiences embracing a movie that was critically reviled, that's why I still check IMDB user scores to not be totally lost in critical la-la-land, which is such an easy place to be sucked into, alas I  try to resist. However, knowing the world of film criticism all too well, I know that cliques happen, waves of peer-pressured bandwagon-esque fervor reek havoc, ditto the fact that if you don't agree with a particular flock you all but become chastised and mocked as a troll. Yes, welcome to 2017, not your daddy's era of film criticism, let alone a free-thinking society. Paulie Kael must be rolling in her grave.

To prepare for "Phantom Thread," Daniel Day-Lewis made a Balenciaga dress from scratch

Here's my newly refined version of the article on The Playlist.

Daisy Ridley Says She Won't Be Playing Rey Again After Episode IX

You know I love Daisy Ridley. Disney and co. picked a fantastic actress to carry the Star Wars franchise into the future. Her role as Rey could have easily deviated into uninvolving territory but she's kept us intrigued and glued on her in both "The Force Awaken" and "The Last Jedi," but don't expect her to continue on as Rey after the saga concludes in 2019 with JJ Abrams' “Star Wars: Episode IX.”
“No,” she tells Rolling Stone "For me, I didn’t really know what I was signing on to. I hadn’t read the script, but from what I could tell, it was really nice people involved, so I was just like, ‘Awesome.’ Now I think I am even luckier than I knew then, to be part of something that feels so like coming home now." When asked if a door is still left open she says “No, no, no. I am really, really excited to do the third thing and round it out, because ultimately, what I was signing on to was three films. So in my head, it’s three films. I think it will feel like the right time to round it out.”

Ridley Scott Defends "The Counselor," Says It Should Have Been "F—ing HUGE!" and Blames Paramount

Ridley Scott is 80-years-old but he isn't going to be throwing in the towel anytime soon. The maverick director will keep working and working, just as he has done these last 40 years. He's released 8 films in the last 10 years, albeit not all great but those that hit the mark ("American Gangster," "Prometheus," "The Martian") proved how capable he still was as a filmmaker.

Ridley Scott Says "Blade Runner 2049" Was 30 Minutes Too Long, Not More Than 24 Hours Later Its Director Denis Villeneuve Defends Epic Running Time

Ridley Scott's been going I-don't-give-a-fuck in his interviews for “All The Money In The World.” The 80 year-old director has even gone as far as criticizing “Blade Runner 2049,” saying the film was “too fucking long,” and saying he'd cut off half an hour, at the very least of the released cut.

Alien: Covenant Sequel Reportedly Cancelled By Fox

"Alien: Covenant" was a disappointment. It went back to the narrative structure of the of the first two movies. Ridley Scott decided to feed the masses and say "fuck it" to any kind of artistic statement. Are some scenes scary? Yes, but they're just empty thrills, empty calories that don't have the substance of "Prometheus." This "Covenant" just wanted to entertain, nothing wrong with that, but we deserved better.

Ridley Scott Says He's 'Too Dangerous' To Direct Star Wars

You’ve watched other people take over franchises you’ve made. How often are you asked to do that? Has Kathleen Kennedy offered you a Star Wars movie?
No, no. I’m too dangerous for that.
Why is that?
Because I know what I’m doing. [Laughs.] I think they like to be in control, and I like to be in control myself. When you get a guy who’s done a low-budget movie and you suddenly give him $180 million, it makes no sense whatsoever. It’s fuckin’ stupid. You know what the reshoots cost?
I can’t imagine.
Millions! Millions. You can get me for my fee, which is heavy, but I’ll be under budget and on time. This is where experience does matter, it’s as simple as that! It can make you dull as dishwater, but if you’re really experienced and you know what you’re doing, it’s fucking essential. Grow into it, little by little. Start low-budget, get a little bit bigger, maybe after $20 million, you can go to $80. But don’t suddenly go to $160.
One of the problems with the studio system at present is that there isn’t that middle ground anymore. There’s low-budget, and there’s $160 million.
And you get killed.

Black Panther Empire Cover Highlights T'Challa's Vibranium Suit and Star Michael B. Jordan Says The Role Took Him To A "Dark Place"

empire magazine black panther cover michael b jordan erik killmonger

You just know that director Ryan Coogler ("Creed" & "Fruitvale Station") is going to nail this Marvel movie. The more you read about the creative process Coogler and his star Michael B Jordan went through the more you suspect this will be a special movie.

