In a totally unexpected turn of events, Moonlight took home the Best Picture Oscar, something no poll had predicted. In fact, it became the most confusing moment of recent award shows since presenter Warren Beatty and Faye Dunaway initially announced La La Land as the winner of this category. After a few seconds of confusion (and midway through the acceptance speech), not really knowing whether the producer of the film, Jordan Horrowitz was joking when he said Moonlight had won the award, Barry Jenkins’ team was called to the stage and given the coveted prize. This wild ending will go down in Oscars history, and probably not in a good way. Warren and Dunaway were given the wrong envelope (whose fault is that), and Dunaway just announced the winner without properly reading the envelope. How could this even happen and how could it happen in the most important award of the night?
It’s finally Oscars Day, my favorite day of the year (just so that you get my excitement, it’s like my birthday and Christmas combined). Tonight all the questions we’ve been making during the awards season will be answered: how many Oscars will La La Land win? Will it break a record like at the Golden Globes? Will Barry Jenkins’ poetic masterpiece Moonlight spoil La La Land’s big night? In a previous entry, I predicted the winners of the main categories, based on articles by some of the main film outlets in the Internet, today I’m giving my final predictions in all 24 categories.
It’s Oscars week! On January 24 La La Land made history with a record-tying 14 Academy Awards nominations and is expected the wind up the big winner on February 26. But, to be fair, this has been a great year for movies, with incredible movies and performances that would have easily taken the award home any other year… let’s just face it, I’m still disappointed with Spotlight winning Best Picture last year (good film, but not Oscar worthy). Now as the final votes pour in ahead of tomorrow (February 21)’s deadline, here is a compilation of this year’s Oscar predictions in the major categories (picture, director, acting and screenplay categories) from Variety, The Hollywood Reporter, IndieWire and Gold Derby, and our predictions based on these results. Stay tuned this week for our full list of predictions!
The BAFTA Awards are one of the most stylish and fun awards shows you there is. Full of our favorite British stars and hosted by the brilliant Stephen Fry, it is also an incredible opportunity to discover lesser known British films and talent (you never know who the next big thing will be). My only problem, the two-hour delay between the actual ceremony and the TV broadcast, which forces anyone interested with the thrill and suspense of awards season to avoid stumbling upon the list of winners on the Internet. But now, let’s focus on this year’s show.
Kenneth Lonergan’s return to the big screen as both writer and director after a hiatus of five years has come in the form of this independent realistic film called Manchester by the Sea. Reminiscent of his previous works revolving around family drama and complex characters (themes also present in his directorial debut You Can Count On Me), Manchester by the Sea tells the story of Lee Chandler (Casey Affleck), a janitor who leads a meaningless life, who has to go back to his seaside hometown when his brother Joe dies of a heart disease, making him the legal tutor of his teenage son Patrick.
Academy Members joined Academy President Cheryl Boone Isaacs in the announcement of this year’s Academy Awards nominations. Breaking with tradition, the presentation did not follow the typical press conference format, with invited journalists, but instead was broadcasted live worldwide via different outlets, including Oscars.org: a new format for a new generation. Actors and other industry professionals were invited to talk about their experiences as Oscar nominees and winner, a format I consider way better than two actors on a stage reading names in front of journalist. The Academy is doing is best to be fresh and young, and leaving behind its image of traditional institution out of touch with younger generations of viewers.