Box Office Week: For the four-day weekend Star Wars: TLJ is a good #1 with $100.6M, Jumanji: Welcome to the Jungle is a great #2 with $52.1M, Pitch Perfect 3 is a weak #3 with $25M, The Greatest Showman a soft #4 with $14M, Downsizing flops at #7 with $7.2M, and Father Figures fails at #9 with $4.9M

1. “Star Wars: The Last Jedi” — $68.4 million ($365 mil.)
2. “Jumanji: Welcome To The Jungle” — $34 million ($50 mil.)
3. “Pitch Perfect 3” — $20.4 million
4. “The Greatest Showman” — $8.6 million ($13.1 mil.)
5. “Ferdinand” — $7 million ($26.5 mil.)
6. “Coco” — $5.2 million ($161.3 mil.)
7. “Downsizing” — $4.6 million
8. “Darkest Hour”— $4.1 million ($6.9 mil.)
9. “Father Figures” — $3.2 million
10. “The Shape Of Water” — $3 million ($7.6 mil.)

[The Playlist/Reddit]

George Lucas in 2012: "Why would I make any more when everybody yells at you all the time and says what a terrible person you are?"

Lucas seized control of his movies from the studios only to discover that the fanboys could still give him script notes.

“Why would I make any more,” Lucas says of the “Star Wars” movies, “when everybody yells at you all the time and says what a terrible person you are?” When fanboys wailed, Lucas did not just hear the scream of young Jedis; he heard something like the voice of the studio. The dumb, uncomprehending voice in his Socratic dialogues — a voice telling him how to make a blockbuster. “On the Internet, all those same guys that are complaining I made a change are completely changing the movie,” Lucas says, referring to fans who, like the dreaded studios, have done their own forcible re-edits. “I’m saying: ‘Fine. But my movie, with my name on it, that says I did it, needs to be the way I want it.’ ”

What do I think about this? For a film series about peace, love, and understanding, "Star Wars" fans are a high strung bunch. Those defending "The Last Jedi" and those that hate it seem to be at major odds with each other, which is strange considering they no doubt love to death Lucas' original films.


"Mad Max" Sequel Delayed Indefnitely Due to Legal Dsipute

With all the rubbish sequels that are being made these days in cinema, a "Fury Road" sequel is one of the few that would make actual, concrete sense to greenlight. George Miller was apparently in pre-production on "Mad Max: the Wasteland" and even had Tom Hardy signed up to do two more films. That is until Miller sued his studio Warner Bros. for not paying him a bonus that was contractually obligated by contract.

"Details have emerged (via Sydney Morning Herald) that Miller's studio Kennedy Miller Mitchell is suing the WB over what they claim is an unpaid bonus. According to Justice David Hammerschlag, the $7m bonus itself was dependent on the production coming in under $157m – after certain costs were excluded – with Miller and co believing they are owed that money due to unforeseen circumstances during production."
"While Warner Bros. are claiming that the production went over budget, thus making them ineligible for the bonus, Miller's company argue that the studio made "a series of decisions which caused changes and delays to the production".
"On top of that, it is reported that the deal included a clause that said Kennedy Miller Mitchell would be given the chance to finance the project should Warner Bros. seek a deal with a new co-financier."
"According to Justice David Hammerschlag, the $7m bonus itself was dependent on the production coming in under $157m – after certain costs were excluded – with Miller and co believing they are owed that money due to unforeseen circumstances during production."
"While Warner Bros. are claiming that the production went over budget, thus making them ineligible for the bonus, Miller's company argue that the studio made "a series of decisions which caused changes and delays to the production"."
"On top of that, it is reported that the deal included a clause that said Kennedy Miller Mitchell would be given the chance to finance the project should Warner Bros. seek a deal with a new co-financier."

To be fair, Y'all - Miller owns the rights to the Mad Max characters. They're his. So, while we might not see any more films, we also won't see any blatant cash grabs banking on the franchise name alone because Miller lost out.  Miller's got two scripts ready to go. Fury Road was a massive hit. Warner Brothers are literally sitting on a blockbuster franchise and they won't make it because they're bickering over 7-10 million. At the other end of the argument you could say Warner Brothers has plenty of franchises, Miller has Mad Max and both he and his cast will be aging irreversibly as those sequels are delayed on and on again as this lawsuit continues. Warner also has to watch out not to set a bad precedent where their producers and directors can sue them quickly into submission every time a contract dispute emerges. So it makes plenty of sense. Both sides have plenty to win if the sequels are made, but plenty to lose if they concede the lawsuit. So the game of chicken is on.

First Poster for Clint Eastwood's Drama 'The 15:17 To Paris'

Peter Jackson made a huge push to get Andy Serkis nominated for his role as Gollum in ‘Lord of the Rings.’ The Academy denied his request, stating that the motion-capture performance was ineligible as it “technically wasn’t the actor being nominated for the role, but rather the character.”

If the academy had any sense, Andy Serkis' monumental performance as Ceasar in "War for the Planet of the Apes" would be rewarded with an Oscar nomination for Best Actor. This is a weak-ass year for the male category, Serkis' performance towers above almost all other candidates. In fact, as the technology becomes better in the next few years and motion-capture becomes a fixture of cinema, Serkis will most likely be known as the groundbreaker, the legend that made it possible for great acting to infiltrate the art. In fact, the actor has called for motion-captured performances to finally be eligible for a nomination at the Academy Awards.

Serkis is the star of the show. It's hard to explain just how incredible his work is in "War," so much so that a special Oscar should be made for what will surely be a landmark effort in CGI acting. Every movement, every facial gesture is fully controlled and calculated by him. There is barely a false note in the way the motion-capture actor creates Caesar. Serkis has invented an entirely new medium of performance, it's a landmark feat. Give this man the appreciation he deserves. As they say, history will be kind to him and his talents.
The Independent goes on to say:

"Many will be unaware that movies using significant motion-captured performances are currently deemed ineligible for Best Animated Feature nominations. Furthermore, motion-captured roles in both animated and more “traditional” features have never been nominated in Best Actor categories."

"You would think this transformative work would be universally and critically applauded, but unfortunately this is not the case. And Serkis is of course not alone acting in features that rely heavily on motion capture."

"Yet no motion-captured performance has ever been nominated for an Academy Award. Avatar (2009) was nominated for nine Academy Awards, but none of them were for acting. Nearly 50 per cent of the film was made using motion capture (as will the next series of Cameron’s Avatar films)."

I feel like they should create a new category for this. Best virtual character or something. The award would go to the actor and the creative lead on animation.
[–]mfranko88 410 points  
Totally agreed. Cause the problem is, no matter how great the performance is from Serkis, it's impossible to know how much was added or changed by the digital artists. The digital team in charge of Ceaser, for example, worked very hard to bring that character to life, much like Serkis did.
[–]BaronOfBeanDip 135 points  
All of the facial animation in the Planet Of The Apes reboot trilogy was hand keyframed by animators, based on a performance by the actor. It's his performance, but the animators brought it to the screen.

Rian Johnson Responds to Fan Backlash of "The Last Jedi"

For many, the joys of Star Wars come from the comfort of familiarity, the mythology Lucas created. "The Last Jedi" erases all that. I knew "The Last Jedi" would likely rub purist fans the wrong way. The primary intent of the film was to reinvent the franchise. Of course, these purists want things to stay the same, but watching "The Last Jedi" you can sense director Rian Jonson trying to, as Kylo Ren says, "let the past die." It's a theme that resonates throughout the film.

Its director Rian Johnson has finally responded to the fan backlash we've witnessed the last few days, most notably a campaigned petition to oust the film as being officially part of the canon of the Star Wars universe

"The goal is never to divide or make people upset, but I do think the conversations that are happening were going to have to happen at some point if sw is going to grow, move forward and stay vital," Johnson tweeted.

Documentary 'Icarus' Returning to Theaters Following Russia Olympics Ban, Now Eligible For Oscars

Netflix has a goldmine with “Icarus,” its documentary about Russia’s doping program, especially  with the recent announcement by the International Olympic Committee that bans Russia from the 2018 Winter Olympics in South Korea.  Icarus is about an elaborate doping scheme involving Russian government and its athletes. Many are saying that because Fogel stumbled onto an international scandal while making the film, it led to the IOC ban.

The film is expected to screen this weekend in Los Angeles and the same next weekend in New York. “Icarus” is available to Netflix subscribers on its streaming platform. Controversy or not, “Icarus” is an incredible documentary and quite possibly a contender for a best documentary Academy Award, it just needs this theatrical release to be eligible for the award.

On 2.1.17 I wrote:

"Given all the attention that Russia’s Vladmir Putin has been getting of late, it would be very hard to find a more relevant film than Bryan Fogel’s documentary Icarus, which deals with the Russian government’s Olympic cheating scandal. The scandal was uncovered by accident by Fogel, who was following a Russian scientist for a doping documentary, but found out he had a much bigger story at hand. This is the kind of film where a twist happens in almost every frame and the filmmaker, Fogel, seems to have stumbled upon a goldmine of a narrative."

The Last Jedi: Mark Hamill Says 'He's Not My Luke Skywalker'

"Luke would never say that, I'm talking about the George Lucas Star Wars. This is the next generation of Star Wars. I almost had to think of Luke as another character. Maybe he's jake Skywalker, he's not my Luke Skywalker".

The controversy surrounding "The Last Jedi" has not subsided since its release more than a week ago. Many fans have disagreed with the against-the-rules approach director Rian Johnson took with the movie, suffice to say this is the most politically and narratively radical "Star Wars" movie we've ever seen.

Well now, Luke Skywalker himself, Mark Hamill, has chimed about his issues with Johnson's portrayal of Luke, watch the video above. 

Here's the quote in question:

“I said to Rian: ‘Jedis don’t give up. I mean even if he had a problem he would maybe take a year to try and regroup, but if he made a mistake he would try and right that wrong.’ So right there we had a fundamental difference, but it’s not my story anymore. It’s somebody else’s story, and Rian needed me to be a certain way to make the ending effective. That’s the crux of my problem. Luke would never say that. I’m sorry. Well in this version, see I’m talking about the George Lucas Star Wars. This is the next generation of Star Wars, so I almost had to think of Luke as another character. Maybe he is Jake Skywalker. He’s not my Luke Skywalker, but I had to do what Rian wanted me to do because it serves the story well, but listen, I still haven’t accepted it completely. But it’s only a movie. I hope people like it. I hope they don’t get upset, and I came to really believe that Rian was the exact man that they need for this job.”

"Sicario 2: Soldado" Trailer Features Benicio Del Toro and Josh Brolin Tackling U.S/Mexico Border Violence

Taylor Sheridan on why Emily Blunt is not in this sequel to "Sicario."

That was my decision, and at some point I’m going to have to talk to her about it,” Sheridan said in a recent interview for TheWrap. “Her arc was complete … I couldn’t figure out a way to write a character that would do her talent justice."

Best Picture:
“Call Me by Your Name”, “Darkest Hour”, “Dunkirk”, “Get Out”, “Lady Bird”, “Phantom Thread”, “The Post”, “The Shape of Water”, “Three Billboards Outside Ebbing, Missouri.”
Best Director:
“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig

“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro
Best Actor:
Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”

Denzel Washington, “Roman J. Israel, Esq.”

Best Actress:
Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”

Meryl Streep, “The Post”

Best Supporting Actor:
Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Best Supporting Actress:
Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”

Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Best Adapted Screenplay:
“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees
Best Original Screenplay:
“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh
Best Foreign Language Film:
“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)

“On Body and Soul (Hungary)
“The Square” (Sweden)
Best Cinematography:
“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen
Best Documentary Feature:
“Abacus: Small Enough to Jail”
“Faces Places”

“Last Men in Aleppo”
“Strong Island”
Best Animated Feature:
“The Boss Baby”
“The Breadwinner”

“Loving Vincent”
Best Animated Short:
“DeKalb Elementary”
“The Eleven O’Clock”
“My Nephew Emmett”
“The Silent Child”
“Watu Wote/All of Us”
Best Documentary Short Subject:
“Heaven is a Traffic Jam on the 405”
“Knife Skills”
“Traffic Stop”
Best Live Action Short Film:
“Dear Basketball”
“Garden Party”
“Negative Space”
“Revolting Rhymes”
Best Film Editing:
“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory
Best Sound Editing:
“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood
Best Sound Mixing:
“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick
Best Production Design:
“Beauty and the Beast”
“Blade Runner 2049″
“Darkest Hour”
“The Shape of Water”
Best Original Score:
“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell
Best Original Song:
“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul
Best Makeup and Hair:
“Darkest Hour”
“Victoria and Abdul”
Best Costume Design:
“Beauty and the Beast”
“Darkest Hour
“Phantom Thread”
“The Shape of Water”
“Victoria and Abdul”
Best Visual Effects:
“Blade Runner 2049”
“Guardians of the Galaxy Vol. 2
“Kong: Skull Island”
“Star Wars: The Last Jedi”
“War for the Planet of the Apes”